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Wednesday, October 8


dirac

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Reviews of the Royal Ballet in "Manon."

The Daily Telegraph

Into this world of crafted care, Natalia Osipova steps like an alien creature. Her debut as Manon is technically astonishing: she looks as light as a feather and as beautiful as a diamond. It is also dramatic and original. She plays the heroine as an instinctive flirt, a woman who can’t resist captivating everyone around her. Her poet lover Des Grieux is like a guilty conscience, reminding her of her better self.

The Guardian

But if Manon’s materialism is superbly portrayed, less convincing is her appetite for love. The problem lies partly with Carlos Acosta, who, as the poet Des Grieux, is not pressingly romantic or sexual enough, nor, in this late stage of his career, a sufficiently daring partner. Osipova delivers skittishness, fun and a swooping physicality in her duets with Acosta, but not the game-changing delirium of desire. In the final duet, she concentrates her extraordinary technique into great wrenching death-throes of dance, but we feel it’s life she can’t bear to leave, not Des Grieux.
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A report on the annual Workshop at Hamburg Ballet by Ilona Landgraf in her blog, "Landgraf on Dance."

Some things haven’t changed during Neumeier's four-decades as a lecturer: enthusiastic to the core about his art, he talks and talks and talks some more, adding one dance example after another. If he could hold his audience for the rest of the day, he would in all probability explain even more. Yet he's a charming and entertaining speaker. In fact, he's loved for these qualities. Predictably, Neumeier forgets names. Sometimes it is a dancer’s name that slips his mind. This time it was the name of Jules Perrot, one of the choreographers of the original 1841 production of “Giselle”. But, as happened in September 1974 when Neumeier completely lost his train of thought during his first Workshop in Hamburg, people accept his lapses with warm generosity. The third constant is Neumeier's spontaneity. He likes to challenge his dancers by changing the order of things or asking for an unscheduled extra.
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Benjamin Millepied directs a new commercial for Forevermark.

Millepied's ad is packed with the sort of clichés you'd expect from a brand whose business depends on propping up the idea of everlasting love—or at least, love that lasts long enough to be worth baubles that can cost a couple dozen grand. In it, a man and woman meet by passing each other on the street. Sparks fly. He saves her from getting hit by a car door. It rains. The sun comes out. There is lots of spinning, and a voiceover with lots of talk about promises.

Related

The campaign’s tagline is “The Diamond. The Promise,” and it centers on a 60-second film that tells the story of a couple in love. Versions of the film will be showcased in digital ads starting Wednesday and in 15- and 30-second television spots starting in November.
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A preview of the Australian Ballet in "Swan Lake" by Allan Ulrich in The San Francisco Chronicle.

The roots of the Australian Ballet can be found in the logical kinship between Australia and the United Kingdom, in particular the company that was then known as Sadler’s Wells. Dancer Peggy van Praagh returned home from London to found the company in 1962. She was soon joined by fellow expatriate dancer Robert Helpmann, who joined van Praagh as assistant artistic director.

What put the Australian Ballet on the map was the participation of Rudolf Nureyev, who first toured with Margot Fonteyn and then came back to stage his “Don Quixote” in 1971. He toured internationally with the production and appeared in a widely seen theatrical film version of the ballet, he as Basilio, Lucette Aldous as Kitri and Helpmann as Quixote.

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