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Wednesday, September 23


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A story on the Paris Opera Ballet's new internet venture, 3e Scène, by Roslyn Sulcas in The New York Times.

Is the venture sustainable, since it is certainly costing the Paris Opera money to produce, and its ability to draw a coveted young public to the website and the theaters is as yet untested? Mr. Millepied said that although the platform was free, he thought that it could serve as a building block for a new, profitable arm of the Paris Opera that would eventually offer monthly subscriptions and allow people to access special content and performances.
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A story on the London Boys Ballet School by Jonathan Wells in The Daily Telegraph.

Claire also believes the equal balance between male and female teachers is beneficial for young male dancers. "Having men teach helps inspire the young boys because they're real role models. They show the students what they have the potential to be. I think the overall image of the school is great as well. Because when people think ballet, they tend to immediately think pink and tutus. But it is so not that."
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Q&A with Boris Eifman.

RBTH: At what stage do you think the history of Russian ballet is currently? To what extent has Russian ballet become integrated into global context and to what extent has it retained its uniqueness?

B.E.: Now is a turning point in the history of not only Russian but world ballet in general. It is at a crossroads. On the one hand, choreographers and dancers have realized that endless infatuation with abstract ballet is a dead end. On the other, their attempts to overcome stagnation and once again start staging large-scale productions returning to the fundamental laws of ballet more often than not end in failure. That happens because after decades of the dominance of modern dance, choreographers have simply forgot how to work in bigger formats.

As regards the uniqueness of Russian ballet, it is seriously undermined by the desire to copy Western choreography, which some choreographers still have.....
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A preview of the Mariinsky Ballet's performances in Orange County.

Commissioned in 2002, "Cinderella" launched Ratmansky's choreographic career onto the world stage. Set in the 1930s, the ballet's bittersweet stylization of Charles Perrault's fairy tale has yielded praise and criticism. But for international ballet star Diana Vishneva, the Mariinsky principal dancer who originated the title role and will perform on opening night at the Music Center, that hard-edged approach is exactly the ballet's point.

"It's not really a fairy tale; I can see this in the music," Vishneva said, adding that working with Ratmanksy taught her to appreciate the nuances of Prokofiev's score.

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A preview of Australian Ballet's 2016 season.

Announcing the 2016 program, McAllister said it would include "a masterpiece", John Neumeier's ​Nijinsky. It is a portrait of the extraordinary dancer and choreographer who transformed the art form at the beginning of the 20th century, but led a tormented life.

Neumeier, director of the Hamburg Ballet, will come to Australia early next year to cast the work, then return for the last two weeks of rehearsal and staging before the first performance in September.
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A profile of Daniel Binet and Myles Thatcher, both engaged in making new pieces for New York City Ballet, by Roslyn Sulcas in The New York Times.

Mr. Thatcher, on the other hand, came to Mr. Martins’s attention through Helgi Tomasson, the director of the San Francisco Ballet, who sent tapes of his work. “Myles is obviously good,” Mr. Martins said. “But I will be honest and say that you are always taking a chance with these kinds of commissions.”

The careers of both men have followed different trajectories — Mr. Binet grew up in Toronto, where he attended the National Ballet School from the age of 9. Mr. Thatcher, who grew up in Easton, Pa., joined the San Francisco Ballet in 2010 after taking part in its trainee program. As it turns out, both were shortlisted for the 2014-15 Rolex Mentor & Protégé Arts Initiative, which pairs emerging artists, in different disciplines, with a major figure.

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A review of New York City Ballet in "Swan Lake" by Alastair Macaulay in The New York Times.

I also admire the way that City Ballet, unlike most companies today, doesn’t treat “Swan Lake” as a vehicle for two star principals alone. Seven other principals were on view on Tuesday (at the Royal Ballet in the 1970s, I sometimes saw 11 principals in this ballet’s supporting roles); and the company as a whole made the best case for this staging I’ve seen. I was even persuaded for the first time that the final scene can work without the immolation of the two principals. As with Racine’s play “Bérénice,” the necessity for the two lovers to separate forever is tragedy enough.
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