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Isadora starring Natalia Osipova

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On ‎8‎/‎2‎/‎2018 at 3:17 PM, Drew said:

I thought the Pure Dance program was announced to include a bit of Tudor’s Leaves Are Fading and a new short pas de deux by Ratmansky...though I suppose she might include some of this Isadora as well....or there might be changes to what was announced. But if those appeal to you more, then perhaps wait before offloading? 

You're absolutely right (phew), in future I'll check with the well informed members of this forum, rather than those panicked by the mere mention of the name Isadora.

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4 hours ago, mnacenani said:

Could anyone post any reviews please ?

Here’s the only Isadora review that I’ve found, Mnacenani.

http://dancetabs.com/2018/08/natalia-osipova-isadora-a-tribute-to-isadora-duncan-in-two-acts-costa-mesa/

Mashinka, here’s an interview from the Financial Times. As I mentioned, I hope to be at her Pure Dance program.

”All that being said, Osipova is playing slightly safer this time by anchoring the evening with classical works featuring two of her closest collaborators. One of them, Hallberg, will join her for three of the pieces, including a pas de deux from Antony Tudor’s The Leaves Are Fading; the other, Alexei Ratmansky, former director of the Bolshoi Ballet, has written a new commission for the pair.”

https://www.ft.com/content/8b1f9946-9a50-11e8-88de-49c908b1f264

If this doesn’t work try googling 'FT Natalia Osipova'.

(Thanks to BalletcoForum for both these)

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I have not seen any review by professional critics.  The press was there for the opening night and with so much publicity generated before the premier the silence is somewhat surprising.  There is few reviews by the members of this forum in another thread: SCFTA 2018/2019 season.  

 

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A review by Claudia Bauer for DanceTabs.

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For all the details lavished on ISADORA, we never get a real sense for what she actually did; Varnava’s choreography hints very vaguely at it in some flexed-foot jetés and front-attitude hops, but the overall look is modern, aggressive, expressionistic. It could be described as interpretive movement-mime rather than pure dance. Anyone expecting Osipova’s ballet pyrotechnics is likely to be disappointed or at least perplexed; at intermission the woman next to me asked, “When are they going to start dancing?” ISADORA seems to reflect Osipova’s feeling-states, the bits and pieces of Duncan’s life that she most relates to.
 

Thanks for your take, odinthor.

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