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Friday, April 12

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Aspen Santa Fe Ballet will present its first evening-length ballet.

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A longtime company collaborator, Fonte’s originally created “Beautiful Decay” in 2013 for BalletX in Philadelphia, in a haunting work in two parts that juxtaposes daring athleticism and technical prowess against the reality of aging. It will include septuagenarian guest performers Hilary Cartwright and Gregg Bielemeier.

 

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Commentary on the return of Suzanne Farrell to coach at New York City Ballet by Sarah Kaufman in The Washington Post.

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Farrell’s return to the company’s studios could be further evidence that its new leaders — Director Jonathan Stafford and Associate Director Wendy Whelan — are continuing to make changes for the good. It also seems like a healing act.

 

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A review of the Mariinsky Ballet in  "Le Corsaire" by George Jackson for danceviewtimes.

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Tall in build and imposing in manner, Parish fit the size dimensions of the Conrad role. This pirate was a big man who moved on a heroic scale. It seemed that Parish preferred a dignified pace even when expressing Conrad’s anger. Haste suited him less. His strength was such that he could hoist even a tall woman with ease, and his principal partner at this performance was the awesome Yekaterina Chebykina. As the Medora, this regal blonde whipped her turns with astonishing vigor. I want to see Chebykina in a Balanchine role. In the part of her bosom friend Gulnara was the dark haired and eager Marina Shirinkina.

 

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A review of New York City Ballet by Oksana Khadarina for DanceTabs.

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After a short pause, there was another modern abstraction featuring two couples and an ensemble of eight dancers: Balanchine’s Kammermusik No. 2............

The cast, led by Teresa Reichlen, Abi Stafford, Joseph Gordon and Russell Janzen, made an admirable effort to keep up with the propulsive rhythms of Hindemith’s score and with the convoluted shapes of the choreography; but their dancing often seemed unfocused and out of sync. And the blazing energy this ballet demands simply wasn’t there.

 

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A review of Natalia Osipova's "Pure Dance" by Leigh Witchel for dancelog.nyc.

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Hallberg partners no one better than Osipova. He pushed himself, and Osipova’s not big (the originator of the role, Gelsey Kirkland, was tiny) but he isn’t built to tote and carry, and this is a role for a human crane. Osipova’s performance was full of detail and filigree. She showed every pose, every change of direction and every finish. That’s what a ballerina does, but that’s not Tudor. There’s a short clip online of Kirkland, with Ivan Nagy. She moved like a stream that flowed through every position and angle without ever stopping. Every step was there, but you only saw the whole phrases.

 

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Reviews of "Yuli: the Carlos Acosta Story."

The Evening Standard

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Less successful are the dramatic recreations of Acosta in his twenties. You get the feeling that Bollaín and Laverty aren’t interested in what Acosta got up to in London with the Royal Ballet, and can’t be bothered  to tell us that Acosta now lives in Somerset with his English wife and three children. The film-makers’ hearts are in Havana and, yes, their enthusiasm is infectious.

The Times

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As heartbreakingly perfect as it is sui generis, this ambitious musical, drama, dance and documentary hybrid charts the rise of the Cuban dancer Carlos Acosta with specific focus on a lifelong power struggle with his unforgiving and occasionally monstrous father.

 

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A story on the abuse scandal at the Vienna State Opera ballet academy by Alex Marshall in The New York Times.

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Students said that Bella Ratchinskaia, a teacher at the school, at times went beyond the limits of normal practice during ballet classes, roughly forcing their limbs into position or scratching them as she adjusted their bodies, sometimes drawing blood. André Comploi, a spokesman for the State Opera, said that Ms. Ratchinskaia, who previously worked at La Scala in Milan, was dismissed in February.

 

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