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Thursday, July 11

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A review of the Royal Danish Ballet by Robert Greskovic in The Wall Street Journal.

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Addressing this repertory at the Joyce are six male and seven female dancers, one of whom, Royal Danish Ballet character artist Sorella Englund, is on hand for pantomime roles; the group was organized by former RDB principal dancer Ulrik Birkkjaer, now with San Francisco Ballet. The two-part bill of excerpts from five ballets runs an hour and a half including intermission and takes place on a bare stage with Mårten K. Axelsson’s lighting changes to help vary the stage pictures. Overall this “Legacy” program might be called “Legacy Lite.”

 

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A review of the English National Ballet School's summer performance by for DanceTabs.

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This was not apparent though in Taina Morales’ excerpts from Giselle Act II. Based on Alicia Alonso’s version for Cuban National Ballet, not one I am overly familiar with, in terms of the execution and clarity of the corps de ballet, it was very polished indeed. Uniformly musical, with very good arabesque shunts across the stage, clear arms, hands and neat footwork – this was a crisply cool band of Wilis. As Zulme and Moyna, Zoe Brady and Phillipa McCann gave thoughtful, ghostly accounts of their solos and Katherine Lee was assured as Myrtha. Lovely arabesque lines and soft landings (not a clompy pointe shoe within earshot) were notably pleasing, but a Queen of the Wilis without an entrechat six or flying six, is slightly disappointing. Not her fault.
 

 

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Dancers of the Paris Opera Ballet perform mid-flight.

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Just imagine: you're settling in for a long international flight, when suddenly Tchaikovsky's Swan Lake starts playing on the intercom—and a group of feather-clad ballerinas bourrée down the aisle. That's exactly what happened last week to Air France customers on a Paris-bound flight from Shanghai, when 10 members of the Paris Opéra Ballet gave a impromptu performance throughout the plane's cabins.

 

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A review of the Royal Ballet in "Mayerling" by Qianqian Xing for Broadway World.

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Meanwhile, Natalia Osipova as Baroness Mary Vetsera, Rudolf's soul mate in life, as well as death, shines on the stage-- where does she get the energy? She is a soft, flexible, angelic teenage soul imprisoned by Rudolf's neuroticism. The jumps, the saute, the chaines; a young woman's fantasy of love was acted and danced with fragility, delicacy, elegance, and determination.

 

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