dirac Posted January 16, 2022 Share Posted January 16, 2022 A story on Tamara Rojo's departure for San Francisco Ballet by Stephanie Linning in The Daily Mail. Quote When news of their relationship first emerged more than three years ago, there were accusations that Isaac, a former child prodigy, had been given unfair preferential treatment due to his relationship with Rojo. For her part, Rojo said they had made no secret of their relationship and it was ridiculous to suggest she had let her personal feelings for the strapping Mexican dancer interfere with her professional commitment. A celebration of her tenure at English National Ballet by Lyndsey Winship in The Guardian. Quote She brought star quality to ENB and continued to dance, combining the two roles in a seemingly impossible balancing act of early morning body conditioning, daily class with the rest of the company and morning rehearsals, then in the afternoon running the company (and in the evenings when not performing, out networking and fundraising and all the other things artistic directors have to do). Link to comment
dirac Posted January 16, 2022 Author Share Posted January 16, 2022 Q&A with Shiori Kase. Quote How do you prepare for a new dramatic role? For me, the motivation behind the character’s action is most important thing. Once I have a good understanding of this I feel much more confident becoming the character. Link to comment
dirac Posted January 16, 2022 Author Share Posted January 16, 2022 A review of the Royal Ballet by Graham Watts for Bachtrack. Quote The Argentinian ballerina did not open the first run of Romeo and Juliet at the beginning of this season (that honour went to Hayward) and she was not supposed to be first cast for this second run but due to the indisposition of Osipova (who is scheduled to return to the role at the end of January) Núñez was elevated to this opening night cast at short notice. And, she delivered a performance of extraordinary versatility. In a short preview a few nights earlier, BBC News described this as a “brand new production”, which seemed a stretch given that The Royal Ballet has been performing Kenneth MacMillan’s ballet since 1965. However, perhaps the “Beeb” had a premonition of Núñez’ performance because her interpretation of Juliet made the whole production appear refreshed: a makeover on the face of a much-loved friend. Link to comment
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