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Friday, February 25


dirac

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A review of Houston Ballet in 'Jewels' by D.L. Groover for Houston Press.

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“Diamonds,” set to Tchaikovsky's Symphony No.3, “The Polish,” is Balanchine's tribute to the world of Russia's Imperial Ballet, where he was trained, and to the legacy of Marius Petipa, the great choreographer of the 19th century. The work, which echoes all the great “white acts” of Petipa's iconic ballets Swan Lake, Sleeping Beauty, Bayadere. exudes elegance, cool classicism, and an ethereal white glow due to the superb performances by Yuriko Kajiya and her most attentive partner Connor Walsh.
 

 

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A TV news feature on San Francisco's Ballet22.

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Recognizing the necessity to include diverse bodies, Knutson and Ortiz founded Ballet22 in 2020. They started by renting out a theater, gathering dancers, and working within the pandemic to put on a live digital show. Now, they are back in person this weekend at the Great Star Theatre in San Francisco.
 

 

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Sonia Rodriguez will say her farewell in "A Streetcar Named Desire."

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Rodriguez was the original Blanche when the National Ballet first performed the work in June 2017. For those who followed her long career from sunny ingénue to poised classical ballerina, it was like watching an artist transcend all expectations, drawing on every ounce of accumulated experience to conquer an almost insurmountable peak.

 

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Suzanne Aker, the founder of what is now Ballet Lubbock, has died at age 95.

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“She was the only one who taught ballet in Lubbock and you could tell she knew what she was talking about. She was also so gentle and caring with us, but then gave us the hardest classes,” said Razc Key, who is now the Artistic Director of Ballet Lubbock.

Suzanne Aker passed away February 19 and leaves behind a legacy that is now Ballet Lubbock. 

 

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An interview with Roberto Bolle.

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The ballet industry in Italy is struggling, Bolle admits, and it requires government support to keep it sustainable.

“I have been raising awareness about this for years and the television show is part of it,” he says.

“I even spoke in the Italian parliament about the importance of this issue.”

The problem is not the lack of government funding in the arts, states Bolle, but in how the money is administered.

 

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