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Friday, July 8


dirac

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A review of American Ballet Theatre by Gia Kourlas in The New York Times.

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A few days later, there was some real magic: The soloist Catherine Hurlin made her debut as Odette-Odile on Wednesday afternoon, and her “Swan Lake” was not like any other. It flew. A stirring and innocent Odette — Hurlin’s face sometimes softened with the hint of a gentle smile — and a spirited Odile, she not only heard the music, she also played with it to spontaneous effect. Performing opposite Joo Won Ahn as Prince Siegfried — so handsome and competent, yet bordering on bland — she was the image of delicacy and authority, from the arc of her long legs to her willowy arms springing from an eloquent back and powerful shoulders.

 

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Kyiv City Ballet kicks off its U.S. tour.

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The ballet company was founded in 2012 and has worked with various partners and toured dozens of countries and four continents. But, perhaps the most unique part of their story takes place just before the Russian invasion of Ukraine. The day before the invasion, the ballet company unknowingly took one of the last flights out of Kyiv. They flew to Paris, France, to begin a long-planned tour and, unfortunately, have not been able to go home.

 

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An interview with Jamar Roberts by Tresca Weinstein in The Albany Times Union.

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 “This was my first time ever choreographing on a major ballet company, so I was looking for something that felt like two worlds coming together,” Roberts said. “The music sometimes sounds really classical and sometimes really wild and out of the box, and I was playing with those two sounds. There’s ballet technique but also me getting the dancers to embody the shape of the music — using the human body to articulate sound.”  

 

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A review of Birmingham Royal Ballet by Zoe Anderson in The Independent.

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Acosta’s new production – first scheduled for 2020, but delayed by the pandemic – is tighter and less elaborate than his 2013 production for The Royal Ballet. Tim Hatley’s designs evoke sun-baked landscapes and shady interiors, atmospherically lit by Peter Mumford. There are inventive touches, always at the service of the story. In Nina Dunn’s video design, a windmill on the backdrop morphs and twists, inky hands reaching out from its sails. That moment is creepier than most productions of Don Quixote, without breaking the tone of the ballet.

 

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