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Tuesday, September 13


dirac

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Ukrainian ballet dancer Oleksandr Shapoval dies in battle.

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Within days of Russia's invasion, Shapoval volunteered to serve in Ukraine's territorial defense, helping to protect Kyiv's Left Bank. He then learned how to launch grenades. According to The National Opera of Ukraine, his unit was recently transferred to one of "the hottest zones" in the war-torn country. Citing the media outlet Ukraina Moloda, The Kyiv Independent reports that Shapoval was killed in the battle of Majorsk in the Donetsk region.

 

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Nashville Ballet's "Black Lucy and the Bard" is featured on PBS' "Great Performances" series.

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Playing onstage alongside the dancers, Rhiannon Giddens and Francesco Turrisi play several instruments including violin, banjo, mandolin, and piano. Author and performer Caroline Randall Williams narrates the ballet with her own spoken word poetry from the 2015 book on which the show was based, Lucy Negro, Redux. Choreographed and directed by Nashville Ballet’s artistic director Paul Vasterling, the ballet was recorded in March 2022.

 

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Misty Copeland speaks at The Root Institute.

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Copeland has been taking some time away from dance lately to focus on being a mom. She and husband Olu Evans welcomed their first child, son Jackson earlier this year. But as she told PEOPLE in a July interview, she plans to get back on stage sometime in the fall of 2023. And we can’t wait.

 

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Beckanne Sisk and Chase O'Connell talk about their move to Houston Ballet.

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The rep at Ballet West is similar to Houston’s, with works by Jirí Kylián, George Balanchine and John Cranko. But Houston commissions more new dances and presents more performances across a longer season — which means more studio time and more stage time, critical things when you’ve chosen a career with a relatively brief life span.

 

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Cincinnati Ballet opens its new season.

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Three are in the corps de ballet (Caroline Perry, Simon Plant and Lenai Wilkerson), while Llonis Del Toro Cintra is an apprentice. It’s too early to say what impact these four will have. But they are sharp and athletic and have the broad technical chops that Gates is looking for as she sets about building a more stylistically diverse repertoire.

 

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A review of the Norwegian National Ballet in 'Giselle' by Leigh Witchel for dancelog.nyc.

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Act 1 started out loud and fast. The orchestra, led by Nathan Brock, played the introduction with an energetic attack, but kept up the breakneck pace through the mime sections. It didn’t give Hough and her Albrecht, Gakuro Matsui, time to develop chemistry. Matsui did plenty of cape work on his first entrance, but the bench scene stayed flat. With the brisk tempos, the cast was too busy doing the mime on the music rather than feeling something. The conflict scenes with Hilarion, played by Martin Dauchez, were also full speed ahead.

 

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An interview with Luis Silva of Miami City Ballet.

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It was during that trip to New York that Silva had a revelation. "This is hard to express because I love ballet so much," he reveals with some hesitation, "but the moment I chose to really do ballet wasn't while I was dancing. I was just standing in the middle of Times Square. I looked around and thought, 'Oh my god, I'm really here, and I got here through dance. It's possible. Dance can transform my life.'"

 

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