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Friday, September 23


dirac

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A preview of New York City Ballet's Fall Fashion Gala.

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The evening will also include the live performance premiere of Resident Choreographer Justin Peck’s Solo, created for NYCB’s 2021 Virtual Spring Gala, with new costume design by Raf Simons, and excerpts from George Balanchine’s Symphony in C, showcasing Director of Costumes Marc Happel’s glittering white satin tutus.

 

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A review of NYCB by Mary Cargill for danceviewtimes.

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The second movement switches to the sylph's forest, where she (Sterling Hyltin) lives along guarded by more men in kilts, until a romantic dreamer formerly known as James (Anthony Huxley) turns up.  The guards alternately force him away and toss her to him in quite striking but emotionally illogical moves.  The heart of the movement, the sylph's solos and pas de deux, are magical. Hyltin was an incandescently beautiful Sylph when she danced Peter Martins' version of Bournonville's ballet and she brought the same lighthearted charm and willful determination to Balanchine's sylph.  Huxley was an admirable partner, a romantic yearning after the unattainable.

 

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A review of Houston Ballet by Molly Glentzer in The Houston Chronicle.

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“Good Vibrations,” Arthur Pita’s new dance for Houston Ballet, rides waves of nostalgia but never quite finds its balance. Thursday’s premiere wasn’t a total wipeout – parts of it are an entertaining '60s fever dream -- but it did leave me wondering what, exactly, has washed up on the Wortham Theater’s biggest stage. An odd duck, for sure.

Natalia de la Garza's review for Houston Press.

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To say that Good Vibrations easily wins best use of a surfboard in a balletic work doesn’t quite convey Pita’s impressive use of the prop (if only because there would be a dearth of nominees in such a category). Rian and Blossom “surf” across the stage, carried atop boards by eight mermen-like Surf Spirits, each costumed by Marco Marco with long hair and green ombré bellbottoms that resemble fins.

 

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Roslyn Sulcas reports from Paris for The New York Times' "Critic's Notebook."

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As far as I could tell after watching the excellent female cast (Daphne Fernberger and Nayomi Van Brunt) on Sunday, then a superb male duo (David Adrien Freeland Jr. and Mario Gonzalez) on Wednesday, Millepied hasn’t altered the choreography or the partnering for the couples. And although there were inevitably differences of movement — the tall, muscular men had a bigger, space-eating quality and were more balletic in their presentation — the overall sense of the work and its central tragedy felt unchanged.

 

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The historical background of MacMillan's "Mayerling," by Clemmie Read in Tatler.

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On 29 January, Rudolf left a family dinner for his hunting lodge at Mayerling; on the morning of 30 January, his valet broke into the locked lodge to discover the corpses of Rudolf and Vetsera in the bedroom. Both were diagnosed with serious mental unbalance to justify their Christian burials despite their joint suicide; and sure enough, the personal was transmuted into the disastrously political. Franz Josef, having long cast around for an heir, chose the Archduke Franz Ferdinand ⁠— who was, of course, assassinated in Sarajevo in 1914, in an insurgent attempt to free Bosnia and Herzegovina from Austro-Hungarian rule. At the end of the ensuing war, the new Emperor Charles I renounced all involvement in state affairs and the Austro-Hungarian Empire ceased to exist. Behind Mayerling’s doomed romance, then, lies a doomed dynasty. The supreme hegemony of the Habsburgs made them no friends among those fighting for freedom ⁠— and this included their own son.

 

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