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Sunday, October 22


dirac

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A British Vouge item on Yasmine Naghdi's marriage to private equity guy.

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After the ceremony, guests enjoyed a cocktail reception by the infinity pool before being seated for dinner at sunset in an enchanting candle and crystal chandelier-lit space. The menu included risotto, courgette flowers and porcini mushrooms, pici pasta with ragu, filetto di manzo al Lardo di Colonnata, and a selection of white and red Chianti wines. For the cake, the newlyweds chose a round millefoglie with Chantilly cream and strawberries, prepared in front of guests on the Square of the Sphinxes. Illuminated arches and cold spark fireworks heightened the celebratory mood.

 

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Aberdeen dancer Cameron Flynn returns home performing with Matthew Bourne's New Adventures.

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“It’s a full-circle moment and I’m very much looking forward to performing to the people of Aberdeen, many of whom will have watched me from as young as 10.

“I think its important the north east gets dance theatre, because a lot of the big productions only hit the central belt.

 

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An article on how Balanchine's ballets have survived since his death and a preview of City Ballet of San Diego's "Balanchine Extravaganza" by Pam Kragen in The San Diego Union-Tribune.

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And now a new phase is coming. As Russell put it, speaking of her generation, “We’re all too old to preserve that tradition in the same way.”

Lopez, who is 20 years younger, made a similar point. “There aren’t many of us,” she said, “who worked with him and still talk about him as if he were next door.” But she also spoke about dancers, at Miami City Ballet and elsewhere, hungry to learn Balanchine’s aesthetic, dancers born after he died who talk about him as if they knew him.

 

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A profile of three identical Cuban triplets making their ballet careers in the U.S.

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Imagine three mirror images of each other, uniquely bonded by a shared charisma for ballet since their inception at the celebrated National Ballet School of Cuba. César, Marcos, and Ángel Ramírez, 24-year-old identical triplets, have now traversed the American dance landscape. Currently, César is basking in the limelight, making headlines by headlining the Los Angeles production "The Phoenix".

 

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Jack Anderson has died at age 88.

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“Although dancing can — and frequently should — dazzle, dance should never be equated with virtuosity alone,” Mr. Anderson wrote. “Anything a dancer does onstage is dancing.”

Mr. Anderson brought that all-embracing point of view to his criticism. He took issue both with “abstractionists who believe that dance is virtually predestined to grow abstract” and “proponents of dance-drama” who “consider abstraction frivolous or even pointless.”

 

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A Forbes Q&A with Tiler Peck.

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Tom Teicholz: I have a friend who has a theory that the dancers at NYCB are either stylistically Fred Astaire (i.e. George Balanchine) or Gene Kelly (Jerome Robbins). And in some ways, you represent both, because you very much have a musical theater background, as well as this highly disciplined, very fast-moving, New York City Ballet technique of precise ballet movements. The program that you've chosen for Turn It Out is similarly eclectic and has a lot of different dancing styles and a lot of different music, which I find really interesting.

TILER PECK: I never actually thought I would be a prima ballerina. I loved dancing, but ballet was actually my least favorite of all the styles because I grew up doing all of them. My mom (who ran her own dance studio) was very smart and made me stick with it because she said, you need this technique no matter what style of dance you do. And it’s true. I always thought I would do something more like musical theater. That's what brought me to New York doing The Music Man on Broadway when I was 11. And that's when I fell in love with Ballet, seeing The Nutcracker.

 

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