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Subject: "Links w/b 7th January 2002" Archived thread - Read only
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Conferences What's Happening Topic #2405
Reading Topic #2405
Brendan McCarthymoderator

07-01-02, 08:27 AM (GMT)
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"Links w/b 7th January 2002"
   Each day we add the latest links to reviews and interviews that we find on the major newspaper web sites. If you find a link that we have missed do please post it up, preferably as a URL link.
For convenience here is a link to last weeks thread:

We should not need to state this but these links are for our readers' use and not for other websites to take and pass off as their own. We ask all visitors to respect Ballet.co's site and the way it operates.

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  Subject     Author     Message Date     ID  
  RE: Links w/b 7th January 2002 Brendan McCarthymoderator 07-01-02 1
     RE: Links Tuesday 8th Brendan McCarthymoderator 08-01-02 2
         RE: Links Wednesday 9th AnnWilliams 09-01-02 3
             RE: Links Thursday 10th Brendan McCarthymoderator 10-01-02 4
                 RE: Links Thursday 10th Carly Gillies 10-01-02 5
                 RE: Links Thursday 10th : Palucca Viviane 10-01-02 6
                     RE: Links Friday 11th January AnnWilliams 11-01-02 7
                         RE: Links Saturday 12th Brendan McCarthymoderator 12-01-02 8
                             RE: Links Saturday 12th Jonathan S 13-01-02 9
                             RE: Links Saturday 12th Richard Jones 13-01-02 10
                             RE: Links Sunday 13th January AnnWilliams 13-01-02 11

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Brendan McCarthymoderator

07-01-02, 08:31 AM (GMT)
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1. "RE: Links w/b 7th January 2002"
In response to message #0
   LAST EDITED ON 07-01-02 AT 11:10 AM (GMT)

Debra Craine writes for the Times on Moscow Stanislavsky Ballet's Swan Lake. "The company’s Swan Lake, which opened on Friday night, is not only cumbersome but terribly cramped. What disappoints is the choreography: stolid and surprisingly unresponsive to Tchaikovsky’s rich score".

Judith Mackrell's verdict for the Guardian: "It's a shame that the faults are so glaring for there is some good dancing through the ranks of the company, and Bourmeister's production is an interesting one. Though I'm not convinced that his return to Tchaikovksy's autograph score does the ballet a real service, I love his staging of Act 111 as Von Rothbart's conjuring act: whisking Odile in and out of view among the national dancers in a wicked parody of Siegfried's ardent search for Odette among her sister swans. The production is also worth seeing for the company's orchestra - its modest size belies its passionate and engagingly individual sound".

Joan Acocella sees William Forsythe and Pina Bausch for the New Yorker. "Bausch and Forsythe have a kind of stagecraft that our own, more classical choreographers never dreamed of. I also like their dancers, who are very different from ours: extroverted—confessional, even. I love the objectivity, the you-decide-ism of American dancing, but reticence works only if there's something to be reticent about, and American classical choreography is notably shallow these days. So I can't help admiring these European dancers, falling in love, falling down dead, telling us what they think the story is".

From the Australian Broadcasting Corporation, a transcript of a recent interview with William Forsythe about his work, and, in particular, Eidos:Telos. "Death is certainly far more obscene than any of us can imagine. And the worst things we ourselves could imagine are nothing compared to what the body can wreak upon itself. I would not say that is angry… I would say that it is shocked! Shocked that the body could be so violent towards itself. I’ll be very specific -- my wife was 32 and by the time cancer had finished with her she looked like a 90 year old cadaver that was just breathing; a mummy or something like that. How a beautiful 32-year old person could turn into that is quite beyond comprehension". The interview is in two parts:
Link to Part 1
Link to Part 2

A review from the Washington Post of 'Broadway, the Golden Years: Jerome Robbins and the Great Choreographer-Directors, 1940 to the Present' By Robert Emmet Long

A second review from the Washington Post, this one of 'Isadora: A Sensational Life' by Peter Kurth .

For the NY Times Anna Kisselgoff reviews NYCB in Peter Martin's Quartet for Strings

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Brendan McCarthymoderator

08-01-02, 08:23 AM (GMT)
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2. "RE: Links Tuesday 8th"
In response to message #1
   LAST EDITED ON 08-01-02 AT 08:38 AM (GMT)

For the Independent John Percival reviews Moscow Stanislavsky Ballet's Swan Lake. "All in all, we get far too many Swan Lakes, but this one is well worth seeing".

Clement Crisp writes for the FT on Paris Opera Ballet's latest mixed bill. "The idea of re-examining the Diaghilev repertory for today's audiences is not new - there are any number of villains who have assaulted the old Ballets Russes staples for their own ends. It needs a company with the resources and historic standards of the Paris Opera to make sense of the idea".

In a second piece Clement Crisp reviews POB's La Bayadere. "There is something opulent, even exotic, in Tsiskaridze's temperament which brings colour to his reading of Solor. Like Irek Mukhamedov in this role, there is no moment when the character becomes blank, unguessable in feeling. Impassioned, riven by the demands of love and duty, Tsiskaridze shows every fleeting emotion with marvellous conviction".

This weekend's Mail on Sunday story about the Royal Ballet open class is now available online. "The success of the film Billy Elliot did a lot to dispel any notion that ballet was not for real men, but if anybody still harbours that doubt they should see the gigantic Mr Cope move like a sprinter, with the grace of a gazelle, in a series of leaps across the floor which require more bottle than most men of my acquaintance possess".

An undated interview with Tamara Rojo for the Mail on Sunday (probably late November). "'Ross is very demanding in rehearsals, but he only expects back what he gives, which at the moment is a total commitment. He's here 24 hours a day, teaching, rehearsing - he even coached the gypsy boy in Don Quixote to use a whip.'

From the LA Times (and originally the Chicago Tribune), a profile of Christopher Wheeldon. ""I'm constantly mentioned as Balanchine or Robbins' successor, and it's getting tired. I've only been choreographing for five years, for goodness' sake. And please don't call me a wunderkind. That word now makes me shiver with horror."
link to article

As Miami City Ballet prepares to dance Giselle for the first time, its artistic director, Edward Villella, talks to the Miami Herald. "It's the acquisition of that internal understanding that matters. In five years we will dance this very well, because we will understand it.''

A euphoric review by Anna Kisselgoff of Melissa Barak's "Telemann Overture Suite in E Minor" for NYCB. Barak is a young member of NYCB's corps.

A choreographer copes with heart disease. A Washington Post feature about Lucy Bowen McCauley.

BBC News Online interviews Dmitry Bryantsev of the Moscow Stanislavsky Ballet. "Bryantsev places himself firmly in the school of modern dance, but dismisses the kind of "ballet" in which "dancers chase air across the stage for an hour without anyone understanding why".

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09-01-02, 09:51 AM (GMT)
Click to EMail AnnWilliams Click to send private message to AnnWilliams Click to view user profileClick to add this user to your buddy list  
3. "RE: Links Wednesday 9th"
In response to message #2
   From the New York Times, Jennifer Dunning on a dance-theatre performance

Getting Acquainted With Dad via Snippets of War

'Tamar Rogoff never quite knew her beloved but distant father, Bernard Rogoff, a doctor who had been a medical officer in the Burma campaign during World War II. Seeking to understand her father better after his death 16 years ago, Ms. Rogoff explored the wartime life he chronicled in a diary and in passionate, funny letters he wrote to his wife. Alive in those letters, Rogoff remains otherwise largely elusive in "Daughter of a Pacifist Soldier," a haunting, poignant theater and dance piece'


The Village Voice on a New York dance-film festival:

The Body Artists
by Elizabeth Zimmer

'This year's "Dance on Camera Festival" is heavy on explorations of character and psychic states. It embraces a starchy Canadian biopic about National Ballet School founder Betty Oliphant and a practically softcore psychological portrait of Danish dancer Nikolaj Hübbe..'

From the Newport Daily News, a report on a local dance festival:

Still dancing after 20 years


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Brendan McCarthymoderator

10-01-02, 09:25 AM (GMT)
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4. "RE: Links Thursday 10th"
In response to message #3
   LAST EDITED ON 10-01-02 AT 10:39 AM (GMT)

Clement Crisp, writing for the FT, is underwhelmed by Moscow Stanislavsky Ballet's Swan Lake: "Swan Lake must stand or fall on its Odette/Odile and, at certain rare occasions, on its Siegfried. I found that neither of Tuesday night's interpreters, Natalia Krapivina and Gyorgy Smilevsky, gave much intensity or finesse to their readings: the performance seemed just another routine event in a season whose cussed setting has not, I suspect, allowed the Stanislavsky Ballet to give of its best. There are, collectors of awful statistics may care to note, no less than five jesters in the ball-room scene. Too much for my rising gorge: I had to miss the fourth act".

The Guardian reports that six workers at Scottish Opera have been suspended from their jobs after allegations of backstage cocaine abuse during Scottish Ballet's production of the ballet The Snowman.

Frankfurter Allgemeine has a feature on the German dance pioneer Gret Palucca, one of Mary Wigman's original pupils. Link to article

Deborah Jowitt writes for the Village Voice on NYCB and the Joyce Theater's 'Altogether Different Festival'.

A long time after the event, but this is a really thoughtful review of Forsythe's Eidos:Telos by Siobhan Peiffer for the website Online Review:

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Carly Gillies

10-01-02, 02:01 PM (GMT)
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5. "RE: Links Thursday 10th"
In response to message #4
   The Scottish Opera employees/cocaine story was in the Scottish papers yesterday with all the expected bad puns about "snowmen" and "walking in the air", as apparently the police action took place just before a performance of SB's "The Snowman"
Here's a piece from today's Herald about Union objections to the questionable covert surveillance used.


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10-01-02, 08:39 PM (GMT)
Click to EMail Viviane Click to send private message to Viviane Click to view user profileClick to add this user to your buddy list  
6. "RE: Links Thursday 10th : Palucca"
In response to message #4
   >Frankfurter Allgemeine has a feature on the German dance >pioneer Gret Palucca, one of Mary Wigman's original pupils.

Brendan, thanks for this link ! Finally I discover something on Palucca. I have an old book (1930) with more than 320 dance-photographs in it. Pavlova, Karsavina, Fokin, Lifar, Nijinsjki they are all present - unfortunately together with a lot of un-familiar names...
A whole page is dedicated to Palucca, as an example of the 'free-German dance-art'. She was reknowned for her marvelous jumps...these pictures could have been made yesterday !

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11-01-02, 08:45 AM (GMT)
Click to EMail AnnWilliams Click to send private message to AnnWilliams Click to view user profileClick to add this user to your buddy list  
7. "RE: Links Friday 11th January"
In response to message #6
   From the Independent:

Christopher Hampson: Rising star's giant steps

Christopher Hampson was a successful dancer when he first dabbled in choreography. Now he's addicted, he tells Nadine Meisner

'It says a lot about Hampson's potential that cash-strapped ENB has been prepared to nurture this one tyro choreographer since he joined as a dancer in 1992. "I did their workshops and Derek guided me, giving me small gala bits to do and slowly building me up." Double Concerto is his first for the whole company...'


It's only an ice-show, but The Times' Donald Hutera obviously enjoyed it...

Colours of Dance; Brighton Centre

'Act II's pseudo-Tibetan ceremony is capped by Dmitri Kalinine, of the god-like chiselled physique, executing some perfectly calibrated flying acrobatics. A gospel number cheekily stolen from Alvin Ailey's classic ballet Revelations gets a full-throttle psychedelic spin. Rooftop romance cued to Bruch's Violin Concerto No 1 segues into a frisky swing finale peppered with jumps, kicks and splits. There's sparky, flush-faced showmanship to spare here.'


The New York Times on a Flamenco spectacle:

A Steaming Flamenco Paella Spiced With Jazz and Tap

'Rafael Campallo is a stylish, authoritative young flamenco dancer who engages the musicians and audience members with subtly complicitous looks and moves. Mr. Campallo has a distinctively still, straight upper torso, with relatively simple arm gestures, leaving the hard dancing to his hips and feet and to legs that twisted together at climactic moments.'


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Brendan McCarthymoderator

12-01-02, 08:18 AM (GMT)
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8. "RE: Links Saturday 12th "
In response to message #7
   Andrew Clements writes for the Guardian about the reality, as he sees it, of the culture of the Royal Opera House. "Whatever Tony Hall may say about ridding the ROH of its aura of inaccessibility, it is hard to perceive any change in the atmosphere when one goes there. The place receives almost £20m in public subsidies for its ballet and opera companies combined, yet as Gerald Kaufmann observed to the House of Commons culture committee earlier this week, it still conveys the image of being an exclusive club - far more so, to my eyes and ears, than Glyndebourne, which receives no government grant.

For the FT, Clement Crisp anticipates the year ahead in dance. "Hurrah for the range of goods: but, as ever, sample with care".

From last night's Evening Standard a preview of Joaquin Cortes's latest show "If a sexy, sweaty Spaniard whipping his top off and working himself into a passionate frenzy is your idea of a good night out, then Cortés is your man. Just remember he's not dancing for you, he's dancing for the mirror".

Also from the Standard, a short profile of Irina Novikova who will dance this weekend at the Albert Hall in St Petersburg Ballet's Sleeping Beauty.

For the NY Times Jack Anderson reviews NYCB in Jerome Robbin's Dances at a Gathering.

From yesterday's Guardian: Alice Bain in Edinburgh reviews St Petersburg Ballet Theatre's Swan Lake. "St Petersburg seems to be less about stars than creating an overall appearance. Its strength is in the hard-working, unspoiled corps who dance the four acts of this ballet - a long haul by any standards - with serious lightness of heart. The cygnets, a delightful crew, all shapes and sizes, never missed a beat.

Michael Coveney reviews Robin Cousin's 'Holiday on Ice' for the Daily Mail: "....is a showbusiness institution that attracts a loyal, devoted audience who probably deserve something better".

The Times roundup of dance throughout the UK next week.

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Jonathan S

13-01-02, 09:39 AM (GMT)
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9. "RE: Links Saturday 12th "
In response to message #8
   Is it no more than coincidence or clumsy oversight that Clement Crisp has conspicuously ignored Christopher Hampson's Double Concerto either last year, or in this preview of 2002? Chris may not be Russian, French or American, and may use less compost than Pina Bausch in his works, but I would have thought that he at least deserved a mention in any report of ballet in Britain.

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Richard Jones

13-01-02, 10:27 AM (GMT)
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10. "RE: Links Saturday 12th "
In response to message #9
   Has Clement Crisp yet seen "Double Concerto"? I don't think so.
The triple bill that includes Double Concerto has so far only been performed in Manchester and Bristol; it is just about to open in London. Most of the well known critics managed to get themselves to Manchester to review ENB's work, but not CC. That was what prompted me when reporting my thoughts about the new triple bill to write a piece of "Faux Crisp" (I saw ENB when they visited Bristol).

I agree that a new ballet by a young British choreographer should have merited attention, but CC obviously couldn't face the journey to the NW! We await the FT review later this week.....

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13-01-02, 11:22 AM (GMT)
Click to EMail AnnWilliams Click to send private message to AnnWilliams Click to view user profileClick to add this user to your buddy list  
11. "RE: Links Sunday 13th January"
In response to message #10
   Jann Parry in the Observer on Moscow Stanislavsky's 'Swan Lake' and the Resolution season at The Place:

On 'Swan Lake': 'Siegfried is a more active participant in the court revelry than usual, giving the Queen Mother cause for concern. A Charles and Camilla situation seems in the offing, with one young woman singled out for particular attention, before a flight of swans distracts the prince from his conquest..'


I can't find any ballet in the Sunday Times, so you'll just have to put up with this You've got to admit it's a laugh:

Report: Jerry Springer: The Opera: You'll have a brawl

'A warm-up man was goading the chorus of singers assembled stage left. Wearing an earpiece and carrying a clipboard, he repeatedly asked the throng: "Are you ready?" The chorus, playing the part of the haranguing rabble that graces (if that is the word) the average Jerry Springer show, sang impatiently: "Yes, we're ready." Eventually, pushed beyond endurance by the man's questioning, they screamed: "Oh, for f's sake, we are ready." The audience gasped, sneaking looks at each other that signalled both shock and excitement.'

From the Scottish 'Sunday Herald':

Reviewed: Young stars glide in with fine-feathered action
Ellie Carr

(on the St. Petersburg Ballet) 'There are better, more exciting and far more challenging Swan Lakes than this . But for those who like their ballet free from tampering, this homage to Petipa and Ivanov's 19th- century original is a sugary treat. Russian ballet may no longer lead the world, but this young company offers a glimpse of the courtly splendour that once made it great.'

From Scotland on Sunday:

Plans for fresh inquiry into Scottish Ballet cause anger
'A NEW review of Scottish Ballet has been ordered by the Scottish Executive only months after MSPs delivered their own stinging report on the troubled company.
Opposition MSPs are furious that arts and culture minister Mike Watson has ordered the 'independent' inquiry into concerns raised by Holyrood's education, culture, and sport committee. They claim Watson is trying to bury the issue rather than taking their criticisms on board.'

From the New York Times, Jennifer Dunning on the forthcoming conference of the Association of Blacks in Dance:

A Support System for Blacks in Dance

'...the association has some pretty impressive laurels to rest on. It is now much easier than it once was to see work by black choreographers, performed by black dancers, in mainstream theaters like the Joyce, where Philadanco will perform in early May, and black- identified concert space like Aaron Davis Hall, where Mr. Brown's Evidence company may be seen this afternoon.'

...and a fascinating piece on dancers' faces from Wendy Perron:

In Dance, the Face Can Say as Much as the Legs

'Those of us who love dance are sometimes haunted by the memory of a particular face on stage. What force is it that, without close-ups to simulate intimacy or words to aid communication, imprints the dancers' personalities into our consciousness? Do the thousands of hours of sweat and self-criticism that mold the dancer's body also mold the face? '

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