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Subject: "Links w/b 14th January 2002 " Archived thread - Read only
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Conferences What's Happening Topic #2416
Reading Topic #2416
Brendan McCarthymoderator

14-01-02, 06:46 AM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
"Links w/b 14th 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  
  Links: Monday 14th Brendan McCarthymoderator 14-01-02 1
     RE: Links: Monday 14th (2) Brendan McCarthymoderator 14-01-02 2
         RE: Links: Tuesday 15th Brendan McCarthymoderator 15-01-02 3
             RE: Links: Tuesday 15th (2) Brendan McCarthymoderator 15-01-02 4
                 RE: Links: Tuesday 15th (2) CATS Viviane 15-01-02 5
             RE: Links: Tuesday 15th alison 15-01-02 6
                 RE: Links: Tuesday 15th Jane S 15-01-02 7
                     RE: Links: Wednesday 16th AnnWilliams 16-01-02 8
                         RE: Links: Wednesday 16th Jane S 16-01-02 9
                             RE: Links: Wednesday 16th (3) Brendan McCarthymoderator 16-01-02 10
                             RE: Links: Wednesday 16th Jane S 16-01-02 11
                             RE: Links: Thursday 17th AnnWilliams 17-01-02 12
  Friday links - 18 January 2002 Bruceadmin 18-01-02 13
     RE: Saturday 19th Brendan McCarthymoderator 19-01-02 14
  Sunday Links - 20 January 2002 Bruce Madmin 20-01-02 15
     RE: Sunday Links - 20 January 2002 sylvia 20-01-02 16

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Brendan McCarthymoderator

14-01-02, 06:49 AM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
1. "Links: Monday 14th"
In response to message #0
   LAST EDITED ON 14-01-02 AT 08:05 AM (GMT)

Judith Mackrell of the Guardian on Joaquin Cortes' latest show: "Cortes' performances are made exceptional through ego and packaging rather than through genius".

Donald Hutera of the Times has also been to see Cortes. "Yet it works. Cortés had only to undo his long, lanky hair and the fans whooped. Confidently leaping off the stage and dashing through the stalls shaking hands was a sure way to earn a partial standing ovation. The performance was a triumph, judging by these reactions".

The news pages of the NY Times report the painful effects of the collapse of the energy company Enron for the Houston Ballet. "A $15,000 payment from Enron arrived on a Friday, the company filed for bankruptcy two days later and the Houston Ballet found itself holding a worthless check. "We were hopeful, but it didn't clear," said Randy Penn, a ballet administrator. "Now we're in line with the other creditors."

Jennifer Dunning of the NY Times on David Gordon's Private Lives. "Mr. Gordon has been exploring the interplay of the everyday world and stage life for nearly four decades. "Private Lives" uses bits of actual dancers' rehearsal conversations, which touch on boyfriends, husbands and wives, who is dancing with whom and one bratty dancer's finagling of an expensive couch from her mother".

Anna Kisselgoff of the NY Times on the annual Japan Contemporary Dance Showcase in New York.

Dance Theater of Harlem is to be renamed "Arthur Mitchell's Dance Theater of Harlem". The LA Times interviews Mitchell

Deirdre Kelly reviews "I Maya Plisetskaya" and Peter Kurth's Isadora: A Sensational Life for the Toronto Globe and Mail
Link to story

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Brendan McCarthymoderator

14-01-02, 12:03 PM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
2. "RE: Links: Monday 14th (2)"
In response to message #1
   Luke Jennings, writing in the Evening Standard, is equivocal about Michael Corder's choreography for ENB's Cinderella, but he applauds the two principals. "As the Prince, Thomas Edur is nobility incarnate. His command of the stage is absolute but tactful; his execution of his convoluted solos impeccable. Agnes Oaks, meanwhile, is a luminous Cinderella; her dancing has exquisite lightness and decorum, and emotions cross her face like clouds a summer field. Together, they are sublime. Every shift of balance is anticipated, every line complemented, every arc completed. Great ballet partnerships are extraordinarily rare. This is one of them".
Link to review

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Brendan McCarthymoderator

15-01-02, 06:51 AM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
3. "RE: Links: Tuesday 15th "
In response to message #2
   LAST EDITED ON 15-01-02 AT 09:15 AM (GMT)

Debra Craine of the Times applauds ENB's Cinderella. "Corder’s award-winning production, first seen at ENB in 1996, is a proper showcase in the traditional manner, with copious divertissements and lavish writing for the corps de ballet. Indeed, the ensemble in a modern ballet has rarely had it so good, with choreography that is shaped and layered to animate the full body of a company while framing its stars". http://www.thetimes.co.uk/article/0,,62-2002023214,00.html

Judith Mackrell, writing for the Guardian, is more reserved about Cinderella. "As a pure choreographer of steps, Corder is musical and inventive. Ashton himself would have lusted after some of his best effects - when one dancer wheels around her partner as if floating down a helter skelter, for instance. But Corder's ballet is too crammed with dancing; it lacks the spaciousness, the dynamic changes and surprises that would allow individual images to sing".

John Percival of the Independent agrees with Mackrell about the ENB production. "Michael Corder's choreography is never short of steps, if anything there are at times too many of them, and he arranges these into sequences with sense and taste. He even, although in a sometimes perfunctory way, indicates the main points of the action, and can rely on the fact that we know the story anyway. On the other hand, he seems to have no great flair for, or interest in, character. In other words, an able choreographer set loose on the wrong ballet".

The FT's Clement Crisp is broadly approving. " Michael Corder's well-made and charming Cinderella looked very spry at its revival last Friday. The dances are fluent; the design by David Walker is pretty; the score is Prokofiev's finest for ballet - felicitous in melody, magical in its sense of fairytale excitement".

The NY Times has a review of La Scala's Excelsior given in Paris at the Palais Garnier. "The solos and pas de deux offer insight into the prevailing classical style before the Ballets Russes shattered traditional choreography 30 years later. But it is the ensemble dancing that in its day was both daring and innovative, not only because of its high kicks, but also because of the geometric forms created by successive groups. Understandably, given the later popularity of showgirl dancing, Mr. Crivelli and his team were wary of presenting a parody. But they did not shrink from parading kitsch before a Paris audience that was successively amused and amazed".

Also in the NY Times Jack Anderson reviews NYCB in Richard Tanner's Soiree.

Jennifer Dunning of the NY Times reviews NYCB in Kammermusik No. 2 by Balanchine.

From the Toronto Globe and Mail: "In a unique collaboration, Ross Manson asked three writers to reflect on mortality -- then had their words choreographed".
Link to story

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Brendan McCarthymoderator

15-01-02, 09:04 AM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
4. "RE: Links: Tuesday 15th (2)"
In response to message #3
   LAST EDITED ON 15-01-02 AT 12:41 PM (GMT)

Luke Jennings of the Standard has been to see ENB's triple bill. He has warm praise for the cast in Balanchine's Apollo. "At first, Edur seems adamantine, almost cruel. In the course of a long duet with Oaks, however, in whom science and sensuality are jazzily distilled, we witness the awakening of a playful, soft-footed nobility. Finally, as the fully minted sun god, he leads the muses to Parnassus. This is a very fine reading of the choreography, and the cast is absolute in its precision and respect".

The Evening Standard reports that CATS is to finish its 21 year run on the West End this May. According to Cameron Mackintosh: "We wanted Cats to finish while its coat is still lustrous and it is still the magnificent experience it always has been. We didn't want it to keep on running until it became a poor, old, unloved moggy."

Clement Crisp has also been to Paris to see La Scala's Excelsior. "It is, to be frank, terrible. There is an agonising score by Romualdo Marenco which combines bombast (thick on the ground in this event, anyway), trumpery melody and four-square rhythm. The revival's design, by Giulio Coltellacci, cleverly evokes the theatrical fashion of the 1880s, and the costuming is not a little alarming. I was ill-prepared for men in tarbushes and outfits reminiscent of that dear old operetta Mlle Boyscout, or their chums in tigerskin bathing suits with gold- fringed red nappies". There's more of the same at:

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15-01-02, 09:31 AM (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  
5. "RE: Links: Tuesday 15th (2) CATS"
In response to message #4
   LAST EDITED ON 15-01-02 AT 11:39 AM (GMT)

This decision was already taken last Autumn.
Some 'inside-information' about it learns me that the most important motive to close the show is the exuberant -but highly necesarry- renovation-costs of the theatre and the scenery.

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15-01-02, 01:39 PM (GMT)
Click to EMail alison Click to send private message to alison Click to view user profileClick to add this user to your buddy list  
6. "RE: Links: Tuesday 15th "
In response to message #3
   There's a piece in the foreign news section of the Daily Telegraph (and probably others - I haven't looked yet) about the Bolshoi sueing a couple of companies who claim to be running tours by the Bolshoi in Israel.

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Jane S

15-01-02, 02:24 PM (GMT)
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7. "RE: Links: Tuesday 15th "
In response to message #6
   Jenny Gilbert on the Moscow Stanislavsky Ballet's Swan Lake:

"Easy to see how one could get hooked, and turn into one of
those geeks who turns up to every show."


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16-01-02, 09:37 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  
8. "RE: Links: Wednesday 16th"
In response to message #7
   It's quality rather than quantity today:

Ismene Brown reviews a triple bill and Cinderella performed by the English National Ballet at the Coliseum
'Christopher Hampson'sDouble Concerto........ has to be in for a very long life, bursting with youthful verve but also handling a corps de ballet, soloists and a central couple with the fluency of a man who knows his business, and is just crazy about his music - Poulenc's lush, eclectic concerto for two pianos'


What the Guardian's Judith Mackrell thinks of it:

'Balanchine's Apollo.... looks almost as fresh as when it was first made in 1928. And it was well served by Monday's cast. Thomas Edur is just a little solemn in the title role, but his finely sculpted technique gives the choreography heroic presence, and in his duet with Terpsichore he flips into deliciously unexpected flirtatious mode. It's frustratingly rare to see Agnes Oaks out of a classical tutu role - here, as Terpsichore, she dances as if she has just been allowed to throw off her corsets'


From the Los Angeles Times Diane Haithman on Arthur Mitchell:

Choreographing in Future Tense

'In 1955, Mitchell became the first African American male dancer in a major classical ballet company when he joined New York City Ballet, where he would perform lead roles for 15 years, including several created for him by company artistic director George Balanchine. Upon learning of the death of the Rev. Martin Luther King Jr. in 1968, Mitchell was moved to jettison his successful performing career to found Dance Theatre of Harlem, a haven for African American ballet dancers that has, during the past 15 years, redefined itself as a multicultural company.'


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Jane S

16-01-02, 09:48 AM (GMT)
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9. "RE: Links: Wednesday 16th"
In response to message #8
   Debra Craine on ENB's triple bill:

"Lush, fascinating, sultry and elegant, Hampson’s choreography
moves seamlessly from spiky, explosive gallops to lingering
dream-states. "


This article also includes the results of the Critics' Circle annual awards.

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Brendan McCarthymoderator

16-01-02, 10:00 AM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
10. "RE: Links: Wednesday 16th (3)"
In response to message #9
   Some stories about Scottish Ballet. According to the Times, the Chairman of Scottish Ballet has warned members of the Scottish Parliament that the company will die if the proposed changes do not go ahead.

The Scotsman's report has a slightly different twist. It suggests that there is a measure of agreement between MSPs and the ballet board over the independent inquiry that has been commissioned by the Scottish Arts Minister.

For its part, the Glasgow Herald reports growing divisions between the management and the board of Scottish Ballet. Seven members of the management team have signed a letter calling for separate boards for Scottish Opera and Scottish Ballet, the shelving of the board's plans for the time being, and an arms length relationship with the Scottish Arts Council

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Jane S

16-01-02, 02:52 PM (GMT)
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11. "RE: Links: Wednesday 16th"
In response to message #9
   Clement Crisp at ENB - I think he had a good time.

"Our dance world is now knee-deep in three-acters, be they
over-played masterpieces or tremulous simulacra of opera house fare, and I
wish they could all be locked away for a decade. Hurrah for the variety and
varied aspirations of a triple bill."


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17-01-02, 09:27 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  
12. "RE: Links: Thursday 17th"
In response to message #11

Clement Crisp on the ENB triple bill:

Back to the good old days

Of Double Concerto: 'It is a ballet youthful, almost innocent in the flexing of its creative muscles, and irresistible in its enthusiasm for dance itself. Monica Perego and Jan-Erik Wikstrom lead the revels, admirable in skill, with soloists and corps de ballet buoyantly on their heels. It is an pleasure to watch.'


The Independent on ENB:

Bright spark in a blaze of glory
Nadine Meisner

'Hampson's first large-scale ballet deploys its patterns with mature and exciting originality. He makes steps that are not just fluent, but fresh-seeming. In other words, he has Balanchine's gift for surprise, and, despite being situated between two master works, Double Concerto is never overshadowed.'


From the Village Voice on this week's New York dance scene:

Home Front Action
by Deborah Jowitt

on NYCB: 'Martins's Quartet for Strings, set to Giuseppe Verdi's E-minor quartet, was commissioned for Italy's Verdi Festival. The choreography emphasizes the music's effervescence with bouncy steps. Margaret Tracey wafts and springs across the stage and disappears. Yvonne Borree follows. Nikolaj Hübbe and Sébastien Marcovici dash on. Leaps, prances, and speedy skimmings ensue. Jennie Somogyi makes solitary entrances, and Martins capitalizes on her lushness.'


From BBC News:
Scottish Ballet pirouettes into row

(Can't find a suitable quote, but you've probably grasped the basic story-line by now)


From the Sydney Morning Herald, Jill Sykes writes on Same or Different a dance-theatre piece:

Something in the way they move

'Each of the eight performers is named John or Mary. Program notes suggest that their multiple visions of their lives together are differing views of the same event. I saw it equally as facets of changing relationships.Dance and body language are the chief forms of communication. Finely choreographed sequences of dance dovetail with physical theatre and bold gestures that may be accompanied by voiceover words from another, unseen performer - or just left alone to speak eloquently in actions.'


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18-01-02, 03:09 PM (GMT)
Click to EMail Bruce Click to send private message to Bruce Click to view user profileClick to add this user to your buddy list  
13. "Friday links - 18 January 2002"
In response to message #0
   this thread as been reposted by Bruce following a software problem. APologies that I have not teased out the responses from readers into separate posts - keeping it simple for speed

Brendan McCarthy 18-01-02, 08:33 AM (GMT)
"Links: Friday 18th. January 2002"

Jennifer Dunning of the New York Times on the glories of the Jerome Robbins Dance Division of the New York Public Library of the Performing Arts at Lincoln Center, "one of the city's great cultural treasure troves".
Anna Kisselgoff of the NY Times on the city's annual "Dance for the Camera" festival. She singles out for attention "Dancer," a portrait of Nikolaj Hübbe, the Danish dancer who has been a principal with the New York City Ballet since 1992.

An Irish Times critic is puzzled by the continued success of Riverdance. "This is an ensemble piece, of course, inherently bigger than any individual and, unlike its coat-tailing imitators, seemingly impregnable. But with nothing to engage the mind, it wanders. Can I be alone in forming this view?"

Twyla Tharp talks to the St Petersburg Times (Florida). "Beethoven, at points, can get as amazingly graced, shall we say, as Mozart, but he works hard to do it, and you feel him working hard to do it, and he wants you to feel him working hard. Mozart never wanted that effort, ever, to register in his work. I think the dignity and the bravery of his lack of indulgence is something that is an ongoing beacon, certainly for me, in these times."

The Detroit Free Press reports problems with the Yuri Grigorovich company's tour of the United States. "There were elements of the productions that were shockingly amateurish. And, in one case, stunningly tasteless. Both ballets were performed to recorded music. But apparently Grigorovich wasn't pleased with the orchestra's tempos. So more than a dozen times during each of the ballets, the music suddenly slowed down or sped up, an effect so jarring that it would stand out even during a recital at a neighborhood dance school".

The Chicago Sun-Times on Yuri Grigorovich. It prays in aid Maya Plisetskaya. "In my lifetime I have often seen what a trial life creates by handing a person Power. Only a very few pass the test. I will capitalize Power. How it transforms, disfigures and ruins people. How it plunges them into the swampy morass of grudges and vengefulness, how gladly they listen to flunkies. The love of Power dries up the creator, taking away drop by drop the talent for creation, makes the person petty. That's what happened to Grigorovich."

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Brendan McCarthymoderator

19-01-02, 07:58 AM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
14. "RE: Saturday 19th"
In response to message #13
   Adam Cooper is the subject of a Times profile by Debra Craine. "Ironically, Cooper has never been a top-notch classical dancer as he wasn’t blessed with a natural ballet body, but he works hard to overcome his technical shortcomings. And boy, does he exude sex appeal, a rare commodity on the ballet stage. He is also a powerful dance-actor who makes every character he portrays cogent and alive".

Pina Bausch is interviewed by Ismene Brown for the Telegraph. "Masurca Fogo is said to be a relatively jolly piece, driven by the vivacious music of Cape Verde and Brazil - though it contains yet another of her death-traps for dancers, a waterslide and a stage full of broken rocks, among which they have to climb in high heels. Isn't this more than a bit dangerous? "Oh," Bausch pursed her lips, "sometimes things look dangerous, but they are not dangerous at all." Besides, she said, her dancers liked to be challenged. "They don't come for fun to Wuppertal."

The Times in a report of the celebrations of Sir William Walton's birth, mentions that "Façade, the score that shot Walton to fame at 20, will be everywhere, including in Frederick Ashton’s ballet version".

Nadine Meisner of the Independent has been to Paris to see La Scala's Excelsior. "Excelsior represented the decay of ballet in Western Europe, leaving it to Russia to preserve, advance and bring it back to the West. Excelsior is a show, not serious art. But it is an unforgettable eyeful, and more accomplished fun than most serious, earnest new ballets I get to see".

Michael Berkeley writes for the Guardian on the new Masterworks series, which he presents, and which starts on BBC2 today. Berkeley also co-presents Stravinsky Staged next Saturday with Deborah Bull. "When I was young, one work above all others convinced me that music was the language in which I could and must express myself. The testosterone-driven rhythms of Stravinsky's The Rite Of Spring are so searingly primal, so atavistic, that I imagined that an orchestra encountering this music for the first time might simply implode".

New York Magazine profiles Alberto Vilar: "In December 1999, when Vilar Floral Hall was unveiled at Covent Garden, and later, when it was announced that Vilar Titles would be installed there, the British press treated the billionaire as if he'd scrawled graffiti on a national monument. One journalist characterized him as a "one-man globalisation merchant" whose "tentacles stretch from St. Petersburg to Los Angeles by way of Salzburg, Glyndebourne and Washington, and wherever else opera is a ritzy, glamorous affair." Another acknowledged, grudgingly, that "the future of international opera and ballet now depends to a startling extent on Alberto Vilar."

Professor Stephen Spier writes a letter to the Glasgow Herald: "With all the drama surrounding Scottish Ballet it is important not to lose sight of the one really crucial issue: Scottish Ballet is the country's national company and is just not very good.

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Bruce Madmin

20-01-02, 09:00 AM (GMT)
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15. "Sunday Links - 20 January 2002"
In response to message #0
Dance: All set to clean up
There’s a new broom at the head of English National Ballet, but on current form, sweeping changes are not required.
By David Dougill
Christoper Hampson's Double Concerto did well again...
"...the choreography, which is full of variety, exuberance and deft handling of large numbers — a cast of 36, which, for a piece just 24 minutes long, is remarkable. Monica Perego and the new Swedish recruit, Jan-Erik Wikstrom, were the principal pair, each with brilliant solos and sharing the sculptural pas de deux of the slow movement; while Yosvani Ramos and Jesús Pastor, among the soloists, erupted in breathtaking flights. "

The man who put the 'Cor!' in corps
Double Concerto, English National Ballet, London Coliseum, London WC2
Onegin Royal Ballet, ROH, London WC2
by Jann Parry
"Tried out briefly on ENB's pre-Christmas tour, Double Concerto (by Christoper Hampson: Ed) arrived in London with an already glowing reputation. On Monday night, its stream of fireworks sparked into a dazzling display, was greeted with cheers of relief by an audience that had given up hope of enjoying modern British ballet ever again. "

Renee Robinson (Alvin Ailey)
A Dancer's Delicate Balance
In Her 20th Year With the Alvin Ailey Troupe, Renee Robinson's Mix of Simplicity & Spark Is a Revelation Still
By Sarah Kaufman
"Her willingness to be surprised by the material, again and again, is exactly the quality that marks her career as one of the most sublime of Ailey dancers, a performer who has kept up with the increasing emphasis on pyrotechnical excellence but who stands apart for her luminous soulfulness. You watch Robinson and feel that she is carrying on a conversation: with the other dancers, with the spirit of the movement, with you. Robinson has an uncanny ability to reinvent herself with every performance, to keep even the most repetitive repertoire consistently fresh".

South Bank Redevelopment
Culture: Richard Brooks: Biteback
"The current good audiences will be even better once the place is rebuilt. So, why the delays? Well, earlier plans were too grandiose and had to be scrapped. But the biggest scandal now is the council in Lambeth, the London borough that includes the arts complex. Work could already have begun on the Festival Hall, but Lambeth lost one planning application last autumn..."

Christopher House (artistic director of Toronto Dance Theater)
Back From the Woods, With New Ways to Dance
"As Mr. House recalled in a telephone interview from Toronto, he had dined shortly before the company's last New York season with Benjamin Harkarvy, the American choreographer, teacher and former ballet director who heads the Juilliard School's dance division. "He's been a mentor," Mr. House said. "I was a bit depressed by the challenge of running a company and choreographing. I felt I had completed one stage of work that I was doing and he just told me, `Dance is not giving you what it used to give you.' "....."

Girish Bhargava
Turning Bits of Video Into Works of Art
"After almost 30 years of editing films for the "Dance in America" series, Girish Bhargava is still pleased by his work...... Mr. Bhargava is deservedly proud of his accomplishment. Before WNET started "Dance in America" in 1976, efforts to put dance on television had largely failed. To skeptics, the medium was wrong for dance: George Balanchine said it made dancers look like ants....."

Flamenco of the soul: 2002 festival comes to Boston
by Theodore Bale
``Flamenco is very rich, it is full of stories and dialogues,'' said acclaimed choreographer and dancer Eva La Yerbabuena. ``Knowing that flamenco is a way of expressing a people, a nation, makes it a grand art. You cannot make it seem to be the poor parent of the great styles of music.''

Boston Ballet workers exit stage
"Plenty of local employers have been reducing staff, and Boston Ballet is no exception..."

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20-01-02, 03:12 PM (GMT)
Click to EMail sylvia Click to send private message to sylvia Click to view user profileClick to add this user to your buddy list  
16. "RE: Sunday Links - 20 January 2002"
In response to message #15
   From Thursday on the BBC, a really sweet story -

Blind ballerinas of Brazil
Seven years ago a Brazilian institute for the blind decided to set up a ballet school and it now has more than 30 students who perform in local dance festivals.

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