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Subject: "Latest Review Links - wb 28 January 2002 " Archived thread - Read only
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Conferences What's Happening Topic #2454
Reading Topic #2454
Brendan McCarthymoderator

28-01-02, 07:50 AM (GMT)
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"Latest Review Links - wb 28 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 - Mon 28th Brendan McCarthymoderator 28-01-02 1
     RE: Links - Mon 28th (2) Brendan McCarthymoderator 28-01-02 2
         RE: Links - Tues 29th Brendan McCarthymoderator 29-01-02 3
             RE: Links - Tues 29th Brendan McCarthymoderator 29-01-02 4
                 RE: Links - Wednesday 30th Jan AnnWilliams 30-01-02 5
                     RE: Links - Wednesday 30th Jan Brendan McCarthymoderator 30-01-02 6
                         RE: Links - Thursday 31st January AnnWilliams 31-01-02 7
                             RE: Links - Thursday 31st January alison 31-01-02 8
                             RE: Links - Friday 1st February AnnWilliams 01-02-02 9
                             RE: Links - Friday 1st February AnnWilliams 01-02-02 10
                             RE: Glass drama at Arcimboldi Viviane 01-02-02 11
                             RE: Links - Friday 1st February alison 01-02-02 12
                             RE: Links - Saturday 2nd February Brendan McCarthymoderator 02-02-02 13
                             RE: Links - Saturday 2nd February (2) Brendan McCarthymoderator 02-02-02 14
                             RE: Links - Sunday 3rd Brendan McCarthymoderator 03-02-02 15
                             RE: Links - Sunday 3rd Bruce Madmin 03-02-02 16
                             RE: Links - Sunday 3rd Carly Gillies 03-02-02 17
                             RE: Links - Sunday 3rd (3) Brendan McCarthymoderator 03-02-02 18

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Brendan McCarthymoderator

28-01-02, 09:29 AM (GMT)
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1. "Links - Mon 28th "
In response to message #0
   LAST EDITED ON 28-01-02 AT 09:46 AM (GMT)

Ismene Brown of the Telegraph is cool about Memories, the Royal Ballet's Triple Bill. Ross Strettons's vision begins to emerge, as ' luvvie-ish', she says. "It says something about the bill that Ashton's ballet provides the only salt, as well as the most choreographic inventiveness. Neither his nor Tudor's work is a major one, and Baynes's Beyond Bach is an apprentice work that has technical fluency but no real personality".

Writing for the Guardian Judith Mackrell is more friendly towards Beyond Bach than is Ismene Brown, but with many reservations: "Bach's music is already saturated with its own brilliant ideas. The cleverer Baynes tries to be, the more crowded and clunky his work becomes. As a project it is misconceived, which is a shame since the choreography does contain nuggets of real promise".

Debra Craine's of the Times is doubtful about the lack of contrast between the works (" a lot of wistfulness to take on board in a single viewing"). She saves her enthusiasm for Marguerite and Armand;: "This is Guillem’s ballet, her triumphant, sweeping portrayal of the dying courtesan Marguerite burning itself into our collective memory".

Danine Meisner profiles Lindsay Kemp for the Independent. "Kemp's idol and model was Robert Helpmann, who, like Kemp, was a man of total theatre, unable to fit usual moulds. "I'd try to get the Helpmann look," he lowers his forehead and affects a gleaming gaze. "I'd sit at breakfast and my mother would say, 'What's the matter with your eyes?'"

James Woodall sees Patrice Bart's Romeo and Juliet at the Berlin Staatsoper for the FT. "If you were nurtured on Macmillan, new stagings have to be special. Patrice Bart is known for his opulent stagings and his Staatsoper Romeo und Julia is dressy, suitably traditional for Berlin's flagship house, and not a production I'd run back to".

Also in Berlin, the Frankfurter Allgemeine reviews Johann Kresnik's Picasso at the Volksbuhne. "Kresnik has stayed true to himself, having opposed ballet's surface beauty for over 30 years, attacking fascism and capitalism alike as he did so. His aesthetics of ballet is known for its obsession with blood and sperm and its limited capacity for innovation. But this Austrian director and choreographer has held on to his anger in a way that few others in the theater have".

An Irish choreographer, Fergus O Conchuir, explains to Irish Times readers why he abandoned a D Phil at Oxford to train in contemporary dance. "Language always operates with a kind of nostalgia for experience. We name things to hold onto their memory. With dance, I hoped I could exist in the moment, be present to myself and to others. Yet dance, too, is a series of traces, of images and physical experiences lived and immediately lost".

Anna Kisselgoff of the NY Times reviews Peter Martins's "Viva Verdi," the final premiere of New York City Ballet's season.

The SF Chronicle notes the increasing number of dancers of Latin background now with SFB. "Ballet classes once peppered with Russian and French now have running commentaries in Spanish, which principal character dancer Jorge Esquivel calls "the unofficial language of the company." The world is paying attention to Hispanic dancers, and the place to catch a great number of them in action seems to be right here. "I don't know why this is happening," says Helgi Tomasson, San Francisco Ballet's artistic director and the man who handpicked them all. "They are just wonderful dancers, and this seems to be the decade of the Hispanics."

This is a little off-piste, but Joan Acocella (who we usually think of as a dance writer) has a fascinating portrait of the sculptor Louise Bourgeois in this week's New Yorker

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Brendan McCarthymoderator

28-01-02, 09:52 AM (GMT)
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2. "RE: Links - Mon 28th (2)"
In response to message #1
   LAST EDITED ON 28-01-02 AT 10:14 AM (GMT)

As I've become very partisan about Stephen Baynes's 'Beyond Bach', I wondered at my own judgement when I read the early reviews. I felt better after reading Luke Jennings in the Evening Standard:

"To the measured cadences of the adagio from Bach's Sonata in D, the curtain rises on one of the most beautiful and sophisticated sets ever to have framed this company. In Beyond Bach, Stephen Baynes and designer Andrew Carter have dreamed on a grand scale and presented us with nothing less than the sunlit dawn of the Enlightenment. The company found a fine baroque lustre on Saturday. There is a moment when Nunez and Bussell strike identical flying arabesques along paired beams of light which speaks - or rather sings - volumes, not least about ballet's continuity".

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Brendan McCarthymoderator

29-01-02, 06:35 AM (GMT)
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3. "RE: Links - Tues 29th"
In response to message #2
   LAST EDITED ON 29-01-02 AT 09:09 AM (GMT)

The Birmingham Post (via the FT) reviews BRB's latest triple bill. "Sakuma was a ravishing partner to the equally stunning Chi Cao in the highly demanding Tchaikovsky pas de deux. Again, we were given dancing of the highest order, following on clips from The Lady and the Fool and Facade (with Monica Zamora in great form dancing the exquisitely funny tango)".

BBC News Online reports how a physiotherapist with Birmingham Royal Ballet helped the 400 meter track star Daniel Caines recover from injury. The writing is no better than you would expect from a sports journalist. "The fact that Caines' career is back on track this spring is almost entirely down to the glamorous world of tight-wearing, codpiece-donning prancers".

Frankfurter Allgemeine reviews "Book of Songs" by the Norwegian choreographer Ingun Björnsgaard. "The choreographic message is not really new. The only new thing is that it has now spread up to the far north".

Anna Kisselgoff of the NY Times on Flamenco Festival USA. "Whatever it is, and the debate has lasted for more than two centuries, flamenco is a deep and vital human experience. Perhaps this can explain a new and sudden hunger for something both exotic and familiar".

According to Allan Ulrich of the San Francisco Chronicle, Dance Theater of Harlem now has the choreographer it deserves. "Robert Garland is a choreographer truly steeped in the Balanchine strain of neoclassicism that has always propelled Mitchell's aesthetic, yet is also a dance maker who rejoices in incorporating idiomatic strains of African American movement".

From Saturday's FT a feature on La Scala's temporary new home. "The proscenium has exactly the same dimensions as the Teatro alla Scala: existing productions require no adaptation, and shows created for Arcimboldi should fit the company's renovated home when it returns there in December 2004. La Scala's crest has been fixed to the ceiling. Even the stage-curtain has made the journey to Bicocca - a reassuring sign for subscribers, for whom the old theatre's chandeliers and red velvet boxes were an integral part of the opera-going experience".

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Brendan McCarthymoderator

29-01-02, 04:59 PM (GMT)
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4. "RE: Links - Tues 29th"
In response to message #3
   At the Ballet Association, Ross Stretton hinted at his plans for the RB to perform more of Jerome Robbins' work. This morning the SF Examiner has a feature on SFB's forthcoming premiere of "Dances at a Gathering".

""Dances" will, of course, look quite different at SFB than it has at NYCB; for one thing, NYCB dancers are largely homegrown and all-American, whereas SFB is markedly international, diverse in training and style. Perhaps this is a harbinger of "Dances' " future: The Robbins Rights Trust is now considering setting the work on Germany's Stuttgart Ballet, another eclectic company.

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30-01-02, 09:01 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  
5. "RE: Links - Wednesday 30th Jan"
In response to message #4
   Clment Crisp is none too thrilled with the RB's 'Memories' triple bill:

Two duds out of three for the price of one

'It may be that the company's Australian director, Ross Stretton, believes that the Australian Stephen Baynes has something choreographically to offer with his Beyond Bach, which begins the evening. I am damned if I can see what it is. The music is a "gems from Bach" selection - Classic FM would approve - and we are told that there is "an element of the spiritual" in the piece. Cue a muddy set that aspires to Bernini and attains hotel pomposity.'


Nadine Meisner in the Independent is somewhat warmer:

Memories are made of this

On Beyond Bach: 'The dance for the two lead couples to Air on a G String has a hushed beauty, their numbers expanding into two trios mysteriously slipping in and out of unison. Also striking is the procession of women down the staircase to amass on stage with their partners, before their exit leaving Jonathan Cope to dance a final solo.'


From Valerie Lawson in the Sydney Morning Herald, an Aussie view of how we Brits took to Aussie choreographer Stephen Baynes' 'Beyond Bach' for the RB:

Beyond Bach: cheers and jeers from UK critics

'Beyond Bach, critically acclaimed in Australia in 1995, was praised highly by Luke Jennings, dance critic of The Evening Standard. Jennings, a former dancer, acknowledged Baynes's love of the art form of ballet - how it expresses "freedom through control, boundlessness through precision geometry". Jennings found Andrew Carter's design to be "one of the most beautiful and sophisticated sets ever to have framed this company".In contrast, Ismeme Brown of The Daily Telegraph gave Beyond Bach the biggest slap in the face and, in passing, took a swipe at the Royal Ballet's artistic director, Ross Stretton.'


The Guardian on Lindsay Kemp:

As he brings his greatest hits show to the West End, Lindsay Kemp talks to Rupert Smith about his outrageous career

"These are roles I've been dancing all my life, and they all come from daydreams," says Kemp. "I first danced Salome in the dormitory of my boarding school, naked except for layers of toilet paper, heavily rouged with the red paint I'd rubbed off the wall. The boys in the top bunks played mouth organs, and I danced to entertain them. I was busted, of course, not for the decadence of my performance but for the wastage of school resources, namely the toilet paper."


From the San Francisco Examiner, the story of how a British dancer from the fifties has become a member of the board of trustees of the San Francisco Ballet:

Chris Hellman's long, lovely dance
By Anne Lawrence

'Chris Hellman, chair emeritus of San Francisco Ballet's board of trustees, always wanted to dance. Her father resisted the idea, but her mother supported her daughter's ambitions, and Chris eventually joined the prestigious Festival Ballet in London, not far from the town of Sanderstead, where she was raised. Tutored by Anton Dolin from 1952 to '55, Chris became a solo dancer and traveled with the company a great deal........ One two-week tour with Festival Ballet took her to Montreal and Quebec. The entire ballet troupe returned to England on the Holland American ship Ryndam, a "student ship." Also aboard were Warren Hellman and two UC Berkeley chums..'


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Brendan McCarthymoderator

30-01-02, 04:08 PM (GMT)
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6. "RE: Links - Wednesday 30th Jan"
In response to message #5
   The Frankfurter Allgemeine has a review of a ballet by the Russian choreographer Boris Eifman's ballet, "The Brothers Karamazov", based on Dostoyevsky's novel, performed at Aalto Ballett Theater in Essen. It doesn't sound too promising. "Basically, however, Dostoyevsky is only an excuse for Eifman to stage a bombastic dance spectacle in the best Soviet tradition. Four men of dubious familial connection -- proof of George Balanchine's Law that "Ballet knows no sisters-in-law" -- dance around each other with melodramatic affection or aversion, while two women offer themselves to them as objects of desire".
Link to the review.

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31-01-02, 10:00 AM (GMT)
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7. "RE: Links - Thursday 31st January"
In response to message #6
   A scrappy lot today, but all I can find for the moment.

An obituary in the the Times for the former judge, Sir John Whitford: Quote - He was in his element, though, when trying musical copyright cases. One of them concerned a Royal Ballet production of Beauty and the Beast with music by Vangelis, of which the choreographer, Wayne Eagling, remarked: "The critics hated it but the public loved it. What do the critics know?" "Mr Eagling," the judge observed, "I think I should tell you that I was once a ballet critic." He was delighted when Eagling replied: "It's just as well your Lordship moved on."

Anna Kissdelgoff in the New York Times on Eiko and Koma, famed Japanese obscuritanists (my word, probably spelt wrongly):

Travel Companions on Life's Inevitable Journey

'The pantheistic tenor of Eiko and Koma's work was seen more typically in "Snow" (1999), another piece on the program in which Eiko, in white, declined gradually in near imperceptible movements under falling snow. Koma, in black, faded in and out behind her or pressed his body against hers. If one didn't know them better, the duo would seem to be acting out a Japanese ghost story about a pining woman and her dead lover. But that is not the way of Eiko and Koma.'

Elizabeth Zimmer in the Village Voice on the financial after-effects of September 11th on the New York arts community:

Arts Groups Large and Small Suffer After September 11; Special Foundation Grants Kick In

The Money Trail

'A report from the New York State Council on the Arts, documenting actual hardship in terms of physical damage and lost income, is due this month. A source close to the council's report estimates that nearly $30 million was lost between September 11 and October 31, based on 419 responses from arts groups in the five boroughs.'

From the Telegraph:

Culture slips through the net
Norman Lebrecht on classical internet conundrums

'Global Music Network, which pioneered live concerts and opera on the internet in 1998, ran out of money last week. It shut its London headquarters, sacked staff and retreated to California for "regrouping" and sale. With the Nasdaq down and dotcom a dirty word, any prospects of rescue appear remote.'


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31-01-02, 12:59 PM (GMT)
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8. "RE: Links - Thursday 31st January"
In response to message #7
   There's a rather more vital section in the Lebrecht piece as far as we're concerned:
"First, director general Greg Dyke admitted past shortcomings in evidence to the House of Commons culture committee. He promised to atone with 230 hours of arts programming a year on mainstream BBC1 and BBC2." I wonder what his precise definition of "arts" is, but we shall see. Also, BBC4 is claiming that it will show one live orchestral concert per week plus lots of other arts programmes.

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01-02-02, 10:06 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  
9. "RE: Links - Friday 1st February"
In response to message #8
Judith Mackrell in the Guardian on Lindsay Kemp:
'The sight of Kemp as the Angel floating on wings of light-filled silk to the music of Verdi's Requiem certainly won't convert those who dismiss him as a tacky old queen. But to those who find a fluky genius in his uninhibited fun, in his canny craft and his capacity to turn base theatrical cliche into gold, it is a perfect moment.'

...and the Evening Standard's Luke Jennings on Lindsay Kemp


The Times' take on Kemp:
'Kemp is the ultimate tragedy queen, a performer who thrives on the drug of suffering, a lust for torment shared by Moreno and Berriel. Moreno is Kemp's muse (and alter ego), the rag doll with the heart of a diva. Her portrayal of Lorca's spinster, Doña Rosita (set to Wagner at his most verdant), is a masterpiece of physical and emotional disintegration, Moreno scattering rose petals like the shards of her broken, lonely heart. Her solo The Swan is an hilarious and poignant sketch of a ballerina crazed by one Swan Lake too many'


The New York Times on NYCB:
A Dream-Inspired Robbins and a Bright Balanchine


From the FT, a sour piece on the delayed appearance of Antonio Pappano as the ROH's musical director which takes a mighty side-swipe at Robert Wilson:

'... whereas the new production of Verdi's Aida, (for the ROH) scheduled for autumn 2003, will be coming lock-stock-and-pyramid from La Monnaie/ De Munt. This is a co-production between the two companies, which opened in Brussels on Wednesday. A warm welcome was on hand from the Belgian audience, even a few cheers, but then they have seen productions by Robert Wilson before. Whether the audience in London will smile so kindly on the American producer's work remains to be seen, as his productions are - to put it charitably - an acquired taste. When you have seen one, you have seen them all.'


Brendan has come up with this piece from the Moscow Times:
The Bolshoi's Fille opened on Wednesday night and the Moscow Times has the first review. Apparently the first cast were injured and two young soloists had to do it. "Despite the last-minute call, Kaptsova and Bolotin danced with technical assurance and charm unlikely to have been surpassed by their more experienced counterparts. As a whole, "La Fille" looks headed for success, both as a delight for young audiences at weekend matinees and as sophisticated fun for a mostly adult public at evening performances".


From BBC News, an alarming story:
Glass drama at opera house
'A large glass panel crashed onto seating during a ballet performance at the new temporary home of the La Scala opera house in Milan...... Milan state prosecutor's office said it was assessing whether to open a criminal enquiry.'


From the Los Angeles Times, a rather touching story about children dancing:

Students Leap at Opportunity to Perform Ballet
"These kids are learning what being an artist is and that there are possibilities out there for them to perform," said Yves de Bouteiller, the ballet company's choreographer. "By dancing, they also gain self-confidence. There is a discovery that they can actually do this sort of thing."

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01-02-02, 11:09 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  
10. "RE: Links - Friday 1st February"
In response to message #9
   I missed Judith Mackrell on Pina Bausch at Sadler's Wells (how could I?)

' Bausch's sharp mudlarker's eye for social ritual and collective loopiness snags most eagerly on the possibilities of seaside jinks. The dancers parade and scrutinise each other's bodies, scoot like kids along an improvised water slide, and cram into a beach hut for a party. Here and everywhere else they dance a great deal of fierce dense choreography (set to a musical collage that ranges from hot and drowsy Latin rhythms to kd lang).'


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01-02-02, 12:40 PM (GMT)
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11. "RE: Glass drama at Arcimboldi"
In response to message #9
   >Glass drama at opera house
>'A large glass panel crashed onto seating during a ballet >performance at the new temporary home of the La Scala opera >house in Milan......

Allow me to add some nuance to this ! The problem has nothing to do with a "glass"panel. One of the acoustic movable POLYCARBONATE-panels(+/-1 by 2 m.) did a 6m.fall.
Probably due to a fixation-problem and/or heat(these panels are illuminated). Indeed, stabilisation of polycarbonate-products can be a problem.
What a pity that such incident deserves a whole article...while I'm curious to hear about the surtitle-sytem : Arcimboldi seems to be the first European theatre to have this sophisticated equipment.
For who is curious to see where these panels are supposed to hang : http://www.archimagazine.com/arcimbol.htm

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01-02-02, 01:05 PM (GMT)
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12. "RE: Links - Friday 1st February"
In response to message #9
   When I tried the Luke Jennings link, I actually reached another piece, possibly of more interest to ballet-lovers, about an exhibition about Kenneth MacMillan at the Theatre Museum later on this year, presumably timed to coincide with the 10th anniversary of his death.

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Brendan McCarthymoderator

02-02-02, 06:07 AM (GMT)
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13. "RE: Links - Saturday 2nd February"
In response to message #12
   Luke Jennings of the Standard on Pina Bausch's Masurca Fogo: "It is likeable but soft-core stuff, and there are times when it goes on a bit. The ending, in particular strikes an over-saccharine note. The cheers of a Bauschstarved audience were real enough, though".
Link to review

Siobhan Peiffer reviews the Royal Ballet's Memories triple bill for the website Online Review London. "Memories shows that a ballet's sense of novelty does not depend on its age – whether nearly forty, like Marguerite and Armand, or barely seven, like Beyond Bach. It depends on the ever-fresh excitement of excellent dancers in choreography worthy of their talents – the excitement that The Leaves are Fading provides".
Link to review

Two choreographers, Kim Brandstrup and Wayne McGregor talk to the Birmingham Post about their participation in British Dance Edition.
Link to article

The Scotsman's Kelly Apter has been to see the updated Riverdance. "There’s much to enjoy here, but special mention has to go to the wonderful "face-off" between three step-dancing Irish émigrés and three toe-tapping Americans, which drew both gasps of amazement and gales of laughter from the audience".
Link to review

Broadcast magazine talks to the new Controller of BBC4 Roly Keating. "Keating, who described BBC 4 as being 'hopefully unlike any other channel on British TV', claimed there was little undue pressure on him to make the station a big ratings success. 'The only pressure we all feel is from the audience out there,' he said".
Link to story

The Atlanta Constitution on how dancers in the Alvin Ailey Dance Company keep their fitness levels up. "Members of the Alvin Ailey American Dance Theater have proved that hard abs, tight glutes, mountainous pecs and immaculately chiseled limbs can enhance the art of dance. Their physical conditioning moves audiences to describe them more as "buff," "cut" and "ripped."
Link to story

The choreographer Steve Petronio talks to the Boston Herald. "I see the body as having five limbs,'' said Petronio. ``Two arms, two legs, and the spine-head. In `Strange Attractors,' there's a lot of splashing and throwing of energy. My technique is based on directing the energy out of the body through the five limbs.''
Link to story

The SF Chronicle reviews the opening of SFB's 69th Season. The programme included Balanchine's Stars and Stripes.
Link to the San Francisco Chronicle

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Brendan McCarthymoderator

02-02-02, 11:10 AM (GMT)
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14. "RE: Links - Saturday 2nd February (2)"
In response to message #13
   More on Pina Bausch's Masurca Fogo; this from Debra Craine in the Times. "This is dance-theatre from Europe’s high priestess. It is the way Bausch’s productions look and read that makes them unique, not the way they move. Her choreography has no recognisable style; she simply doesn’t cultivate one. Occasionally, repeated sequences develop into melodies of physical expression, and abstract solos spring out of the mêlée like cries for help. But mostly she exaggerates the vernacular. Her performers are sensational, sexy and silly, a superb company of dance-actors".

The SF Examiner on SFB's Gala. The dancing in Wednesday's eclectic assortment of mostly truncated works was without exception inspired, and never more so than on those few occasions when the choreography was not.

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Brendan McCarthymoderator

03-02-02, 07:30 AM (GMT)
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15. "RE: Links - Sunday 3rd"
In response to message #14
   LAST EDITED ON 03-02-02 AT 10:09 AM (GMT)

There are a number of dance related pieces in the Sunday Times, to which I continue to be denied password access (despite countless emails to their technical helpdesk). When I buy the papers I will report what I can. If anyone else can post links before then, please do.

Meanwhile Jann Parry of the Observer has been to see Pina Bausch, Lindsay Kemp and the Memories Triple Bill at the ROH. Superlatives for Bausch, and qualified praise for Kemp. She lines up with the other critics on Memories: liked Tudor and M+A , with Baynes underpowered by its ideas.

Jack Anderson of the NY TImes reviews NYCB in two new works made for the company.

From the Irish newspaper the Sunday Independent, a review by Stephen Dodd of Peter Kurth's Isadora

The National Ballet of Canada's Romeo and Juliet, choreographed by John Cranko, is previewed by the National Post. "In 1964 very few companies beyond Cranko's own Stuttgart Ballet were given the privilege of dancing such marketable works. NBC had to wait 20 years before it got another Cranko -- Onegin".

The Washington Times reviews the exhibition "Capturing Nureyev: James Wyeth Paints the Dancer" . "To use a modern phrase, he was high maintenance," Mr. Barnes says. The dancer did not take lightly being portrayed in what he perceived as an unflattering manner. "He was highly critical of everything," Mr. Wyeth says. "He would look at one of my sketches and say, 'My foot is more beautiful than that.'"

From the Toronto Globe and Mail a holiday idea: a 14-day "ballet cruise" this summer from Rome to Southampton, with dancers Karen Kain and Rex Harrington.
Link to story

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Bruce Madmin

03-02-02, 09:38 AM (GMT)
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16. "RE: Links - Sunday 3rd"
In response to message #15
   Not an exhaustive Sunday Times search but here is the Dougill...

RB Mixed bill
Saving the best for last
A marvellous Marguerite and Armand rescues the Royal Ballet’s otherwise forgettable Memories programme, says David Dougill
Beyond Bach - "The stage is very deep (with sightline problems). Baynes “wanted the dancers to have to run a long way to make their entrances and exits”. There is certainly a lot of that: the comings and goings seem arbitrary, and not even the prevailing mood of politesse could quell my thought that the women’s periodic excursions up and down some stairs leading offstage suggested visits to the ladies.

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Carly Gillies

03-02-02, 10:17 AM (GMT)
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17. "RE: Links - Sunday 3rd"
In response to message #16
   A piece criticising Mike Russell. He's the SNP MP who was a major supporter of the Parliamentary report that was so damning of Scottish Ballet's Board.


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Brendan McCarthymoderator

03-02-02, 12:00 PM (GMT)
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18. "RE: Links - Sunday 3rd (3)"
In response to message #17
   Ismene Brown's appearances on the Telegraph website are less predictable than they were. From a linked website, here she is on Pina Bausch. "Masurca Fogo is a night of sheer hedonism, a Mediterranean beach party of sultry atmosphere, entrancing music, and some delightfully romantic love-play. The eroticism of the dancers is lyrical, childlike, like Adam and Eve. The women deploy all their wiles on the men. There's the glamour puss who dresses in a titillating outfit of red balloons, and the voluptuous one with effortless va-va-voom, and the vamping domestic goddess. And here's one for Bausch: the clever one who wisecracks, "A job is just a job," as she kisses a procession of men, and later turns to drink. What great performers they all are (and how curvaceous)".
Link to review

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