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Subject: "Latest Review Links w/b 10 June 2002" Archived thread - Read only
 
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Conferences What's Happening Topic #2802
Reading Topic #2802
Bruceadmin

10-06-02, 06:52 AM (GMT)
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"Latest Review Links w/b 10 June 2002"
 
  
Each day we add the latest links to reviews and interviews that we find on the major newspaper web sites around the world. If you find a link that we have missed do please post it up, preferably as a URL link.

Last weeks thread:
http://www.danze.co.uk/dcforum/happening/2784.html

Bookmarking this page:
Click on the following link and then bookmark the links page that comes back - it's a special URL that will always bring you to the thread with the latest reviews:
http://www.ballet.co.uk/todayslinks

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: Latest Review Links w/b 10 June 2002 Bruceadmin 10-06-02 1
     Monday 10th Brendan McCarthymoderator 10-06-02 2
  Tuesday Links - 11 June 2002 Bruceadmin 11-06-02 3
     RE: Tuesday Links - 11 June 2002 Bruceadmin 11-06-02 4
         RE: Tuesday Links - 11 June 2002 AnnWilliams 12-06-02 5
             RE: Thursday links - 13th June 2002 AnnWilliams 13-06-02 6
                 RE: Thursday links - 13th June 2002 Bruceadmin 13-06-02 7
                     RE: Thursday links - 13th June 2002 Brendan McCarthymoderator 13-06-02 8
                         RE: Friday links - 14thJune 2002 AnnWilliams 14-06-02 9
                             RE: Friday links - 14thJune 2002 Bruceadmin 14-06-02 10
  Saturday Links - 15 June 2002 Bruceadmin 15-06-02 11
  Sunday Links - 16 June 2002 Bruceadmin 16-06-02 12
     RE: Sunday Links - 16 June 2002 (2) Brendan McCarthymoderator 16-06-02 13

Conferences | Topics | Previous Topic | Next Topic
Bruceadmin

10-06-02, 06:53 AM (GMT)
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1. "RE: Latest Review Links w/b 10 June 2002"
In response to message #0
 
  
Royal Ballet
So beautiful, but without a heart
Swan Lake
Sydney, Capitol Theatre
Reviewed by Jill Sykes
    "It took the Saturday night cast of Jaimie Tapper (lifted from first soloist to a principal role) and Gael Lambiotte to capture my emotions as Odette-Odile and Siegfried. Tapper does not have Bussell's extraordinary technical quality but she has an eloquence in her body language that gives theatrical heart to her portrayal.
    "Lambiotte fell back on balletic cliches in Act I, where the dancer playing Siegfried has the difficult task of gaining audience rapport while behaving like a bored rich kid - though the general lack of interest in this opening act triggered some sympathy for the prince's predicament.
    "Once he spotted Odette and moved on to partnering duties, he blossomed as a performer. Slightly gauche, Lambiotte was touching in his characterisation and if his partnering was not always as smooth as that of his colleagues"
http://www.smh.com.au/articles/2002/06/09/1022982796906.html

Nederlands Dans Theater 2
Manchester, The Lowry
by Sarah Hartley
    "What a night and what an ending. The Nederlands Dans Theater 2 had the audience begging for more with encore after encore and even a standing ovation.
    "This experimental group of young dancers entered the hearts of the crowd with a truly unusual piece of audience participation following an extremely interesting and varied performance."
http://www.manchesteronline.co.uk/entertainment/theatreanddance/stories/Detail_LinkStory=7226.html

Rosemary Butcher Company
Believing all you see in Butcher's world of space
London, The Place, WC1
by Ismene Brown
    "Her off-beam pieces are too rarely seen, since they prefer the undefined setting of art galleries or large halls to the flatter stage-and-stalls viewpoint of a conventional theatre. The Place is emphatically one of the latter, pokier variety, and it cramped the presentation of her gorgeous 1998 work Fractured Landscapes, Fragmented Narratives, and possibly had also cramped the actual creation of her new work, Still-Slow-Divided.
    "Other choreographers are trying to tell you what they think through the language of dance; Butcher often seems to be asking you to work out how you think..."
http://www.telegraph.co.uk/arts/main.jhtml?xml=%2Farts%2F2002%2F06%2F10%2Fbtbutch10.xml

New York City Ballet - Whelan and Wheeldon
Splicing Spiky and Romantic
By JENNIFER DUNNING
    "DANCERS and choreographers are like lovers, their affairs consummated in dreary rehearsal studios but nonetheless filled with delight. Take Wendy Whelan and Christopher Wheeldon. They will be reunited on Thursday in Mr. Wheeldon's untitled new piece, which will be performed by the New York City Ballet at the New York State Theater as part of the company's 10th-anniversary Diamond Project."
http://www.nytimes.com/2002/06/09/arts/dance/09JENN.html

Paul Taylor
Promethean Light Illuminates Hope
New York
By ANNA KISSELGOFF
    "Commissioned by the American Dance Festival to open its annual summer season at Duke University here, "Promethean Fire," as this premiere is called with unabashed cosmic flair, is set to Bach. It seems initially still another inspired Taylor work to Baroque music.
    "On another level it may be Mr. Taylor's response to the Sept. 11 attacks. The occasional images of despair, rage and physical collapse are direct, but to reduce the choreography to any literal interpretation is to lose the breadth of its formal beauty.
    "Just the sheer architectonics of the complex and contrapuntal patterns overwhelm the eye. "Promethean Fire" is a big piece, spreading 16 dancers in black velvet with glistening trim into constantly reconfigured structures. They are building blocks in the human cathedral that Mr. Taylor constructs uncannily and perfectly with such powerful emotional resonance. "
http://www.nytimes.com/2002/06/10/arts/dance/10TAYL.html

American Ballet Theatre, New York City Ballet
New York ballet companies struggle to raise the barre
New York
By Christine Temin,
    "Ballet watchers have complained that ABT is neglecting its heritage - the profound works of Antony Tudor and the popular ones of Agnes de Mille. Neither choreographer is represented in ABT's current eight-week season at the Metropolitan Opera House. City Ballet's public has complained about the stewardship of the company that Peter Martins has run since the 1983 death of its cofounder, George Balanchine. Martins hasn't regularly invited key keepers of the Balanchine flame back into the fold to teach the ballets to a generation of City Ballet dancers who never knew the master. Former company luminaries are instead scattered across the country.
    "There used to be a world of difference between the styles of the two troupes, exemplified by Balanchine's angular, astringent choreography set to Stravinsky vs. the star-studded story ballets that were the heart of the ABT repertory. That world of difference has shrunk. The dancing in both companies is often dazzling, but just as often it's generic. During Balanchine's lifetime, people would often refer to the ''Balanchine type'' - leggy, athletic, quick. There were dancers who fit that description, but there were plenty more who didn't.
    "Ironically, there is a ''type'' now, an anonymous, almost robotic dancer with fine technique and little individuality. Both at City Ballet and at ABT, you get the sense that the dancers know quite a lot more about the ''what'' than the ''why.''
http://www.boston.com/dailyglobe2/160/living/New_York_ballet_companies_struggle_to_raise_the_barre+.shtml

New York on Tap
London, Queen Elizabeth Hall
**
by Donald Hutera
    "IT HAPPENED with flamenco, tango and Irish dance. Is tap the next big thing? Terry Monaghan, founder of the British-based Jiving Lindy Hoppers, and the dance department of the South Bank Centre suspect it could be.
    "To test their hunch, they pulled together two sold-out evenings of tap last week. The focus was rhythm tap, a form of syncopated footwork distinct from the showier numbers splashed across countless stage and golden-age Hollywood musicals. Forget Gene Kelly’s athleticism or that pinnacle of polish, Fred Astaire. Rhythm tap has more to do with an often improvisatory “conversation” between dancers or dancer and musician."
http://www.timesonline.co.uk/article/0,,685-321981,00.html

Boris Eifman Ballet Theater
eifman: breaking all the rules
St Petersburg
by Celestine Bohlen
    "Eifman, now 55 and considered one of Russia's leading modern choreographers, is back in St. Petersburg. His company, now called the Boris Eifman Ballet Theater, performs "Don Quixote, or a Madman's Fantasies," and "Red Giselle" at the Alexandriinsky Theater this week.
    "In "Don Quixote," as in so many of his ballets, Eifman portrays an individual trapped in a society in which they have no voice. Such themes, in Soviet times, would never have passed the censors. "It was a time when it was necessary to waste a lot of time, and nerves, on a war with fools," he recalls with a smile. "Now I can look back and laugh, but at the time, it was difficult, very difficult."
http://www.sptimesrussia.com/archive/times/775/features/a_6592.htm

American Ballet Theatre
American Ballet Theatre brings 'Le Corsaire' to Boston this fall
Boston
By Christine Temin
    "Boston doesn't get many visits from big touring ballet companies, for a variety of reasons: There's no proper opera house here, no place the right size and shape to connect audiences and dancers, and the small band of serious local balletomanes tends to make the quick trip to New York, which is still the dance world's mecca.
    "Of all the major troupes, the one that has visited Boston most often is American Ballet Theatre, last here in 1998. ABT returns this November, thanks to a five-year initiative by the FleetBoston Celebrity Series in collaboration with the Wang Center for the Performing Arts. Their plan to import one ballet company each year is both cautious and sound, given the box-office death sometimes suffered by troupes visiting Boston in the past."
http://www.boston.com/dailyglobe2/160/living/American_Ballet_Theatre_brings_Le_Corsaire_to_Boston_this_fall+.shtml

Louise Lewis
On her toes
Louise Lewis may not drive, but she dances well enough to win admiration from her peers, awards from the judges
By HARRIET HOWARD HEITHAUS
a eartwarming strory found via BNU
    "Eighty-eight year old Louise Lewis dances along with her instructor, Steve Brush, during a lesson on a recent Tuesday morning at Etudes Des Ballet studio in Naples in preparation for an upcoming competition. Brush has been training her in ballroom dances from the cha-cha to the fox trot for about six years. But Lewis has been dancing with partners since she was a child, and won her first contest at age 16 with her younger brother. "
http://www.naplesnews.com/02/06/neapolitan/d557488a.htm


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Brendan McCarthymoderator

10-06-02, 07:19 PM (GMT)
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2. "Monday 10th"
In response to message #1
 
   This BBC Online story on Opera in the Piazza is a few days old. "It was interesting to watch the music work on the crowd, some of whom chatted and some of whom were transfixed by the hopeless love of Rodolfo and Mimi. WPC Mandy King, one of just a scattering of police on duty, said the crowd were "extremely well behaved." Better behaved than the riotous students in Bohème, that was for sure.

http://news.bbc.co.uk/hi/english/entertainment/arts/newsid_2030000/2030039.stm


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Bruceadmin

11-06-02, 06:10 AM (GMT)
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3. "Tuesday Links - 11 June 2002"
In response to message #0
 
  
Not such a good day I think. The Independent and New York Times seem to be struggling this morning though. Perhaps more later

New York on Tap
3 stars
Queen Elizabeth Hall, London
by Sanjoy Roy
    "No doubts, though, when the Clark Brothers appear, white ties and tails, bringing back a little black magic to the finale. Showmen to the core, they sing and patter, and treat us to a sequence from their latest film ("with the Marx Brothers"). But in the end it was Will Gaines who impressed the most. Amazingly light on his feet - even when sitting in a chair - Gaines is by turns subtle and comic, and can play the audience without playing up to them: a real class act. "
http://www.guardian.co.uk/Archive/Article/0,4273,4430762,00.html

Rosemary Butcher Company
Some falls with grace
Rosemary Butcher's tiny troupe put on a show this weekend, says Sarah Frater.
London, The Place
by Sarah Frater
    "Rosemary Butcher's choreography requires a degree of commitment rarely called for in today's theatre. Unlike many dance-makers who lull the senses with virtuoso technique or easy melody, you cannot watch Butcher and not commit your wits. With her, you have to look hard and think harder, and even then her densely-packed work is not easily discerned, at least not for those beyond the small world of dance insiders. "
http://www.thisislondon.co.uk/dynamic/hottx/top_review.html?in_review_id=533216&in_review_text_id=498848

American Dance Festival, Pilobolus Dance Theater
A Milestone for Festival With New And Familiar
New York
By ANNA KISSELGOFF
    "Pertinently, the gala program focused on productions commissioned by the festival, past and present. Two of the pieces presented in Duke's Page Auditorium were new. Pilobolus Dance Theater offered the premiere of "The Four Humours." Funny is not what Pilobolus had in mind. The work has more to do with an imaginative space-age look at the old definition of humors as psychological states of mind. Ronald K. Brown and his troupe, Evidence, showed off a fresh and glowing addition to "Walking Out the Dark," a premiere seen at the festival last year.
    "The Paul Taylor Dance Company, which has presented many premieres at the festival, danced its heart out in "Piazzolla Caldera," the hit created in the 1997 season."
http://www.nytimes.com/2002/06/11/arts/dance/11PILO.html?artsindex=3

Brazil: Soul of Samba
A Low-Grade Case Of Dance Fever
GALA's 'Soul of Samba' Lacks Panache
By Nelson Pressley
    "Skimpy costumes and ornate feathered headdresses, lively hips and inviting smiles: This is GALA Hispanic Theatre in nightclub mode for "Brazil: Soul of Samba." At least that's how the show starts, with a serviceable band of six musicians chug-chugging away at a percussion-driven song while a mini-army of singers and dancers floods the small stage at the Warehouse Theatre.
    "But what follows in this Spanish-language performance (with simultaneous English translation available on headsets) is a prosaic survey of Brazilian samba and politics over the last half of the 20th century. It's cabaret as cultural primer: "
http://www.washingtonpost.com/wp-dyn/articles/A28752-2002Jun10.html


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Bruceadmin

11-06-02, 07:21 AM (GMT)
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4. "RE: Tuesday Links - 11 June 2002"
In response to message #3
 
   Good - another RB review!

Royal Ballet
Knocked out by a 'Swan' with zing
Swan Lake - The Royal Ballet
Sydney, Capitol Theatre
By MICHELLE POTTER
    "The Royal Ballet's Swan Lake is a knockout. Fresh, energetic and compelling, it simply zings along.
    "There are several reasons why this Swan Lake is an Ashes-winning production and, yes, there have been exhortations to the Royal Ballet to bring home the Ashes from its Australian tour!
    "First and foremost there's the dancing. It's sensational across the board from the principals to the corps de ballet. And it's more than just good technical dancing. All the Royal's dancers move with such expression in the body, especially in the upper body. They understand too that dance is a physical art not a visual one, and every movement, small or large, fills space and reaches out to engage the audience."
http://canberra.yourguide.com.au/review_detail.asp?class=Arts&subclass=Dance&id=1207&auth=mp&calclass=Entertainment


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AnnWilliams

12-06-02, 09:19 AM (GMT)
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5. "RE: Tuesday Links - 11 June 2002"
In response to message #4
 
   Another thin day (for UK dance news anyway). We'll post anything we find later, but meantime do please post if you find anything

Australian Ballet

Valerie Lawson in the Sydney Morning Herald on the resignation of Australian Ballet's deputy general manager, Josephine Ridge, after losing her application to become full general manager:

Http://www.smh.com.au/text/articles/2002/06/11/1022982845828.htm

Keep Young & Beautiful if you Wanna be Loved...

All forms of dancing are good for your health, according to the Beeb - did you know that 45 minutes of ballroom dancing uses up enough calories to cancel out the eating of half a chocolate bar?

'Dancing is largely an aerobic activity that will improve the condition of the heart and lungs, as well as test your balance. However, to dance for any length of time also requires muscular endurance and motor fitness.For a ten and a half stone person, ballroom dancing uses about 3.5 calories per minute. '
Http://www.bbc.co.uk/health/fitness/active_dance.shtml

New York City Ballet

The distinguished Lynn Garafola in the Village Voice on New York city Ballet's Diamond Project. On Stephen Bayne's 'Twilight Courante' and Melissa Barak's 'If by Chance' :

'Each is a modest work, with fewer than a dozen dancers, minimal costumes, no sets, and simple musical accompaniment. In each there is an emphasis on emotion, on relationships between men and women that are grounded in feeling rather than mere physical display. Barak has spoken of her debt to Jerome Robbins, but the late choreographer is just as much in evidence in Baynes's piece—a sign that NYCB's arid neoclassicism of recent years has begun to run its course. '

Http://www.villagevoice.com/issues/0224/garafola.php


Dance in Ireland

Brian Lavery in the NY Times on a modern dance festival in Dublin:

'Four performances by the Merce Cunningham Dance Company brought dance back to the Abbey, Ireland's national theater, for the first time in nearly 20 years. But it wasn't just dance that provided a jolt. In Project, an alternative theatrical space, the French choreographer Jérôme Bel urinated onstage as part of a performance. (Three people walked out; another called a radio talk show to complain.)'
Http://www.nytimes.com/2002/06/12/arts/dance/12ARTS.html

Chamber Dance

Jennifer Dunning in the NY Times on a new choreographic effort lucky enough to feature the sublime Peter Boal:

' Peter Boal, a longtime principal dancer with the New York City Ballet, continually reaches out for new experiences. An American danseur noble, he seems to have focused in recent years on shading the beauty of his pure classical dancing with dramatic nuance, bravely allowing himself to grow in public.'
Http://www.nytimes.com/2002/06/12/arts/dance/12CHAM.html


Boston Ballet

Karen Campbell in the Boston Glove reports on Boston Ballet's attendance at the Jackson International Ballet Competition:

'Like the Olympics, the USA IBC rolls around once every four years, cycling with sister competitions in Moscow, Tokyo, and Varna, Bulgaria. Participants are selected from taped auditions, and this year 118 young dancers from 25 countries will compete for medals, cash awards, and scholarships during three rounds of competition.'
Http://www.boston.com/dailyglobe2/163/living/Competition_keeps_dancers_on_their_toes+.shtml


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AnnWilliams

13-06-02, 09:45 AM (GMT)
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6. "RE: Thursday links - 13th June 2002"
In response to message #5
 
   English National Ballet

Nadine Meisner in the Independent reviews the first night of ENB's 'Swan Lake' at the Royal Albert Hall:

'ENB has brought over a couple of big Russian guns for some performances in the stylish and technically superlative persons of Svetlana Zakharova from the Kirov and Sergei Filin from the Bolshoi....Filin is perhaps the Bolshoi's most refined male dancer, a fairytale prince to melt any female heart. Pure-lined and light, he has an eloquent plangency and pliancy in his adagio movement, while in the whizz-bang tricks of the ballroom scene he hurtles sensationally round the stage's vast circumference without sacrificing any academic elegance.'
Http://enjoyment.independent.co.uk/theatre/reviews/story.jsp?story=304762

Drama Centre London

Christopher Fettes in the Guardian on Yat Malgren, founder of the movement school Drama Centre London - the piece is actually an obituary.

'With war on the horizon, Malmgren was summoned to London by Kurt Jooss, whose company had been provided with a refuge at Dartington Hall, in Devon, where Malmgren first encountered Laban. A recital at the Old Vic Theatre brought an offer to join the company, and its tours of Britain, the US, Canada and South America.'
Http://www.guardian.co.uk/Archive/Article/0,4273,4432581,00.html

Union Dance

Donald Hutera in the Times on Union Dance at The Place:

The pleasures of Doug Elkins's We Share the Same Bed but not the Same Dream are..... modest but clearly expressed. The American choreographer is no stranger to Union, with several works for the company under his belt. The dancers are clearly at home with his velvety pop eclecticism, which dips in and out of martial arts, street and contemporary styles'
Http://www.timesonline.co.uk/article/0,,685-324938,00.html

American Ballet Theatre

A piece by the New York Times' Anna Kisselgoff on Carlos Acosta,who is dancing for the first time with ABT:

'Ever in search of idols, the international ballet world has rightly found one in Carlos Acosta, the charismatic 29-year-old Cuban who is dancing with American Ballet Theater for the first time this season. Silky smooth in his elegant classical style, sensational technique and muscular power, he can bring down the house effortlessly by whizzing around in any 19th-century ballet coda. But as Mr. Acosta once told a ballet director, "I don't join a company to do `firecrackers.'

Http://www.nytimes.com/2002/06/13/arts/dance/13CARL.html

News from Australia

I posted this Valerie Lawson piece from the Sydney Morning Herald yesterday, but I have just found a much longer version in the Melbourne paper, The Age. The extented piece covers Sylvie Guillem's illness and Stretton's comments on it: ``I know Sylvie. I know if she can do a performance she will do it. She's the most professional person I know.''

Http://www.theage.com.au/text/articles/2002/06/12/1022982859411.htm


New York City Ballet

Georgette Gouvrie in The Journal News (upstate New York) watches Christopher Wheeldon as he rehearses his new work for NYCB 'Morphoses':

'... there's an undertow of tension that reflects the urgency of the ballet. Regardless, Wheeldon keeps everyone's concentration on the task at hand. When Ansanelli decides to peel off her sweater at the last moment before Woetzel lifts her, Wheeldon says simply, "Let's be ready." And when Whelan, all bone and sinew, laughs after flubbing a movement, he says, "It's not funny."'
Http://www.thejournalnews.com/newsroom/061102/11wheeldon.html

Dance at The Place (er..quite a few places actually..)

Sanjoy Roy in the Guardian on a 'site specific' performance by Sirens Crossing This reviw appeared yesterday but came online too late for inclusion in yesterday's links (something which is happening quite often these days):

'The rest of the country may have been celebrating England's football victory, but we were on an hour-long guided tour like no other. This was city:skinned, a promenade performance through the hinterland of King's Cross conceived by Carolyn Deby, whose group Sirens Crossing specialise in site-specific events. A strange sight we must have been, chasing the Women in Yellow as they hopped and skipped ahead of us like fireflies at dusk.'

Http://www.guardian.co.uk/reviews/story/0,3604,735815,00.html


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Bruceadmin

13-06-02, 10:44 AM (GMT)
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7. "RE: Thursday links - 13th June 2002"
In response to message #6
 
  
Royal Ballet: Alina Cojocaru's first Swan Lake
Sydney
Valerie Lawson who writes for the Sydney Morning Herald, amongst others, in Oz has kindly (very kindly) done a review for us. I've put it up on a separate thread at:
http://www.danze.co.uk/dcforum/happening/2808.html


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Brendan McCarthymoderator

13-06-02, 01:49 PM (GMT)
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8. "RE: Thursday links - 13th June 2002"
In response to message #7
 
   Judith Flanders of the Standard on ENB's Swan Lake at the Albert Hall.

"Derek Deane's production of Swan Lake takes the most architecturally specific ballet in the classical repertoire, wrenches it out of context, and puts it into theatre in the round. To fill the huge space, virtually everything has to be doubled, quadrupled: Deane, no modernist, clearly believes that More is More. To ensure that everyone gets a partial view, he has also ensured that no one gets a complete one. The real pity is that the English National Ballet is looking so good at the moment, once you work your way past the fuss and feathers. The corps is in excellent shape, and dances with far more dedication and seriousness than this production warrants. Svetlana Zakharova, of the Kirov, is a lovely Odette/Odile, by turns pliant and fiery. She was sensitively partnered by Sergei Filin, from the Bolshoi. Both give performances that go to the heart of the mystery of Swan Lake - that human fallibility brings destruction, but that a noble death can triumph over a compromised life."


http://www.thisislondon.co.uk/dynamic/hottx/theatre/dance_review.html?in_review_id=604282&in_review_text_id=581392


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AnnWilliams

14-06-02, 09:14 AM (GMT)
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9. "RE: Friday links - 14thJune 2002"
In response to message #8
 
   English National Ballet

Clement Crist in the Financial Times on ENB's Swan Lake at the Royal Albert HALL;
'Great praise for the two Russian guests who led the performance: the Kirov's Svetlana Zakharova and the Bolshoi's Sergey Filin. Zakharova, exquisitely boned and with ravishing feet, is an Odette of grief-struck beauty, an Odile of liveliest malice. Filin commands the stage by gesture - beautifully phrased, effortlessly noble - and by dancing of admirable classic style. Both artists I found to be as exciting as I have seen them in performance at their home theatres: no greater praise for their integrity and artistry. Of course the audience was baying for more as the fouettés whizzed past:'

Http://news.ft.com/servlet/ContentServer?pagename=FT.com/StoryFT/FullStory&c=StoryFT&cid=1023858984580&p=1016625900929

Judith Mackrell in the Guardian has mixed feelings on the event:

'English National Ballet's Swan Lake, returning once more to the Albert Hall, is one of those events where critics resign themselves to being killjoys. First-time viewers of this huge production are given every reason to hold their breath. Demons and acrobats race across the vast, oval stage. Sixty swans, flocking in mass formation in a blue-white mist, are a magical sight. If ballet were simply a high-class, superbly drilled spectacle, then this Swan Lake would be a winner. '
Http://www.guardian.co.uk/Archive/Article/0,4273,4433309,00.html

..Likewise Donld Hutera in the Times:

ON PAPER it sounds fine: Swan Lake as an in-the-round spectacle at the Albert Hall, featuring 60 swans. ....The reality is something else. The former English National Ballet director Derek Deane's 1997 arena staging, back for a third run (until June 22), demonstrates again that size is no guarantee of greatness

Http://www.timesonline.co.uk/article/0,,685-326004,00.html

The Bolshoi in Washington

Alexandra Tomalonis in the Washington Post on the Bolshoi's 'Swan Lake' at the Kennedy Centre:

'.... this "Swan Lake" is Siegfried's story, and as the dreamy young prince, Andrei Uvarov gave the ballet its center. He's a big man, with an expressive face, beautiful hands and the clean, plush technique of a Russian danseur noble. The Kennedy Center stage is a fraction of the size of the Bolshoi's, and Uvarov seemed a bit hemmed in by it, perhaps reluctant to let loose for fear of taking the court out with a single soaring jump, but his power was evident nonetheless.'

Http://www.washingtonpost.com/wp-dyn/articles/A48481-2002Jun13.html

American Ballet Theatre

Jack Anderson in the New York Times on ABT's 'The Merry Widow':
'The leading roles were strongly characterized. By appearing aloof one moment and alluring the next, Julie Kent made Hannah, the wealthy widow, a mysterious figure who could unpredictably combine emotional fire and ice. Angel Corella was a boyishly appealing Danilo, and in a drunk scene, his meticulous technical control created a wonderful illusion of total wooziness.'

Http://www.nytimes.com/2002/06/13/arts/dance/13WIDO.html

Bill T Jones

Anna Kisselgoff in the NY Times on a 50th bithday gala for Bill T Jones:
'Lauren Hutton, the actress and model, was the lively emcee. Robert Wilson, the avant-garde director, let out a few rehearsed squawks to begin a poem he wrote for Mr. Jones. After some wordplay in repetitive cadences, he ended, "My friend, my colleague, I love you."'

Http://www.nytimes.com/2002/06/14/arts/dance/14JONE.html

Rosemary Butcher Dance

Nadine Meisner in the Independent on Rosemary Butcher at The Place:
'Rosemary Butcher's new piece is a stunner, made by a choreographer who has been treading her radical path for almost 30 years and just gets better and better. The title may be a puzzle, but Still-Slow-Divided achieves its impact through a superlative fusion of choreography, sound and light, all equally perfect.'

Http://enjoyment.independent.co.uk/theatre/reviews/story.jsp?story=304793

Australian Ballet

Prior to the opening in Melbourne of Australian Ballet's new programme 'Ballet Blokes', John Mangan in Melbourne's 'The Age' asks whether men in tights can ever be considered true Aussies.. 'The program is as diverse as the advertising images selected to promote it. In one picture, drawn from Ray's The Sentimental Bloke, a straw-boatered dandy stands surrounded by admiring maidens. In the other, which graces the cover of the program, a shadowy, unclad dancer, Steven Heathcote, hovers beneath the enigmatic moustachioed gaze of the choreographer, Page.'

Http://www.theage.com.au/text/articles/2002/06/13/1023864322922.htm

The Dance School of Scotland

James Dahan in The Scotsman reports a significant increase in the intake of boys at the Dance School of Scotland. The school, based at Knightswood Secondary in Glasgow, yesterday revealed that this year's aspiring dancers, many of whom go on to successful careers with Scottish Ballet and other world-class companies, will be evenly matched along gender lines
Http://www.thescotsman.co.uk/entertainment.cfm?id=644942002

Health & Beauty

From the Telegraph's Health page, author Martin Amis reveals the secret of his new-found grace and poise and tells us why he no longer has to suck in his stomach while on the beach - it's all down to Pilates, apparently:
Http://www.telegraph.co.uk/health/main.jhtml?xml=%2Fhealth%2F2002%2F06%2F13%2Fhamis13.xml

Canada Dance Festival

The Toronto Globe & Mail's Paula Citron reviews the first half of the bienniel Canada Dance Festival with an unflinching eye - she finds it as interesting as it was irritating: 'For starters, every full-length piece was too long, and this choreographic diarrhea is caused, I suspect, by the curse of the presenters...... If you don't have a full-length piece, so beloved by producers, European producers in particular, that means a shared program -- or worse, not being invited at all.... Length should be determined by creative integrity, and not by the lure of touring.'
link to article


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Bruceadmin

14-06-02, 12:57 PM (GMT)
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10. "RE: Friday links - 14thJune 2002"
In response to message #9
 
  
English National Ballet
Big but not clever
Swan Lake
London, Albert Hall
by Ismene Brown
    "A local critic reviewing the Royal Ballet's current Australian tour has opined that Swan Lake no longer has any relevance today, and exists now only for dancers to display their virtuosity in an antique dancing style. No wonder expectations are so low, when many people's only recent experience of the ballet was English National Ballet's in-the-round production by Derek Deane.
    "Back at the Albert Hall for a third time, this synthetically enhanced, flavour-reduced production - designed for "new audiences" - is all big numbers, and bears as much relation to the real Swan Lake classical ballet experience as processed cheese slices have to Reypenaer VSOP Gouda."
http://www.arts.telegraph.co.uk/arts/main.jhtml?xml=/arts/2002/06/14/btib.xml&sSheet=/arts/2002/06/14/ixartright.html


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Bruceadmin

15-06-02, 09:57 AM (GMT)
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11. "Saturday Links - 15 June 2002"
In response to message #0
 
  
Bolshoi Ballet
Bolshoi's Tragic Carpet Ride
Overloaded Production of Petipa's 'Bayadere' Lacks Direction
Washington
By Alexandra Tomalonis
    "Love, murder, betrayal, lust, revenge, reconciliation and the triumph of justice. How could you mess this one up?
    "Bolshoi Artistic Director Yuri Grigorovich manages very nicely. He is credited in the program for the "revival and choreographic revision," despite the fact that many of the divertissements and the entire third act are Petipa's. He has replaced the pantomime speeches, which explain what's going on, with vague gestures -- a flailing arm here, an undirected pointing finger there -- that look like silent movie acting in Martian and make the long passages where the music is screaming the story (Minkus is not subtle) both boring and senseless.
    "There are scenes that look as though they haven't been directed in decades. The dancers seem to have been left to their own devices and start out doing something that recalls the libretto but finish up doing something else, whatever it is."
http://www.washingtonpost.com/wp-dyn/articles/A54597-2002Jun14.html

Bolshoi Ballet
Brilliance, flaws in a pas de deux
Washington
By Jean Battey Lewis
    "The company's powerfully flamboyant style is designed to galvanize a huge audience, and it is doing just that at sold-out performances of "Swan Lake" and "La Bayadere."
    "Surprisingly, the Bolshoi looked better in "La Bayadere," the lesser ballet, with inferior music, than it did in the revered "Swan Lake" with its Tchaikovsky score.
    "Perhaps it is because "Bayadere's" tale of rajahs and slave girls is mostly a pretext for the cascade of spectacular dancing at which the Bolshoi excels.
    "Swan Lake" is another matter. Here choreographer Yuri Grigorovich, who revised and mounted both ballets, has attacked with a heavy hand...."
http://www.washtimes.com/arts/20020615-81101016.htm

Birmingham Royal Ballet
Hobson's Choice
CLOG dancing in the streets, couples whirling in Peel Park on a Sunday afternoon, the Sally Army in full throttle – they’re all brought to life in the ballet version of Hobson’s Choice.
Manchester, The Lowry
by ??
    "This joyous production is bursting with memorable scenes and characters – and the dancing is terrific all round. I particularly enjoyed the spring-heeled oriental Sally Army, the front-of-cloth mock wedding clog dance, and Maggie and Will’s dance to Lily Of Laguna. – “she’s my lady love". "
http://www.manchesteronline.co.uk/entertainment/theatreanddance/reviews/stories/Detail_LinkStory=7447.html

Wendy Houstoun
Urban talent with a twist
Instant Transformations
London
by Sarah Frater
    "The effect is intriguing, but it also feels contrived. Houstoun sports disarray, but the former DV8 company member is too clever for that."
http://www.thisislondon.co.uk/dynamic/hottx/top_review.html?in_review_id=533216&in_review_text_id=498848

Northern Ballet Theatre
Ballet keeps audiences spellbound Jun 13 2002
Madame Butterfly
New Theatre, Cardiff
By Jenny Longhurst, South Wales Echo
    "Artistic director David Nixon's new ballet held the New Theatre audience spellbound as it blossomed, like the cherry trees overhead, into a spine tingling version of this romantic tragedy.
    "...This is a production that lifts NBT to another level and is set to become a classic in a class of its own."
http://icwales.icnetwork.co.uk/0900entertainment/0050artsnews/page.cfm?objectid=11948607&method=full&siteid=50082

Rudolf Nureyev
Rare Nureyev archives made public
London
    "Hours of rare classical music recordings and video footage of Russian artists, such as ballet dancer Rudolf Nureyev, are being released after gathering dust for more than seven decades.
    "The recordings of more than 400,000 performances, recorded by the Soviet Ministry of Radio and Television, are being made available on albums by the US firm Pipeline Music...."
http://news.bbc.co.uk/hi/english/entertainment/arts/newsid_2044000/2044732.stm

Katherine Dunham
Choreographer Dunham busy as ever
Boston
Dance/by Theodore Bale
    "Dunham still lives in New York, still teaches and conducts anthropological research. At the age of 92, it's inspiring to hear her speak about her work in the present tense, not the past.
    "On June 24, the Jacob's Pillow Dance Festival in Becket will honor Dunham on the occasion of her 93rd birthday with an evening of performances and tributes"
http://www2.bostonherald.com/entertainment/arts_culture/danc06142002.htm

Donald Byrd/The Group
Modern-Dance Troupe Is to Close After 24 Years
New York
By JENNIFER DUNNING
    "Donald Byrd/The Group, a modern-dance company that has brought African-American history and culture to new audiences for 24 years, is closing because of financial problems caused by its most ambitious and important undertaking: the transformation of "The Nutcracker," ballet's great Christmas classic, into "The Harlem Nutcracker."
    "A lot of it has to do with debt issues that have been ongoing since `Harlem Nutcracker,' " Mr. Byrd said yesterday. The $1.2 million production, which had its premiere in 1996, was artistically successful and toured extensively throughout the United States. But Mr. Byrd said he had struggled for six years to pay off the debt arising from it, now about $400,000. His 10-member company, which has an annual budget of just under $1 million, also has an accumulated deficit of another $400,000"
http://www.nytimes.com/2002/06/15/arts/dance/15BYRD.html

Lawrence Pech Dance Company
Pech dance company's preview promises good things
San Francisco
by Octavio Roca
    "A hip crowd gathered Tuesday night at the Forum in Yerba Buena Center for the Arts for a rare behind-the-scenes glimpse of the creative process that turned out to be one of the year's most fascinating dance events.
    "The Lawrence Pech Dance Company previewed its fall season in something called "Works in the Works," with the choreographers on hand to discuss the new ballets and a splendid troupe to dance what there is of them so far. And it was quite a lot."
http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/06/13/DD210750.DTL&type=performance


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Bruceadmin

16-06-02, 07:42 AM (GMT)
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12. "Sunday Links - 16 June 2002"
In response to message #0
 
  
David Bintley on Scottish Ballet
Best steps start close to home
On the eve of its first trip to Scotland for eight years, Birmingham Royal Ballet’s David Bintley tells Senay Boztas where he thinks Scottish Ballet went wrong
by Senay Boztas
    {David Bintley}"“People in the Scottish Arts Council have been talking about models from abroad with no perception of what a British or English company like the Birmingham Royal Ballet can do by looking at its own situation, strengths and heritage,” he says. “Scottish Ballet should do that. They should not think, we like the Nederlands Dans Theater or San Francisco Ballet, so let’s do that.
    "“You have to build a ballet company up from what you’ve got. With the background the Scottish Ballet had — its founder Peter Darrell’s classical company — the idea of jettisoning that part of its heritage seems to be folly. You can’t just create something out of nothing that doesn’t reflect what the people are and what they want.”
http://www.timesonline.co.uk/printFriendly/0,,1-1506-326474,00.html

English National Ballet, Scottish Ballet
Does my Swan look big in this?
Swan Lake, English National Ballet, Royal Albert Hall, London SW7
Carmen, Scottish Ballet, New Victoria Theatre, Woking
Two Russian stars shine amid scores of maidens, dancers and jugglers in a spectacular show
by Jann Parry
    "Already known as a phenomenon from her (Svetlana Zakharova) appearances with the Kirov at the Royal Opera House, she is even more extraordinary when virtually every pose is rotated through 360 degrees. Her long, hyper-flexible limbs make her an Art Nouveau swan, all extravagant curves. Filin has to find her centre of balance without looking ungainly - not easy when the manipulations in a pas de deux are designed to be discreetly disguised. Fortunately, Filin has one of the neatest bottoms in the business..."
http://www.observer.co.uk/review/story/0,6903,738177,00.html

Nederlands Dans Theater 2
Not a clog in sight
Theatre Royal, Glasgow
By Barry Didcock
    "WITH a reputation as one of the world's most exciting dance companies, the young guns of Nederlands Dans Theater's junior division, NDT2, could have sailed through this rare Glasgow show without breaking sweat and still won an ovation.
    "They don't, of course. Instead they earn their applause with a mixture of graft and grace that reflects their age (the company is made up of the 18 to 22-year-olds who feed the main company) and pays tribute to the precocious enthusiasm of the choreography.
http://www.sundayherald.co.uk/25449

Alvin Ailey
Going back to his roots
London
Alvin Ailey wasn't just a great dancer and choreographer, he was a great man. On the eve of his company's visit to London, John Percival explains how Ailey's amazing career brought black culture into the mainstream of American dance
By John Percival
    "Many lives would have been less joyful if Alvin Ailey had not been persuaded, as a teenager, to watch the dance classes that his schoolfriend Carmen de Lavallade attended in Hollywood, a bus ride from their Los Angeles homes. Ailey was in awe of her dancing ever since a solo she gave at school assembly; she in turn admired him as a gymnast, but it took a while to convince him that he, too, could dance.
    "Ailey had jived around in imitation of Gene Kelly and other film stars, but in spite of that and the superb male dancing he had seen when Katherine Dunham's Afro-Caribbean company came to his local theatre, Ailey had the firm idea that for a man to be a professional dancer was sissy. There was also the belief (only too true then) that openings for black people in dance were few. How could he know that his amazing career was going to change both those circumstances?"
http://enjoyment.independent.co.uk/theatre/features/story.jsp?story=305133

Rosemary Butcher, New York on Tap
Bent out of shape
Imaging the Invisible goes nowhere fast, but Rosemary Butcher is clearly inspired, says David Dougill
London
by David Dougill
    "Rosemary Butcher is a British independent choreographer whose meticulous, highly concentrated style of movement, often devised as part of cross-arts collaborations, is more likely to be seen in non- theatre spaces (such as galleries) than in regular dance houses. But she brought her company of four to the Robin Howard Dance Theatre at The Place last weekend, with a double bill that, by dispensing with the stage wings, made this space look unusually expansive.
    "She achieves striking effects with elegantly simple means...."
http://www.timesonline.co.uk/article/0,,2101-324796,00.html

Alexandra Ansanelli of NYCB
A Young Survivor in Ballet's Unforgiving World
New York
By ROSLYN SULCAS
    "AT 21, Alexandra Ansanelli is making a comeback. She was a promising newcomer at New York City Ballet at 15, but within a few years she had developed a mysterious pain in her left foot and questioned whether she would ever dance again. After more than a year away from dancing and months of physical therapy, she made a tentative return to the stage last year, appearing in Christopher Wheeldon's "Polyphonia" and "Variations Sérieuses."
http://www.nytimes.com/2002/06/16/arts/dance/16SULC.html

Pascal Rioult Dance Theater
Finding New Steps in Ravel's Dance of Seduction
New York
By GIA KOURLAS
    "OMETIMES the dancer Joyce Herring cannot stop herself from rolling her eyes, however discreetly, when she hears of yet another choreographic scheme by her husband, Pascal Rioult.
    "The latest was his idea to create a piece for his company, Pascal Rioult Dance Theater, to Maurice Ravel's most famous work, "Bolero." It was his solution to a quandary: how to close "The Ravel Project," a program of four dances set to the music of Ravel that will open on Tuesday at the Joyce Theater in Manhattan."
http://www.nytimes.com/2002/06/16/arts/dance/16KOUR.html

Awards and Honours to dancers
on a separate thread:
http://www.danze.co.uk/dcforum/happening/2813.html


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Brendan McCarthymoderator

16-06-02, 10:59 AM (GMT)
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13. "RE: Sunday Links - 16 June 2002 (2)"
In response to message #12
 
   LAST EDITED ON 16-06-02 AT 11:18 AM (GMT)

I can't understand how Bruce could have missed this from the Observer Food Monthly.

What's in your basket...Darcey Bussell? Prima ballerinas need plenty of fuel, but Dr John Briffa is appalled by her low passion for frankfurters.

"'I have to eat for my profession. The night before my show, I can't do without carbohydrates, which give me the stamina to get me through a three-hour performance. Pasta is a must, plain rather than brown, or a simple baked potato. I'm not a big cook at all but anything easy and quick, like pasta, I'm up to. My husband cooks for me because he finds cooking relaxing. We are plain eaters though, usually just making a tomato sauce to go with our carbohydrates. During the day of a show I eat protein, chicken or fish salad, never red meat because it doesn't agree with me. The meal can't be too heavy, because it's not wise to be too full while doing a show. Grilled fresh salmon is a must. My main vice is Herta frankfurters - it's amazing that they stay fresh for ages. They're not very healthy but they are my treat."

Much more at: http://www.observer.co.uk/foodmonthly/story/0,9950,736104,00.html

Darcey also features in July's Zest magazine, "Secrets of the Fit and Famous" (thank you Suzi): "I do lots of stomach and pelvic floorwork, and cat stretches for my back (get onto all fours, arch your back upwards and then lower it). It's important to make sure your stomach is really strong, as everything else follows on from there - if mine wasn't strong, I'd get a bad back."

Staying with the food theme, the Telegraph ran a profile during the week of the actress Anna Chancellor. It includes the following:

"Female cosy-cosy-cosy relationships have got a lot of hidden agendas," says Anna, who is 37, as we talk in the bar of a Covent Garden hotel. "It's like a story I heard about the Royal Ballet. When it's your birthday, the girls bring you a huge chocolate cake . . ." and now she leans across the table towards me, eyes enticingly wide, arms out as if carrying a wonderful gateau, and in ballerina-like tones whispers, "Here you are, darling. Eat it all!"
http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2002/06/11/bfchanc09.xml&sSheet=/arts/2002/06/15/ixfilmtop.html



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