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Subject: "Latest Review Links: w/b 1st July" Archived thread - Read only
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Conferences What's Happening Topic #2852
Reading Topic #2852
Brendan McCarthymoderator

01-07-02, 06:37 AM (GMT)
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"Latest Review Links: w/b 1st July"
   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:

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:

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

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  Subject     Author     Message Date     ID  
  Re: Links, Monday 1st. Brendan McCarthymoderator 01-07-02 1
     RE: Re: Links, Monday 1st. (2) AnnWilliams 01-07-02 2
         RE: Re: Links, Monday 1st. (3) Brendan McCarthymoderator 01-07-02 3
         RE: Re: Links, Monday 1st. (4) Jane S 01-07-02 4
             Links: Tuesday 2nd Brendan McCarthymoderator 02-07-02 6
                 RE: Links: Tuesday 2nd trogadmin 02-07-02 7
                     RE: Links: Tuesday 2nd Annelieseagain 02-07-02 8
                         RE: Links: Wednesday 3rd July '02 AnnWilliams 03-07-02 9
                             RE: Links: Wednesday 3rd July '02 (2) AnnWilliams 03-07-02 10
                             RE: Links: Wednesday 3rd July '02 alison 03-07-02 11
                             RE: Links: Wednesday 3rd July '02 sylvia 03-07-02 12
                             RE: Links: Thursday 4th July '02 AnnWilliams 04-07-02 13
                             RE: Links: Thursday 4th July '02 AEHandley 04-07-02 14
                             RE: Links: Thursday 4th July '02 alison 04-07-02 15
                             RE: Links: Thursday 4th July '02 Brendan McCarthymoderator 04-07-02 16
                             RE: Links: Friday 5th July '02 AnnWilliams 05-07-02 17
                             RE: Links: Friday 5th July '02 alison 05-07-02 18
                             RE: Links: Friday 5th July '02 Brendan McCarthymoderator 05-07-02 19
                             RE: Links: Saturday 6th Brendan McCarthymoderator 06-07-02 20
                             RE: The Royal Ballet in Australia Gattie 06-07-02 21
                             Links: Sunday 7th Brendan McCarthymoderator 07-07-02 22
                             RE: Links: Sunday 7th Tomoko.A 07-07-02 23

Conferences | Topics | Previous Topic | Next Topic
Brendan McCarthymoderator

01-07-02, 07:03 AM (GMT)
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1. "Re: Links, Monday 1st."
In response to message #0
   LAST EDITED ON 01-07-02 AT 10:53 AM (GMT)

The UK papers seem rather bereft of dance coverage this morning, except for a Judith Mackrell profile of Mark Baldwin, Rambert's new AD, which has yet to appear online. When it does, a link will be posted.

Fire at the ROH

Saturday night's performance at the ROH of Tchaikovsky's "The Queen of Spades" was interrupted when the soprano Susan Chilcott's dress caught fire. According to the Times, "Carolyn Soutar, a member of the audience, said: “There were flames coming from her dress and the audience was shouting ‘Behind you, behind you’. She was wearing a black 19th century frock so the flames were very visible.She jumped a mile when they aimed the extinguisher at her. She still had no real idea what was going on. It was very worrying but the cast were very professional and just carried on as if nothing had happened.”
The Times


According to Jennifer Dunning of the NY Times, "...the experience of watching Pilobolus Dance Theater is somewhat akin to watching the final rounds in an Olympics gymnastics competition. That kind of physical perfection and refined daring was the point of "The Brass Ring," a New York premiere created by Michael Tracy and the cast for the 2002 Cultural Olympiad. Only with a final startling shift in imagery at the end does the piece become something more than itself, in true Pilobolian fashion."
New York Times

Arts Sponsorship

Tony Thorncroft of the FT writes on artistic sponsorship's new obsession with education. "Mentoring is a new idea for the arts and Rolex has taken it to the ultimate. Five leaders in their fields - the conductor Sir Colin Davis, the writer Toni Morrison, the choreographer William Forsythe, the theatre director Robert Wilson and the architect ý lvaro Siza - have agreed to take on five professional newcomers for a year, giving them at least 30 days of instruction. In the case of Forsythe, Chinese dancer-choreographer Sang Jijia, 29, will spend a year working with him at the Frankfurt Ballet."
Financial Times

ABT's Giselle

The NY Times finds space for three reviews of ABT's Giselle. Jack Anderson of the NY Times smiles on the production. "Giselle may be a peasant lass with a weak heart. But Ms. Ferri also made her passionate, and her first-act mad scene grew increasingly intense. As a ghost in the second act, she seemed a totally different being, an apparition who desperately sought to save Albrecht from Myrta, the queen of the evil spirits. In the first act, Mr. Bocca's assurance implied that this Albrecht was a playboy who enjoyed dallying with peasants. As he came to realize how he had harmed Giselle, he was overwhelmed with grief, and his second act was notable both for the brilliance of his dancing and for his sense of repentance."
New York Times

Jennifer Dunning sees two different ABT casts. "American Ballet Theater's production of "Giselle" is crammed with dramatic detail. Repeated performances do not dull the dancers' liveliness and feel for character, all the way back to the back of the corps. But there was surprisingly little rapport between two sets of principal dancers on Thursday and Friday nights at the Metropolitan Opera House. And that diminished dancing that was often inspired."
New York Times

Jack Anderson's take on the Corella/Tuttle cast. "For much of the first act, Ms. Tuttle was a shy, almost self-effacing Giselle. Yet she proved capable of vivacity in her joyous solo, in which the steps were quick and clear. When she realized that her beloved Albrecht was really betrothed to someone else, this mild young woman grew wild in the mad scene. Mr. Corella's Albrecht was a handsome, supremely confident young man who surely felt he could get away with anything. But during the mad scene his assurance crumbled and he gazed appalled at Giselle's delirium."
New York Times

Ballet in South Africa

The Johannesburg Business Day reports a funding deal for South African Ballet Theatre. "FNB's decision to collaborate with the dance company was based on their innovative entrepreneurship, but the inspiration came from an evening at Swan Lake with a group of corporate clients. Irine Dempster, executive director of FNB Corporate, said: "We are impressed with the company's acumen in being able to operate as a financially sound organisation, while still being true to their original vision of performing technically superior, world-class classical ballet."The sponsorship is dedicated to two full ballet seasons a year for three years.
Link to article

The South Africa Daily Dispatch on a production of Coppelia at the Grahamstown Arts Festival (although the company is not mentioned, it is Cape Town City Ballet - scroll down for review). "It was, with anticipation, that I looked forward to choreographer Jean-Paul Comelin's version of the ballet, and he lived up to all my expectations. Dr Coppelius, wonderfully characterised by Eduard Greyling, opened Act 1 as he shuffled his way to his well-known dolls. The introduction of Swanilda, danced with strong technique and yet lovely ease of movement by Michelle Louw, and Franz, performed by Michael Johnston, set the tone for a vibrant performance."
South Africa Daily Dispatch

Scroll further down the same page for a review of Cape Town City Ballet's mixed bill, 'Contrasts'. "Contrasts proved to be an interesting mix of contemporary dances forms, that varied in both mood and style. It was good to see that Cape Town City Ballet is achieving strength in contemporary dance."
South Africa Daily Dispatch

Business Day also profiles Kitty Phetla of Ballet Theatre Afrikan.
Link to article

Bharata Natyam

A Boston Globe story on a Bharatha Natyam festival in the city. "The students sometimes have cultural gaps to cross. ''The training of the body is relatively easy, the training of face is more difficult. It's very culture-based, and the girls growing up here have trouble picking up the facial expressions - the wide eyes, being shy and bashful. The reason for feeling bashful is something they can't identify with.''
Boston Globe

The Musical

Alastair Macaulay writes for the Financial Times on new directions in the stage musical. "The new emphasis in musicals is all about the absurd uplift music can afford. It's also largely retro - ironic, campy. History will not look upon our era as important for new musical theatre - but then it will not look upon it as important for new popular music. The era that began with Elvis and the Beatles is winding down. And the tone of Mamma Mia and We Will Rock You acknowledges that: look back in bemused gratitude. But the tone also says: Open your heart to music. Are musicals again becoming musical? I would sacrifice a good story for a good song."
Financial Times

Christopher Wheeldon

The Age has a profile of Christopher Wheeldon, by Valerie Lawson, which appeared some weeks ago in the Sydney Morning Herald. "He acknowledges Robbins, and MacMillan, former artistic director of the Royal Ballet, as his mentors, but has no plans to follow their example and get dragged into the tangled web of ballet company politics. "I see what artistic directors are going through, and I think it must be one of the worst jobs in the world. You never seem to be able to do what's right for the company. If you're trying to push the envelope, you're attacked for that. If you're a great advocate for tradition, you are attacked for that." As for the commercial aspects of artistic directorship, "I don't have any aspirations to spend my time raising funds and getting rich ladies to write cheques for the company and schmoozing at parties. But who knows, maybe down the road I'll have a change of heart".
The Age

The Greatest American Dance Work

The Chicago Tribune's critics nominate a number of art works that epitomise the essence of America. The paper's dance critic, Sid Smith, chooses Martha Graham's Appalachian Spring. "When the topic is great dance, George Balanchine inevitably comes to mind. He wasn't American born, of course, but that makes him all the more archetypal as an immigrant who built on his Russian training and revitalized ballet as a U.S. art. "Stars and Stripes" (1958), set to John Philip Sousa, and "Square Dance" (1957), with its infinitely layered classical take on an American folk tradition, are among his more American in spirit.... In the end, though, Martha Graham remains the giant who most completely transformed this ancient art into an American original. Following in Isadora Duncan's footsteps, she created a 20th Century dance vocabulary as vital and expressive as ballet itself. In her signature Americana work, "Appalachian Spring" (1944), set to an Aaron Copland score evoking wide-open skies and winding riverlets, she captures our manifest idealism and doubt, conveying both the grandeur and uncertainty of our pioneer ancestry."
Chicago Tribune

Running away to the Circus

The Miami Herald asks Sally Ann Isaacks why she deserted Miami Ballet to join Cirque du Soleil. "Isaacks decided Cirque du Soleil was something she wanted to try after a friend who was dancing in Cirque's Mystre told her how exciting it was. Isaacks took Kennedy to see La Nouba for his birthday and was '' . . . blown away by it. It engulfs you,'' she says."
Miami Herald

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01-07-02, 10:19 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  
2. "RE: Re: Links, Monday 1st. (2)"
In response to message #1
   Pacific Northwest Ballet

This is from last Friday's Independent - Nadine Meisner on PNB:

' "... even if there is a strong Balanchine influence," says (Francia) Russell, "we don't teach Balanchine technique. In his own lifetime, Balanchine kept shifting, but now his technique has become as if set in aspic, with certain things exaggerated." This is confirmed by Patricia Barker, the company's leading ballerina. "Obviously the style is built around his influence, and the aim is to keep the long muscles and lean look he created, but a lot also comes from Francia, with more emphasis on the upper body and port de bras. Basically, she has given us a technique that allows us to adapt to the different styles of choreographers coming in to work with us." '


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Brendan McCarthymoderator

01-07-02, 12:02 PM (GMT)
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3. "RE: Re: Links, Monday 1st. (3)"
In response to message #2
   LAST EDITED ON 01-07-02 AT 01:11 PM (GMT)

Rambert Dance Company

Judith Mackrell's Guardian interview with Mark Baldwin, Rambert's new AD, is finally online. "Baldwin, 48, performed with Rambert from 1983 to 1992, and says that it was his long association with the company that attracted him to the job. "I have a built-in urgency to see it go right, and I have a loyalty to the woman who started it, to her joy and her commitment to the future. I hadn't been into the Rambert building for 10 years, but as soon as I walked in, I started to have an instinct about the energies that I wanted to pick up on there." It is several months since Baldwin was first approached about the job, and he has needed all that time to get used to the idea. After leaving Rambert, he built up a successful career as a choreographer - "I've been pumping out about seven new works a year for the past decade" - and he knew that taking on so large a company would limit his personal creative freedom. But he consoles himself with the knowledge of "how much I'll be enriching myself by commissioning great new work", and already has lists of the artists he wants to approach. The company's Ballets Russes connection is fundamental to his thinking. Rambert herself worked with that legendary company before settling in London, and Baldwin believes he can still rely on Diaghilev's genius for inspiration."

Nacho Duato

Nacho Duato's Compania Nacional de Danza has been in Korea during the World Cup. According to the Korea Times: "The audience proved more agile than usual during the intervals and at the end of the performance. They swarmed to the foyer and could be seen clustering around the TV sets in the refreshment shop and in a nearby tailors. No, no one had scored yet. Even Nacho Duato himself, tall and statuesque, in a black shirt daubed with white, suddenly appeared, to check the progress of his national team. He was immediately besieged by autograph hunters and beat a hasty retreat. Did he dream, perhaps, that in another life he might have been dancing to a different tune, and, with his own superior choreography, might have led his country to success and not defeat?"
Korea Times
When offered Korean characters on the dialogue box, click 'No'.

London Studio Centre

Sarah Frater of the Evening Standard reviews the Images of Dance programme by graduates of the London Studio Centre. "Last was Adam Cooper's The Bawdy Song Travellers, a folky piece set to traditional English songs. Wearing flat slippers rather than pointes, the dancers thrived on what used to be called character dancing, seemingly released from the formality of ballet. My only quibble was the two luckless girls impersonating oaks. Cooper is a professional and should know better than to dress his dancers as trees."
Evening Standard

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Jane S

01-07-02, 01:03 PM (GMT)
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4. "RE: Re: Links, Monday 1st. (4)"
In response to message #2
   Nadine Meisner in the Independent on the Alvin Ailey company:

After cancelling its planned London season last year,
following the Twin Towers catastrophe, the Alvin Ailey
American Dance Theater is back after an 11-year absence. It
aims, as it says, to promote black cultural expression and
celebrate American modern dance. The first of its two London
programmes holds true to that, enthusing an audience with
this affirmation of African Americanism. But to my mind, by
far the most impressive part of the equation are the dancers.
They are physically gorgeous, glossily trained, and powered
with a supple fluency that produces perfection with even the
toughest challenges. They deserve quality choreography to


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Brendan McCarthymoderator

02-07-02, 07:03 AM (GMT)
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6. "Links: Tuesday 2nd"
In response to message #4
   LAST EDITED ON 02-07-02 AT 07:09 AM (GMT)

Alvin Ailey Dance Theater

Jenny Gilbert of the Independent on Sunday on last week's programme at Sadler's Wells. "The trial-and-error of the new paled next to the tried-by-fire of the old. Ailey still beams truth like a beacon. Revelations, inspired by his memories of Sunday services in his native Texas, is an integrity of form and feeling. Strong, simple body shapes – a phalanx of raised palms in "I Been 'Buked", the yearning, heavens-reaching balances in the duet "Fix Me Jesus" – sear themselves into the imagination like a branding iron. And who can resist the emotional pull of "Wade In the Water"?, a traditional southern baptism so simply staged that it's a near-abstract expression of liberation."
The Independent

Mikhail Baryshnikov

The Plain Dealer (Cleveland, Ohio) reviews "Baryshnikov in Black and White", with photographs chosen by Baryshnikov himself. "The living choreographers whose work he admires include modern masters Merce Cunningham and Paul Taylor, postmodernist Trisha Brown, White Oak colleague Mark Morris, "Swan Lake" spoofer Matthew Bourne and neoclassicists William Forsythe and Christopher Wheeldon. While Baryshnikov believes it will take decades for important new choreographers to emerge in Russia, he still considers Russian-trained classical dancers the best in the world. But he has no desire to return to the motherland."
The Plain Dealer

Bangarra Dance Theatre

The Age has an interview with Stephen Page, artistic director of Bangarra Dance Theatre, as it prepares to premiere a new work, 'Walkabout'. "For Page, Walkabout is about ``reclaiming the word - the value of the word and what it means.'' Over time, the word ``walkabout'' has come to be used in an often derogatory way, to describe someone who is a bit flaky, or unreliable. For Page, however, ``walkabout'' is a time for Aboriginal boys to become men. ``Young boys are given initiations to maybe go out and hunt and there were certain things they had to get, like a kangaroo and three barramundis - the quicker you did it, the more powerful leader you'd become. But also it's about family. Walkabout is going back to homeland, back to where you were birthed, back to the tree where the placenta was buried - so it has a myriad of purposes.''
The Age


Jill Sykes of the Sydney Morning Herald is underwhelmed by Balletlab's 'Upholster'. "Adams has set the piece in the freewheeling years of the 1960s and '70s, drawing on furnishing designs, hippie chic, drug use and mind-blowing music. In a program note, the words used to describe his concept include bizarre dystopia, Kama Sutra, erotic and a circa '70s playground layered in Indian and Hindu imagery. In his dreams, maybe. But not what he has put together for the audience. The words - like the marketing photo, which bears no relation to anything we see in the piece - sound rich, interesting and sexy. The work itself is bland, juvenile and undeveloped."
Sydney Morning Herald

Dance in Hungary

Mary Brennan of the Glasgow Herald visits the Hungarian Dance Festival, the Magyar Tancfesztival. "In the early part of the twentieth century Hungary had its own modern dance innovators, One More Movement Theatre recreated Waiting for Dawn, a pure movement piece of uncluttered serenity originally made by Valeria Dienes. This was timeless, powerful, and all the more valuable because of the ongoing debates within Hungarian dance circles about heritage and future directions. That both can actually co-exist and thrive is borne out by the way in which ballet, contemporary, folk, and "alternative" work can all come together in this one festival without any one form seeming out of place. The next Magyar Dancfesztival will be in Gyor in 2004 - I've marked it in my diary already."
The Herald

Sex and the City

I've tried to avoid this but it is everywhere. The Telegraph reports that Candace Bushnell, the creator of Sex and the City and "queen of Manhattan's singles scene", is getting married to Charles Askegard, "the "hunky" 33-year-old principal dancer with the New York City Ballet."

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02-07-02, 10:13 AM (GMT)
Click to EMail trog Click to send private message to trog Click to view user profileClick to add this user to your buddy list  
7. "RE: Links: Tuesday 2nd"
In response to message #6
   Strains of music that no musician wants.

UNLIKE football or ballet, the physical hazards of classical music are not that well known.


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02-07-02, 12:21 PM (GMT)
Click to EMail Annelieseagain Click to send private message to Annelieseagain Click to add this user to your buddy list  
8. "RE: Links: Tuesday 2nd"
In response to message #7
   They're very well known to the practitioners! Violinists in particular have serious problems - a very unnatural and painful stance. OTOH if you're not "relaxed" you won;t have the fluency to play rapidly.

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03-07-02, 09:21 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: Wednesday 3rd July '02"
In response to message #8
   Irene Lidova:

Nadine Meisner in the Independent writes an obituary on the dance journalist and critic Irene Lidova... 'She ....had something of Martha Graham about her, with her long, grandly angular face. She had a cool penetrating vision, her objectivity unclouded by friendship. She wrote for numerous dance magazines – Dance News in the United States, Dance & Dancers in Britain, Les Saisons de la Danse in France. She contributed monthly to the Italian-based Ballet2000/BallettoOggi until weeks before her death. She was the author of 17 Visages de la danse française (1953), Roland Petit (1956) and an autobiography, Ma Vie avec la danse (1992)' '

Rambert Dance Co

A News Zealand news source reports on Mark Baldwin's appointment..... 'New Zealand choreographer Mark Baldwin has been appointed artistic director of the prestigious Rambert Dance Company – the oldest and biggest contemporary dance company in England. '


Scottish Ballet

From the Glasgow Herald: RObert North walks out a month early


Black Umfolosi

James Grifiths in the Guardian on an all-male group of singers and dancers from Zimbabwe... 'Physical comedians, virtuoso dancers and beautiful singers, Black Umfolosi have got it covered. The phrase "fantastic entertainment for all the family" could have been invented for them.'

American Ballet Theatre

Anna Kisselgoff in the NY Time son ABT's 'Swant Lake' with Nina Ananashvili and Julio Bocca....'Ms. Ananiashvili and Mr. Bocca know how to pull out all the stops in their dancing and more important how to make dramatic sense of that dancing. They are great entertainers with star projection, offering pleasure through the seriousness and depth of their performance.'

Jacob's Pillow Dance Festival

Jennifer Dunning in the NY Times on Ronald K Brown ...... '(he) has gradually become one of the most quietly profound choreographers of his modern-dance generation. He and his company, Evidence, founded in 1985, open the door wide onto the history and culture of black Americans'


New York City Ballet

Lynn Garafola in the Village Voice is somewhat underwhelmed by NYCB's 'Flawed Diamonds' programme (part of the Diamond Festival) with an exception: 'Far more intriguing is Morphoses by the company's much touted resident choreographer, Christopher Wheeldon. According to the Oxford English Dictionary, morphosis (morphoses is the plural) comes from Greek and means "form, figure, or configuration" or the "change of form in animals or plants . . . during life." Wheeldon does not explore either of these ideas in any sustained way, nor is he much interested in the permutations in the relationships among the ballet's four dancers—Wendy Whelan, Jock Soto, Alexandra Ansanelli, and Damian Woetzel. But the image of changing protoplasmic form does dominate the opening moments.'


Miami City Ballet/Cirque du Soleil

Sally Ann Isaacs, former Miami City Ballet dancer, finds new challenges with 'Cirque du Soleil'....'After all those exhilarating, exhausting years spent dancing the demanding choreography of George Balanchine with Miami City Ballet, the changes feel right, Isaacks says. ''Balanchine suits me, but it's really hard on your body,'' she says. ``The speed alone is challenging, the transfer of weight, always being ready to go to the next spot. I felt my body was beginning to change. I started getting a couple of injuries.'' '


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03-07-02, 12:24 PM (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: Wednesday 3rd July '02 (2)"
In response to message #9
   Apologies - that link to the Village Voice piece doesn't seem to be working. Try this one:


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03-07-02, 01:38 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  
11. "RE: Links: Wednesday 3rd July '02"
In response to message #9
   The Evening Standard has a mixed review of Pacific North West Ballet's "Silver Lining" at Sadler's Wells last night:


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03-07-02, 11:25 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  
12. "RE: Links: Wednesday 3rd July '02"
In response to message #11
   There's an interview of Svetlana Zakarova in Hello magazine July 9th.

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04-07-02, 08:52 AM (GMT)
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13. "RE: Links: Thursday 4th July '02"
In response to message #12
   Pacific Northwest ballet

Clement Crisp in the FT on PNB's 'Silver Lining' at Sadler's Wells. He doesn't like it... 'The dance-language is either briskly commercial or nattily academic, yet none too convincing in either style. The scenery (by Ming Cho Lee) offers act drops of the Eiffel Tower and what I took to be the Second Avenue El. The clothes (by David Murin) seemed to me uniformly disastrous.'

...and Judith Mackrell in the Guardian is hardly more enthusiastic.... 'Stowell's capacity to match a predictable move to every musical phrase was depressing in its consistency. But add to that the absence of wit, romance, even a little vulgarity, and you have a dance work that induces torpor in its audience, dancers and orchestra alike.'


.....Similar story from Ismene Brown in the Telegraph...'... but when these songs are ineptly matched with pas de deux of a saccharine blandness to set the teeth on edge, danced without any of the sexy confidence of true ballroom-dancers, the entertainment values of Kern's era seem very far away.'


'trite, tedious and flatter than a fallen soufflé' says Debra Craine in TheTimes


Jacob's Pillow Dance Festival

The Boston Globe reports on Katherine Dunham, who celebrated her 93rd birthday at the famed dance festival.... 'It wasn't a typical 93d birthday celebration....... Kudos were sent by Senator Edward M. Kennedy and former president Jimmy Carter. Warm words were spoken by actors Harry Belafonte and Danny Glover. In between, 10 dance performances unspooled on a stage here..... This is how Jacob's Pillow paid tribute to dance legend Katherine Dunham last week, two days after her June 22 birth date'


Baryshnikov's photographs

Barysnikov is publishing a book of photographs: The Orlando Sentinel attends the press conference... 'Baryshnikov says the book came about partly because people were "nagging me" to write an autobiography. He thought a chronology of photos would "explain much more" and "be more objective and spare," he says.The photos in the book... first were published in 1998 in Moscow under the title The Unknown Baryshnikov, so that his former countrymen could see something of his career in the West. If he had to choose his favorite, he says it would be the first image, in which he is Albrecht to Makarova's Giselle. "It was my first performance in the States . . . a very comforting and emotional moment.' '

American Ballet Theatre

Clive Barnes in the NY Post briefly reviews ABT's 'Swan Lake' (they don't give the old boy much space these days). He's enthusiastic about Ananiashvili and Bocca...'American Ballet Theater has many fantastically gifted young dancers, but their senior pair, Nina Ananiashvili and Julio Bocca, are still, on the right night, the world's finest.'


Bangarra Dance Theatre

Vicki Fairfax n the Sydney Morning Herald on Bangarra Dance Theatre's 'Walkabout'.... 'The themes of Walkabout may be all too familiar, but there is nothing maudlin or breast-beating in the way they are told. In their honesty and humbling simplicity, they are as moving and important as ever. The woman who sinks to her knees to clear away the soil or wash her dead loved one, does so in exactly the same way later, only this time, the shoulders are a little lower and more hunched, the body sublimated and consumed by fear.'


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04-07-02, 10:45 AM (GMT)
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14. "RE: Links: Thursday 4th July '02"
In response to message #13
   The reviews of Silver Lining remind me of how awful the opening act of ENB's last Nutcracker was - wonderful in concept, but the fact remains that they were ballet dancers not ballroom dancers and they were ghastly to watch as the whole centre and stance is entirely different. Also reminds me of an incident in "Ballet Boyz" at an end of season party when my husband looked up at the screen to see Darcey bopping merrily away and said "SHE can't dance". Or of Margot Fonteyn's account in her autobiog of an excursion to a latin american dance hall where her local partner finally gave up saying "You're a nice girl, shame you can't dance". There are very few masters of more than one style!

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04-07-02, 01:40 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  
15. "RE: Links: Thursday 4th July '02"
In response to message #14
   >The reviews of Silver Lining remind
>me of how awful the
>opening act of ENB's last
>Nutcracker was - wonderful in
>concept, but the fact remains
>that they were ballet dancers
>not ballroom dancers and they
>were ghastly to watch as
>the whole centre and stance
>is entirely different.

Yes, that's what it reminded me of as well - except that there weren't even any distractions to take your mind off the dancing (I don't remember actually ever watching the guests in the Nutcracker!). A few people walked out early on, and after 3/4 of an hour I was prepared to join them, or even consider sitting through "Enduring Images" rather than "Silver Lining" again!

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Brendan McCarthymoderator

04-07-02, 03:38 PM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
16. "RE: Links: Thursday 4th July '02"
In response to message #15
   Sarah Frater of the Standard on PNB's second programme. "Martins's version (of Fearful Symmetries) was danced by Pacific Northwest Ballet (PNB) last night as part of a mixed bill, and I regret to report that it was not a success. The problems are numerous. Despite vivid designs and a lively playing, Martins makes the mistake of following every rhythmic nuance of the complex score. The dancers flick their arms and kick their legs, they run hither and yon, racing to stay with its pounding beats, but looking tired and irascible as a result. More serious was the inexperience of some of the men, who lacked the stamina and artistry that ballet requires. This weakness was also evident in the Pas de Trois from Le Corsaire. The excerpt is an old Gala favourite with more firecrackers than a Chinese New Year. However, it requires oceanic charisma and laser-like precision from all three dancers, the men especially, something the two in this staging did not possess."

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05-07-02, 09:06 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  
17. "RE: Links: Friday 5th July '02"
In response to message #16
   A very thin day - if anyone can find anything, please post!

Pacific Northwest Ballet

Debra Crane in the Times on PNB's second programme at Sadler's Wells, a considerable improvement on the first, it seems:... 'How often do we get to see Divertimento No 15 in this country? Not often enough, so thanks to PNB for bringing it. Balanchine's 1956 ballet is one of the sweetest treats of 20th-century dance, a champagne celebration of the lacy intricacy of Mozart's gracious music and a homage to the Russian classicism of Petipa'

American Ballet Theatre

Jennifer Dunning in the NY Times on ABT's 'Swan Lake' with Paloma Herrara and Marcelo Gomes.... 'The two seemed to buoy each other to greater and more daring virtuoso dancing on Wednesday night with considerable encouragement from a volubly excited audience'

National Ballet of Canada

The National Post reports on a major cultural swap-over...., Two of Toronto's major arts organizations played musical chairs yesterday when Kevin Garland, head of the Canadian Opera House Corp., announced her resignation to take the same position at the National Ballet of Canada.'

The King is Dancing

This is not online as far as I can find - Sarah Frater in The Evening Standard reviews Gérard Corbian's film on Louis XIV, widely acknowledged as the originator of classical ballet...'The film is intoxicating to watch with scene after scene of magnificent ballets and music'. If anyone can find a link, please post

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05-07-02, 01:34 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  
18. "RE: Links: Friday 5th July '02"
In response to message #17
   Ismene Brown's review of PNB II is available in the hard-copy TElegraph, not sure whether it's online yet.

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Brendan McCarthymoderator

05-07-02, 01:46 PM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
19. "RE: Links: Friday 5th July '02"
In response to message #18
   Ismene is online now: she wasn't earlier. Here she is on PNB's Divertimento No 15 (Balanchine) "You do need a band of dancing Mozarts to do the work justice, and although PNB has some fleet and well-groomed dancers, one doesn't feel that they hear the music in their souls and relish its marvellous range, from instrumental jokes to the highest poignancy. PNB's style looks showy but shallow to me, too many of its women refusing to play with the vulnerability and daring that makes a classical pas de deux so mysteriously enchanting. For all their tiaras and satin pointes, they are as self-contained as office workers doing a good job, and they leave PNB's men looking like either college boys or gays. The whole sexual frisson at the heart of classical pas de deux is in peril when women refuse to let down their defences."

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Brendan McCarthymoderator

06-07-02, 05:41 AM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
20. "RE: Links: Saturday 6th"
In response to message #19
   LAST EDITED ON 06-07-02 AT 06:36 AM (GMT)

The Royal Ballet in Australia

The Age reviews the Royal Ballet's final programme in Melbourne before it returns to London. "The swooningly romantic pas de deux by Marguerite and Armand were danced on Wednesday night by Sylvie Guillem and Jonathan Cope. Guillem's was an entirely contemporary interpretation, as beautifully thought through and finely nuanced as you would expect from this great artist. But, in terms of passion, she was curiously undemonstrative, to the point of indifference, as though she were not at all certain of her feelings for this man. Cope is an elegant dancer with an extraordinarily pure line that is very much a product of the English dance tradition, but Armand needs a passion and ardour that can burn up the stage. Without it, Marguerite and Armand, notwithstanding a beautiful performance from the veteran dancer, David Drew as the morally upright, but compassionate father of Armand, becomes merely a lushly costumed, penny romance."
The Age

Pacific Northwest Ballet

Judith Mackrell of the Guardian is cool towards PNB's mixed bill at Sadler's Wells. "Pacific Northwest Ballet had some impressing to do, after opening its Sadler's Wells season with the badly judged stinker Silver Lining, the first of two programmes.Normally we defer to American performances of Balanchine, but at this performance PNB's cast looked curiously ill at ease with the choreography. It may be a problem with the way the women, in particular, have been schooled; they didn't seem strong enough to articulate all the brilliant facets of the movement. It may be that their imaginations hadn't been kindled to revel in the ballet's fantastical decoration."
The Guardian

Bernard Haitink

In Bernard Haitink's final week as music director at the Royal Opera House, Andrew Clark of the FT assesses his legacy. "Haitink's operatic interests started and stopped with his musicians. He was happiest when working with them, and they felt in harmony with him - a rare symbiosis in conductor-orchestra relations, especially after 15 years. He always came immaculately prepared, he gave them space to play, he never punished them for getting nervous - even if, on first nights, he got horribly twitchy himself. He would write a £1,000 cheque if he found one of them in straitened circumstances. He threatened to resign when the orchestra's future was in doubt. Behind his dour Dutch demeanour, "Clogs" (the orchestra's nickname for him) is a very decent human being. Cometh the hour, cometh the man? Unfortunately for Haitink and the Royal Opera, the opposite was the case."
The FT

Eva La Yerbabuena

A beautifully written profile by Ismene Brown of the flamenco star, who is due in London next week. "Eva La Yerbabuena is a moderniser who is hailed as a worthy heir of the great tradition. When you see her dance her show Eva at Sadler's Wells next week, you will understand why this is so. Although she breaks custom and practice by wrapping a narrative framework around her performance, she dances like a doyenne of the highest flamenco tradition, slinky, fascinating, but wrapped in a sombre, perfectionist sort of mystery. Three years running she has been voted Spain's greatest young flamenco dancer."
The Telegraph

Pilobulus Dance Theater

Jack Anderson of the New York Times on Pilobulus Dance Theater. "The featured attraction on Wednesday night was the New York premiere of "The Four Humors," choreographed by Robby Barnett and Jonathan Wolken in collaboration with its cast: Mark Fucik, Renée Jaworski, Matt Kent and Jennifer Macavinta. The piece, to robust recorded music by Richard Peaslee, derived from a medieval theory of four basic personality types, known as temperaments or humors: the Sanguine, the Phlegmatic, the Choleric and the Melancholic. The humors were clear, but not especially interesting. The choreography lacked formal intricacy and offered no insights into character or behavior. And the work's visual appeal was diminished by Angelina Avallone's drab costumes with ugly headpieces."
The New York Times

Ballet in South Africa

The Johannesburg Business Day reports on a collaboration between South African Ballet Theatre and the Royal Danish Ballet, in which principals and soloists from Copenhagen work alongside members of the South African company. "The SA theatre has staged a real coup in this co-operative venture with the Royal Danish Ballet, widely considered one of the 10 best ballet companies worldwide. The tension between culture cringe and insularity has melted with a mutual respect. SA dancers have gained a new confidence with the detailed attention to meticulous footwork and lighthearted jumps that characterise the Danish style. The visitors in turn have learnt some African sashays for Sean Bovim's new work, Ngizothi sala kahle kusasa (I will say goodbye tomorrow). Four couples, representing the four seasons, explore different tensions and weights with an African earthiness marrying western tradition, and in that sense there is a reflection of Balanchine's earlier play with hip thrusts and off-balance centres."
Business Day

Infinity Dance Theater

The Glasgow Herald interviews Kitty Lunn of Infinity Dance Theatre, an American equivalent of Britain's Candoco. Lunn, a former soloist with Washington Ballet, broke her spinal chord in an accident. She found the courage to return to dance and now runs her own company. "Without my chair, I'm really an invalid," she says. "I never refer to myself as wheelchair-bound - that sounds like I'm in chains. I'd rather describe myself as a dancer who sits down a lot. And you know, if someone like Mark Morris or Baryshnikov put a dancer in a rolling chair, it would be seen as very interesting, radical even. The difference is: at the end, they would get out of the chair to take the curtain call."
The Herald


The Boston Herald reviews the new volume of photographs of Mikhail Baryshnikov. "Photographs, of course, are also crucial historical documents. Barbara Morgan's powerful images of Martha Graham's work, Baron Adolf de Meyer's documentation of Nijinsky's ``L'Apres-midi d'un faune'' and George Platt Lynes' elegant pictures of Ballet Caravan are perfect examples. It's not surprising that a legendary dancer such as Mikhail Baryshnikov, now 54, should choose to offer a big book of photos as his autobiography. ``Baryshnikov in Black and White,'' recently released in its first U.S. edition by Bloomsbury ($60), is an astonishing volume spanning the last 27 years of his impressive career. As explained in dance critic Joan Acocella's introduction, the book began as a ``glasnost'' project for Russian fans, who hadn't seen much of Baryshnikov's Western career after he defected in Toronto in 1974. The book was called ``The Unknown Baryshnikov'' when it appeared in 1998 in a Russian edition, with a forward by Vera Krasovskaya."
Boston Herald

The King is Dancing

Sarah Frater of The Standard on a film version of the life of Jean-Baptiste Lully. "Gérard Corbiau's interpretation is a fascinating one. He portrays Le Florentin Lulli, later the Frenchified Jean Baptiste Lully, as a creative hot-head, the creator of the King s ballets, grands spectacles, who is sexually besotted with his monarch. For Louis, the relationship is more pragmatic he needs Lully for the dance, a representation of his sovereignty rather than their intimacy. The film is luxurious, a glimpse of ballet's progenitor and Louis XIV's conflation of art and politics."
The Standard

Bolshoi Bomb

BBC News Online reports the discovery of a World War II bomb during excavations at the Bolshoi Theatre in Moscow. "A worker found the rusty mine on Wednesday after removing tiles that covered the floor of the famed theatre's fifth entrance, the newspaper Moskovskii Komsomolets reported on Friday. That part of the Bolshoi had been used in 1941 as an arms and munitions dump, while the German army was besieging the Russian capital, the newspaper said. An army team removed the mine and took it to a site in the Moscow suburbs where it was destroyed."
BBC News

National Ballet of Canada

According to the National Post, Kevin Garland is to be managing director of the National Ballet of Canada.
National Post

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06-07-02, 09:32 AM (GMT)
Click to EMail Gattie Click to send private message to Gattie Click to add this user to your buddy list  
21. "RE: The Royal Ballet in Australia"
In response to message #20
   LAST EDITED ON 06-07-02 AT 10:05 AM (GMT)

I attended the performance on 4th July.
I thought that Jonathan Cope was wonderful in Marguerite and Armand. I was very surprised by his acting. The passion, anger and pain he portrayed were so realistic, I was crying with him by the end of the ballet. I could actually hear his ragged breathing when he held Guillem's lifeless hand at the end.
A lady behind me summed up how I felt when she said "the 34 mins went by in 2 seconds".

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Brendan McCarthymoderator

07-07-02, 08:29 AM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
22. "Links: Sunday 7th"
In response to message #21
   Pacific Northwest Ballet

Jann Parry of the Observer, unimpressed by 'Silver Lining', its tribute to Jerome Kern, was kinder to its mixed bill at Sadler's Wells. "PNB's grace and strength was seen to best advantage in Divertimento No 15, Balanchine's homage to Mozart. Danced beneath four chandeliers, gem-like solos and duets reflect the crystal sparkling above. In the glorious andante finale, the leading man (Jeffrey Stanton) winds through the ensemble, leading two ballerinas by the hand as though threading a diamond necklace. The choreography is addressed to the audience, the dancers' manner frank and open. No adoration of the unattainable female muse: instead, performers display their skills, courteously giving way, before applause can build, to the next soloist. They are servants of the music, relishing the wit with which Balanchine comments on Mozart's variations on a theme. Wit was in short supply for the rest of the mixed bill."
The Observer

David Dougill of the Sunday Times on PNB' S Silver Lining. "It was a display of big resources, with our own Royal Philharmonic Orchestra, no less, in the pit; massed dancers hoofing away and singing in the choruses; a pair of American professional soloists delivering big numbers; and lots of colourful costumes by David Murin. But for all its high energy, exuberance and the dancers’ technical skill, I found the extravaganza overblown, over-long and naggingly dispiriting. I just don’t think ballet dancers should sing, period." Also the London Studio Centre school show.
The Sunday Times

Ross Stretton

In a letter to Dancing Times, not online, Alastair Macaulay, chief theatre critic of the FT, argues that Ross Stretton is the wrong artistic director for the Royal Ballet. "Ross Stretton could show the disregard he does for the repertories of Frederick Ashton and Kenneth MacMillan and still be the right man for The Royal Ballet - if only he showed an artistic policy that was otherwise serious and progressive. He does not, and the triviality of Royal Ballet programming is such that it becomes clear that not only is he the wrong man for the job but that those who appointed him misconceived what The Royal Ballet at Covent Garden represents."

Music at the ROH

Jacques Lacombe, one of the Royal Ballet's best guest conductors in the recent past, is to be principal guest conductor of the Montreal Symphony Orchestra. Its permanent conductor Charles Dutoit recently resigned after a dispute with some of the musicians. This report is from the Montreal Gazette.
The Montreal Gazette

This piece about Bernard Haitink, the ROH's retiring music director, appeared in the Times during the week. "Music director of the Royal Opera House since 1987, Haitink retires this month with two gala performances in his honour on July 11 and 13. One of the truly great conductors of our time, he has nevertheless been gently scourged in true British style for failing to forestall the crises which afflicted the Opera House late in his tenure. Haitink’s unwillingness to involve himself in Covent Garden’s political battles has been held against him by some as evidence that he failed the institution which gave him such a wonderful podium. But Haitink has always known that the most important thing in opera is to attend to the music."
The Times

ABT's Fille

Terry Teachout writes for the Washington Post on ABT's current season at the Met. "ABT is on a roll. It started in May with Frederick Ashton's "The Dream" and continued with the company premiere of Ashton's "La Fille Mal Gardee," a top-seeded contender for the title of Most Charming Full-Evening Ballet Ever Made. The sweetly silly story (poor young farmer courts rich widow's daughter) is the merest pretext for deliciously droll dancing and pantomime set among the storybook decor of Osbert Lancaster, and by evening's end you long to see the whole thing over again right away. Ethan Stiefel and Ashley Tuttle did themselves proud as the young lovers, and Kirk Peterson, who plays the drag role of the pompous old widow, stole every scene he could get his hands on. If Kevin McKenzie has any sense, he'll schedule a whole week of "La Fille Mal Gardee" every spring from now to the end of time, the same way New York City Ballet wraps up its spring seasons with "A Midsummer Night's Dream."
Washington Post

The art of selecting a mixed bill

A timely essay by Jack Anderson for the NY Times. "Many factors must be taken into account in selecting dances for mixed bills. First, there are the dancers. No dancer should be overworked during an evening. Neither should anyone be overlooked. At least some of a company's stars should be given chances to shine at each performance. There should be a balance between works with small casts and works for large ensembles. Companies like the New York City Ballet that offer subscription series must make sure that subscribers have chances to see lots of different ballets. And the dances should form harmonious combinations. Mixed programs often feature three substantial works: an opener, a middle ballet and a closer. Ballet companies sometimes add a fourth piece, a virtuosic pas de deux to provide an extra bit of sparkle. There can also be satisfying double bills and quadruple bills. But programs with more than four works run the risk of seeming unduly fragmentary."
New York Times

That Wedding

The NY Times on the nuptials of Candace Bushnell, author of Sex and the City and Charles Askegard, principal with NYCB. and the full story of how they met. "By the end of the night, Ms. Bushnell was whisking Mr. Askegard downtown to Bungalow 8, the Chelsea boîte, where they danced and exchanged meaningful dialogue. "I told him he was too tall to be a ballet dancer," she said. "And I asked if he was gay." Mr. Askegard said no, he was not, on both counts, and their relationship took off from there."
New York Times

Le Roi Danse/The King is Dancing

An Observer review of the film: "....a lavish folly from French director Gérard Corbiau, who gave us the similarly opulent Farinelli. Benoît Magimel, from The Piano Teacher, steals this show with a compellingly petulant Louis XIV, ordering spectacular pageants based around himself as the star dancer. The film is also about Louis's court composer, Lully (Boris Terral) and his comédie-ballet collaborations with Molière (Tchéky Karyo), but this Lully looks too much like Brian May to be taken seriously and consequently the film turns into a ludicrous blend of Amadeus and Adam Ant's 'Prince Charming' video."

Australian Dance Theatre's Birdbrain

From the Singapore Strait Times (scroll down the page): "Birdbrain was an ecstatic breaking away from the strictures of Swan Lake. Choreographer Garry Stewart's myriad aesthetic responses to the standard repertoire gave Birdbrain a goose. Yet, even he ran out of things to say in the last 20 minutes. The production was interesting only when it was responding imaginatively to a set text. But once Birdbrain finished tearing down the house, it had no idea what to build in its place. And this is a major unresolved problem that I see with a lot of art that relies on deconstruction: a Humpty Dumpty syndrome where all the king's men cannot put it back together again."
Singapore Strait Times

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07-07-02, 06:47 PM (GMT)
Click to EMail Tomoko.A Click to send private message to Tomoko.A Click to add this user to your buddy list  
23. "RE: Links: Sunday 7th"
In response to message #22
   Acosta is featured in "YOU" magazine in Mail on Sunday.

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