La Vivandière (Kirov) – Alla Sizova – Boris Blank…: http://youtu.be/E3ZkI6XHHY8
Running from October 13-25, 2015 at The Joyce Theater, the José Limón International Dance Festival will assemble dance companies and colleges from 7 countries around the world to join Limón Dance Company in sharing 16 of Limón’s masterworks with a wider audience. Visit the Joyce Theater webpage here to purchase tickets.
lick here to see Guest Performers and Programs!
New release to celebrate!
New Center at N.Y.U. Focuses on Dance and the Arts – NYTimes.com.
The story of men who dance is complicated, with ups and downs, stereotypes and triumphs.
This program presents several people with different perspectives and insights about the legacy and meaning of male dancers. Randy James’ talks about his all-male company, 10 Hairy Legs, which celebrates the technical and emotional range of male dancers. The group will also perform two pieces. Andy Weinert (also performing at 92Y on April 24 and 25) has been reconstructing dances by Ted Shawn, the first important male American dancer of the 20th century, and by other modern dance pioneers, while also creating new works that investigate that legacy. For perspective and a sense of the changing history of male dancers, Norton Owen joins us. He’s the archivist for Jacob’s Pillow, which was founded by Shawn.
Saint Petersburg State “Russian Ballet” to Go on a 7 City U.S. Tour, Beginning 3/31
The esteemed Saint Petersburg State “Russian Ballet” will embark on a seven-city U.S. tour beginning in Milwaukee on Tuesday, March 31. Ten performances will showcase the classic fantasy ballet “Swan Lake,” featuring the renowned music by Tchaikovsky and an impressive cast of some of the world’s best dancers. The Saint Petersburg State “Russian Ballet” continues to captivate audiences worldwide, adhering to the signature aspects of Russian ballet as a whole: true expressivity, dramatic presentation and impeccable technical presentation.
“We are thrilled to bring the Saint Petersburg ‘Russian Ballet’ to the U.S. and believe the audience will enjoy themselves,” said Ernesto Texo with Texoart Cultural Productions.
Saint Petersburg State “Russian Ballet” performers are graduates of Saint Petersburg’s prestigious Vaganova Ballet Academy, founded in 1738, and continue to perform on the oldest stages in Saint Petersburg. Consistently delighting sold-out audiences worldwide with world-class dancers and dazzling costumes, the Saint Petersburg State “Russian Ballet” continues to make international touring a large part of its contribution to furthering Russian dance and culture.
Created in 1990 by the family of professional ballet dancers, The Saint Petersburg State “Russian Ballet” dynasty is more than 100 years old. Artistic Director Alexander Bruskin is a former soloist of the famed Kirov Ballet, a former classmate of the renowned Mikhail Baryshnikov, and a former student of legendary ballet instructor Alexander Pushkin.
The Saint Petersburg State “Russian Ballet” has successfully conducted more than 50 tours worldwide in countries including Japan, England, Ireland, Spain, the U.S., France and Germany among many others, and has participated in 10 international ballet festivals. Today, the repertoire includes such masterpieces as “Swan Lake,” “Sleeping Beauty,” “The Nutcracker” and “Don Quixote.” Each ballet is performed in its original choreography, and the Saint Petersburg State “Russian Ballet” perceives its main mission to be the preservation of such choreographic authenticity.
The Saint Petersburg State “Russian Ballet” U.S. performance schedule, venue and ticket information is as follows:
Tuesday, March 31
116 W. Wisconsin Ave., Milwaukee
8 p.m. (doors 7 p.m.)
Tickets: On sale now | $60 | $80 | $100
Available at the Riverside Theater Box Office or pabsttheater.org.
Tuesday, April 7
Van Wezel Performing Arts Center
777 N. Tamiami Trail, Sarasota, Fla.
Tickets: On sale now | $45 | $65 | $85 | $100 | $120
Available at the Van Wezel Performing Arts Center Box Office, vanwezel.org, or by phone at 941-953-3368.
Wednesday, April 8 and Thursday, April 9 – Two performances!
32 Abercorn St., Savannah, Ga.
Tickets: On sale now
Available via lucastheatre.com, or by phone at 912-525-5050.
Saturday, April 11 and Sunday, April 12 – Two performances!
Jones Hall for the Performing Arts
615 Louisiana St., Houston
Tickets: On sale now
Available at the Jones Hall Box Office or houstonfirsttheaters.com.
Thursday, April 16
Lila Cockrell Theatre in the Henry B. Gonzalez Convention Center
200 E. Market St., San Antonio
Tickets: On sale now $40 | $65 | $80 | $95 | $110
Available at the Alamodome Box Office, all Ticketmaster outlets, ticketmaster.com, or by phone at 800-745-3000.
Tuesday, April 21 and Wednesday, April 22 – Two performances!
AT&T Performing Arts Center Winspear Opera House – Margaret McDermott Performance Hall
2403 Flora St., Dallas
Tickets: On sale now
$43.50 | $53.50 | $63.50 | $103.50 | $123.50 | $143.50 | $163.50
Available at the AT&T Performing Arts Center Information Center, ticketdfw.com, or by phone at 214-871-5000.
Thursday, April 23
Mahalia Jackson Theater for the Performing Arts
1419 Basin St., New Orleans
Tickets: On sale now | $60 | $85 | $130
Available at the Mahalia Jackson Theater Box Office (day of show only), or in advance at all Ticketmaster outlets,ticketmaster.com, or by phone at 800-745-3000.
For more information, visit http://spbt.ru.
REPOSTED FROM DANCING TIMES
Millepied’s plans for the Paris Opéra : Wednesday, 04 February 2015
Benjamin Millepied has announced plans for the 2015–16 season of the Paris Opéra Ballet, the first he has programmed as director. It’s an ambitious season, with many new works, including one by new associate choreographer William Forsythe and a new production of The Nutcracker, to be choreographed by Arthur Pita, Sidi Larbi Cherkaoui, Liam Scarlett, Edouard Lock and Millepied.
Millepied announced his season alongside Stéphane Lissner, who has been general director of the Opéra since July 2014: the two leaders promise a new level of cooperation between the ballet and opera companies. The new Nutcracker will be performed as a double bill with Tchaikovsky’s opera Iolanta – as these works were performed together at their premiere in 1892. The five choreographers will create separate scenes for the new production.
Millepied has also commissioned new works from Justin Peck, Wayne McGregor, Jérôme Bel and himself. Peck’s work will be danced to Poulenc’s Concerto for Two Pianos and Orchestra, with designs by artist John Baldassari. McGregor’s piece will be set to Pierre Boulez’s Anthème II as part of an evening celebrating the composer.
Millepied, who danced at New York City Ballet (NYCB) from 1995 to 2011, brings an American slant with some of his programming. The season will include Balanchine’s Theme and Variations, Duo Concertant and Brahms-Schönberg Quartet, Jerome Robbins’ Opus 19/The Dreamer, Goldberg Variations and Other Dances. Justin Peck, the resident choreographer at NYCB, is represented by In Creases as well as his new commission; Christopher Wheeldon’s Polyphonia, created for NYCB, also joins the repertoire. The season will also include company premieres by Anne Teresa De Keersmaeker, Alexei Ratmansky and Maguy Marin.
There are just three evening-length revivals: Giselle and Rudolf Nureyev’s productions of Romeo and Juliet and La Bayadère. There will also be works staged in the foyer of the Opéra Garnier. Choreographer Boris Charmatz will stage a new event to open the season, with 20 dancers performing solos from the 20th-century repertoire in the public spaces of the Opéra Garnier.
Millepied and Lissner also announced a new digital platform, “3e Scene”, or “Third Stage”. Hosted on the Paris Opéra website, this will present new work by composers, choreographers, directors, visual artists, filmmakers and writers. There will also be a new Paris Opéra Academy, which will offer residencies to young choreographers from inside and outside the company. The choreographers will be mentored by William Forsythe. Millepied told the New York Times that the academy aimed to teach dance-making as a craft. “We won’t necessarily discover more geniuses, but there will be more competence,” he said. “Composers learn the principles of harmony, counterpoint, technique, and choreography is no different.”
Millepied has also announced touring plans, and works scheduled for later seasons. The company will visit one French city each season, touring to Brest in the 2015–16 season. Major tours to the US are being planned. Guest companies at the Paris Opéra will include Anne Teresa De Keersmaeker’s Rosas, Batsheva Dance Company and English National Ballet, who dance Le Corsaire at the Opéra Garnier in June 2016.
Looking ahead, Millepied has commissioned an evening-length work from Alexei Ratmansky for the 2016–17 season. He also expects to schedule some work by the iconic modern dance choreographer Merce Cunningham. At the press conference, critic Laura Capelle reports, Millepied explained that he had almost left NYCB to dance for the Cunningham company.
Performances for the Paris Opéra Ballet’s 2015-16 season are now on sale.
Picture: Benjamin Millepied at the Opéra Garnier. Photograph: Julien Benhamou
Dapto’s Charlee Corrie is headed for New York City
By LOUISE TURK
Jan. 6, 2015, 4:43 p.m.
Charlee Corrie is a finalist in the prestigious Youth America Grand Prix. Picture: CHRISTOPHER CHAN
Charlee Corrie is a finalist in the prestigious Youth America Grand Prix. Picture: CHRISTOPHER CHAN
The world is a stage for Dapto ballet dancer Charlee Corrie who has been selected as a finalist in the prestigious Youth America Grand Prix ballet competition.
The nine-year-old is among a shortlist of international finalists who will compete in the annual event, which is held in April over six days at multiple venues around New York City.
The Youth America Grand Prix is the world’s largest student ballet scholarship competition and is regarded by many as a stepping stone to a professional dance career for young people aged nine to 19.
Charlee will dance in workshops and in staged performances with other finalists, under the watchful eyes of judges and scouts from the world’s best ballet schools.
To be selected for the New York finals, Charlee submitted a DVD of her performance of the doll variation from the classical ballet Coppelia and a contemporary piece titled The Ballet Dancer.
Charlee is trained by her mother Vanessa Corrie, principal of the Vanessa Lee Dance Academy at Dapto, and dance teacher Chantelle Watts.
Ms Corrie choreographed the contemporary piece; and Ms Corrie and Ms Watts instructed Charlee as she learnt the classical variation.
The DVD audition took place in November and the Corries were notified of Charlee’s success by email on December 21.
‘‘I was shocked and over the moon with the news,’’ said Ms Corrie, who will accompany her daughter to New York.
Charlee’s father Brad Corrie and her younger sister Ruby, 6, will also make the journey to cheer on the budding ballerina.
‘‘We are all going over to support Charlee in this fantastic opportunity,’’ Ms Corrie said.
‘‘It will broaden her experience to participate in classes with kids from around the world and the performance experience will be amazing.
‘‘She will be dancing with the cream of the crop.’’
Charlee will compete in the 9-11 years age division of the competition which culminates in a gala night performance at the Lincoln Center’s David H. Koch Theatre.
Ms Corrie said she noticed her daughter’s strong dance potential around the age of seven.
‘‘She has the physical facilities – good flexibility and turnout – and she is also clever at picking up choreography and retaining it,’’ Ms Corrie said.
‘‘She is also very responsive in class and picks up the corrections easily.’’
Charlee successfully auditioned for a position in the Australian Ballet School’s Interstate Training Program in 2014. She will start attending workshops and personal visits with the esteemed Melbourne-based school this year.
Meanwhile, before Charlee starts polishing her New York routines, she is rehearsing this week with other Vanessa Lee Dance Academy students in the lead-up to the Showcase National Dance Championships, to be held at Jupiter’s Casino on the Gold Coast from January 12 to 19.
The dance school is competing in 20 troupe dances at the event which attracts competitors from Australia, New Zealand, Canada and the United States.
Charlee will perform in 16 routines during the week.
April 18 to 26, 2015
Reposted from the New York Times-Arts Beat
ArtsBeat – New York Times Blog
Dark Times Ahead for Two Major Paris Theaters
By Roslyn Sulcas
January 1, 2015 2:07 pm January 1, 2015 2:07 pm
PARIS — The Théâtre de la Ville and the Théâtre du Châtelet, two of the most important theaters in Paris, will close for extensive renovations at the end of the 2016 season, darkening the houses for one and a half to two years.
The theaters, which face each other on the Place du Châtelet, next to the Seine in the heart of the city, were designed by Gabriel Davioud and constructed between 1860 and 1862. Both have been important to theater and dance history. Sarah Bernhardt directed the Théâtre de la Ville (at the time, named the Théâtre Sarah Bernhardt) and appeared there in her most important roles between 1899 and her death in 1923, and the Ballets Russes presented its first European seasons at the Théâtre du Châtelet.
The theaters have different artistic mandates. Châtelet, where “An American in Paris” is currently playing to sold-out houses, tends to program musicals and concerts; the Théâtre de la Ville is an important destination for international theater, contemporary dance and world music. Both receive large subsidies from the city of Paris: 17 million euros (about $20.5 million) a year at the Théâtre du Châtelet, which has an annual audience of around 320,000; and 10 million euros at the Théâtre de la Ville, which has about 260,000 spectators each year.
The announcement of the long closures, made this week by Bruno Julliard, the mayoral deputy responsible for culture, did not specify what arrangements would be made for the employees of both theaters (130 at the Châtelet, 110 at the Théâtre de la Ville, according to a report in Le Figaro). Although Mr. Julliard did not offer details, he said that the closures “did not mean that programming would come to a complete stop.”
He did not give figures for the renovations, which fall within a 100-million-euro budget for refurbishment allocated to the two theaters and a number of museums.
The Théâtre de la Ville, directed by Emmanuel Demarcy-Mota, has a second, much smaller house in the 18th Arrondissement, but its larger productions are unlikely to be shown there. The Théâtre du Châtelet, directed by Jean-Luc Choplin, is likely to have a harder time finding alternative venues, particularly as another Paris theater, the Opéra Comique, will also be closed for renovation for at least 18 months from mid-2015.