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 Post subject: Re: Australian Ballet, 2002-2003 season
PostPosted: Thu Nov 28, 2002 2:05 am 
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<B>Making waves with a grand lady of the genre</B>
November 28 2002
Sydney Morning Herald

<B>Graeme Murphy took on Swan Lake partly to rescue it from some of its more commercial incarnations, he tells Sharon Verghis.</B>

Twelve years ago, at that often-unsettling age of 39, Graeme Murphy went to Sicily to see if he could somehow stumble across a life outside dance. He haunted the old markets of Palermo, swam the warm waters of the Mediterranean ocean, embraced delicious, rare irresponsibility on the back of an old motorbike, sat and thought in a small villa overlooking the sea.

<A HREF="http://www.smh.com.au/articles/2002/11/27/1038386202938.html" TARGET=_blank><B>More...</B></A>


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 Post subject: Re: Australian Ballet, 2002-2003 season
PostPosted: Fri Dec 06, 2002 8:34 am 
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<B>Fine feather for dancer's turn</B>
By Jane Albert
December 06, 2002
The Australian

THE long-suffering bridesmaid finally became ballet's bride last Friday night when Australian Ballet senior artist Lynette Wills received a shock, post-show promotion to principal artist.

Wills had stepped in at the eleventh hour to replace dancer Margaret Illmann, who was due to perform in the opening night cast of Swan Lake at the Sydney Opera House but had to pull out with an ankle injury.

<A HREF="http://www.theaustralian.news.com.au/common/story_page/0,5744,5627493%255E16953,00.html" TARGET=_blank><B>More...</B></A>


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 Post subject: Re: Australian Ballet, 2002-2003 season
PostPosted: Fri Dec 06, 2002 8:43 am 
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<B>Swan Lake</B>
Reviewed by Jill Sykes
December 2 2002
Sydney Morning Herald

Clever Graeme Murphy and his team, headed by Kristian Fredrikson and Janet Vernon, have devised a Swan Lake that mingles old and new in art and life. It is exhilarating, absorbing, technically demanding and theatrically seductive.

If you had never seen Swan Lake, you could simply tune in to a story about a naive young woman marrying a prince who is already deep in the clutches of a far more worldly married Baroness.

The new bride, Odette, uncovers the situation on her wedding day and in her agitated state is briskly removed from public view to a sanatorium. There she finds comfort in her dreams of swan-like maidens.

<A HREF="http://www.smh.com.au/articles/2002/12/01/1038712827870.html" TARGET=_blank><B>More...</B></A>


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 Post subject: Re: Australian Ballet, 2002-2003 season
PostPosted: Fri Dec 20, 2002 8:57 am 
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<B>Leap of faith pays off</B>
By Deborah Jones
December 20, 2002
The Australian

"I THINK the honeymoon is over." David McAllister was speaking this week as the Australian Ballet finished the year with Swan Lake, a hit performed to overflowing houses, standing ovations and gratifying critical reception.

If it seems contradictory to speak of ended honeymoons at the time of emphatic success, it is, in fact, a measure of McAllister's increased maturity as AB artistic director.

<A HREF="http://www.theaustralian.news.com.au/common/story_page/0,5744,5708910%255E16953,00.html" TARGET=_blank><B>More...</B></A>


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 Post subject: Re: Australian Ballet, 2002-2003 season
PostPosted: Sat Mar 15, 2003 6:40 am 
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<B>Waiting for Romeo</B>
March 12 2003
The Age

<B>New York ballet superstar Angel Corella is set to thrill Melbourne, and invigorate the Australian Ballet. And that's just part of the company's master plan. Robin Usher reports.</B>

Nicole Rhodes is all coiled potential. The Australian Ballet principal emits energy like a new star as she prepares to begin rehearsals for the day. She is opening the company's Melbourne season in one of her favourite dances, Romeo and Juliet, and is eagerly looking forward to performing opposite the New York star, Angel Corella, during the season.

"He's just perfect and the thought of working with him again makes my year," she says.

<A HREF="http://www.theage.com.au/articles/2003/03/11/1047144966845.html" TARGET=_blank><B>More...</B></A>


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 Post subject: Re: Australian Ballet, 2002-2003 season
PostPosted: Sat Mar 15, 2003 6:44 am 
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<B>Dancing duo stick to their principals</B>
By Katrina Strickland, National arts writer
March 13, 2003
The Australian

NICOLE Rhodes and a very distinctive perfume waft up the Australian Ballet Centre hallway together.

She's wearing Angel, by Thierry Mugler.

Fitting, really, given that Rhodes has just been rehearsing with Spanish-American dancer Angel Corella for Romeo & Juliet.

<A HREF="http://www.theaustralian.news.com.au/common/story_page/0,5744,6120041%255E16953,00.html" TARGET=_blank><B>More...</B></A>


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 Post subject: Re: Australian Ballet, 2002-2003 season
PostPosted: Sat Apr 05, 2003 9:13 am 
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<B>Spaniard spearheads Shakespeare staple</B>
By Sharon Verghis
April 1 2003
Sydney Morning Herald

Angel Corella rattles through a quick United Nations of ballet styles. "The Danish have incredible understanding of beat and soft landings," he enthuses. "The Russians have amazing upper-body work. The French are known for their legwork. The Americans have incredible speed."

<A HREF="http://www.smh.com.au/articles/2003/03/31/1048962696029.html" TARGET=_blank><B>More...</B></A>


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 Post subject: Re: Australian Ballet, 2002-2003 season
PostPosted: Sun Apr 13, 2003 1:34 am 
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Romeo and Juliet, Australian Ballet
By Jill Sykes
April 7 2003
Sydney Morning Herald

This revival from the Australian Ballet repertoire is much better theatrically than its last reappearance, but its opening night turned out to be somewhat frustrating.

Lucinda Dunn is such a strong dancer technically that her reproduction of Juliet's choreography was theoretically close to copybook. Yet, despite working diligently on her theatrical interpretation, she failed to make the most of what the choreography offers in terms of expression. She was doing the steps without appearing to think what they meant in order to convey those thoughts and emotions through phrasing, pacing and finishing a gesture: too much face, not enough body language.

More...

<small>[ 13 April 2003, 03:35 AM: Message edited by: Malcolm Tay ]</small>


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 Post subject: Re: Australian Ballet, 2002-2003 season
PostPosted: Sat Apr 26, 2003 7:35 am 
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<B>Pain part of the dance program</B>
By Jane Albert
April 22, 2003
The Australian

MARGARET Illmann could tell something was wrong the second she heard the noise.

The principal dancer of the Australian Ballet knew "the sound of bark being ripped off a tree" could mean only one thing: she had torn her anterior cruciate ligament.

<A HREF="http://www.theaustralian.news.com.au/common/story_page/0,5744,6320230%255E16953,00.html" TARGET=_blank><B>More...</B></A>


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 Post subject: Re: Australian Ballet, 2002-2003 season
PostPosted: Sat May 03, 2003 11:43 am 
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<B>Ballet prays for a stitch in time</B>
By Jane Albert, Deputy arts editor
April 28, 2003
The Australian

STAFF at the Australian Ballet are crossing their fingers the old showbusiness adage "it will be all right on the night" is true.

Less than 48 hours out from the first audience preview of the AB's highly publicised new work Wild Swans, up to 30 costumes remain unfinished and the orchestra has yet to complete a full run.

<A HREF="http://www.theaustralian.news.com.au/common/story_page/0,5744,6348357%255E16953,00.html" TARGET=_blank><B>More...</B></A>


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 Post subject: Re: Australian Ballet, 2002-2003 season
PostPosted: Sat May 03, 2003 11:51 am 
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<a href="http://www.smh.com.au/photogallery/2003/05/02/1051382088924.html" target=_blank>Photo gallery</a> of the AB's <I>Wild Swans</I>


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 Post subject: Re: Australian Ballet, 2002-2003 season
PostPosted: Sat May 03, 2003 11:53 am 
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<B>Fairytale success in full flight</B>
April 30 2003

<B>With her latest work, composer Elena Kats-Chernin soars to new heights, reports Sharon Verghis.</B>

"Still, it's not so bad because I can hide behind the visuals," muses the Uzbekistan-born composer in an accent owing more to Tashkent than Sydney. "Ah, but for Meryl, it's much more scary. I feel sorry for her."

The "visuals" are the lavish accoutrements, including elaborate video projections and paper-doll costumes, of the Australian Ballet's Wild Swans, which made its world premiere at the Opera House last night. Meryl is Meryl Tankard - prodigal daughter, acclaimed choreographer and the creator of that rare thing: a huge new ballet completely directed, shaped and scored by women.

<A HREF="http://www.smh.com.au/articles/2003/04/29/1051381945202.html" TARGET=_blank><B>More...</B></A>


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 Post subject: Re: Australian Ballet, 2002-2003 season
PostPosted: Sun May 11, 2003 7:15 am 
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<B>Reluctant to soar</B>
By Deborah Jones
May 05, 2003
The Australian

THREE times in five years the national ballet company has sought the holy grail of classical dance and commissioned an evening-length narrative work from an Australian choreographer to a new Australian score – Stephen Baynes's 1914, Natalie Weir's Mirror, Mirror and Meryl Tankard's Wild Swans.

Three times the results have been underwhelming, no more so than with Wild Swans. My reaction on seeing the first performance last Tuesday was that the ballet is a triumph of technology over feeling. Second and third viewings on Friday and Saturday haven't shaken that view.

<A HREF="http://www.theaustralian.news.com.au/common/story_page/0,5744,6382602%255E16953,00.html" TARGET=_blank><B>More...</B></A>


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 Post subject: Re: Australian Ballet, 2002-2003 season
PostPosted: Sun May 11, 2003 7:17 am 
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<B>Voluntaries reunion</B>
By Katrina Strickland
May 08, 2003
The Australian

THE last time Glen Tetley worked with the Australian Ballet, he plucked a young girl out of the corps de ballet and gave her a principal role in his work Voluntaries. It was 1991, and the fresh-faced 16-year-old had been with the company for only three months.

Fast foward 12 years and Tetley is back, working with the same dancer on another season of Voluntaries. Except this time the dancer, Nicole Rhodes, is a much-loved AB principal rather than a junior trying to look like one.

<A HREF="http://www.theaustralian.news.com.au/common/story_page/0,5744,6400633%255E16953,00.html" TARGET=_blank><B>More...</B></A>


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 Post subject: Re: Australian Ballet, 2002-2003 season
PostPosted: Sun May 11, 2003 7:19 am 
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Wild Swans
Reviewed by Jill Sykes
May 5 2003
Sydney Morning Herald

Wild Swans, Meryl Tankard's first full-length work for the Australian Ballet, is rich in wondrous stage effects that are disconcertingly grounded from time to time. But for me at least, the magic is uppermost.

Using the expansive, fluent language of contemporary dance - and making up for the point work she hasn't had much chance to use for years - Tankard has adopted an arm's-length storytelling approach in which events unfold without arousing strong drama or emotion. Wild Swans is essentially a visual experience, with Elena Kats-Chernin's vivid music acting as a soundtrack.

More...

<small>[ 11 May 2003, 09:19 AM: Message edited by: Malcolm Tay ]</small>


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