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 Post subject: Ballet Hispanico
PostPosted: Mon Oct 10, 2005 8:00 am 
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Ballet Hispanico's Costume Dramas

Monday, October 3, 2005; Page C05
Washington Post


Quote:
Ballet Hispanico unleashed a whirl of color and the contagious rhythms of Latin dance music at George Mason University on Saturday night with its opening piece, "Dejame Sonar," which is part of "Nightclub," a longer work set in Spanish Harlem's legendary social clubs. Choreographer Alexandre Magno and costume designer Paul Tazewell created a visual delight with women in bright 1950s full-skirted dresses partnered with men in colorful cabana shirts. The sexy, upbeat, hip-swaying, ballroom-style dancing was captivating, and showed off the company's strong theatrical corps.

http://www.washingtonpost.com/wp-dyn/content/article/2005/10/02/AR2005100201092.html


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PostPosted: Thu Dec 01, 2005 4:22 am 
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Location: Estonia
Quote:
To Drum Beats, Orpheus Lands in Brazil at Carnival
by JOHN ROCKWELL for the New York Times

The premiere's big problem, aside from a lack of real interest in the movement, neither the choreography nor the dancing, was its tired source. Unless someone has something genuinely new to say, it is surely time to give the Orpheus story a rest, even or especially in its Brazilian incarnation.

Still, the linguistically mongrelized "Orfeu in the Carnaval of Souls" did offer some striking costumes (Anita Yavich) and the commanding Irene Hogarth-Cimino as Perséfone.

published: December 1, 2005
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PostPosted: Fri Dec 09, 2005 6:59 am 
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Location: Estonia
Quote:
Beneath the Flash, a Big Heart
by JENNIFER DUNNING for the New York Times

Mr. Ruiz, who has several choreographic gigs lined up after his departure from Ballet Hispanico, was inspired to try his hand at making dances after working with Ramón Oller, the Catalan modern-dance choreographer, who was represented on the program by one piece and a duet from another. Mr. Oller's 1998 "Bury Me Standing," a stylized evocation of the life and culture of Gypsies set to a terrific score of bold, earthy traditional Gypsy melodies, is a static dance that takes a long time to make and remake its points.

published: December 8, 2005
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PostPosted: Fri Dec 09, 2005 2:55 pm 
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Joined: Fri Oct 22, 1999 11:01 pm
Posts: 17498
Location: SF Bay Area
Ooh, boy... where to begin?

Maria Rovira's "Tierra de Nadie" was choreographed in 1996, yet it looked like it could fit in well in 1966. There's too much in this work that seems dated and too much that seems too close to "social folk dances," stuff that most people can dance in their own living room except with more energy and style...

Then, there was Alexandre Magno's "Orfeu in the Carnaval of Souls." If you are into fake cardboard guitars, dominatrix women, and men in helmets that look like they came from a bad opera by Franco Zeffirelli, then maybe this ballet is for you. Otherwise, you're better off enjoying a hot chai latte at the Starbucks down the street.

However, I love the dancers, for several basic things: talent, physique and just plain good looks! This must be the best looking group of dancers I've come across who are equally beautiful both on stage and in close ups.


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PostPosted: Fri Dec 09, 2005 8:27 pm 
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Posts: 219
I don’t disagree, for the most part. But the deeper problem I saw was that Ballet Hispanico has become Ballet Generico. It has forsaken its unmistakable identity in favor of the commercial, already-tried-by-others road -- which apparently garners enough of an audience to make the Joyce a willing presenter. The dancers were capable and spirited, but the content just wasn’t there. We really need a Ballet Hispanico in this city. That said, I'm still very glad that I went.


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PostPosted: Fri Dec 09, 2005 10:56 pm 
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Location: SF Bay Area
Ouch... Ballet Generico?

Such talented dancers deserve better works! Now, fess up: didn't you like the hunky guys in the Conan-like helmets?


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PostPosted: Fri Dec 09, 2005 11:17 pm 
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Yeah, yeah, the hunky guys were good, but the helmets didn't inspire any fantasies whatsoever. Sorry. The lighting in the first piece ticked me off. There was no light at the dancers' feet. It shorted their legs and left me squinting. Their feet were nice, and it would have been nice to see them regardless of the lighting designer's wishes.


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PostPosted: Sat Dec 10, 2005 12:38 am 
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Location: SF Bay Area
Yes, the lighting also had a dated 60ish night club look -- I think the idea was to focus your attention on the hip-swaying by the women which was alluring at first but then drove me nuts as it continued through the whole thing!


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PostPosted: Thu Nov 09, 2006 7:36 am 
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Location: Estonia
Quote:
A Cultural Paella of Moorish Influences
by CLAUDIA LA ROCCO for the New York Times
ublished: November 3, 2006

The choreographer Ramón Oller grew up in Spain but, strangely enough, it was the American writer Washington Irving’s travelogue “Tales of the Alhambra” that inspired “Corazón Al-Andaluz.”
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Quote:
What's on the Table
by DEBORAH JOWITT for the Village Voice
published: November 7, 2006

Given the variety of choreographers who've participated, it strikes me as a little strange that among the current Joyce season's four programs, Program A offers only works by Ramón Oller, and Program B features a repeat of four of them along with Ramirez's world premiere, Palladium Suite.
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 Post subject:
PostPosted: Mon May 21, 2007 9:50 am 
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From Karen Campbell in the Boston Globe:
Quote:
Tepid choreography cools hot ‘ Nights’
Ballet Hispanico’s “Palladium Nights” is a very hot idea that takes a disappointingly long time to warm up. But when it does, it downright sizzles.
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 Post subject:
PostPosted: Thu May 24, 2007 7:42 am 
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From Marcia Siegel in the Boston Phoenix (following of review of Mark Morris Dance Company):
Quote:
Lightweights - Mark Morris at the ICA, Latin Jazz at the Shubert

....
Maybe I just assumed that Palladium Nights would be a show for Ballet Hispánico, but it turned out to be more of a showcase for the Afro-Latin Jazz Orchestra of Lincoln Center. Although it was billed as a collaboration, the show’s origins are obscured in the program. It looked to me like one of those touring projects that keep performing companies working and earning money between home engagements.

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