Woody Allen injects humor into the ballet


The ballet isn’t generally known as a place for great humor, but Woody Allen was a cutup at the Youth America Grand Prix Gala, spies said. The “Annie Hall” director and wife Soon-Yi Previn were spotted there as guests at the David H. Koch Theater at Lincoln Center last week, along with David and Julia Koch, Wilbur and Hilary Ross, Debra Black and Karen LeFrak, who composed the score for a premiere of Marcelo Gomes’ dance piece “Tous Les Jours.” When the well-heeled group filed in for dinner after the performance, Allen was seen desperately scanning the place cards at his table. “I like it when Soon-Yi’s at the same table,” he explained to a guest, relieved to find she was seated nearby. When a party photographer asked to snap a pic, Allen quipped that he’s always happy to pose because, “It keeps me from eating.” And when a guest exclaimed Allen hadn’t changed since they’d met 35 years before, the director put his hand on his heart, tapped his chest and concluded, “No maturity.” [Source]

Opening Friday April 19th, the San Jose Ballet in Merce Cunningham’s “Duets”

Here is a Nathaniel Tileston photo from the original cast–Merce dancing with Cathy Kerr in 1980.


Another photo of “Duets,” having its San Jose Ballet premiere this weekend–Here are American Ballet Theatre’s Robert La Fosse and Christine Spizzo in 1982.


Martin Chaix – „We were right here!!“ (Premiere tonight)


The title of the first choreography by Martin Chaix for Ballett am Rhein takes us straight into the ballet studio. On the day of his arrival in Düsseldorf in the autumn of 2009 the dancer and choreographer discovered on the wall of the ballet room the written words. “we were right here!! at the right time”. In the concept of the piece Martin Chaix tells how he stands to the words, which gave him repeated food for thought, whether lurking behind something or catching his eye directly. A reflection based on the localization and apprehension of an anchorage in here and now, making a reference back to the past and a perspective forward to the future from this anchorage. An attempt at the theme of the omnipresence of change and, now fearful and now joyful, our dealings with it.

The aspect of change and the question of self-localization also brought Martin Chaix to Alfred Schnittke and his concerto for choir, the first movement of which supplies him with the music for his world première. Schnittke as a strayer among religions and cultures, a searcher for his own identity, seemed to him the ideal musical counterpart. Besides, the immediacy of choir singing, which is made of tones produced solely by the human body, suggested to Martin Chaix an affinity with dance, which “presupposes the presence of the human body, the mere fact of being there”.

French-born Martin Chaix was trained at the ballet school of the Opéra National de Paris and after his studies joined the ensemble there under Brigitte Lefèvre. In 2006 he moved to the Leipzig ballet as soloist under Paul Chalmer. His first choreographies were for the Pariser opera in 2006, and for Leipzig there followed in 2007 “Lady”, “Lob der Tränen” (in praise of tears), “Und so weiter …” (and so on) and then in 2010 for the Noverre Society in Stuttgart “Voices”. He has been a member of Ballett am Rhein since 2009.

“WE WERE RIGHT HERE” (World Première)
Martin Chaix

1st movement of the concerto for choir by Alfred Schnittke


Shoko Nakamura from the Staatsballett Berlin at the Masse rehearsals



Premiere, World premiere
Saturday, 04.05.2013
20.00 h
27 – 42 €

Further Events:
04 | 07 | 08 | 09 | 10 | 14 | 16 | 18 | 22 | 24 | 25 May 2013

Chorography: Nadja Saidakova
Xenia Wiest
Tim Plegge
Music: Henrik Schwarz, Marcel Dettmann & Frank Wiedemann und DIN (Efdemin & Marcel Fengler)
Set Design: Norbert Bisky
Costume Design: Julia Mottl

Koproduktion: Staatsballett Berlin – Club Berghain


Chinese dancers pursue ‘Korean dreams’


Fang Mengying and Huang Zhen rehearse at the Universal Ballet Company in western Seoul last week.

It is the dream of many ballet dancers to pursue a career in France or Russia, home to some of the oldest companies in the world.

But some Asian dancers have come to Korea to develop their careers, as in the case of Huang Zhen, a ballerino from Hong Kong, and Chinese dancer Fang Mengying.

The two dancers will make their debut as main characters in “Swan Lake” by the Universal Ballet Company (UBC), a leading ballet troupe in Korea, next week. The company will stage “Swan Lake” at Seoul Arts Center as a season opener starting Friday through next Tuesday.

Fang is one of the six dancers, along with longtime principal dancer Kang Ye-na and Hwang Hye-min that will dance the lead role of Odette.

The Chinese dancer graces the official poster for the production as well. It is unusual for a soloist, not a principal, to appear in the poster of a season opener or dance a lead role in such a large-scale production as the “Swan Lake.”

Read the full article in The Korean Times here.

Tickets for UBC’s production of “Swan Lake” ranges from 10,000 won to 100,000 won. For more information, call 070-7124-1737 or visit www.unversalballet.com.

Russian Police Say Dancer and Two Others Confess to Bolshoi Attack

The New York Times have published three articles about the Bolshoi acid attack:


A dancer at the Bolshoi Ballet and two other men have confessed to carrying out an acid attack in January on the company’s artistic director, Sergei Filin, a crime that gripped Moscow and left one of Russia’s most revered institutions in turmoil, the police announced on Wednesday.

Read the full article.


Prosecutors have yet to lay out a possible motive in the January attack on the Bolshoi Ballet’s artistic director, Sergei Filin, but the revelations of the past few days suggest that it may boil down to a ballerina.

Read the full article.


The Bolshoi Ballet soloist Pavel Dmitrichenko on Thursday tried to deflect blame for the January attack on Sergei Filin, the company’s artistic director. Mr. Dmitrichenko said he had agreed that an ex-convict acquaintance would “knock him around,” but that he was unaware that the man planned to douse Mr. Filin’s face with sulfuric acid, jeopardizing his eyesight.

Read the full article.