Word: bolshoi
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...growth industry in the world today. Just moving an opera company across town is a money-losing proposition; to transport one across an ocean, lock, stock and spears, is to risk bankruptcy. Yet in 1975 the Metropolitan Opera flew to Japan, and both the Deutsche Oper Berlin and the Bolshoi Opera visited the U.S. And now, beginning this week, two of Europe's most important opera companies will be mounting productions in the U.S. for the first time. Whatever the outcome of the new musical season, nothing is going to outshine the anticipation and excitement of such a gala...
...spring and summer, and pick up some or all expenses of visiting companies. "You run millions of dollars through all that and you come out with nothing on the bottom line," says Goldman. Sometimes even less. Last year Hurok's loss on the widely acclaimed visit of the Bolshoi Opera was about $400,000. Hurok would still like to bring over the Bolshoi and Stuttgart ballets, but only if it can renegotiate more favorable contracts...
...Danish dancers fly and sweep through space in broad arcs. Yet they are totally unlike the flashy, athletic Russians of the Bolshoi or Kirov ballets. The Danish presentation is modest rather than showy. Dancing the role of Winter, Mette Hønningen-her arms gently curved and her shoulders very straight-gazed directly at the audience and glided through intricate patterns of quick, tiny steps that flowed like pulse beats. This is the true Danish style-a soft, romantic candor. It traces its roots to French ballet and is a legacy of August Bournonville, the chief designer of the Danes...
...crotch, he can tell the seamstress that he has to have a gusset. Eventually, Mitchell hopes to add a full-scale drama department, art-history classes, a theater and dormitories. Yet even now, D.T.H. comes closer than any other American dance institution to a Russian conservatory like the Bolshoi or the Kirov...
...Trock impressed the New Yorker's Arlene Croce, perhaps the sternest dance critic of all. Reviewing Bassae/Karpova's performance in the Don Quixote, Croce wrote: "Karpova, I believe, gave a better performance than the Bolshoi's Nina Sorokina. There was more wit, more plasticity, more elegance and even more femininity in Karpova's balances and kneeling backbends than in all of Sorokina's tricks." The Track's recent winter season drew such eminent visitors as Jerome Robbins and Mikhail Baryshnikov. Sighed Bassae: "After 20 years of dancing I finally made it when...