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She’s still dancing, although Rivera says she no longer maintains a daily routine. But she does a stretching workout at least three times a week. “I don’t have a show every day like I used to, but I still work hard,” she says. “The knees hurt. It does not get easier, put it that way. But once you’re a dancer, you’re always a dancer.”. After “Chita: A Legendary Celebration,” Rivera will reprise another role, as the oft-married Claire Zachanassian in a revival of Kander and Ebb’s “The Visit.” Directed by John Doyle, it will headline this summer’s Williamstown Theatre Festival. “We did it in Chicago in 2001 and Virginia in 2008, and this is hopefully third time lucky,” she says. “The score is fantastic, and it’s very dark. People say it’s about revenge. It’s actually about love.”.

Tessa Virtue and Scott Moir of Canada, the 2010 champions, took silver, Russia’s Elena Ilinykh and Nikita Katsalapov captured bronze, Davis and White won silver in Vancouver, but in the four years since have overtaken the Canadians, their training partners in Detroit, The Americans scored 116.63 points in the free dance to finish with 195.52, 4.53 ahead freed pointe shoes makers of Virtue and Moir, After a near-flawless performance to “Sheherazade,” Davis rested her head on White’s back in exhausted elation, Report an errorPolicies and StandardsContact UsTags:OlympicsSubscribe Today!All Access Digital offer for just 99 cents!blog comments powered by DisqusGet Morning Report and other email newsletters..

The reigning world champions earned 78.89 points and lead 2010 gold medalists Tessa Virtue and Scott Moir of Canada by 2.56. The two teams train together in the Detroit area. Virtue and Moir rebounded from a shaky performance in the team event with a much stronger showing. But Davis and White, skating last, danced across the ice at a different speed from the rest of the field. A Russian team was in third, but it wasn’t world bronze medalists Ekaterina Bobrova and Dmitri Soloviev. Elena Ilinykh and Nikita Katsalapov were 3.29 points behind Virtue and Moir. The free dance is Monday. Report an errorPolicies and StandardsContact UsTags:OlympicsSubscribe Today!All Access Digital offer for just 99 cents!blog comments powered by DisqusGet Morning Report and other email newsletters.

That was last June, Now, in slightly longer than a heartbeat, this star dancer has brought life to a vision much grander than a chamber ballet company yet humbler than a vast metropolitan institution, Carreno may be mounting his season minus the flash of a gilded concert hall and, at least in last weekend’s program, live music, And he may not freed pointe shoes makers yet be able to pack the theater with bodies or contract all the dancers he wants, But the program performed Friday through Sunday proves that trappings aren’t essential, Vision, daring and holistic thinking are..

Helgi Tomasson, watch out. In an echo of another beginning, Carreno opened the program, called “Neoclassical to Now,” with George Balanchine’s beautiful, modernist “Serenade,” the Russian choreographer’s first American ballet. Created in 1934 on a handful of his students, this was Balanchine’s first effort to muster interest in a new ballet company. It proved a harbinger of pathbreaking advances in the art to come. Saturday, “Serenade” began as it must — with a diaphanous corps of women, facing front, their right arms raised and wrists bent as though in an effort to shield their faces from the sun. A work with no recognizable story line yet full of poetic figures, technical rigor, and fragments of the ballet classics, it is a paean to the formal magic of dance, paying poignant, often beguiling homage, to love, beauty, death and transcendence as these forces seem to materialize from Tchaikovsky’s Serenade for Strings in C.

None of freed pointe shoes makers the dancers missed a beat, and they moved with a precision that not even New York City or San Francisco Ballet tend to muster, Ommi Pipit-Suksun, formerly of San Francisco Ballet, was liquid elegance, her torso supplely bending, her long limbs incising the air, Alexsandra Meijer made constant and quick work of Balanchine’s deviously difficult and insouciant steps, while Nathan Chaney was elegant and cool despite a great deal of complex partnering, With curatorial canniness, Carreno followed with Jorma Elo’s postmodern “Glow Stop” from 2006, which echoes “Serenade” by deconstructing it, Dressed in dark red, dancers in “Glow Stop” engaged in athletic, fractured movement to the fourth movement of Mozart’s Symphony No, 28 in C major and Philip Glass’s Tirol Concerto..

While the choreography struggled to keep up with the grandeur of Mozart, often emphasizing the music’s melodic line and making the dance far heavier and busier than “Serenade,” Elo created postmodern complexity with fragmentary utterances performed alone, in unison, or in counterpoint. The fractured language became a physical analog of both language and thought where, despite shared concepts, none is fully comprehensible to another. The night ended with Ohad Naharin’s wild and wildly funny “Minus 16,” a veritable mixtape of various dance excerpts of Naharin’s works from the 1990s, which threads us back in history while moving viewers into the present.

It begins with a clowning dancer freed pointe shoes makers in intermission warming up the stage, moves to a comic, tamped-down collective cha-cha, and includes a ritualistic chair dance where, with fairy-tale import, the last figure repeatedly falls to the ground, When the ensemble strips itself of shoes, then shirts, and finally pants, all tossed into the center of the stage like a pile in an induction center or a death camp, a darkness beneath the comedy bubbles forth, Not for long, though, For the finale, company members scouted audience members to be onstage extras in one of the most touching participatory dance exchanges I know, (A shout out to the woman in brown, the downstage woman in blue, and the adept mover with the beard.)..