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	<title>Musical America Blogs &#187; Frederic Chopin</title>
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		<title>Lifting Ballerinas</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4749</link>
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		<pubDate>Mon, 07 May 2012 06:30:19 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Andantino]]></category>
		<category><![CDATA[Fokine]]></category>
		<category><![CDATA[Frederic Chopin]]></category>
		<category><![CDATA[George Balanchine]]></category>
		<category><![CDATA[In G Major]]></category>
		<category><![CDATA[In the Night]]></category>
		<category><![CDATA[Jerome Robbins]]></category>
		<category><![CDATA[Jock Soto]]></category>
		<category><![CDATA[Maria Kowroski]]></category>
		<category><![CDATA[Massine]]></category>
		<category><![CDATA[Nancy McDill]]></category>
		<category><![CDATA[New York City Ballet]]></category>
		<category><![CDATA[New York State Theater]]></category>
		<category><![CDATA[Petipa]]></category>
		<category><![CDATA[Ravel]]></category>
		<category><![CDATA[Robert Fairchild]]></category>
		<category><![CDATA[Sebastian Marcovici]]></category>
		<category><![CDATA[Sterling Hyltin]]></category>
		<category><![CDATA[The Cage]]></category>
		<category><![CDATA[Tyler Angle]]></category>
		<category><![CDATA[Water Flowing Together]]></category>

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		<description><![CDATA[Have you ever wondered what it would take to partner a female ballet dancer? The May 6 matinee at New York City Ballet was an excellent primer for any one considering that question. In each of the four works from the All (Jerome) Robbins program, at the former New York State Theater, the male lead rarely left the side of his female partner.]]></description>
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		<title>The joys of the ballet spoof</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3719</link>
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		<pubDate>Thu, 26 Jan 2012 22:13:52 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Amanda Hankes]]></category>
		<category><![CDATA[Andrew Veyette]]></category>
		<category><![CDATA[Cameron Grant]]></category>
		<category><![CDATA[Cedar Lake Contemporary Ballet Theater]]></category>
		<category><![CDATA[concerto in d minor for two violins]]></category>
		<category><![CDATA[Concerto Nuovo]]></category>
		<category><![CDATA[Dancers Responding to AIDS]]></category>
		<category><![CDATA[Danny Kaye]]></category>
		<category><![CDATA[Frederic Chopin]]></category>
		<category><![CDATA[J.S. Bach]]></category>
		<category><![CDATA[Jeremy McQueen]]></category>
		<category><![CDATA[Jerome Robbins]]></category>
		<category><![CDATA[Knock on Wood]]></category>
		<category><![CDATA[lincoln center]]></category>
		<category><![CDATA[Maria Kowroski]]></category>
		<category><![CDATA[Michael Kidd]]></category>
		<category><![CDATA[New York City Ballet]]></category>
		<category><![CDATA[Paramount Pictures]]></category>
		<category><![CDATA[Russian ballet]]></category>
		<category><![CDATA[The Concert]]></category>

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		<description><![CDATA[There is nothing like a good ballet spoof. At New York City Ballet’s January 21 matinee performance, the company danced at Lincoln Center Jerome Robbins’ “The Concert” (1956). Whether you get the inside jokes regarding specific ballets, Robbins’s jabs at ballet traditions—the good, bad and the ugly—directly communicate. ]]></description>
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