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sophia
Inscrit le: 03 Jan 2004
Messages: 22163
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 Posté le: Ven Jan 06, 2006 12:25 pm Sujet du message: L'Ecole de danse de l'Opéra de Paris à Washington DC |
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J'ai trouvé l'information sur le site américain Ballettalk, à qui je me permets de la "piquer": l'Ecole de danse de l'Opéra de Paris se produira avec cinq autres écoles de danse prestigieuses au Kennedy Center de Washington DC les 26, 27, 28 et 29 janvier, dans le cadre d'un Festival intitulé "Protégés: The International Ballet Academy Festival" dont le but est de montrer les différents styles de formation à travers le monde et de donner une idée de l'avenir de la danse. L'Ecole de danse de l'Opéra de Paris présentera deux chorégraphies signées de deux étoiles "maison": "Péchés de jeuness" de Jean-Guillaume Bart et "Scaramouche" de José Martinez.
Programme complet:
Dance Theatre of Harlem School
"Concerto Barocco", 1er mouvement (Balanchine/Bach)
"Ginastera" (Wilson/Ginastera): 27 et 29/1
Nouveau Théâtre National, Tokyo, Programme d'entraînement des Jeunes Artistes
"Sinfonietta" (Asami/Gounod)
Ecole du Ballet de l'Opéra de Paris
"Péchés de Jeunesse", pas de deux (Bart/Rossini)
"Scaramouche" (Martinez/Milhaud): 26 et 28/1
Ecole du Royal Ballet
"A Birthday Offering", extraits (Ashton/Glazunov)
Ecole du Ballet Royal du Danemark
"Napoli", extraits du pas de six (Bournonville/Paulli, Helsted, Gade)
"Fête de Fleurs à Genzano", introduction et pas de deux (Bournonville/Helsted, Paulli)
"Springtime" (Feralli/Helweg): 27 et 29/1
"The Bournonville School" (divers/Helweg): 27 et 29/1
Académie de Danse Vaganova
"Casse-Noisette", pas de deux (Vainonen/Tchaikovsky)
Informations
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Azulynn
Inscrit le: 13 Nov 2004
Messages: 659
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| Posté le: Sam Jan 28, 2006 6:01 pm Sujet du message: |
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Le New York Times publie aujourd'hui un article sur cet International Ballet Academy Festival : Showcase for the World's Young Dancers
La journaliste Jennifer Dunning loue en particulier les performances de la Royal Ballet School et de deux alumni de l'école Vaganova. Toutefois, elle n'a que moyennement apprécié les pièces présentées par l'école de danse de l'Opéra, et elle ne cite même pas les danseurs :
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| A cast of seeming hundreds of exuberant little showoffs from the Paris Opera Ballet School got to yell "Hey!" and wear lots of costumes in José Martinez's goofy "Scaramouche." Jean-Guillaume Bart's "Péchés de Jeunesse" was made to show off the fast, precise legwork that once identified the French ballet style. It did do that, but little else." |
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sophia
Inscrit le: 03 Jan 2004
Messages: 22163
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| Posté le: Sam Jan 28, 2006 6:10 pm Sujet du message: |
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C'est l'Ecole du Royal Ballet que le New-York Times a choisi de mettre en photo pour illustrer l'article consacré à ce spectacle présentant des prestations des meilleures écoles de danse du monde. C'est aussi l'Ecole du Royal Ballet, dont on savait le niveau excellent, qui emporte sans aucune ambiguïté tous les suffrages de la journaliste, ne laissant que des miettes aux autres participants, qui, chacun pour des raisons diverses, ne semblent guère avoir ébloui l'auteur de l'article:
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The exception was a performance by the Royal Ballet School of Sir Frederick Ashton's 1956 "Birthday Offering" (which celebrated the gifts of seven English ballerinas of the time). The performance by this London troupe went far beyond gifted student dancing to a level of artistry that was astonishing. Ashton may not be the choreographer of choice for these young English dancers, who named Sir Kenneth MacMillan and John Cranko as favorites in a preperformance discussion. But they perfectly captured the way Ashton's ballets can breathe the music, and all the sweetness and delicacy of his approach to dancing.
The performing was uniformly lyrical, musical and expressive, in part because of the women's beautifully articulated upper bodies. Adeline Kaiser [une Française, qui a eu un prix l'an dernier à Lausanne, NDLR], the lead ballerina, set the standard in the fifth solo and in a pas de deux, performed with Yasuo Atsuji, that suggested that Ashton was as daring in his use of slow, expansive movement as George Balanchine was with speed. The other soloists were Callie Roberts, Moe Nieda, Annie Carroll, Claire Calvert, Quenby Hersh and Jacqueline Clark, whose phrasing and delicate fullness were compelling. The big, easy dancing of the seven men also stood out in another segment. |
L'intégralité de l'article
Dernière édition par sophia le Sam Jan 28, 2006 6:13 pm; édité 2 fois |
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Azulynn
Inscrit le: 13 Nov 2004
Messages: 659
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| Posté le: Sam Jan 28, 2006 6:10 pm Sujet du message: |
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Un autre article, du Washington Post cette fois-ci : "Proteges" : Ballet steps from the past into a bright future
Alexandra Tomalonis développe ses commentaires sur les élèves de l'Opéra, qu'elle a visiblement apprécié :
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Good classical choreography is rare, and the Paris Opera Ballet School provided pieces by two of its current stars that were well-constructed and imaginative. Jose Martinez's "Scaramouche," for a stage full of talented young pupils, is a wonderful fantasy ballet for children.
It's partly a history lesson: The title character is from the old commedia dell'arte, and he and his friends dress in traditional commedia costumes. (...)
In a program note, Jean-Guillaume Bart said that in his "Peches de Jeunesse," set to the music of Rossini, "I very much wanted to use the petite batterie and other rapid dance steps, characteristic of the 'French School,' " which have nearly disappeared from the repertory. And that he certainly did, in two pas de deux and a dance for two girls. "Peches" is a good example of something old that becomes new, and Bart's lyrical choreography is fresh and admirably suited to the dancers, who showed their company's famed clarity, precision and impeccable neoclassical style. |
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sophia
Inscrit le: 03 Jan 2004
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sophia
Inscrit le: 03 Jan 2004
Messages: 22163
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| Posté le: Lun Jan 30, 2006 1:57 pm Sujet du message: |
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Un article assez long et fouillé signé George Jackson sur DanceViewTimes
L'école du Royal Ballet qui présentait "Birthday Offering" de Ashton est là encore encensée:
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| Elegantly wrapped in ensemble dancing are seven imaginatively varied, meticulously crafted solos for the ladies of the cast. Each solo is as nuanced, faceted and absolutely finished as an item from Faberge's workshop. The crowning jewel is a regally serene adagio for the first ballerina and her consort. The cast's men present their solo selves simultaneously: in other words, although they dance as a coherent group, it ought also to be possible to also see each as an individual. Glazounov's music, unashamedly lilting and lush, prompted Ashton to add just a touch of preciosity to this ballet's perfection. How did the pupils fare in choreography and styling intended for the top echelon of one of the world's great ballet companies? On January 26—splendidly! There was pleasure in the waltzing of the pairs as they took to the stage of the Opera House, a firm yet gentle force propelled the men's joint forward leap, precision and personality showed in the women's solos and, most admirably, everyone knew who in the world and where in the world they were supposed to be. Only the handclasp partnering for pinpointe balances seemed to present difficulties. |
Sur l'Opéra de Paris, le journaliste semble satisfait, mais est nettement plus nuancé:
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Also, it seemed to me, that Martinez sometimes confounded stage infrastructure with theatrical substance. However, this artifact to music by Milhaud and others has hilarious moments, some touching ones too and made its didactic points plainly. The most important lesson illustrated is that young pupils should never be forced to perform beyond their appropriate stage of development. The girls danced on half pointe and the boys, although energetic, attempted no tours de force. Martinez believes that dance education should recapitulate dance history, and so his images proceeded from commedia dell'arte through romanticism and the high classical to our era of pop. He managed this while keeping the acting and dancing simple, and ended on the tonic: the children starting a basic ballet class at the barre. Even called on to mug, these Parisian kids did so with control. They got a big hand from the audience!
"Peches de Jeunesse", for Paris's advanced students, is Jean-Guillaume Bart's exploration and exploitation of complex partnering and also of the small, rapid steps for which French ballet training used to be known. To the choreographer's credit is his refined use of technique and the understated elegance of his lyrical impulses. At times, though, the step combinations become too dry an accompaniment for music by Rossini that is rather juicy. The touches of young love Bart introduces feel like afterthoughts and aren't really needed as excuses for the technical experimentation that's his purpose and passion. Paris' young women danced with superb self-composure and its young men partnered with dispatch. |
Les autres prestations font dans l'ensemble l'objet de critiques assez positives. Et la conclusion de l'article appelle à un maintien des différences de style:
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| Consistency varies with all dancers, but students, especially, must learn how to pace themselves. This opening night was definitely an "up" occasion from beginning to end. What about globalization? For better or worse, legs everywhere in the ballet world extend higher than before. However, Protégés proved that historic differences still show at the student level—the Royal's graciousness and straight spines, Paris's elegant placement and arched feet, Japan's precision, Harlem's ambition, the spaciousness and pliancy of the Vaganova/Maryinsky, and the Danes' magic that makes viewers itch to dance. May differences persist! Are all of them taught? How important are the things left out of lessons? The great Alexandra Danilova used to say that she instructed her students in what she knew and believed, but how they danced reflected those lessons only in part. |
Ecole de danse de l'Opéra de Paris: "Scaramouche"
Ecole de danse de l'Opéra de Paris: "Scaramouche"
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Daria Vasnetsova (école Vaganova) "Casse-Noisette"
Dernière édition par sophia le Lun Jan 30, 2006 3:44 pm; édité 1 fois |
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sophia
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