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haydn
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Inscrit le: 28 Déc 2003
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 Posté le: Jeu Mai 17, 2007 10:27 am Sujet du message: |
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| Merci Kevin, attention, le chargement du blog est assez lent, donc, il faut être patient et ne pas se décourager trop vite. Ce sont des photos de répétition, et Aurélie Dupont porte un tutu assez étonnant qui ressemble à celui de Don Quichotte, avec une touche de "couleur locale".
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thebride
Inscrit le: 14 Mar 2007
Messages: 21
Localisation: France
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Kevin Ng
Inscrit le: 17 Déc 2005
Messages: 57
Localisation: Hong Kong, Londres
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sophia
Inscrit le: 03 Jan 2004
Messages: 22092
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| Posté le: Mar Mai 22, 2007 8:38 am Sujet du message: |
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L'ami Kevin nous envoie son compte-rendu du "Paris Programme" du Ballet National de Chine, paru dans le Financial Times du 21 mai.
National Ballet of China, Tianqiao Theatre, Beijing
La soirée était composée d'Entrelacs, chorégraphié par Kader Belarbi, de l'acte III de Don Quichotte dansé par Aurélie Dupont et Sheng Shidong, et de l'acte II de Giselle interprété par Wang Qimin et Li Jun. C'est sans conteste la dernière partie du programme - évoquée avec force superlatifs - que Kevin Ng paraît avoir le plus apprécié. Un corps de ballet au sommet, parfaitement à l'unisson, montrant un splendide travail du haut du corps, et deux interprètes sublimes dans les rôles-titre: Wang Qimin, Giselle exemplaire à la danse pure et poétique, et Li Jun, Albrecht passionné. Il s'agit là du meilleur couple de la compagnie et leur pas de deux était chargé d'une grande émotion.
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The corps de ballet was at its very best, splendidly uniform in its upper body carriage. Wang Qimin and Li Jun were sublime as the leads.
Wang was an exemplary Giselle, her dancing pure and poetic; Li, her chivalrous partner, was a suitably ardent Albrecht. The two are the finest partnership in the company now and they gave the pas de deux great emotional resonance. |
Pour ce qui est de la chorégraphie de Kader Belarbi, inspirée du peintre chinois Shi Tao, et construite sur les musiques d'Arvo Pärt (pour la première partie, lente, ainsi que le final) et de Iannis Xenakis (pour la seconde partie, allegro), Kevin juge, tout du moins pour sa conclusion, que la chorégraphie, légèrement bavarde, manque d'approfondissement, même si l'ensemble comporte par ailleurs des moments très appréciables.
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The stage is conceived as a canvas, with the space being filled by brushstrokes represented by the dancers’ bodies. The three lead couples, dressed in unitards of different colours, dance to melancholy music by Arvo Pärt in the first section. Zhu Yan, the company’s senior ballerina, was particularly fine, dancing expressively, with due weight and dignity.
The second allegro section, to music by Iannis Xenakis, is for six other couples, who move energetically to and fro like waves. The final section, set to Pärt again for the three lead couples, is slightly long-winded; the choreography lacks development. Overall, though, there is much to enjoy in the piece. |
Quant à l'acte III de Don Quichotte, Aurélie Dupont ne semble pas avoir été vraiment, toujours selon l'auteur, au sommet de sa forme, en dépit du partenariat solide de Sheng Shidong, qui a vaillamment défendu dans son solo, malgré quelques erreurs techniques ici ou là, la chorégraphie excessivement tarabiscotée de Rudolf Noureev.
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| Dupont wasn’t quite at her scintillating best in the grand pas de deux, though she was strongly partnered by Sheng Shidong, who valiantly danced Nureyev’s over-fussy choreography for his solo, in spite of the occasional mis-step. |
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haydn
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sophia
Inscrit le: 03 Jan 2004
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| Posté le: Mar Mai 29, 2007 11:56 am Sujet du message: |
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| Dans la continuité de la politique de collaboration, ou d'échange, entre le Ballet National de Chine et le Ballet de l'Opéra de Paris, on devrait revoir le Ballet de l'Opéra de Paris en Chine en 2008, tandis que le Ballet National de Chine serait invité à Paris en 2009.
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Kevin Ng
Inscrit le: 17 Déc 2005
Messages: 57
Localisation: Hong Kong, Londres
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| Posté le: Mar Mai 29, 2007 12:32 pm Sujet du message: |
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Le Ballet de l'Opera va donner des spectacles dans l'Opera nouveau a Pekin qui va etre ouvert en 2008 avant les Jeux Olympiques. L'Opera a Pekin est dessine par un architecte francais.
Le Ballet National de Chine fera une tournee a l'Opera Garnier en 2009
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haydn
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Enya
Inscrit le: 26 Aoû 2005
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| Posté le: Dim Juin 03, 2007 3:54 pm Sujet du message: |
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Voila quelques mots de ma part en retard, et…… en anglais.
I went to the Gala on 18th and 19th of May. Here comes some late words about the performances, mainly focused on Mr. K. Belarbi’s latest choreography “Entrelacs” and Don Quixote Act III where Aurelie Dupont took the leading role of Kitri.
Entrelacs
Leading dancers: Mlle. Zhang Jian (Prima Ballerina, in red), Mlle. Zhu Yan (Prima Ballerina, in yellow), Mlle. Meng Ningning (principal dancer, in orange) / Mr. Yu Bo (principal dancer), Mr. Huang Zheng (soloist), Mr. Sheng Shidong (soloist).
First of all, I would like to quot the introduction of “Entrelacs” in the playbill of this performance, to show the initial and original ideas of the choreographer,
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“The idea of the ballet Entrelacs is originated from works of the famous Chinese painter Mr. Shi Tao, who lived in the dusk of Ming and dawn of Qing Dynasty. Shi Tao’s artistic vision was to be realistic. According to him, a painter shall put himself into the Mother Nature, collecting as many curiosties as possible from it, and then creating ones own artistic conception. His idea of the harmonious interlacement of the past and present inspires the choreagraher of the ballet, Mr. Kader Belarbi. “I always like paintings, and the Chinese paintings and calligraphies naturally bring me movements and ideas,”said himself.
Entrelacs is a ballet with no plot. The choreographer conceives scenic space like a landscape to be painted. The body of the dancers is considered like a musical and pictoral instrument. The body becomes the brush moved by the rhythmic breath, with where all starts. The first feature which the body traces, generates and animates progressively all the forms like multiple metamorphoses of this first feature. The fiels tensions and the tonalities incarnated by the “body-writing” reveal us poetic interlacing. Between movement and relief, hollow and untied, substance and spirit take place a permanent exchange of impulse between heaven and earth. The feature of the brush can embrace the form and the spirit of the landscape with through unrolled body and the contemplation of these interlacements.
Shi Tao once wrote, “It matters little whether you have the pen in hand or not, once you have the whole picture in mind before drawing.” Entrelacs is like what he said, a work of anticipation and vision, conceived with free spirits.” |
“Entrelacs” had its world premier at Beijing Tianqiao Theatre, presented by the National Ballet of China (NBC). This was a contemporary ballet tailor-made for NBC by Mr. Belarbi. Acutually this ballet was composed of three parts: the 1st part was presented all together by 3 couples of leading dancers and 6 couples of corps de ballet; the 2nd part by the 6 couples of corps de ballet, with only the rythme of drumbeats; the 3rd part by the 3 couples of leading dancers, with music of violin solo accompanied by piano, then finally camed a short epilogue by all dancers by repeating a little music of the 1st part.
I like the style of this new work of Mr K. Belarbi. The whole choreography was developped smoothly and lyrically with some sense of Taoism, to my own view. Movements and steps were well streamlined like water flows and revealed the beautiful lines of Chinese girls. The loose and comfortable white unitards for girls well matched the style of movements. However, I would like to say that this work still has some potentials to be further developped, for example, in the aspects of variaties in selecting the rythme of music, and in developping the movements and steps. Corps de ballet was quite beautiful, but there lacked pieces of variations and pas de deux to show the merits of the leading dancers, based on their own natures and styles, such as to demonstrate the grace and elegance of Zhang Jian with her exquisite and beautiful long lines, or to show the enthousiasm of Zhu Yan. Perhaps Mr. Belarbi would have needed more time to work with the dancers in NBC;-) We hope that Mr. Belarbi would like to have more cooperation with NBC in the future for more works, by restaging some classical ballets, or creating some more new works for NBC:-)
Don Quixote Act III
Kitri: Aurelie Dupont, etoile de POB
Basile: Sheng Shidong, soloist of NBC
Leading dancer of Fandango: Mlle. Nu Na (Soloist) / Mr. Cui Kai (Coryphee), 18th of May; Mlle. Wang Yitong (Coryphee) / Mr. Hao Bin (Soloist), 19th of May
Leading dancer of girl friends: Mlle. Jin Jia (Soloist)
I’ve never seen NBC’s full length Don Quixote choreographed by Rodulf Nureyev (in 1985), only the Act III for several times. It seems that NBC hasn’t put the full length on stage for quite many years, at least more than 10 years. From Act III, I feel that Nureyev’s production of NBC is a little bit different from that of POB, and the choreography is simpler than POB’s to some extend.
No matter how it is, Don Quixote is always a joyful ballet to have a look. It was a pity that Aurelie Dupont was the only etoile from POB to join the performance. It was also a pity that our beloved etoile Aurelie was not in a very good state when she acted as Kitri with NBC for those two days, she looked a little bit fatigue when she did the pirouettes and was dropped from the last few turns, however she adjusted steps very quickly and stood en pointe steadily after dropping from the turns, from this sense she is still a very experienced and excellent dancer:-) It also seemed that she was not very confident in controlling her balance when did the arabesque en pointe, this was a little bit surprising to me because in my mind I had been very impressed by her outstanding capability of equilibrium, such as Giselle she performed when coming with POB’S tour in China in 2005. Compared with her same role of Kitri in the DVD of POB’s Don Quixote, I prefer her presentation in the DVD.
On the other hand, Sheng Shidong was not a mature dancer for the role of Basile yet, personnally I think he is far away from a mature dancer for taking other title roles as well, such as Prince in Swan Lake or Romeo in Romeo & Juliet. The partnership between the two leading roles was not well harmonized, mainly because of Sheng Shidong’s lacking of experience and sense of interactive communication with the partner. He had good ablility to jump highly, to turn swiptly, however he still needs more effort to polish his movements and steps, and most importantly, to improve his sense of expression and manner of performance.
Jin Jia’s variation as girl friend was well presented, with very clear and clean steps, light jumps, beautiful extension and relaxed and happy expression. Nu Na and Wang Yitong’s Fandango were very expressive as well.
… no matter what I’ve written here, we appreciate a lot the collaboration between NBC and POB in this Gala, thus we have the opportunity to enjoy those wonderful nights with all the dancers in NBC and POB. Hope there will be more regular and frequent “croisement” between the two ballet companies in the future!
Merci beaucoup!
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