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 Posté le: Ven Juin 03, 2011 7:25 am Sujet du message: 02-03 juin 2011 |
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Passage d’un ballet, par Marie-Christine Vernay (Libération)
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| C’est l’effervescence au palais Garnier à Paris. Dans l’un des studios de répétition du temple de l’art chorégraphique, le Britannique Wayne McGregor crée l’Anatomie de la sensation pour Francis Bacon. La première représentation aura lieu le 29 juin, le temps presse. Au même moment, à la Rotonde, autre studio de répétition, vingt danseurs apprennent Rain, une des pièces majeures d’Anne Teresa De Keersmaeker. Cette œuvre, que la chorégraphe belge a créée pour sa compagnie Rosas en 2001, va «entrer au répertoire de l’Opéra», selon l’expression consacrée. Le Ballet de l’Opéra est une des rares compagnies au monde qui maintient vivant un répertoire classique et l’élargit en invitant des créations contemporaines... |
A Wuppertal, la danse continue sans Pina Bausch, par Daniel Conrod (Télérama)
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| Wuppertal, un jour de janvier 2011. Le ciel est bas, sans ailleurs. Il pleut. Ici tout le monde le dit avec un sourire narquois, Wuppertal est la ville d'Allemagne où il pleut le plus. Où il n'y a rien d'autre à faire, ajoute-t-on, que travailler. Lieux communs parmi beaucoup d'autres : un paysage urbain industriel, les usines Bayer, d'anciens ateliers de textile en briques dispersés le long de la rivière Wupper, un zoo surprenant, le légendaire monorail suspendu appelé Schwebebahn, et puis Pina Bausch, installée sans discontinuité de 1973 jusqu'à sa mort, en juin 2009, dans cette ville de l'ouest de l'Allemagne, proche de Düsseldorf et de Cologne... |
De l'air et du vent, par Ariane Bavelier (Le Figaro)
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| Il est toujours intéressant qu'un chorégraphe contemporain travaille à maintenir son répertoire. Le Belge Pierre Droulers, formé à Mudra, puis passé chez Grotowski, Bob Wilson ou Anne Teresa de Keersmaeker, a voulu remonter De l'air et du vent, créé en 1996. « C'était ma pièce la plus dansée : 96 minutes de mouvements ininterrompus », dit-il. Sur la scène, cinq personnages comme des feuilles mortes, qui passent de figures en équilibre à des unissons... |
Junior Ballet [Paris] A l’heure du thé, par Marie-Astrid Gauthier (Res Musica)
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| Le Concert Tea est une initiative pédagogique du Théâtre du Châtelet. Cette manifestation ludique, d’une durée d’une heure, invite le jeune public à découvrir des extraits du répertoire, ainsi qu’à acquérir des connaissances de base sur les différents pas classiques. Pour cette nouvelle édition, le Théâtre du Châtelet a renouvelé son partenariat avec le Conservatoire de Paris. Le Junior Ballet, qui s’assimile à une compagnie pré-professionnelle, est composé d’anciens étudiants du CNSMDP de Paris, âgés de 18 à 22 ans. Cette structure leur permet de se confronter au monde de la scène par le biais de tournées dans de nombreux théâtres, en France, mais aussi à l’Etranger... |
Coppélia, une interprétation mémorable, par Annie Rodriguez (Classic Toulouse)
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| Dernier des grands ballets romantiques créés à l’Opéra de Paris, Coppélia mêle avec bonheur comédie, danse, pantomime d’où ne sont pas absentes virtuosité et technique. La musique de Léo Delibes a gardé toute sa fraîcheur et son charme près d’un siècle et demi après son écriture. Et la chorégraphie de Nanette Glushak, inspirée par celle d’Enrique Martinez a ces mêmes qualités. Cette version que nous avons eue le loisir de voir à plusieurs reprises est toujours aussi révélatrice des talents des danseurs. Et nous avons assisté, pour ces représentations, à un vrai feu d’artifice, et surtout nous avons pu être témoin de l’excellente réactivité des danseurs... |
Royal Ballet Triple Bill, Royal Opera House, London, par Zoë Anderson (The Independent)
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| The final programme of the Royal Ballet season goes from the tutu'd geometries of Ashton's Scènes de Ballet to MacMillan's stomping The Rite of Spring. Glen Tetley's Voluntaries sits heavily in the middle of this Stravinsky sandwich. Scènes de Ballet, created in 1948, is full of glittering patterns, danced to Stravinsky. Ashton wanted to create a ballet that could be seen from any angle, the corps making intricate lines and shapes. The ballerina's dances mix lavish curling lines with crisp angles. This revival stresses Ashton's curving use of the upper body, but could be sharper with the footwork. At the matinee performance, Lauren Cuthbertson made sumptuous use of her arms and torso. Sergei Polunin was deft and strong in the virtuoso male role, with high jumps, exact beaten steps and real weight in his flowing arm movements. At the evening performance, Sarah Lamb had crisper footwork, while Valeri Hristov showed fine authority... |
Royal Danish Ballet’s Nikolaj Hubbe, stepping boldly into the lead, par Sarah Kaufman (The Washington Post)
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| One of the last times Washington saw Nikolaj Hubbe, he was on the Kennedy Center’s Opera House stage with the New York City Ballet, leading a regiment of frisky dancers through Scottish military tattoos in George Balanchine’s exuberant “Union Jack.” Physically speaking, with his athletic Nordic looks and noble proportions, Hubbe was a corporal authority you’d gladly follow into battle. That was five years ago. Back then, Hubbe was one of the most glamorous male ballet stars to grace these shores in a generation. Yet he returns to the Kennedy Center this week in command of even grander ranks than those he led in “Union Jack.”.. |
A Reinvigorated Danish Ballet, par J. S. Marcus (The Wall Steet Journal)
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| "I don't do anything," says Nikolaj Hübbe, a former principal dancer at the New York City Ballet and current artistic director of Copenhagen's Royal Danish Ballet, when asked if he still joins in ballet class. By his own account, in fact, he avoids exercise at all costs. "I take the elevator," he says, "and I take taxis." Mr. Hübbe, 43 years old, still looks every inch a ballet star, but three years ago he traded in his ballet shoes, left his New York apartment and returned to his hometown to take over what many Danes regard as their premier cultural institution. The Royal Danish Ballet, one of the world's oldest, is also one of the most legendary. Closely associated with Danish choreographer August Bournonville (1805-79), who ranks along with Franco-Russian choreographer Marius Petipa as a founding genius of European classical ballet, the company is a torchbearer of standard works like "Napoli" and "La Sylphide."... |
Royal Danish Ballet review: Superb 'Sylphide', par Allan Ulrich (San Francisco Chronicle)
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| Cal Performances kept a long-delayed date with living history Tuesday evening at Zellerbach Hall. The glorious Royal Danish Ballet, absent from local stages for a half century, returned with an engrossing production of August Bournonville's "La Sylphide," its culture's most familiar and venerable (1836) ballet, given here in an expansive 2003 staging by artistic director Nikolaj Hübbe and Anne Marie Vessel Schlüter... |
Review: No starch or sugar in Royal Danish Ballet's first program in Berkeley in 50 years, par Ann Murphy (Mercury News)
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| If you've heard that the Royal Danish Ballet is soft and sweet like the breakfast roll, you haven't been following the press about the company's edgy artistic director Nicolaj Hubbe, former New York City Ballet star and former principal dancer of the Copenhagen-based troupe. Don't bother digging up the clips, though. Find a night to attend the company's run at Cal Performances, which will give you something bigger and more complex to chew on than pastry and p.r. patter. In town through Saturday, this 363-year-old troupe has enough charm, substance and technical clarity to dispel the idea that they are old-fashioned or lightweight and should make viewers hungry to see more, more often. This is the first time in 50 years they have visited Berkeley... |
A step into S.F. Ballet's spotlight, par Mary Ellen Hunt (San Francisco Chronicle)
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| It's an incremental progression through the graceful steps from cherubic fledgling to gangly student to swan-like pre-professional dancer, but watching that development unfold onstage is one of the most interesting parts of the San Francisco Ballet School's annual showcase performances, taking place this week at the Novellus Theater at Yerba Buena Center for the Arts... |
Fearless Ascent, as a God or a Jet, par Gia Kourlas (The New York Times)
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| The tiniest studio at New York City Ballet is a sad, windowless box that reeks of ballet dancer. Imagine the earthy bouquet of a teenager’s sneaker in August. Such a setting makes Chase Finlay’s beauty all the more enthralling. At just 20, he is a rising force at City Ballet, and even in this unspectacular domain, he still looks every bit the god Apollo, a role, you may have heard, he triumphed in last month. “When he walks in the room, you know he’s in the room,” said Jean-Pierre Frohlich, a ballet master with the company. “Certain people have that kind of charisma. Granted, he’s 6 foot, blond and good-looking, but when he’s standing there, he’s not just standing. He’s giving off stage presence.” ... |
Mercurial Dramas, Vertical and Horizontal, par Alastair Macaulay (The New York Times)
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| For all that he has been choreographing on both sides of the Atlantic for 15 years, Christopher Wheeldon is still young. Repertory on both sides of Lincoln Center Plaza has of late been enriched by three of his ballets. Last week American Ballet Theater presented the world premiere of his “Thirteen Diversions” at the Metropolitan Opera House; New York City Ballet recently revived his “Polyphonia” (2001) and offered his “Mercurial Manoeuvres” (2000) on Wednesday. He has made other fine works, but these three alone demonstrate why he has become so important to ballet worldwide... |
Mercurial Manoeuvres, Lincoln Center, New York, par Apollinaire Scherr (The Financial Times)
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| Mercurial Manoeuvres (on select programmes for the remainder of the season and in the autumn) was only Christopher Wheeldon’s second piece for the New York City Ballet. He made it in 2000, when he was in his 20s and still dancing with the company – and yet you would not mistake it for anyone else’s. First, there is a wholeness of vision that encompasses the accessories to the choreography. The costumes’ primary colours mirror the exuberant score – Shostakovich’s Piano Concerto No. 1, with its puckish blasts of trumpet. Transparent vertical panels stretch from floor to ceiling, reinforcing the ensemble’s own uprightness and ephemerality: the corps moves like a forest of bare, spindly trees with stork-like legs for trunks. The 16 dancers create order and bustle, then scatter into the wings. Only the central couple leaves an indelible mark... |
National Ballet brings splashy new Alice to Toronto / Troupe aims to tour acclaimed Royal Ballet production in North America (CBC News - Canada)
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| Alice's Adventures in Wonderland drops into Toronto this weekend, with the National Ballet of Canada hosting the North American premiere of the splashy new ballet. A co-production with the U.K.'s Royal Ballet, British choreographer Christopher Wheeldon's Alice crosses the Atlantic after a sold-out, critically acclaimed debut run in London in February. The partnership originated several years ago, when Wheeldon — one of the dance world's most sought-after young choreographers — revealed to National Ballet artistic director Karen Kain that he was developing the new project. At the time, he was in Canada staging his work Polyphonia with the Toronto-based company... |
Ballet to showcase composer, par Kimberley Crayton-Brown (The Southland Times - Nouvelle Zélande)
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| The Royal New Zealand Ballet Triple Bill is a celebration of Igor Stravinsky and a striking combination of old and new. Stravinsky Selection is three individual ballets all set to the composer's classic scores: The Rite of Spring, Petrouchka and Scenes de Ballet. Choreographer Cameron McMillan perhaps sums it up best when he describes his newly commissioned piece, Satisfied with Great Success. "My inspiration for the work was very much about looking back on time. For me as a contemporary dancer looking back on classical ballet, looking back and how we see things all from a contemporary point of view." It is a 21st century ballet drawing on ideas made famous more than 100 years ago by Serge Diaghilev and the Ballets Russes, the collaboration between artists in different fields... |
Cuban National Ballet Warmly Welcomed in Washington DC (Radio Cadena Agramonte - Cuba)
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| Long rounds of applause, standing ovations and other warm expressions of delight were offered by the public to the Cuban National Ballet (BNC) on Tuesday night at the Kennedy Center Opera House in Washington, DC, during the opening night of a one-month tour of the company around the United States that also includes performances in New York, and Los Angeles, among other cities. ‘La magia de la danza’ (The Magic of Dance), a showcase of excerpts of great ballet pieces such as Giselle, Coppelia, Don Quixote, Sleeping Beauty, the Nutcracker, and Swan Lake, among others, was the program chosen for the opening night. A review published by The Washington Post extols the performances by some of the company’s dancers such as Grettel Morejon, Osiel Gounod, Anette Delgado, Dani Henandez, Alejandro Virelles and Viengsay Valdes, and, in particular, it praises the talent of the company’s men: “It was the depth of talent among the company’s men, a princely stable of toreros bucking for a bigger bullring.”... |
Original, with passion? Ballet Nacional de Cuba gets close, but no cigar, par Sarah Kaufman (The Washington Post)
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| There may have been little magic in the Ballet Nacional de Cuba’s “Magic of Dance” program Tuesday at the Kennedy Center Opera House, but there were hints of enchantment. All but one of the works in this showcase of excerpts were commonplace, and Artistic Director Alicia Alonso’s arrangements of the original choreography were ordinary and unsurprising across the board. But in most cases, these engaging dancers locked into an easy rapport with the audience. And a few of the performances revealed glimmers of true life. It was a decidedly strange program, nonetheless: “Giselle’s” ghostly love story was followed by the bright fairy-tale celebrations of “Sleeping Beauty’s” third act and “The Nutcracker’s” second. “Swan Lake’s” moonlit mysteries came on the heels of “Don Quixote’s” straightforward stunt show... |
Ballet Nacional de Cuba Performs This Week at the Kennedy Center, par Charles T. Downey (The Washingtonian)
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| As noted in my summer classical music roundup, the Ballet Nacional de Cuba is back in town this week, with two productions in the Kennedy Center Opera House. Alicia Alonso, now in her nineties, still directs the company she founded in 1948: That was before the Cuban Revolution, but Fidel Castro soon became one of the fledgling company’s strongest supporters. That association has not prevented the company from touring the United States, or stopped dancers from defecting on previous trips here. The company’s glories are the productions that made Alonso famous as a performer, like Giselle, and their old-school costumes and sets, and in some cases choreography, tend to have a metaphorical whiff of formaldehyde about them. With one of the strongest training programs in the world, however, the company’s greatest asset are its Cuban dancers... |
Korea to stage its first ballet festival, par Seo Ji-eun (Korea JoongAng Daily)
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| Riding the wave of the unprecedented ballet boom here, Korea’s four major ballet troupes have gathered to host the first government-led ballet festival, starting June 12. Under the leadership of the state-run Korea National Ballet, the private Universal Ballet Company, the private Seoul Ballet Theatre, and the Gwangju City Ballet will each stage their audience’s favorite repertoire featuring their star dancers during the two week-long 1st Ballet Festival Korea. “Korea’s ballet scene has visibly blossomed recently,” Kim Hae-shik, head of the ballet festival’s organizing committee, said at a press conference last Wednesday. “Many Korea-born ballet dancers have been sweeping the awards at a slew of prestigious overseas competitions in recent years. Also, we have seen the box office success of the Hollywood film ‘Black Swan’ and the unprecedented ticket sell-out of ‘Giselle,’ staged by the Korea National Ballet in February. I think the upcoming ballet festival will help further boost the momentum.”... |
Bolschoi-Theater geht in den Moskauer Untergrund, par Ulrich Heyden (Russland-Aktuell)
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| Stalin saß in einer Panzer-Loge aus Beton. Wir befinden uns im Parkett des Bolschoi-Theater. Die Sitze fehlen noch, doch über uns hängt schon ein mächtiger Kronleuchter, der allerdings noch verhüllt ist. An den Logen sitzen wie die Schwalben Vergolder auf Stellagen. Sie tragen hauchdünne Goldplättchen auf, die dann festgedrückt und mit dem Druck eines Stiftes poliert werden. Bei den Renovierungsarbeiten habe man entdeckt, dass Stalins Loge besonders starke Betonwände hatte, erzählt uns Sidorow. Er hat Soziologie studiert und ist jetzt in der PR-Abteilung von Summa Capital, der leitenden Baufirma auf der Baustelle Bolschoi-Theater, tätig. Stalin hatte Angst vor Anschlägen und habe seine Loge zu einer Art Bunker ausbauen lassen, erzählt uns der PR-Mann, der sich nach eigenen Angaben tief in die historischen Fakten der berühmten Bühne eingearbeitet hat... |
Gott? Sie war schwarz. Das Semperoper Ballett feiert in »3 Farben Grün« die Form, par Volkmar Draeger (Neues Deutschland)
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| Vielfältiger kann Tanz kaum sein als in den »3 Farben Grün« des Semperoper Balletts. Dennoch klammert die drei Werke aus knapp vier Jahrzehnten ein Gemeinsames: die Suche nach und das Spiel mit der Form. Am Anfang die klassische Reminiszenz, als die sich George Balanchines »Smaragde« von 1967 gerieren. Unter dem grünen Diadem hoch oben und einer nach hinten abfallenden Gaze voller Funkelsteine auf Peter Harveys edler Bühne erweist Balanchine der romantischen Ära seine Reverenz. Diese symmetrieselige Apotheose auf die Schönheit des Balletts setzt noble Arme und weiche Biegungen des Körpers ein, besticht durch originelle Paararbeit, hat zwei Pas de deux zum Zentrum und greift immer wieder auf – verfeinerte – Wicklerformen der Folklore zurück. Musik von Gabriel Fauré aus den Suiten »Pelléas et Mélisande« und »Shylock« tragen das fließende Gewebe. Alle tanzen sauber, dennoch wirkt dieser Auftakt nicht durchgängig balanchinesker Körper seltsam matt und farblos... |
В Киеве покажут балетное шоу мирового образца / , par Marina Gaunt (UkrInform)
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| В пятницу и субботу на сцене Национальной оперы Украины состоится концерт звезд мирового балета при участии премьеров Большого, Мариинского и Михайловского театров России Николая Цискаридзе, Дениса Матвиенко и Леонида Сарафанова, солистов российских театров и артистов киевской оперы. На протяжении двух вечеров столичный зритель сможет увидеть необычное балетное действо, объединившее классический дивертисмент и современную хореографию. Как сообщил на пресс-конференции идейный вдохновитель постановки, заслуженный артист Украины, премьер Мариинского театра Денис Матвиенко, балетное шоу будет состоять из двух актов: в первом отделении будут представлены отрывки из классических балетов "Дон Кихот", "Корсар", "Пламя Парижа", "Спящая красавица", "Раймонда", во втором отделении зрители увидят премьеру в Украине современного балета Quatro в постановке словенского хореографа Эдварда Клюга. / Vendredi et samedi soir aura lieu, au Théâtre national Ukrainien, une soirée de ballet de gala avec la participation de danseurs du Bolchoï, du Mariinsky et du Mikhaïlovsky, Nikolaï Tsiskaridzé, Denis Matvienko et Léonide Sarafanov ; les solistes russses seront accompagnés par des artistes de l'Opéra de Kiev. Au cours des deux soirées, le public se verra offrir un programme inhabituel, combinant ballet classique et danse contemporaine. Lors d'une conférence de presse, l'Artiste Emérite de la République d'Ukraine et étoile du Mariinsky Denis Matvienko a indiqué que le spectacle se composerait de deux parties : d'abord, des extraits de ballets classiques des extraits de ballets classiques ("Don Quichotte", "Le Corsaire", "Les Flammes de Paris ", "La Belle au bois dormant", "Raymonda". Suivra la première en Ukraine du ballet contemporain "Quattro", chorégraphié par le Solvène Édouard Kluge... |
Цискаридзе не на своей «свадьбе» / Nikolaï Tsiskaridzé en "cadeau de mariage" , par Olga Yakimovich (Версии Versii - Kiev)
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| Николай Цискаридзе закончил свой сезон в Большом театре. Его ждут море и вкусная пища. В Киев звезда мирового балета приехал исключительно для того, чтобы поддержать проект Дениса Матвиенко и Леонида Сарафанова – долгожданную в Украине премьеру балета «Quttro»: необычное балетное действо, которое в двух актах объединит классический дивертисмент и современную хореографию. Воспитанники киевской школы Денис и Леонид сочли своим долгом «освежить» столичную сцену, с которой их десять лет назад без тени сомнений попросили. С тех пор «звезды» Дениса Матвиенко и Леонида Сарафанова зажглись в России – они стали солистами балета Мариинского театра. Правда, Цискаридзе с грустью признался, что это – последний дар России от украинского балета. Больше ждать некого. Увы, все трое с горечью отметили упадочническое состояние украинского балета. / Pour Nikolaï Tsiskaridzé, la saison au Bolchoï est terminée. Ce qui l'attend maintenant, c'est la mer et la bonne chère. La star internationale du ballet est venue à Kiev pour soutenir un projet initié par Denis Matvienko et Léonide Sarafanov. Il s'agit d'une soirée inhabituelle qui combinera des pièces classique et un ouvrage contemporain, "Quattro", dont ce sera la première en Ukraine. Léoide et Denis sont des anciens élèves de l'école de ballet de Kiev, et ils ont estimé de leur devoir de revivifier la scène nationale ukrainienne, qu'ils quittée depuis plus de dix ans. Les deux artistes ont fait une brillante carrière en Russie, tout comme Nikolaï Tsiskaridzé, qui vient en quelque sorte comme un "cadeau" des Russes à l'Ukraine. Mais tous trois ne sont pas vraiment heureux, et partagent un même constat : le ballet en Ukraine est dans un état de décadence totale... |
Dernière édition par haydn le Ven Juin 03, 2011 3:58 pm; édité 6 fois |
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