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18 - 19 juin 2011

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MessagePosté le: Sam Juin 18, 2011 12:04 pm    Sujet du message: 18 - 19 juin 2011 Répondre en citant

First Night: Romeo and Juliet, O2 Arena, London, par Zoe Anderson (The Independent)

How do star-crossed lovers register in an arena? The O2 is almost six times the size of the Royal Opera House, where the Royal Ballet dance Romeo and Juliet. Some details do get swallowed by this venue. The big crowd scenes blur, but Kenneth MacMillan’s famously impassioned duets keep their power. As the story’s focus shrinks to Juliet’s bedroom, then her tomb, the ballet reaches out conquer this cavernous space. Arena ballet isn’t new. The Royal Ballet has danced in huge venues abroad; in Britain, English National Ballet regularly does Swan Lake in the round, the traditional choreography reworked for a circular stage. For the Royal Ballet’s O2 experiment, Kenneth MacMillan’s Romeo, created in 1965 for an opera house stage, is almost unchanged. Nicholas Georgiadis’s sets have been simplified, and there are short film interludes to cover scene changes. Otherwise, it’s danced straight...

Two houses, both alike in dignity...first Covent Garden and now the 02, par Jenny Gilbert (The Independent)

It isn't the surround-sound munching or the comings and goings with beer. It isn't the presence of entire families, including the odd babe in arms. It's the distance that keeps reminding you where you are. The seats furthest from the stage in the O2 arena are three football pitches from the action. Even from the "best" spots, where they had put the ballet critics, naturally, the performers are so tiny that your gaze repeatedly flicks to the three screens showing close-ups, and eventually stays there for the duration. If there is a loser in the Royal Ballet's first major foray outside the Royal Opera House, it is liveness. The winner, surprisingly, is Prokofiev. Posted into a letterbox-shaped hole in the wall above the stage, the Royal Philharmonic Orchestra – under the Royal Ballet's excellent Barry Wordsworth – delivers the 20th century's greatest ballet score with a sonorous expansiveness that penetrates bone. It's amplified, of course (a no-no at Covent Garden), the lower voices given extra welly, as in a rock gig. Those massed trombones have never sounded more accusatory or more terrifying in the final scene in the crypt...

12,000 pack in to see Royal Ballet's Romeo and Juliet debut at the O2, par Louise Levene (Daily Telegraph)

Covent Garden it ain't. The crowd is six times the size and a good half of them of them will be munching hot dogs throughout but the Royal Ballet's debut run at London's O2 this weekend is a great success nonetheless. The company's bold experiment has brought high art at low prices to a whole new demographic, winning thousands of friends (and political brownie points) in the process. The old Millennium Dome's hangar-like interior has meant rethinking the presentation of Kenneth MacMillan's 1965 Romeo and Juliet on brash, rock concert lines...

Where is the Royal Ballet's leap of faith?, par Luke Jennings (The Guardian)

The announcement on Tuesday that Kevin O'Hare is to assume the directorship of the Royal Ballet on the retirement of Dame Monica Mason in July 2012 caused barely a ripple, even on a quiet news day. For the dancers and management, this was just fine. O'Hare, currently the company's administrative director, is a famously nice guy, and as a former Birmingham Royal Ballet principal dancer, he is seen as a worthy guardian of the heritage. Still, it's hard to suppress a certain scepticism. In Mason, who succeeded the late Ross Stretton, the Royal has enjoyed 10 years of safe, conservative leadership. This was the moment for an appointment that would seize the imagination of the public and the wider art world. It's no secret among Royal watchers that the glamorous Spanish-born ballerina Tamara Rojo ran O'Hare a very close race for the post, and it's probable that in the end it was not Rojo's age (37) or administrative inexperience which counted against her, but her international perspective...

Pointe to Point: Royal Ballet at the 02 (BBC News - reportage vidéo)

Feuding families and star-crossed lovers, Romeo and Juliet has them all. The Royal Ballet is preparing to perform Kenneth MacMillan's classic at the O2 for the first time. Hoping to attract a new and wider audience to ballet, the performances will feature a filmed introduction to each act, on giant live-relay screens...

Wheeldon's ballet production of Alice enjoyable for children, and adults, too, par Victor Swoboda (The Montreal Gazette)

It's party time at the National Ballet of Canada this month, with a big cake full of surprises in the form of Christopher Wheeldon's evening-length Alice's Adventures in Wonderland. Wheeldon's Alice received glowing notices from London's tough critics after its première in February by the Royal Ballet, which co-produced the show in a new partnership with the National Ballet of Canada that promises much. Like Toronto itself, the National Ballet is vying to play in the big leagues. Montrealers know Wheeldon's Polyphonia, a splendid neoclassical work that's in the repertory of Les Grands Ballets Canadiens and many other big dance companies. Nothing in Alice matches the complexity of Polyphonia or pushes neoclassical ballet's boundaries as far...

The Royal Danish Ballet, one of the world's oldest dance companies, is showing a fresh face during its first U.S. tour in 23 years., par Richard Chang (Agence Reuters)

Nikolaj Hubbe, the former New York City Ballet star who took over as artistic director three years ago, is the man behind the makeover. Although the company is 250 years old, Hubbe said it didn't need a facelift.
"But you need to adjust the spirit so that there is still a sense of youthfulness and freshness about the face," he added.The procedure was radical. Hubbe, fresh from his farewell performance at NY City Ballet in 2008, returned to Copenhagen to shake up the company that had nurtured him and which critics said had become stodgy after he moved to the Big Apple 16 years earlier. Hubbe said discipline was lacking, dancers skipped daily classes, and an abundance of teachers led to a decline in classical technique...

Breezy comedy with thighs and doll, par Leigh Witchel (The New York Post)

There's a mini-Russian spring happen ing at American Ballet Theatre, some of it by accident -- literally. Bolshoi Ballet sensation Ivan Vasiliev wasn't supposed to dance with the company, though his fiancée, Natalia Osipova, was hired as a guest. But when one of the company's male stars was injured, Vasiliev was pressed into service -- and he wowed the crowd at Thursday's opening night of "Coppelia." Vasiliev has thighs like pile drivers and a jump to match. He didn't dance with Osipova, but with Xiomara Reyes, a little Cuban powerhouse with sharp, strong technique. ..

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