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29 juin 2011

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MessagePosté le: Mer Juin 29, 2011 1:08 pm    Sujet du message: 29 juin 2011 Répondre en citant

Marie-Agnès Gillot: "C'est dans la chute que je prends mon élan", par Simona Gouchan (L'Express)

Première étoile de l'Opéra de Paris à avoir reçu sa consécration à l'issue d'une oeuvre contemporaine, cette virtuose s'apprête à nous subjuguer dans la nouvelle création du chorégraphe britannique Wayne McGregor. Une pièce réalisée spécialement pour le Ballet de l'Opéra et qui s'inspire des tableaux de Francis Bacon...

Opéra de Vienne: Manuel Legris triomphe avec un hommage à Rudolf Noureiev (Le Nouvel Observateur)

L'ex-danseur-étoile français Manuel Legris a triomphé mardi soir dans son nouveau rôle de Directeur de la danse au prestigieux Opéra de Vienne avec un gala en hommage à son mentor, le grand danseur-chorégraphe d'origine russe Rudolf Noureiev, qui lui a valu plus de vingt minutes d'ovations du public viennois debout. Arrivé au Staatsoper le 1er septembre 2010 aux côtés du nouveau Directeur général, son compatriote Dominique Meyer, Manuel Legris a rendu ses lettres de noblesse au corps de ballet de l'Opéra de Vienne, fortement négligé au cours des vingt dernières années...

The Enduring Mysteries of a Swan Queen and the Maidens Who Share Her Fate, par Alastair Macaulay (The New York Times)

“Swan Lake” is a drama of pathos on an extraordinarily grand scale. The swan-queen heroine, Odette, is intensely vulnerable — unless Prince Siegfried’s love can save her, she is doomed perpetually to return to swan form by day — but her fate is also bound up with that of her corps of swan maidens. When he starts to partner her and demonstrate both love and protectiveness, her own diffidence is extreme; she keeps withdrawing from his arms, one way or another...

These Ladies of the Lake Sprout No Feathers, par Robert Grescovic (The Wall Street Journal)

Twentieth Century Fox's 2010 hit movie "Black Swan," directed by Darren Aronofsky and described by Daily Variety as a "wicked, psychosexual thriller" with "Swan Lake" as its center, is but the most recent example of a skewed take on the familiar ballet with the majestic Tchaikovsky score. For more than a century, in addition to Mr. Aronofsky's fanciful filmmaking, supposedly savvy choreographers have helped spread misunderstandings of the ballet's subject matter. Helpfully, movie audiences spurred to see the actual ballet at the center of Mr. Aronofsky's overwrought film could have more than a few "Swan Lake" misconceptions corrected by attending American Ballet Theatre's two-act reworking of the onetime four-act work, which began a weeklong run on Monday. While the production is not as solid as a truly inspired "Swan Lake" might be, artistic director Kevin McKenzie's staging, "after Marius Petipa and Lev Ivanov," first shown in 2000, is one of the best looking and least ignorant around...

Lack of chemistry in less than great 'Lake', par Leigh Witchel (The New York Post)

"Swan Lake" is one of ballet's great tearjerkers; bring a hanky -- or two -- for the ending. But at American Ballet Theatre's opening night on Monday, the unemotional performances meant there probably wasn't a damp eye in the house. Jose Manuel Carreno performed as the hero, Prince Siegfried, and Irina Dvorovenko played the dual role of the captive, enchanted white swan Odette and the evil black swan Odile. Both dancers are consummate pros who have each been with the company for more than 15 years, but all that experience added up to acting by rote...

UK: Royal Ballet makes first visit to Taiwan, par Diane Yeh (Taiwan News)

Britain's famed Royal Ballet, which is marking its 80th anniversary this year, will perform in Taiwan for the first time Thursday, bringing the romantic classical ballet "Giselle" and more modern works that are set to captivate local audiences over a four-day engagement. "We want to show a new audience a wide range of the works that our company can do -- that we should be able to do the classics, but would also like to show some of our new works and introduce audiences to current choreographers," said Monica Mason, artistic director of the company, during a press conference in Taipei Tuesday...

Alvin Ailey dancers open U.S. festival in Moscow, par Paul Casciato (Agence Reuters)

After a six-year absence in Russia, the contemporary troupe stayed true to its reputation that an "Ailey dancer does it all" rousing the audience with a range of jazz, classical and street to the soulful vocals of Nina Simone and the Duke Ellington orchestra's exuberant compositions. But it was the stirring gospel and powerful story-telling of "Revelations" -- reaching arms and splayed hands evoking grief, determination, hope and redemption -- that set the Stanislavsky Music Theater clapping in chorus...

Matthew Bourne's Swan Lake, Sky 3D, review, par Rachel Ward (The Daily Telegraph)

What could be better for Matthew Bourne’s contemporary re-interpretation of Swan Lake than for it to be showcased in the cutting-edge technology of 3D? After all, Bourne’s dance company is called New Adventures, so it is apt that the choreographer is pushing the boundaries of how his pieces are being seen as well as how they are being performed. It’s also a coup for Sky Arts to have Bourne’s innovative production with which to flaunt their new 3D capabilities. With 3D television still in its infancy, Sky should be applauded for adding ballet to their 3D roster as it gives dance a rare chance to reach a new TV audience...

Passion and Ecstasy, BRB, Birmingham Hippodrome, review, par Laura Thompson (The Daily Telegraph)

There is something rather fearless about the title of this double bill. It certainly raises audience expectations to call a show Passion and Ecstasy, and to advertise it with a poster of a near-naked Tyrone Singleton in a fiercely sexy clinch with a fellow BRB dancer. Still, judging from the pleasurable rustling among the sizeable crowd before curtain up, the blatant ruse had done its job. That said, there was neither passion nor ecstasy in the first half of the evening. Instead there was charm and delight in the form of Allegri Diversi, created by David Bintley in 1987 and set to some light yet stately curlicues of Rossini. In his role as company director Bintley has become known for his “story” ballets. Yet the subtle inventiveness of this plotless little piece shows a very different aspect to his talent...

Neuer Glanz für den Wiener Tanz (Kurier - Autriche)

Mit der an Höhepunkten reichen Nurejew Gala 2011 beendete das Wiener Staatsballett die erste Spielzeit unter der Direktion Manuel Legris in der Staatsoper: Ein künstlerisch gelungenes Debüt des französischen Startänzers in neuer Funktion. In kurzer Zeit hat er dem Wiener Ballett zu einem enormen Aufschwung verholfen und das Ballettrepertoire aufgewertet. Legris' Mentor Rudolf Nurejew, dessen Karriere ebenso untrennbar mit Wien und Paris verbunden war, wird 17 Jahre nach seinem Tod zum wichtigen Bindeglied für das Wiener Ballett und zu seinem ambitionierten Direktor. So überrascht es wenig, dass Nurejew zum Ausklang dieser und als Vorschau auf die neue Saison eine Gala gewidmet war...

Top-Saisonschluss des Staatsballetts (oe24.at - Autriche)

Bald ist Schulschluss und die braven Schüler tragen stolz ihre Zeugnisse nach Hause. Auch das Ende der Opernsaison wird mitunter zum Einser-Bewundern genutzt. Am Dienstag, 28.6., präsentierte Ballettchef Manuel Legris in der Wiener Staatsoper seine Compagnie in einem Gala-Marathon der Mustergültigkeit und tanzte in der letzten Premiere seiner ersten Direktionsspielzeit sogar selbst. Schließlich war der ausgiebige Abend seinem Lehrer und Mentor, dem Jahrhundertballettmacher Rudolf Nurejew gewidmet...

Nurejew-Gala an der Staatsoper : Saisonabschluss des Staatsbaletts, par Susanna Dal Monte (ÖRF - Österreichischer Rundfunk)

1959 trat Nurejew in Wien zum ersten Mal im Westen auf. Seit seiner nun schon legendären Einstudierung von Schwanensee 1964 war er ein Fixstern des Wiener Staatsopernballetts gewesen. 1985 präsentierte Rudolf Nurejew in Raymonda den damals zwanzigjährigen Manuel Legris erstmals in Wien. Natürlich war er ein schwieriger Mensch, sagt Manuel Legris heute, aber er stellte die gleichen hohen Ansprüche nicht nur an andere, sondern auch an sich selbst. "Er hat ja nur sechs Jahre an der Pariser Oper verbracht, aber es verging kein Tag an dem ich nicht an ihn gedacht hätte. Wenn ich einmal nicht weiter wusste, habe ich überlegt, was er wohl getan hätte. Nurejew hat immer gewusst was man wie machen soll. Uns gegenüber war er so großzügig", erinnert sich Manuel Legris...

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