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13 - 14 août 2011

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MessagePosté le: Sam Aoû 13, 2011 12:21 pm    Sujet du message: 13 - 14 août 2011 Répondre en citant

Le Mariinski et Londres, une histoire d'amour, par Laura Cappelle (Le Monde)

A Covent Garden, au coeur de Londres, les rumeurs d'émeutes semblent venir d'un autre monde. Le Ballet du Théâtre Mariinski, l'un des joyaux de la danse classique, y célèbre jusqu'au 13 août le 50e anniversaire de sa première tournée en Europe de l'Ouest, et a déployé à cette occasion ses moyens les plus raffinés au Royal Opera House. Six programmes se sont succédé depuis fin juillet, et de Petipa à Balanchine et Robbins, du Lac des cygnes à La Bayadère, le faste de l'ensemble a conquis le public. Au printemps 1961, Paris et Londres découvraient pour la première fois la compagnie russe, fondée au XVIIIe siècle et rebaptisée Kirov par les autorités soviétiques. La troupe recrée le grand répertoire classique, dont le style est jalousement gardé à Saint-Pétersbourg : noblesse, harmonie des lignes, expressivité, corps de ballet d'une homogénéité et d'un lyrisme inégalés...

La Bayadère, Royal Opera House, London, par Clement Crisp (The Financial Times)

There are extraordinary evenings in the theatre when the spell of a performance, the power of an interpretation and a sense of undeniable spirituality revealed by the artists, make for a community of feeling and awareness between stage and public.On Thursday night, as the Mariinsky Ballet entered the closing days of its season, I – and, I’d venture, many of the audience – were profoundly moved by the last act of Petipa’s La Bayadère. It has been a treasure in the Petersburg repertory since 1877. The company dances this hallowed staging with a unique grace of means: it is theirs, and they show us how glorious it can be in the theatre...

Bolshoi ballet dancers see full house in Buenos Aires (RIA - Novosti)

Leading ballet dancers of the Russian Bolshoi Theater performed to a full house in Buenos Aires, Argentina, on Thursday and Friday. Natalia Osipova and Ivan Vasiliev danced in two international gala concerts at Coliseo, a top theater of Buenos Aires. Despite the fairly high price of $50-200,tickets were sold out a week before the show. Osipova and Vasiliev danced extracts from Don Quixote by Austrian composer Ludwig Minkus (choreographer Marius Petipa and Alexander Gorsky), and from Serenata by Amerigo Ciervo (choreographer Mauro Bigonzetti)...

London - two worlds in one city, par Olga Bugrova (The Voice of Russia)

Aggressive youngsters crashing everything on their way and sophisticated theater goers applauding the Russian ballets – these are the two worlds of today’s London. While the first one has been gripped by fires the second is watching the ballet productions by St. Petersburg Mariinski Theater, which is on tour in London from July 25 to August 13.By performing on the stage of the Royal Covent Garden the ballet company of the Mariisnky Theater is marking the 50th anniversary of its first tour to Great Britain. It seems that the celebration should have een spoiled – how can Londoners admire the ballet when everyone is speaking only about round the clock administrative trials of hooligans and calculations of damage? But this is not the case, the head of the Ballet company of the Mariinski theater Yury Fateyev, who is currently in Britain with the company, said in an interview with the Voice of Russia...

La Bayadère, Mariinsky Ballet, Royal Opera House, par Ismene Brown (The Arts Desk)

The bayadere bears on her shoulder a vase of holy water, and the story of the ballet La Bayadère is of her refusal to compromise. She could better her life in two political deals: become the high priest’s mistress, or later, when bitten by a poisonous snake, take the antidote and live on while watching her sworn lover marry the princess who he knows tried to murder her. She refuses both. She remains, morally, the vessel of a purity that it would kill her spirit to give up. To stay so true to a principle isn’t only the stuff of fantastical ballet fairy tales. It has to be true of the interpreters in the theatre who bear other people’s work on their shoulders, often, in theatre, not very great work - yet in ballet these interpreters can turn even base stuff into something sublime. La Bayadère is only a 19th-century exotic melodrama created in 1877 more with an eye to divert than to move, but it can become a masterpiece when it’s given a performance as dedicated to the holy well as it had last night, the final one of the Mariinsky Ballet’s 2011 tour to Covent Garden...

Anna Karenina, Royal Opera House, London Balanchine / Robbins Triple Bill, Royal Opera House, London Swan Lake, Coliseum, London, par Clifford Bishop (The Independent)

As befits a story that more or less starts and finishes in a railway station, Alexei Ratmansky's new Anna Karenina fairly rattles along. Large chunks of the novel are necessarily omitted – there is, sadly, no place for Levin's ruminations on the future of Russian agriculture – but so far as it deals with the relationship between Anna and Count Vronsky, the ballet could be used as clip notes. Telling so much in such a short space – Rodion Shchedrin's airless score, written in 1972 for wife Maya Plisetskaya's version of Anna Karenina, is only 85 minutes long – calls for all Ratmansky's considerable incisive wit. Major events gallop past, including the horse race where Anna believes Vronsky has been killed – almost subliminally suggested by a back-projection of thundering hooves and a group of spectators vacating their chairs so dancers can jeté across the stage behind them, like thoroughbreds leaping fences...

Anna Karenina – review, par Kate Kellaway (The Observer)

The Mariinsky company – formerly the Kirov ballet – unveils the fifth production of its Covent Garden season (celebrating the 50th anniversary of its first visit to London) with what is perhaps its most high-risk piece: Anna Karenina. Who would convert Tolstoy's novel into a ballet? The idea seems audaciously doomed: how could the story possibly survive without words? But from the moment the curtain goes up, it is clear that Alexei Ratmansky, ex-director of the Bolshoi and one of the world's most sought-after choreographers, is undaunted. He is a brilliant, attentive, passionate interpreter of Tolstoy – this two-act ballet a distillation of Anna Karenina's life. All that is necessary is for the audience to make its peace with what ballet cannot do and allow it to do what it does best. The novel is about love as a burden. The ballet explores weightlessness. The novel is full of inwardness – stillness. The ballet is incessantly restless. But we are soon convinced by this dazzling corps and its principals that heavy hearts can be expressed by light feet – grief is gossamer. This is a portable Anna Karenina...

Swan Lake, Guangdong Acrobatic Troupe of China, London Coliseum, par Ismene Brown (The Arts Desk)

What you see in the picture is the money shot, and yes, it's a miracle that you won't fully believe, even as you watch it. But there are plenty of other belief-defying miracles in the Guangdong Acrobats’ version of Swan Lake - just don’t make the mistake of calling it a ballet, especially not in earshot of the haute-couture Mariinsky Ballet, currently up the road at Covent Garden. This is pure freaky acrobatic theatre, in a tradition that goes back two millennia in China, and driven by an insatiable ambition to outreach the possible which could only come out of so ancient and serious a tradition. The schooling, discipline and bravery that must be involved to create the stunts and entertainments on show here can hardly be imagined by indolent Brits: according to the programme book, the performers on the Chinese poles habitually turn 1,440 somersaults a day practising their hair-raising feat flying from the top of one 30ft pole to another and landing upside-down clinging only with their knees...

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