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sophia



Inscrit le: 03 Jan 2004
Messages: 16925

MessagePosté le: Mar Sep 05, 2006 8:04 am    Sujet du message: Nouvelles du Royal Ballet / News from the Royal Ballet Répondre en citant

Sur Ballet Talk, une personne annonce que La Belle au bois dormant du Royal Ballet (dont on a pas mal parlé sur Dansomanie et qui sera reprise d'octobre à décembre) va être enregistrée en DVD avec Alina Cojocaru et Johann Kobborg.
D'autre part, la Giselle enregistrée l'hiver dernier à Covent Garden sera diffusée à la télévision anglaise en novembre (je crois bien que c'était avec Kobborg et Cojocaru également).

Ces informations proviennent du site de Johann Kobborg:
http://www.kobborg.co.uk/


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Azulynn



Inscrit le: 12 Nov 2004
Messages: 659

MessagePosté le: Sam Déc 02, 2006 11:24 am    Sujet du message: Répondre en citant

Finalement, Johan Kobborg étant blessé, c'est Federica Bonelli qui sera enregistré dans La Belle aux côtés d'Alina Cojocaru.

Par ailleurs, après le succès de sa dernière soirée de ballets (McGregor/Balanchine/Wheeldon), le Royal Ballet a annoncé hier que Wayne McGregor avait été engagé comme chorégraphe résident de la compagnie (le 4e seulement de son histoire, après Ashton et MacMillan, notamment). La nouvelle fait des vagues car McGregor (qui a créé Chroma ce mois-ci, sur plusieurs chansons des White Stripes ré-arrangées) est un chorégraphe au style plutôt contemporain, qui n'a pas reçu de formation classique.
Le Times se fait l'écho de la nouvelle et du débat ici : Royal Ballet steps towards a more modern repertoire

On pourrait peut-être transformer ce fil de discussion en "Nouvelles du Royal Ballet", de manière plus générale ? Wink


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kreul



Inscrit le: 22 Avr 2006
Messages: 288

MessagePosté le: Sam Déc 02, 2006 11:44 pm    Sujet du message: Répondre en citant

C'est une bonne proposition Azulynn que je soutiens Laughing
Et pour cause !!
Quelques mots pour vous parler de la Beauty sleeping au ROB (28/11/06) avec dans les rôles titres Tamara Rojo et Carlos Acosta.
La chorégraphie actuellement présentée date de 1946 et a été "montée" par Ninette de Valois. Le programme précise que des morceaux chorégraphiques de F. Ashton, A. Dowell & C. Wheeldon complètent cette version.
Covent Garden affichait complet, y compris pour les places debout et avec très peu de visibilité. Une véritable communion et un plaisir partagé par tout un public...
Dès son entrée, Tamara s'est imposée par sa technique. Infaillible, belle, un peu libertine, elle a fait preuve d'une grande assurance qui s'est confirmée avec l'adage à la rose. La Belle s'est amusée : elle semblait "suspendue" avant de reprendre la main de ses prétendants. Un "ooooh" général a retenti dans l'enceinte de l'Opéra et les applaudissements ont été forts chaleureux. Very Happy
Quant à Carlos... LE phénomène de la danse de ce début de siècle. Inimaginable et difficilement descriptible, sa prestation bien que "réduite" dans cette version (celle de Noureev accorde une place plus importante au Prince) restera pour moi mémorable. En particulier ce solo... tant filmé (cf. Noureev qui le maîtrisait fort bien, ou Manuel Legris dans le dvd "Rêve d'étoile" consacré à cette histoire, transpire, écoute les conseils de Patricia Ruanne pour finalement arriver à dominer son sujet), le prince est attendu sur ce morceau de bravoure. Chez Acosta, à la différence des autres danseurs, il y a cette agilité, cette facilité déconcertante. Certes, d'autres danseurs resplendissent ce rôle mais on perçoit la somme de travail qu'a exigé ce passage. Chez Acosta, la maîtrise est telle, l'ampleur gestuelle si phénoménale qu'il réussit à couper le souffle à Covent Garden pendant quelques minutes. Fabuleux.
La cerise sur le gâteau étant le grand pas de deux de l'acte III où nos deux protagonistes sont resplendissants.
Seul reproche : le rôle très technique de la princesse Aurore fait perdre la dimension dramatique du personnage.... et c'est dommage.
Autre soliste dont je retiens la prestation : José Martin, l'oiseau bleu. Son amplitude et son investissement physique lui ont valu de nombreux applaudissements. J'ai découvert José lors du spectacle que Carlos présentait en juillet dernier au Sadler's (Carlos & his friends). Les deux danseurs sur scène avaient été impressionants.
Et j'avoue que je n'hésiterai pas à traverser la Manche lorsqu'un rôle titre lui sera confié. A suivre...
La fée Lilas était dansée par Alexandra Ansanelli, fort belle et qui n'a pas démérité, bien au contraire.
Quelques regrets cependant concernant le corps de ballet dont j' attendais plus de rigueur dans les déplacements. Après avoir vu le Bolshoï, je me dis que la compagnie russe a une maîtrise du mouvement d'ensemble phénoménale, que je ne retrouve pas dans les autres compagnies.
Cette petite ombre au tableau ne m'a pas gâché la soirée, bien évidemment !
Ravi tout comme l'ensemble du public, le couple Rojo-Acosta a fait fureur. Du grand art, inoubliable.


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haydn
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Inscrit le: 28 Déc 2003
Messages: 22855

MessagePosté le: Dim Déc 03, 2006 1:16 am    Sujet du message: Répondre en citant

Doléance entendue, j'ai modifié le titre du fil de discussion, avec un clin d'oeil à l'attention de nos lecteurs anglophones!

Post by English speaking visitors of Dansomanie are welcome here too!


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laurence



Inscrit le: 16 Juin 2006
Messages: 430
Localisation: Paris

MessagePosté le: Dim Déc 03, 2006 9:16 am    Sujet du message: Répondre en citant

Merci Kreul de nous faire partager votre plaisir de manière si vivante j'ai presque l'impression d'avoir assisté à cette soirée...


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sophia



Inscrit le: 03 Jan 2004
Messages: 16925

MessagePosté le: Lun Déc 04, 2006 11:49 am    Sujet du message: Répondre en citant

Des photos de la reprise de La Belle au bois dormant remontée la saison dernière à Covent Garden, dans diverses distributions, parmi lesquelles celle avec Carlos Acosta et Tamara Rojo:
http://www.ballet.co.uk/gallery/jr_rb_sleepingbeauty_1006


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Katharine Kanter



Inscrit le: 19 Jan 2004
Messages: 996
Localisation: Paris

MessagePosté le: Jeu Déc 07, 2006 12:07 pm    Sujet du message: More Bang for your Buck Répondre en citant

ONE PLUMMY VOICE, RAISED IN DISSENT.

“He boasts that he has never attended a ballet class in his life and is happier on a Harry Potter film set than in a crowd at the barre. Yet when McGregor, 36, was announced this weekend as resident choreographer at the Royal Ballet not one plummy voice was raised in dissent (...)”
Norman Lebrecht, writing in this week’s The Stage.

Well, here is one plummy voice raised in dissent.

From the Rambert Website – the sample of its aggressively-commercial writing, reproduced below is how - thanks to Lady Thatcher - artistic enterprise in England is now encouraged to self-promote. The idea is to give the punters a foretaste (foreplay?) of the Thrills they’ll be buying for their £.

Or, as our American friends would say, “More Bang for your Buck”.

“Detritus” (title of ballet)

“Overall Impression

“Fast and athletic, this work pushes the boundaries of what is physically possible. Limbs are hyper-extended and bodies are contorted as the gap between classical and contemporary movement is explored. The dancers (some of whom are en pointe) skid and dart across the stage in a precise, yet chaotic way. This is a real spectacle. One audience member at its première described the opening sequence as ‘the best five minutes on stage I’ve ever seen’.

"Music
By Scanner, it is an ambient electronic, sampled score. It is very upbeat, influenced by club music, but more subtle than pounding techno music.

"Designs

"The dancers wear skin-tight red costumes. The set contains a huge suspended mechanical ‘limb’ that moves through the space, disrupting the choreography and eroding the space – hence the title detritus, which means ‘the matter produced by erosion’.

« Presentient » (title of ballet)
« Overall impression

“An assault on the senses. This is modern dance at it’s most thrilling and daring. A blast of sheer physicality that leaves you wanting more. 12 dancers, performing in unison or in quartets, dissolve into seductive and sensual duets, all the while, mirroring the tempo of the music. This is a technically demanding work that the dancers rise to admirably.

"Choreographic Style

"Very fast, dynamic and energetic movements that push the dancers to their physical limits. The work continues McGregor’s concern with extending human movement into a kind of alien neo-classicism. Angles are taken to extremes, body sections are isolated and every muscle is mobilised.

"Music

"Triple Quartet by Steve Reich. Performed live by London Musici. The score combines driving rhythmic grooves with sections of meditative tranquillity, to create an overwhelmingly powerful piece of music. The opening section is performed to the electronic sound-track – Another Soft Helion by Zoviet France. »

Clearly, what the Rambert Webpage describes, is a Techno-Disco event, to the currently-fashionable Noise Soundtrack, performed by classical dancers.

But Forsythe has done it, and there is nothing more to add.

A thousand standing ovations at Covent Garden will not change that fact.
No-one asks the question, WHY?

WHY must the body be “pushed to its physical limits”? Classical dancing is already the most difficult form of movement known to Man. The audience may not realise it, but the people on stage do.

WHAT does “body sections are isolated and every muscle is mobilised” have to do with dancing? We do that in physiotherapy every day.

WHAT, if anything, does all this twitching and jerking have to do with the VALUES that we in the Western world allegedly, and I do mean allegedly, represent?

And WHAT injuries can we expect from asking people to do this kind of thing?

WHY are we pandering to fashion - techno music, groove, chaos theory (that has nothing to do with the way the universe is actually structured, soit dit en passant) in the person of Wayne McGregor?

WHY are such people never given a chance?
We have painted ourselves into a corner with this “non-narrative” track.

The search for ever-newer, ever-weirder movement, for SENSATION, is a DEAD END - as dead as the careers of the dozens of dancers who have been wrecked by repeated injury.

Most of the lifts that the men are now called upon to perform, should be ILLEGAL – causing unnecessary harm and suffering to a fellow human being.

When one reads on a slip of paper “cast change”, it’s just a line on a page. Try suffering that injury yourself – especially if it’s your fourth or fifth major injury in five years. The body never forgets.

The only way classical dancing will progress, will be through dealing with great subjects – historical, dramatic – precisely as Noverre explains in his reputed Letters. In the search to express new and important ideas through the music and the libretto, new forms will arise, that will be anatomically sound.

The search for bizarre new lifts, and in general, new forms as such, is sterile, and empty intellectualising. It seeks to impose a formal Bauhaus or Cubist construct, on the human frame.


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sophia



Inscrit le: 03 Jan 2004
Messages: 16925

MessagePosté le: Mer Déc 13, 2006 9:27 am    Sujet du message: Répondre en citant

"Breaking News!" titre Alexandra Tomalonis dans DanceviewTimes:
http://www.danceviewtimes.com/2006/Autumn/11/breakingnews.html

Après le très controversé Wayne Mac Gregor nommé chorégraphe résident du Royal Ballet, c'est Sir Elton John, -non, ce n'est pas un blague!!-, qui devrait devenir compositeur résident du Royal Opera House, -et cela dans le but d'attirer le jeune public à l'opéra, selon son porte-parole Reginald Foggybrane...

Citation:
"When the Ballet appointed Wayne McGregor as Resident Choreographer, well, that was a real wake up call for us," Foggybrane explained. "We could not be left behind. We don't want to lose out on the youth movement that's desperate to see the lyric arts, if only they could relate to them.”

[...]

Foggybrane reminded us that Sir Elton’s appointment is well within the operatic tradition. "We must remember that we've been stuck in a stodgy period for awhile now. We need someone to shake things up a bit. Verdi was a real rebel in his day. So were Beethoven and Mozart, not to mention Puccini." Yes, they were rebels, but they were rebels within their art form, exploring new paths without bulldozing the forest, someone pointed out. Foggybrane became impatient: "That's old thinking. Opera is old news now. No one’s writing it, and young people don’t come to performances."

That seemed to be the impetus. Young people aren’t coming to performances. Young people aren’t coming to performances. But even if young people are enchanted with Sir Elton's appointment, someone asked, will they be coming in droves to hear his work at £170 a ticket? Could that possibly be a reason why The Young aren’t first in line at the box office? “Our prices are perfectly reasonable, considering the expenses of opera,” Foggybrane sputtered. “It’s such an elaborate art form—grand designs, great music, the most respected conductors, superb singers with years and years of the finest training. That’s what our subscribers expect when they come to the Opera and they're willing to pay for it. You can’t do performances that sear the soul on the cheap, you know!” Foggybrane said, and who could argue with that?


Jusqu'où la démagogie??? Rolling Eyes


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Azulynn



Inscrit le: 12 Nov 2004
Messages: 659

MessagePosté le: Mer Déc 13, 2006 9:47 am    Sujet du message: Répondre en citant

Ben si, justement, c'est une blague... Laughing Et très réussie !


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sophia



Inscrit le: 03 Jan 2004
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MessagePosté le: Mer Déc 13, 2006 9:51 am    Sujet du message: Répondre en citant

Mr. Green Laughing

Foggybrane!!!!... Embarassed


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Azulynn



Inscrit le: 12 Nov 2004
Messages: 659

MessagePosté le: Jeu Déc 14, 2006 3:36 pm    Sujet du message: Répondre en citant

The Royal Ballet, décidément à l'avant-garde en ce moment, lance maintenant une série de podcasts sur ses spectacles. Les deux premiers disponibles concernent Casse-Noisette (résumé du ballet et histoire, racontés par Deborah Bull, avec des extraits musicaux) et l'opéra Carmen.

Page consacrée aux Podcasts sur le site du Royal Ballet


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Azulynn



Inscrit le: 12 Nov 2004
Messages: 659

MessagePosté le: Ven Déc 15, 2006 6:15 pm    Sujet du message: Répondre en citant

Une interview préoccupante de Darcey Bussell, qui parle de la danse et de ses problèmes physiques sans langue de bois, à la lueur de sa prochaine "retraite" : I hope my daughters won't become ballerinas

Citation:
But this lifelong commitment has taken a terrible toll. "When I was 20 I didn't think about anything," she says. "I have always been naturally supple and fit and athletic. I am rare in that sense. I am tall and not petite. I ate anything back then - bread, pasta, biscuits." Now, she says, she doesn't eat red meat or wheat.

"The thing about being a dancer is that you know your body inside out. I know every core group of muscles and I know how everything works and knits together. As you get older, problems arise with levels of fitness, natural muscular strength and energy levels. I find it takes me too long to digest red meat. It makes me uncomfortable and wheat leaves me lackingin energy. I'm a rice queen now." She found being pregnant very difficult. "I couldn't believe that lack of control of my body. I kept looking down at my growing belly and thinking: 'What is going on here?' I thought it would be like that for ever."

(...) Would she like her children to become ballerinas? "Not really. It's a difficult life. It's obsessive and isolated and poorly paid. It's a very small world and very few of us are in it. I have been very fortunate to have done as well as I have. There are many other talented dancers out there who have not had the success they should have had. You have to be very strong physically and emotionally to do this and then you have to sit back and watch your body break down."

This is part of the reason why she is not going to work as hard. "My hips are disintegrating 50 per cent more rapidly than other peoples of my age. I have had two operations on the same ankle to get rid of calcified bones. I am more than likely going to have to have hip replacements when I am older. I have constant back-ache. Do you want me to continue?"


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sophia



Inscrit le: 03 Jan 2004
Messages: 16925

MessagePosté le: Ven Déc 15, 2006 10:21 pm    Sujet du message: Répondre en citant

Je crois, du moins l'ai-je lu il y a quelques jours -mais je ne sais plus où-, que Darcey Bussell est censée s'arrêter définitivement en juin 2007, à 38 ans seulement (elle n'est plus que "principal guest" au Royal Ballet depuis déjà un an).

Un article du Guardian, qui rejoint par ailleurs les propos cités plus haut, semble confirmer aujourd'hui le retrait de la scène de Darcey Bussell.

Citation:
She leaves the Royal Ballet, her mentor and springboard, next June. She joined its ballet school at 13, the company at 17, and became its youngest ever principal dancer at 20. She retired as principal in 2005, but will now give up her position as principal guest artist - and a spokeswoman said it was not certain whether she would ever again dance on the Covent Garden stage.

In the spotlight she remains a shimmering figure, apparently boneless and weightless, an image of unearthly perfection. Behind the perfection there is pain. She has been a professional for 20 years: now her back hurts, she has the hips of a woman twice her age, she has had two operations on one ankle. She always said she would give up dancing when she turned 35, and now she is 37. She would like less pain, more family life.


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sophia



Inscrit le: 03 Jan 2004
Messages: 16925

MessagePosté le: Lun Déc 18, 2006 11:07 am    Sujet du message: Répondre en citant

Le New-York Times consacre un long article signé Roslyn Sulcas à Alexandra Ansanelli, ancienne principale du NYCB désormais soliste au Royal Ballet: The Classical Test for a City Ballet Star Who Flew
Alexandra Ansanelli a fait ses débuts dans le rôle d'Aurore le 28 octobre dernier sur la scène de Covent Garden.

Citation:
“I wanted to show myself and the ballet world that I was capable of making the transition from Balanchine to the classical style,” she said the day after her debut. For Ms. Ansanelli, who is 25 and was scheduled to dance her last Aurora of the season Saturday, the role was her first major test at her new company, which — in a surprise move — she joined last year.

With a tradition of dramatic characterization and measured, lyrical classicism, the Royal Ballet has stylistic priorities very different from the high-velocity, space-devouring approach at City Ballet. And “The Sleeping Beauty” is the biggest jewel in the Royal Ballet’s crown: the ballet that cemented the reputation of the young company (then called the Sadler’s Wells Ballet) when it was performed at the reopening of the Royal Opera House in Covent Garden after World War II, and the ballet that made Margot Fonteyn internationally famous after the company brought it to the Metropolitan Opera House in New York in 1949.

Ms. Ansanelli’s debut at a matinee on Oct. 28 provoked much interest among the company’s followers, and her fans were visibly relieved after she flawlessly completed the notoriously difficult Rose Adagio in Act I, in which the young princess performs a series of unsupported balances as she is courted by four suitors. By the end of the performance, the consensus was that “Miss A.,” as one group of British fans call her on a ballet Web site, had done very well.


Citation:
Since joining the Royal Ballet last December, Ms. Ansanelli has had the unfamiliar experiences of dancing in the corps and sharing a dressing room with 16 others. But even before Aurora, she has had her share of solo roles — some already familiar to her, in “Polyphonia” and Balanchine’s “Stravinsky Violin Concerto,” others less so, like the Lilac Fairy in “The Sleeping Beauty” and one of the three principal women in Frederick Ashton’s “Valse.” And she has worked with luminaries like Antoinette Sibley, the ballerina who inherited Fonteyn’s mantle at the Royal Ballet and remains a beacon of the English classical style.

“It was wonderful to coach Alexandra as Aurora because she really wanted to master the Petipa classicism,” Ms. Sibley said in a telephone interview after Ms. Ansanelli’s debut. “It’s not so much a technical thing. Balanchine is very fast; you hit the positions. Petipa is very rounded — like a Roman column as opposed to a skyscraper. There is an awful lot of the upper body being used, too, in ways that weren’t natural for her. We also discussed interpretation; she likes to talk about things and examine them, and I think it shows onstage.”


Je rappelle l'interview d'Alexandra Ansanelli publiée sur Dansomanie.

Alexandra Ansanelli dans le rôle d'Aurore de La Belle au bois dormant

source: http://www.nytimes.com/
photo: Johan Persson


Alexandra Ansanelli et Viacheslav Samodurov dans Stravinsky Violin Concerto

source: http://www.nytimes.com/
photo: Bill Cooper


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Azulynn



Inscrit le: 12 Nov 2004
Messages: 659

MessagePosté le: Sam Déc 30, 2006 3:33 pm    Sujet du message: Répondre en citant

Une intéressante interview de Wayne McGregor, le nouveau chorégraphe résident de la compagnie, avec Ismene Brown pour le Telegraph : A bold step at the Royal Ballet

Citation:
McGregor will redefine the term "resident choreographer" as something nearer "chief associate", and his contribution will be in the value he adds to the Royal Ballet's artistic identity, rather than in remoulding it. He admits to having "a more anatomical interest" in the dancing body than some, which has led to his being dubbed a cyber-choreographer, a futurist, an alien.

"I always find it strange when people say my work is science-fiction or something," he says. "I do think I work from an authentically emotional place in inventing physical language, and when someone like Alina Cojocaru or Sarah Lamb invests her skill into that physical language, it doesn't just look like a series of extreme positions or articulations. They bring their intelligence into the 'why' of a new movement, it transforms it. Magic is important."

McGregor first fell in love with ballet when he saw Viviana Durante dance; he feels rather the same about Cojocaru now. But he robustly defends his right to use the Royal Ballet for his creative purposes, rather than trying to adapt himself to its classical bloodline.

"I think tension, provocation in art is very important. Just because someone trained in the Royal Ballet School and understood Ashton and MacMillan it doesn't necessarily follow that the language they generate will be more engaging or productive. People forget how well connected I am – you don't get asked to make ballets at La Scala, Paris Opera, the Kirov and the Royal Ballet if the work doesn't have some kind of resonance. I had been offered several positions as resident choreographer around the world, but my chief motive is to develop my own choreography and this is the perfect place right now because I'm very excited and inspired by this particular group of dancers."


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