haydn Site Admin
Inscrit le: 28 Déc 2003 Messages: 26517
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Posté le: Sam Avr 30, 2011 9:25 am Sujet du message: 30 avril - 01 mai 2011 |
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Steps back in time, par Laura Cappelle (The Financial Times)
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Alexei Ratmansky has made a career out of rejuvenating fragments from ballet history, and Lost Illusions, his three-act ballet for the Bolshoi, is an old-fashioned novelty. Although it has a new score, new choreography and new designs – all welcome in an increasingly fossilised full-length narrative genre – its libretto was written for an eponymous ballet presented at the Mariinsky in 1935. The piece fell into oblivion after one season, and while Ratmansky’s production is a treasure trove of new roles for the Bolshoi’s dancers, it never quite convinces as a dramatic whole... |
Alexei Ratmansky to Extend Contract with American Ballet Theatre through 2023 (Web Wire)
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Alexei Ratmansky, Artist in Residence with American Ballet Theatre since 2009, has extended his contract with the Company through 2023, it was announced today by ABT Artistic Director Kevin McKenzie. Ratmansky previously signed a five-year agreement as Artist in Residence with American Ballet Theatre. His new contract extends his role for another ten years through 2023... |
National Ballet heads to Sadler's Wells in 2013 (CBC News - Canada)
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The National Ballet of Canada will take its new production of Romeo and Juliet to London's Sadler's Wells dance theatre in 2013. The National Ballet has not performed in London since 1987. Russian choreographer and former Bolshoi Ballet director Alexei Ratmansky is creating a new version of Romeo and Juliet for the Toronto-based ballet company. It will have its world premiere Nov. 16 in Toronto... |
Boston Ballet moves beautifully in ‘Bella Figura’, par Keith Powers (The Boston Herald)
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Call it two beauties and the beast. Boston Ballet presented three contemporary works Thursday evening at the Opera House, with the two beauties — Helen Pickett’s triptych inspired by Arvo Part, and Jiri Kylian’s “Bella Figura” — contrasting sharply with William Forsythe’s techno-stomp “The Second Detail.” This program offered movement ranging from animal (Forsythe) to ethereal (Pickett) to theatrical (Kylian). And, sure to be much discussed, topless female dancers... |
Ballet productions run hot, cold, par Thea Singer (The Boston Globe)
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Boston Ballet’s production of Jirí Kylián’s “Bella Figura’’ (1995) strikes like a lucid dream, that place where consciousness infiltrates sleep to forge creative links that hover on the brink of logic. Some inventors say it’s where their most innovative ideas arise. The dance — a shifting sea of black, red, and bare skin — was the highlight of last evening’s concert of contemporary ballets, which also included William Forsythe’s pristine “The Second Detail’’ (1991), and three works by Helen Pickett, including two world premiers... |
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