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06 juin 2011

 
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MessagePosté le: Lun Juin 06, 2011 8:22 am    Sujet du message: 06 juin 2011 Répondre en citant

«Le Messie» prend corps à la Gare du Midi (Sud-Ouest)

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L'Orchestre régional Bayonne Côte basque et son chœur, le Malandain Ballet Biarritz et le Ballet de l'Opéra national de Bordeaux ont conjugué leurs talents pour concevoir le spectacle « Le Messie » qui sera présenté demain mardi 7 juin à la Gare du Midi. La version chorégraphique du « Messie » fut créée en 1996 par l'Argentin Mauricio Wainrot lorsqu'il était au Ballet Royal des Flandres. Une version augmentée a vu le jour en 1998 par le Ballet national du Chili. Cette version du « Messie », d'après l'œuvre d'Haendel, est celle que le public bordelais a pu découvrir au TnBA en 2005, puis en 2006 à l'Opéra de Bordeaux, mais depuis, les danseurs ont changé...


A Galaxy of Ballet Stars Spinning in a Flickering Universe, par Alastair Macaulay (The New York Times)

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High among the highlights of American Ballet Theater’s annual eight-week spring season are its world-class guest ballerinas. This year the company is graced by Alina Cojocaru, from the Royal Ballet in London; Natalia Osipova, from the Bolshoi in Moscow; Polina Semionova, from the Berlin State Opera Ballet; and Diana Vishneva from the Mariinsky of St. Petersburg. Nowhere else in the world will you find the like...


Royal Danish Ballet review: robust modernity, par Allan Ulrich (The San Francisco Chronicle)

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If the sight of 12 bare-chested, kilted men rolling in primeval muck doesn't accord with anyone's conventional image of the cozy Royal Danish Ballet, Nikolaj Hübbe should be delighted. The artistic director of the company has pledged to bring an urgent modernity to the 263-year-old institution, and Friday's enthralling five-part program of contemporary Nordic choreography at Berkeley's Zellerbach Hall demonstrated how far he has come in only three years...


Where the World Comes to Dance, par Pia Catton (The Wall Street Journal)

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It's been seven months since the movie "Black Swan" came out, and in that time it has scooped up awards and critical praise—and sparked everything from disdainful sighs to vitriolic revulsion from the ballet community. By now, one might expect that anger to have faded away. But on May 22, the Los Angeles Times ran an interview with former New York City Ballet principal dancer Nikolaj Hübbe—who is now the artistic director of the Royal Danish Ballet—in which he said of the film: "It's the worst piece of hideous crap I've ever seen. I just thought it was scintillatingly awful." The ballet world's frustration with this movie has come in waves. First there was the general eye-rolling at the Natalie Portman training narrative: she worked out for a year and a half to look like ballerina—a pursuit that takes professionals 15 years at least...


Dance to the music (The New Yorker)

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Tucked in the Berkshires, not far from Tanglewood, the Jacob’s Pillow Dance Festival offers ten weeks of dance to suit almost every taste. This year’s lineup includes such favorites as Larry Keigwin (June 22-26) and Mark Morris (Aug. 24-28); probing new voices such as Jonah Bokaer (Aug. 3-7) and Kyle Abraham (Aug. 24-28); the tango group Tangueros del Sur, with their crisp legwork (July 6-10); and a handful of European ballet companies, among them a small touring ensemble from the Paris Opera Ballet, 3e Étage (Aug. 3-7). | The SummerScape festival, set on the bucolic campus of Bard College, in Annandale-on-Hudson, will open with an evening of dances by the innovative Finnish choreographer Tero Saarinen. Using traces of Butoh, martial arts, and pared-down everyday movements, and combining it all with expressionistic lighting, Saarinen creates mesmerizing (and sometimes aggressive) imagery infused with a stark beauty (July 7-10)...


Dancing in an Emerald Grove, and a New Generation at the School of American Ballet, par Marina Harss (The Faster Times)

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The key to a fulfilling performance of “Jewels,” I find, is a truly poetic reading of “Emeralds.” It is the first, and the most delicate of the three sections that make up this evening of dances by Balanchine, which premièred in 1967 (with significant revisions in 1976). A shallow or merely pretty “Emeralds”—a common enough occurrence—can turn the whole ballet into a disconnected triptych of contrasting styles, a showcase for ballerinas. I’ve often heard audience-members say, after “Emeralds,” “oh, that was pretty,” and quickly forget it for the flashier attractions of “Rubies” and “Diamonds.” The latter ballets can stand alone, and often do, but “Emeralds” is the secret door that draws you in to Balanchine’s world, his invitation au voyage...


Dreams of a Dying Courtesan, par Claudia La Rocco (The New York Times)

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At a certain point in “Lady of the Camellias” — and that point is pretty much the beginning — the audience member driven to despair by the inanity before her is reduced to trivial entertainments like counting the number of times Armand Duval, the ballet’s petulant leading man, casts himself to the ground in a fit of something or other. It’s either that or keep track of the consumptive heroine Marguerite Gautier’s multiple silent death rattles. Anything to pass the time. What world was John Neumeier living in when he created this reactionary, maudlin drivel in 1978? And what were the powers that be at American Ballet Theater thinking just last year when they added it to their stable of war horses? Can they really hold their audience in such contempt?...


Royal Ballet triple bill – review, par Luke Jennings (The Guardian)

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In Scènes de ballet, choreographed in 1948, Frederick Ashton created a work of unanswerable formal perfection. The Stravinsky score, which Ashton discovered while listening to the radio in the bath, had been composed four years earlier for a revue at New York's Ziegfeld theatre. Shot through with a jazzy, bittersweet glamour, it seems to embody the lost world of cocktail hours and grand hotels which the war had so permanently laid to rest. Against this, Ashton created a work of scintillating geometrical complexity, dressing the dancers in chic little tutus and diamond chokers adapted from designs by André Beaurepaire...


National Ballet’s Alice in Wonderland a perfect adaptation, par Michael Crabb (The Toronto Star)

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Vegetarians and vertigo sufferers would be wise at times to avert their eyes from the National Ballet of Canada’s new mega-production, Alice’s Adventures in Wonderland. For the rest, it’s a spectacular dance entertainment from start to finish, one sure to delight family audiences, especially those previously misguided enough to think they don’t like ballet. Christopher Wheeldon’s dance adaptation of Victorian author Lewis Carroll’s beloved children’s story is a co-production with the company that originated earlier this year, Britain’s Royal Ballet. Saturday marked both its National Ballet and North American premiere — an event hailed with a standing ovation and many curtain calls from a sold-out house. Spinoffs from the Alice stories abound. All, in varying degrees, take liberties with their literary source. The book’s action is episodic, the narrative thread gossamer thin. Much of the book’s delight resides in its argumentativeness wordplay. Puns and malapropisms, however, cannot be transposed to the emotionally subtle language of movement. Yet the title has name recognition and ballet companies nowadays are ravenous for story ballets with selling titles...


Tanzgala : Hirnkaries und Krokodilstränen, par Robert Braunmüller (Münchener Abendzeitung)

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Überraschung beim Pas de deux : Dazwischen überwogen überraschende Variationen zum Thema Pas de deux: Nach einem Tango zweier Solisten des Berliner Staatsballetts umkreiste Bridget Bresiner (Gelsenkirchen) ihren saxofonspielenden Bruder, ehe sich Erik Constantin (München) mit seinem schwedischen Kollegen Kristian Refslund tragikomisch auseinandersetzte.Aus Wien gastierte Masayu Kimoto mit dem furiosen Solo „Mopey”, das Mainzer Ballett steuerte ein flamboyantes Männerduo zu Schuberts kitschig verfremdetem „Ave Maria” bei. Es ist unmöglich, alle Beteiligten zu erwähnen. Aber den Clou des Abends wollen wir keinesfalls vergessen: die herrlich überdrehte Buenaventura Braunstein. Nie wurde die karge Künstlerbiografienprosa hinreißender geflötet als an diesem Abend, dessen Erlös der Aufklärungsarbeit der Münchner Aidshilfe zu Gute kam. Denn noch immer infiziert sich an jedem zweiten Tag irgendwo in München ein unvorsichtiger Mensch...


Лучшая балетная труппа США везет свое «Откровение» в Россию / La troupe américaine [Alvin Ailey] vient faire ses "Revelations" à la Russie (Полит.ру Polit.ru)

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Любителей балета обоих российских столиц в ближайшее время ждет встреча с главной постановкой одного из лучших балетных коллективов США — театра Элвина Эйли, передает ИТАР-ТАСС. В рамках своего европейского турне американцы привезут в Россию свой знаменитый балет «Откровение». Гастроли театра Элвина Эйли начнутся 28 июня в московском музыкальном театре имени Станиславского, а 4 июля — в День независимости США — труппа даст первый из трех концертов в Санкт-Петербурге на сцене знаменитого Мариинского театра. В финале каждого представления зрителей ожидают легендарные «Откровения», 50-летию которых и будут посвящены гастроли. / Les balletomanes des deux principales villes russes pourront bientôt découvrir une production majeure de l'une des plus prestigieuses compagnies des Etats-Unis, celle d'Alvin Ailey. Dans le cadre d'une tournée européenne, les danseurs américains présenteront en Russie leur célèbre ballet "Révélations". La tournée débutera le 28 juin à Moscou au Théâtre musical Stanislavski, puis, le 4 juillet (Independence Day, fête nationale aux Etats-Unis) - la troupe donnera le premier d'une série de trois représentations à Saint-Pétersbourg, sur la scène du célèbre Théâtre Mariinski.


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