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sophia
Inscrit le: 03 Jan 2004 Messages: 22087
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Jonquille
Inscrit le: 22 Avr 2005 Messages: 1796
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Posté le: Lun Sep 12, 2011 11:13 am Sujet du message: |
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Pourquoi, ce ne sera pas le même type de soirée ? Peut-on espérer voir de la danse "en vrai" ?
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sophia
Inscrit le: 03 Jan 2004 Messages: 22087
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nabucco
Inscrit le: 14 Mar 2007 Messages: 1462
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sophia
Inscrit le: 03 Jan 2004 Messages: 22087
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Jonquille
Inscrit le: 22 Avr 2005 Messages: 1796
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Posté le: Lun Sep 12, 2011 4:14 pm Sujet du message: |
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Effectivement et avec les 3€ de frais de gestion obligatoires (pas d'impression à domicile)...
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pedro
Inscrit le: 12 Déc 2004 Messages: 208
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Posté le: Ven Sep 23, 2011 4:57 pm Sujet du message: |
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Cet après-midi, un hommage religieux a été rendu à Roland Petit en l'église Saint Roch. Le père Philippe Desgens, aumônier des Artistes, officiait, Gérard Manonni lut son hommage funèbre devant une assistance très nombreuse, où, autour de Zizi et de Valentine, l'on distinguait des interprètes de Petit. Leslie Caron, Dominique Khalfouni, Isabelle Ciaravola et même Lucia Lacarra, venue de Munich, s'étaient, semble-t-il, donné le mot pour porter le deuil de leur Maître devant un océan de lys et de roses blanches. ll y avait aussi Wilfried Romoli, Benjamin Pech. Comme officiels, et non moins amis, Fréderic Mitterand, Brigitte Lefèvre, Georges François Hirsch. Et encore Alain Delon, Pierre Berger...
On entendit au grand orgue, très opportunément du Messiaen et du Bach, la Passacaille du "Jeune homme et le Mort".
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sophia
Inscrit le: 03 Jan 2004 Messages: 22087
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Posté le: Ven Déc 23, 2011 3:04 pm Sujet du message: |
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Ce que l'Opéra de Paris n'a pas été capable de faire, rendre décemment hommage à Roland Petit, le Bolchoï le fait le 28 décembre. Voici le programme et les distributions du gala : http://www.bolshoi.ru/about/press/articles/2011/2040/
Première partie
L'Arlésienne - Première
Musique : Georges Bizet
Frédéri : Ivan Vassiliev
Vivette : Nina Kaptsova
Anna Balukova, Anzhelina Vorontsova, Yulia Grebenshikova, Maria Zharkova, Olga Kishneva, Yanina Parienko, Ekaterina Seredkina, Anna Turazashvili
Karim Abdullin, Ivan Alexeev, Artem Belyakov, Dmitri Dorokhov, Klim Efimov, Yuri Ostrovsky, Denis Rodkin, Anton Savichev
Deuxième partie
Extraits de ballets :
Ma Pavlova
Musique de Jules Massenet
Olga Smirnova, Semyon Chudin
Notre-Dame de Paris
Musique de Maurice Jarre
Maria Alexandrova, Mikhaïl Lobukhin
Proust, ou les Intermittences du coeur
Musique de Camille Saint-Saëns
Svetlana Lunkina, Alexandre Volchkov
Carmen
Musique de Georges Bizet
Natalia Ossipova, Ruslan Skvortsov
La Dame de pique
Musique de Piotr Tchaïkovsky
Ilze Liepa, Nikolaï Tsiskaridze
3e partie
Le Jeune homme et la Mort
Musique de Jean-Sébastien Bach
Ivan Vassiliev, Ekaterina Shipulina
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haydn Site Admin
Inscrit le: 28 Déc 2003 Messages: 26517
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Posté le: Jeu Jan 16, 2014 3:41 pm Sujet du message: |
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L'Opéra de Paris n'y a pas pensé - le Ballet national de Marseille non plus - , mais le Bolchoï si... Pour les 90 ans de la naissance de Roland Petit (le 13 janvier 1924), le théâtre moscovite a publié dans sa newsletter un petit texte rappelant l'activité du célèbre chorégraphe français en Russie :
Citation: |
90 years ago Roland Petit was born
Roland Petit is a legendary name in the history of ballet. He was independent in his judgments and his creative work; he astonished with his talent and appreciated talented people. Petit was friends with Jean Cocteau and Rudolph Nureyev; he knew Marlene Dietrich and Greta Garbo and worked with Mikhail Baryshnikov and Maya Plisetskaya. Dance was his life. At the age of nine he told his parents he would run away if they did not take him to ballet school. He qualified for the Paris Opera Ballet School. It was then that he started climbing the ballet Mount Olympus. This year he would have turned 90. “Culture news” report:
Perhaps Petit was Terpsichore's favorite child: he surely knew the secrets of harmony and beauty. He chose dance, although he could have become a talented artist, actor or fashion designer. His friends were geniuses, just like himself: Picasso, Cocteau, Dior, and Yves Saint Laurent… They did a good job creating masterpieces that the whole world was crazy about. Out of two hundreds ballets Petit himself distinguished “the genius five”, headed by “Le jeune homme et la mort”. Starting from 1946, principal dancers dreamed about the provocative black wig and the inevitable yellow dress; they dreamed about going to that darks side of love that not everyone had enough guts to talk about.
The Bolshoi Theatre prima-ballerina Svetlana Zakharova says: “When he was in the audience with that look of his, you realized that there was a legend in front of you; he was great like no other”.
Petit disregarded the laws that had been set by someone else. He ignored them. And he won. Each new ballet story was more inventive and provocative than the previous one. In 1949 he choreographed “Carmen” for his favorite Zizi Jeanmaire and then created some variety theatre numbers for her just as easily. Being a real Frenchman, he played with feelings and teetered on the edge of revelation and taste. “The Queen of Spades” at the Bolshoi made critics talk about Petit again; this time
they were discussing a visionary who went into the depth of irrationality. Petit already had one “Queen of Spades” that he created for Baryshnikov. But it seemed that he forgot about it. He took Symphony No. 6 by P. Tchaikovsky and created a world were dancers crossed the border of reality. As they were asking Ilze Liepa tricky questions about her experience with Petit, his French colleagues were saying nasty things, like
“How could you work with Petit? He is a tyrant”. Ilze Liepa remembers: “We kept saying that it was wonderful”. He knew how to get not only principal dancers. He created a production to the iconic songs by Pink Floyd: he got those idols to a stadium and they started working on his ideas. He turned ballet from naphthalene to relevant, creative dance. This miracle happened in front of everyone's eyes.
Ilze Liepa says: “He used to say that he never came up with the movements before the rehearsals; he created everything here and now. But he listened to a lot of music; during the rehearsal some chemical process started, the spark appeared and the choreographic text was created. He just made sketches”.
Roland Petit saw stories. He could create a spectacular performance you would not be able to stop watching, from scratch. He erased language borders and talked to dancers using the only language they all understood – the dance language. |
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