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 Posté le: Ven Juil 22, 2011 11:14 am Sujet du message: 22 juillet 2011 |
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A la mode de Bordeaux, par Guillaume Crouzet (L'Express)
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| Pour vous qui êtes certainement sur la route des vacances (ou cela ne saurait tarder…) deux pépites dénichées il y a peu dans la capitale d’Aquitaine... |
Royal New Zealand Ballet, at Barbican, Seven magazine review, par Jann Parry (The Daily Telelgraph)
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| The Royal New Zealand Ballet, unscathed by earthquake damage in Christchurch, has just brought to Britain a brave triple bill, showcasing 18 of its 32 dancers. Accompanying them were three artistic directors, past, present and future – Gary Harris, who commissioned the recent works, hands over the company in September to Ethan Stiefel, principal dancer with American Ballet Theatre for the last 14 years. Matz Skoog is acting as interim director. Stiefel will inherit a well-trained troupe and an eclectic repertoire. Best of all, a young ex-company member, Andrew Simmons, turns out to be a gifted choreographer. A Song in the Dark is a poignant interplay of light and shadows, people and phantoms. Set to a collage of mesmerising music by Philip Glass, the choreography swirls around the stage, the dancers’ bodies multiplied by their shadows cast on a white side screen... |
New Zealand Ballet, Barbican, London, par Clement Crisp (The Financial Times)
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| For a visiting ballet troupe to present a programme boasting one unsuitable work argues a misreading of local taste. To present two such suggests artistic myopia. But to offer three clunkers, as the Royal New Zealand Ballet did, opening a brief season at the Barbican, may be construed either as obstinacy or a death-wish. The sadness of the evening, apart from the choreography, was that the New Zealand dancers are unfailingly dedicated to making the best of the bad jobs they must show us. But their devotion to the task is not enough to persuade me that the repertory was wisely chosen, or flattering to their gifts. The opening Plan to A by Jorma Elo has the curious distinction of using massively un-danceable music for violin, chamber organ and harpsichord by Heinrich Biber and obliging us to watch seven dancers fidget interminably in red costuming to the over-amplified writings of this earnest baroque master... |
DANCE REVIEW - ROYAL NEW ZEALAND BALLET, BARBICAN, LONDON, par Neil Norman (Express.co.uk)
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| NYONE expecting the Kiwi company to perform a haka would have been disappointed – but not for long. This triple bill provides a vigorous showcase for this young and athletic company which is on the cusp of a new era under Ethan Stiefel, currently a principal of American Ballet Theatre, who takes over in September. They open with a bang in Jorma Elo’s piece, Plan To A, a dextrous romp for five dancers – three girls and four men – all dressed in vivid red... |
Paris Opera Ballet ‘L'Anatomie de la Sensation’ , par Sheila Cross (Ballet.co.uk)
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| Wayne McGregor's first full-length work was given a delayed premiere on Saturday (2 July). Surprisingly it was not created on his own company, Random, nor for the company for which he is currently Resident Choreographer, the Royal Ballet; but for the Paris Opera Ballet.His second piece commissioned by the company, L'Anatomie de la Sensation, is inspired by some of Francis Bacon's paintings. Bacon's fascination with the body in extremis, in tortured physicality, proves a fertile source for McGregor's signature choreography, fractured, contorted, pulsating with energy. However, there are no direct references to Bacon, not even any painterly décor... |
Carmen: English National Ballet, The Coliseum - review, par Sarah Frater (The Evening Standard)
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| When English National Ballet announced a mixed bill of work by veteran French choreographer Roland Petit, dance fans couldn't wait. Petit's work is rarely seen in the UK, not even his sizzling Carmen which premiered way back in 1949 in London, where, it's said, he cosied up with Margot Fonteyn - she was his squeeze. It's a poignant twist of fate that just last week the news came that Petit had died. Instead of the 87-year-old taking a curtain call, ENB's artistic director Wayne Eagling came on stage and dedicated the show to its absent creator. Eagling himself deserves credit for his programming, as it corrects the neglect of a distinctive choreographic talent - even if not all of ENB's dancers were on top of his emphatic dramatics... |
English National Ballet, Roland Petit Triple Bill, London Coliseum , par Ismene Brown (The Arts Desk)
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| An obsession with sex and death underlies many of the immortal works of 19th-century classical ballet. Giselle is seduced, La Sylphide does the seducing, the Sleeping Beauty is awakened by sex, the Swan Queen is an apparition of death to Prince Siegfried who is easily waylaid by her doppelgänger, Odile of the 32 fouettées. Roland Petit brought it all out in the open with his ballets in the next century. As one observer said in 1949 of the premiere in London of his ballet Carmen, you could see the men’s trouser buttons popping. In the three of his famous works on parade last night at the London Coliseum sex and death stalk young men, in the shape of inexorably enticing women. Yes, one could swat it away as a typical Frenchman’s cliché to present women obsessively in this way, but, by gum, it works as dance theatre in today’s antiseptic times. Suicide, suicide, murder, all driven by sex. Last night’s audience lapped it up and I suggest it will be a long time again before any British stage presents a programme of ballets celebrating the urges of the loins with so much style and so little shame... |
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