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 Posté le: Sam Juil 23, 2011 11:44 am Sujet du message: 23 - 24 juillet 2011 |
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Les Grands Ballets [Canadiens] en Chine : une équipe comblée, par Vanessa Guimond (Canoe.ca)
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| Les Grands Ballets Canadiens de Montréal se disent heureux de l’accueil reçu à Pékin, ville où ils ont présenté, mercredi et jeudi, les deux premières représentations de Minus One, dans le cadre de leur tournée en Chine. Bien qu’il soit trop tôt pour évaluer les retombées liées à leur passage dans la capitale chinoise, Alain Dancyger, directeur général des Grands Ballets, se dit enthousiaste par rapport à toutes les rencontres et les contacts établis par la compagnie. « L’ambassadeur du Canada en Chine a organisé un dîner, le jour du premier spectacle, a-t-il raconté. Ç’a été très profitable pour nous, puisque nous avons rencontré des présidents de compagnie qui nous ont signifié leur intérêt à commanditer de futurs échanges. »... |
Les Grands Ballets canadiens se produisent en Chine, par Ève Payette (Radio-Canada)
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| Les Grands Ballets canadiens sont de retour en Chine, après 27 ans d'absence. Pékin est la première des trois villes qu'ils visiteront jusqu'à la fin juillet. Pendant leur séjour, les danseurs donneront six représentations d'une seule chorégraphie, Minus One, du chorégraphe israélien Ohad Naharin. La première des Grands Ballets a eu lieu au National Centre for the Performing Arts de Pékin, où les 35 danseurs ont surpris le public chinois avec l'oeuvre qui implique la participation d'une douzaine de spectateurs sur scène. « C'est un grand contraste pour la Chine, qui vit encore sous sa grande tradition du ballet russe, mais qui est très ouverte à voir d'autre chose », souligne le directeur des Grands Ballets canadiens, Alain Dancyger... |
Roland Petit – review, par Judith Mackrell (The Guardian)
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| Roland Petit, who died just over a week ago, was fabled as the man who brought sex, style and bohemian-chic to the post-war ballet stage. But he should also be commemorated as the choreographer who elevated smoking to a terpsichorean art. The languid sensuality with which Petit's characters blow smoke into each others eyes: the venom with which they grind a half-finished fag onto the floor, is often as exciting as the pure dance material. And the dancers of the English National Ballet, performing this triple bill of rarely seen Petit ballets, must be congratulated too. They handle those cigarettes as if they'd never heard of a smoking ban... |
ENB, Roland Petit, London Coliseum, review, par Mark Monahan (The Daily Telegraph)
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| English National Ballet’s triple bill of works by Roland Petit proved timely in the most unfortunate way. The great French choreographer – whose work blended his Paris Opera Ballet training, an oh-so-French dash of vaudeville, and an apparently God-given way with theatrical drama – died two weeks ago, aged 87. As a result, this celebration of his special gifts also turned into a fond and at times emotional farewell. In Thursday’s opening-night performance, the most seductive piece of dance-theatre on a bill brimming with lust, death and cigarettes was 1946’s Le jeune homme et la mort. Like an existentially angst-ridden descendant of Henry Wallis’s famous painting The Death of Chatterton, this hyper-charged duet starts off with a young man lying on a bed in his Parisian garret, puffing away on a Gauloise and awaiting his mistress. Stricken with warped, thwarted passion, be soars through the air and tumbles over furniture, only to be mercilessly toyed with by her when she finally appears... |
Roland Petit’s Carmen, par Neil Norman (The Stage)
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| The death earlier this month of France’s greatest post-war choreographer inevitably cast a shadow over this triple bill. Originally designed as a long-overdue celebration of a living master of dance, it turned overnight into a farewell tribute. Of the three works, L’Arlesienne is the latest (dating from 1974) and the least. A simplistic tale of a reluctant bridegroom struggling with his memory of a former girlfriend while on the verge of marriage to another, it is set to Georges Bizet against a Van Gogh cornfield. The English National Ballet corps shows delicious symmetry in their Broadway-inspired lines, and Esteban Berlanga brings an operatic element to his anguished indecision... |
Carmen: English National Ballet, The Coliseum - review, par Sarah Frater (The Evening Standard)
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| 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... |
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