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29 - 31 juillet 2011

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MessagePosté le: Sam Juil 30, 2011 11:47 am    Sujet du message: 29 - 31 juillet 2011 Répondre en citant

Cutting-edge ballet rocks Russia's Bolshoi Theatre, par Stuart Williams (AFP via Google)

A modern ballet with music by cult US rock band The White Stripes has wowed Bolshoi Theatre audiences, helping the company shake off a conservative image as it plans a return to its historic home. "Chroma", British choreographer Wayne McGregor's 2006 exploration of the influence of psychology on movement, is a sharp contrast to the 19th-century narrative ballets that have been the staple of the Bolshoi repertoire. Set to a pulsating, dissonant score of orchestrations of White Stripes songs as well as original music by British composer Joby Talbot, "Chroma" demands from its 10 performers a whole new vocabulary of dance. Legs are flung out in extensions at all angles, arms whirled through the air and dancers intertwined in intricate couplings. The set resembles a gigantic white box with an open back whose colour changes throughout the show...

The National Ballet of China bring The Peony Pavilion to Edinburgh Festival 2011, par Malcolm Moore (The Daily Telegraph)

For most Chinese people, the 400-year-old romance of The Peony Pavilion is chiefly remembered as a 20-hour cycle of Kunqu Opera, an antique art form so impenetrable that it nearly died out at the beginning of the 20th century. But in 2008, Zhao Ru heng, the former artistic director of China’s National Ballet, asked her young choreographer Fei Bo, then just 28, to take the epic opera and translate it into a two-hour ballet, his first full-length work.The result, which has already sold out its performances at Edinburgh this year, has been described as a “fusion” ballet, blending Western classical ballet and a classic symphony orchestra with traditional Chinese instruments and a character from Kunqu Opera...

Tsar of the show: Can the Bolshoi Theatre recover from a controversial $700m refurbishment?, par Shaun Walker (The Independent)

Its colonnaded façade, topped with a sculpture of a galloping quadriga, is one of the enduring images of Moscow, alongside the swirling domes of St Basil's. Inside its walls, some of the most notable moments in the musical history of Russia have taken place; it has also served as a backdrop to momentous political events in the country's history, from Tsarist coronation celebrations to Bolshevik congresses. It was from the stage of the Bolshoi Theatre that the foundation of the Soviet Union was proclaimed. It was here that Vladimir Lenin's death was publicly announced...

Dancers show ingenuity and flair, par Shaun Walker (The New Zealand Herald)

From Here to There, the Royal New Zealand Ballet's touring British show, could easily sum up Andrew Simmons' life so far. Growing up in Christchurch in the 1990s, the 26-year-old yearned to become a ballet dancer. After joining the Wellington-based national company in late 2003, he became one of their principal members before turning to choreography in 2008. He is now based in Dresden. His piece A Song in the Dark was performed in Britain by RNZB as part of a triptych of pieces that included works by leading international artists Jorma Elo and Javier De Frutos...

Homage to Fokine, Mariinsky Ballet, Royal Opera House, par Judith Flanders (The Arts Desk)

Mikhail Fokine, choreographer to both west and east, looked forward and back, too. He studied in the old Imperial Theatre School when the Tsars ruled Russia, and he was also Diaghilev’s creative genius at the Ballets Russes, moving dance into the twentieth century before and after the Revolution. The Mariinsky, once his home, is a premier exponent of his multi-faceted styles. Chopiniana, his 1907 “white” ballet (known in the west as Les Sylphides) (right, photo V. Baranovsky), can be inert, shapeless, lifeless. Indeed, it all too frequently is. Saddled with an unappealing score (Chopin, orchestrated by Glazunov – no blame to Glazunov, it’s just that Chopin shouldn’t be messed with), the real difficulty is getting dancers to hold back, to do less, and then even less. George Balanchine, who emerged from the same Imperial School a generation after Fokine, famously once said to one of his dancers, “Dear, don’t do, just be.” Being is really difficult, and most dancers would rather do...

Mariinsky Ballet: Swan Lake – review, par Luke Jennings (The Guardian)

A half-century ago, the Kirov Ballet visited London for the first time. Known before the Russian revolution as the Imperial Russian Ballet, and today as the Mariinsky Ballet, after the St Petersburg theatre it has occupied since 1886, the company entranced London audiences with the purity of its style and schooling. The Mariinsky is not the oldest ballet establishment in the world – the Paris Opera has that distinction – but it is the most revered, and this week its dancers showed us why...

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