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01 août 2011

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MessagePosté le: Lun Aoû 01, 2011 5:41 pm    Sujet du message: 01 août 2011 Répondre en citant

Fokine Ballets, Royal Opera House, London, par Clement Crisp (The Financial Times)

Ballets, really successful ones, mutate due to audiences’ expectations of madder music, stronger wine. They can become parodies of themselves, and even Diaghilev wanted Matisse to redecorate Fokine’s Scheherazade, believing that the colours would have to be brighter for a 1920s audience, since nothing could recapture the excitement of the first blaze of Bakst’s designs a decade before, nor Ida Rubinstein’s glamour as Zobeide, and Nijinsky’s exoticism as the Golden Slave. All of which serves to introduce the Homage to Fokine programme that the Mariinsky Ballet showed us on Friday night. About Chopiniana (which is Les Sylphides under its original title) I have not a whisper of complaint. St Petersburg’s traditions have guarded this romantic reverie since its creation there in 1908, and the cast illuminates every moment. “Reaching for the moon”, as Fokine told Alicia Markova, they dance with the softest accents, the lightest gusts of feeling as of step...

Homage to Fokine/Mariinsky Ballet, Covent Garden - review, par Sarah Frater (The Evening Standard)

After opening its three-week, six-programme visit with the super-traditional Swan Lake, the Mariinsky Ballet took a stylistic about-turn with a triple bill of works by the early dance innovator Mikhail Fokine. It may seem blindingly obvious to us today but when the Mariinsky-trained Fokine insisted that the choreographic style and dramatic subject should relate to one another, and that choreography, music and design should be artistically unified and not randomly assembled, his ideas were met with hostility in the then Tsarist Russia...

Homage to Fokine/Mariinsky Ballet, Covent Garden - review, par Mark Monahan (The Daily Telegraph)

The Mariinsky Ballet’s tribute to the great Russian choreographer Mikhail Fokine (1880-1942) is a multifarious, multicoloured delight. It embraces a trio of entirely diverse pieces with which Diaghilev’s Ballets Russes – in fact, a rebellious breakaway troupe from the great St Petersburg company – first bewitched Parisian audiences in 1909-10 (even if one of them, Chopiniana, was premiered by the Mariinsky itself in 1908). And on Friday night, at Covent Garden, the visitors did all three proud. Such is the current depth of talent in the company that the star of the evening was not even a principal. With its masterfully evocative Stravinsky score, and magnificently lysergical sets and costumes after original sketches by Léon Bakst, the zestily folkloric Firebird was further spiced, above all, by a stunning central performance from first soloist Ekaterina Kondaurova...

New York City Ballet to Perform at Center Theater, 8/6 - 7(Broadway World)

Dancers' Workshop of Jackson welcomes back New York City Ballet Moves in August. This intimate group of NYC Ballet principal and corps dancers will be in residence with the Workshop. Moves will present two different programs during its stay. Program A will include Jerome Robbins's "Dances at a Gather," Peter Martins' "Fool for You," and Christopher Wheeldon's "After the Rain pas de deux." Program A will be prestened at 2 p.m. August 7th. Tickets are $35 to $55. Program B will showcase Peter Martins' "Hallelujah Junction" and "Zakouski," and Christopher Wheeldon's "Polyphonia." Program B will be presented at 8 p.m. August 6th and August 7th in the Center Theater. Tickets are $65 and $75...

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