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11 août 2011

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MessagePosté le: Jeu Aoû 11, 2011 9:41 am    Sujet du message: 11 août 2011 Répondre en citant

L'âme voyageuse de «Roméo et Juliette» (Sud-Ouest)

«Roméo et Juliette» va bientôt tomber le rideau. Mais avant, les danseurs de Thierry Malandain offrent deux ultimes représentations à leur public, demain et samedi, à la Gare du Midi. Lors de la première du 10 août, l'association des Amis de Malandain Ballet Biarritz et sa présidente Colette Rousserie ont remis un chèque de 7 500 euros au Ballet. Ainsi s'achève une saison bien remplie puisque «Roméo et Juliette» a voyagé en Espagne, en Allemagne, en Autriche, en Suisse, au Luxembourg, en Belgique, à Cuba et aux États-Unis. Plus de 70 000 spectateurs ont assisté à leurs spectacles. Cet été, la troupe a participé à de nombreux festivals (Châteauvallon, Aigues-Mortes, la Bâtie d'Urfé, Vaison-la-Romaine, Montauban)...

Anna Karenina, Mariinsky Ballet, Covent Garden, review, par Sarah Crompton (The Daily Telegraph)

Nobody could accuse the choreographer Alexei Ratmansky of lacking ambition. Not only does he decide to make Tolstoy’s gargantuan Anna Karenina into a ballet – he does so while opting to wear a straitjacket. Both arms are firmly tied behind his back by his chosen score, one written in 1972 by Rodion Shchedrin for a ballet of the same name. It surges along, full of generalised melancholy, and vaguely modernist discords, firmly underlining each moment of emotion. Its feverish insistence doesn’t leave Ratmansky enough space to tell even the very boiled down version of Tolstoy, which he has shaped, jettisoning the social richness of the novel and every sub-plot in order to concentrate on Anna’s tragic story. We rush with never a breath from a prologue which shows her death under the wheels of a train, to her first freeze-frame meeting with Vronsky, the young soldier with whom she falls in love, to passion, social disgrace and death once more...

Mariinsky Ballet: Anna Karenina – review, par Judith Mackrell (The Guardian)

To reduce Anna Karenina to a two-act ballet is a tough call, and Alexei Ratmansky's version (seen in the UK for the first time this week) is an intellectual and visual feat of compression. However, to distil the emotional power of Tolstoy's novel into 90 minutes of stage time is a much more elusive task. This Anna is set to Rodion Shchedrin's purpose-written score, and it takes its cue from the music in driving the story at determined speeds. A simple set, overlaid with scenic projections, whisks the action from Moscow to St Petersburg; and Ratmansky's choreography interacts with the design to vividly ingenious effect...

Anna Karenina/Mariinsky Ballet, Covent Garden - review, par Sarah Frater (The Evening Standard)

Having wowed everyone with the first four of its six programmes, the Mariinsky Ballet will have audiences humming and ha-ing over its fifth.
Based on Tolstoy's Russian novel, Anna Karenina is the work of Alexei Ratmansky, able dance-maker and one-time director of the Bolshoi Ballet whose star has burned bright since he created the wonderfully wacky The Bright Stream in 2003...

Anna Karenina, Covent Garden, London, par Clement Crisp (The Financial Times)

Latest arrival in the Mariinsky Ballet’s London repertory is Alexey Ratmansky’s Anna Karenina. It proposes hallucinatory action, exceptional decoration, and an energetic score by Rodion Shchedrin composed for an earlier realisation of Tolstoy’s novel by his wife, Maya Plisetskaya. What Ratmansky’s two acts offer is a spectre’s view of the tragedy, a drama played by unquiet ghosts, narrative as illusion and allusion. I found the work fascinating, confusing, a tale told through hints and fragments of behaviour, and ultimately unsatisfactory, albeit unsatisfactory on those terms that we associate most strongly with Kenneth MacMillan’s dramatic procedures and his searching and boldly voiced language...

The Australian Ballet World Premiere of ROMEO & JULIET Set for 9/13 (Broadway World)

With just over a month to go until Graeme Murphy's new Romeo & Juliet debuts on the Arts Centre stage in Melbourne, anticipation is at an all-time high. Who will dance the suite of principal roles? Are there new characters? What will Akira Isogawa's costumes look like? How will Murphy's innovative choreography tell this remarkable story? The answers will be revealed at the world premiere on 13 September 2011 in Melbourne. The production then travels to Sydney from December 2.
Murphy has created the iconic roles of Romeo and Juliet on two of the company's most riveting principal artists: Kevin Jackson and Madeleine Eastoe...

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