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12 août 2011

 
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MessagePosté le: Ven Aoû 12, 2011 9:40 am    Sujet du message: 12 août 2011 Répondre en citant

Sylvia Camarda: «L'armure pesait 25 kilos...», par Bruno Muller (Le Quotidien - Luxembourg)

Citation:
Danseuse-chorégraphe, Sylvia Camarda pratique sa passion depuis plusieurs années. Elle revient sur ses débuts et sur la naissance d'une détermination qui ne l'a jamais quittée. Pour Sylvia Camarda, la danse, c'est la passion de toute une vie. Mais pas n'importe quelle danse. Celle où l'émotion exprimée sur scène n'est pas un vain mot. À l'origine, tout est parti de Madonna…


Il y a vingt ans, sous sa crête de frondeur, Nigel Kennedy électrisait Vivaldi. Au Festival de Saint-Prex, le violoniste se risque à partager la vedette, par Dominique Rosset (L'Hebdo - Suisse)

Citation:
Il y a eu chez ce natif d’Angleterre le retour aux sources – celles de la nature et des musiques celtiques – puis l’évasion dans des compositions et improvisations adoucies, presque doucereuses, l’intrusion dans l’univers écorché des Doors et, enfin, l’accostage klezmer aux côtés du trio polonais Kroke (cordes, accordéon, contrebasse). C’est pour son interprétation farouche des Quatre saisons que Nigel Kennedy était pressenti comme invité du Festival de Saint-Prex: le danseur et chorégraphe de l’Opéra de Paris Jérémie Bélingard pensait revisiter un pas de deux avec la danseuse étoile Aurélie Dupont...


DANCE REVIEW - ANNA KARENINA, MARINSKY BALLET, ROYAL OPERA HOUSE, par Neil Norman (Express.co.uk)

Citation:
It's not every day you see a prima ballerina fall flat on her derrière and the moment Diana Vishneva, below, ended on her rump brings a gasp from the audience. Recovering well she continues as the adulterous tragic heroine of Tolstoy’s novel rendered into ballet by Russia’s busiest dancemaker Alexei Ratmansky. Working from Maya Plisetskaya’s 1972 version scored by her husband Rodion Shchedrin, Ratmansky has attempted to contextualise the love triangle while pruning much of the undergrowth. Judging by this UK première it proves an impossible task...


Anna Karenina, Royal Opera House, London, par Zoë Anderson (The Independent)

Citation:
Anna Karenina famously ends with a train. In the Mariinsky Ballet's new adaptation of Tolstoy's novel, you get trains all the way through. An elaborate carriage set looms through dry ice and clunks round on a revolve, all but elbowing its way to the front of the stage. It's a laborious effect that never looks as if it's going to work smoothly. Unfortunately, it sets the tone for the ballet. Anna Karenina is the one new work in the Mariinsky's London season. It was created by Alexei Ratmansky, a choreographer who usually shows a gift for story ballets. His Anna Karenina falls very flat, scrambling through Tolstoy and trying to keep up with its music. Rodion Shchedrin's score is full of lurching melodrama, short on melody and contrast. Though Ratmansky has streamlined the action, he doesn't do enough to establish his large cast as individual. These flurried dances are too rushed to develop character...


Mariinsky Ballet: La Bayadere, par Sarah Frater (The Evening Standard)

Citation:
It's often said that the Mariinsky's corps de ballet is the best thing about it, but it's only when you see them dance La Bayadère that you realise it's true.


English National Ballet To Celebrate Christmas At The Coliseum With THE NUTCRACKER And STRICTLY GERSHWIN (Broadway World)

Citation:
English National Ballet's magical production of The Nutcracker returns to the London Coliseum in December, following its World Premiere in 2010, when it was enjoyed by almost 70,000 people. Choreographed by Wayne Eagling, this new Nutcracker is a traditional retelling of the story set in atmospheric Edwardian London. A world of tradition and elegance is designed by Peter Farmer bringing to life the eternally popular Tchaikovsky score that features the Dance of the Sugar Plum Fairy and many other familiar favourites. Both the sets and costumes of The Nutcracker sparkle with Swarovski elements, Swarovski having generously supportEd English National Ballet since 2007. This is English National Ballet's 10th production of The Nutcracker since it performed its first full length Nutcracker at the Stoll Theatre in its founding year 1950. English National Ballet has performed The Nutcracker every single Christmas since then. The making of the production was featured on BBC4's Agony & Ecstasy; a Year with English National Ballet shown in Spring and again in Summer 2011...


Festival under fire for China’s key cash role, Par Brian Ferguson (The Scotsman)

Citation:
Human rights organisations have hit out at the Edinburgh International Festival’s decision to accept help from the Chinese government to bankroll this year’s event. Campaigners say organisers have left themselves open to criticism that they are endorsing controversial crackdowns on Chinese artists, by having the official ministry of culture support the involvement of two national companies. The National Ballet of China and the Shanghai Peking Opera Troupe are two of the main attractions at this year’s festival, which starts today, and has a major focus on Asian culture this year. The Chinese government’s support, which is believed to be worth at least £100,000, has seen it become one of the main overseas supporters of the event this year, along with the Indian Council for Cultural Relations, the Korea Tourism Organisation and the Council for Cultural Affairs in Taiwan...



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