January 31, 2010

Review: Resolution! at The Place, Program 20 – Miss, Miss, Hit?

Laura @ 20:44 —
Filed under: English, Reviews/critiques — Tags: ,

Resolution! 2010 – Programme 20
Material Sequence/Daisy Thompson & Ian Garside/Longfellows Dance Theatre Company

Across and Beyond/Both Perhaps Present/Two Men, a Tent and a Match
The Place, Robin Howard Dance Theatre
28 January 2010

You’ve got to love the concept behind Resolution! – 102 companies presenting new work over six weeks, a true feast of what dance always seems to crave: creativity. As an audience member, however, it is not necessarily satisfying. Discovering new things is wonderful, but some pieces don’t feel new – they tiptoe carefully around styles and images that, taken literally, are now old clichés in dance. One creation thankfully brightened up the program shown on 28 January, but for some companies, the idea of performing to an audience remains slightly elusive.

Across and Beyond, starting the evening, remains an enigma – across what? Beyond what? What we see is a slow, loose piece to scratchy-atmospheric music by John Palmer. Four dancers dressed in casual clothes dance on their own, then come together, then form fleeting groups. Movements are repeated throughout the 30-minute work, but they lack definition and pace – for all we know, Across and Beyond could be slow-motion improvisation. Some images have the potential to be striking in a different setting, such as the strangely pecking, Egyptian-like hands of one girl, or the dropped torsos of the dancers looking at us upside down, but the overall structure isn’t nearly strong enough to provide variety and meaning. It is a shame, as the dancers Laura Krasnic choreographs on showed something rare – all had fascinating eyes, wonderfully focused, and their bird-like presence could perhaps have taken the piece far beyond what we saw on Thursday. (…)

» Read the full review in Ballet.co Magazine





January 14, 2010

Now online: Brigitte Lefèvre Interview for Pointe Magazine (April/May 2009)

Laura @ 00:16 —
Filed under: English, Interviews — Tags: ,

Early last year I interviewed Brigitte Lefèvre for Pointe Magazine, and asked the almighty Artistic Director of the Paris Opera Ballet how she went about casting the many works performed by the company. The article was published in the April/May 2009 issue of the magazine, but her answers are now also online on Pointe’s shiny new website, in the archives section:

Cover of the April/May 2009 issue © Pointe Magazine

Cover of the April/May 2009 issue © Pointe Magazine

How do you go about casting each program?
I am in charge of all the casting, but it is really a group effort: I work very closely with the chief ballet master Patrice Bart and the administrator Olivier Aldeano. I try to figure out which dancer is best for each type of choreography, and whether it would be interesting to give someone who has been cast in classical works a chance to venture into something different. I don’t want dancers to become specialized.

How does the hierarchy at POB affect casting?
It sets rules—it is a basis for mutual comprehension. It used to be very rigid, but I think we have succeeded in making it both present and very flexible. When Benjamin Millepied choreographed Triade last year, I didn’t hesitate to entrust a young dancer with one of the main roles. I remain very cautious though, because the company has many étoiles and it is my duty to cast them. Everyone wants to dance, obviously. (…)

» Read the full interview in Pointe Magazine: “Classical to Contemporary”, April/May 2009





January 11, 2010

Review : Robbins, Balanchine and more in Baden-Baden – Mariinsky Gala 2009

Mariinsky Gala
Divertissement / In the Night / Theme & Variations
Festspielhaus Baden-Baden
28 December 2009

Careful with galas: their fragile mish-mash of styles and performers shouldn’t be upset by too many novelties, and yet they have to be varied enough from year to year to keep the audience coming. The Mariinsky has found a formula in Baden-Baden, and it’s sticking to it: two one-act ballets, a divertissement full of sure hits, and the same array of star dancers on stage, from Ulyana Lopatkina to the company’s latest recruit, Denis Matvienko. Jerome Robbins’s In the Night and Balanchine’s Theme and Variations provided the needed contrast this Christmas, while the mandatory string of pas de deux, brightened up by humorous touches, opened the performance.

Starting an evening off with Auber’s Grand Pas in front of a cold audience certainly is a thankless task. Evgenia Obraztsova (replacing Alina Somova) and Maxim Zyuzin presented us with a rarity – a classically pure Grand Pas Classique. Obraztsova is a strange choice for this piece, all softness and refinement when the Mariinsky Orchestra’s take on Rossini seemed to call for whiz-bang technique and conquering demeanor. She has developed the authority to pull it through, with extremely assured fouettés in the coda, but the many details of her dancing seem lost in this pure gala piece. She and Zyuzin, who handled the virtuoso parts well, still brought welcome harmony to this Grand Pas Classique, their extensions mercifully in line, confident and beautifully Russian. (…)

» Read the full review in Ballet.co Magazine

» Ballet.co Gallery of the Gala (photos © Natasha Razina & Marcus Gernsbeck)



Program

I – Divertissement
Grand Pas Classique - Evgenia Obraztsova, Maxim Zyuzin
La Vivandière (Markitenka) pas de six - Elena Evseeva, Filip Stepin + Evgenia Dolmatova, Anna Lavrinenko, Yulianna Chereshkevitch, Oxsana Skoryk
Scheherazade Adagio – Ekaterina Kondaurova, Yevgeny Ivanchenko
Tarantella (Balanchine) – Nadezhda Gonchar, Leonid Sarafanov
Spuck’s Grand Pas de Deux – Ulyana Lopatkina, Danila Korsuntsev
Don Quixote pas de deux – Anastasia & Denis Matvienko + Variation: Yana Selina

II – In The Night (Jerome Robbins)
Anastasia & Denis Matvienko
Ekaterina Kondaurova, Yevgeny Ivanchenko
Ulyana Lopatkina, Danila Korsuntsev

III – Theme & Variations (Balanchine)
Viktoria Tereshkina, Vladimir Shklyarov
Yana Selina, Anna Lavrinenko, Valerya Martinyuk, Maria Shirinkina
Konstantin Zverev, Fyodor Murashov, Alexei Nedviga, Alexei Timofeyev


Ulyana Lopatkina & Danila Korsuntsev in Spuck's Grand Pas de Deux © Marcus Gernsbeck

Ulyana Lopatkina & Danila Korsuntsev in Spuck's Grand Pas de Deux © Marcus Gernsbeck





January 5, 2010

Review : La Sylphide, a Danish stranger from Petersburg in Baden-Baden

La Sylphide
Mariinsky Ballet
Festspielhaus Baden-Baden
27 December 2009

One of the true delights of the Mariinsky Ballet’s annual tours to Baden-Baden lies in the repertoire they bring, which, apart from the mandatory Swan Lakes and Nutcrackers, regularly includes ballets never seen on tour. A Mariinsky La Sylphide is a curiosity, a confidential pleasure confined to Saint-Petersburg and usually performed at home while most of the company is on tour – this reversal of the situation, along with the luxury casting of Evgenia Obraztsova and Leonid Sarafanov, generated an excitement that has been missing from seasons plagued by safe programming.

Mind you, the Mariinsky Ballet has never been the finest exponent of Bournonville, and it showed again in a few awkward scenes. Vyacheslav Okunev’s designs make the first act look outdated – the bleak mansion and ill-assorted costumes might well be one of the reasons James so longs to go and live in a pretty forest full of elegant Sylphs. The corps de ballet and the demi-soloists also showed some uneasiness, including Xenia Romashova as Effie’s friend, slightly cramped in her character solo, and Soslan Kulaev, much too tall and properly over-the-top as Gurn (ah, his “I-saw-it-with-the-ping-pong-balls-I-call-my-eyes” mime). The Mariinsky’s acting style and expansive dancing simply don’t fit into this first act, but their hybrid encounter with a master, whether it be Balanchine or Bournonville, is a fascinating sight in its own right.

» Read the full review in Ballet.co Magazine

Evgenia Obraztsova and Leonid Sarafanov in La Sylphide © Natascha Rezina

Evgenia Obraztsova and Leonid Sarafanov in La Sylphide © Natascha Rezina





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