February 2, 2012

Les Ballets de Monte-Carlo Returns to the U.S. (Dance Magazine)

Laura @ 01:49 —
Filed under: English,News — Tags: , , , , —

Les Ballets de Monte-Carlo, one of France’s best-kept secrets, will be performing in New York and Costa Mesa (California) later this month, and my preview of the company and the repertoire for the tour is in the February issue of Dance Magazine – with added insight from the lovely Noelani Pantastico, who made the move from Seattle to the Riviera a few seasons ago and whom I interviewed for Pointe Magazine back in 2009.

Cover of the February 2012 issue © Dance Magazine

Cover of the February 2012 issue © Dance Magazine

Jean-Christophe Maillot is a lucky man. In 1993, Monte Carlo handed him a gift most choreographers can only dream of: a full company of classically trained dancers, with the freedom to shape it as he wished. Two decades and 30 creations on, Les Ballets de Monte-Carlo is bringing his unique brand of neoclassical choreography to the U.S. this February.

Les Ballets hasn’t been to New York since 2003, but with about 60 performances abroad and only 20 or so in Monte Carlo every season, the company is used to being on the road. Its 48 dancers are an international group, with one former Pacific Northwest Ballet principal among them: Noelani Pantastico, who fell in love with Maillot’s choreography when PNB performed his Roméo et Juliette. She joined in 2008 and relishes the pace. “The atmosphere is very relaxed,” she says. “Jean-Christophe is constantly refreshing the pieces we dance. It’s never the same.”

Pantastico has also had time to absorb the Frenchman’s sleek, visually inventive style, a blend of ballet technique and contemporary inspiration. “He’s very particular,” she says. “I had to stop performing so much to the audience and be really thoughtful about the intention behind every step.” The company dances works by other choreographers, including Balanchine and Forsythe, but Maillot creates at least one new piece every season. His stylish, cohesive ensemble is a testament to the benefits of working closely with one choreographer, and Pantastico now blends in beautifully with the group. (…)

» Read the full article in Dance Magazine: “A Winning Hand,” February 2012

Jean-Christophe Maillot's Altro Canto Part I © Christian Ganet

Jean-Christophe Maillot's Altro Canto Part I © Christian Ganet





January 4, 2012

The Prix de Lausanne Turns 40 (Dance Magazine)

Laura @ 14:02 —
Filed under: English,News — Tags: , , , , , , —

The Prix de Lausanne may just be the most respected ballet competition in the world, and its 40th anniversary is cause for celebration. I talked to artistic director Amanda Bennett about its unique features a few months ago, and my Dance Matters article about the Prix (January 29-February 5 this year) is in Dance Magazine’s January issue. As usual, the Finals will be streamed live on the Prix’s website on February 4 – don’t miss them!

Cover of the January 2012 issue © Dance Magazine

Cover of the January 2012 issue © Dance Magazine

With most dance competitions, a pointe shoe ribbon coming undone would mean only one thing: a consolation prize. Not so at the Prix de Lausanne, where New Zealander Hannah O’Neill won the top award in 2009 after one such incident. Known for its caring atmosphere, the Switzerland-based competition, which celebrates its 40th anniversary from Jan. 29 to Feb. 4, is all about rewarding potential and turning students into professionals.

Founded by the late Philippe Braunschweig in 1973, the competition now selects up to 75 young dancers from approximately 20 countries every year. The contestants prepare a classical and a contemporary variation selected from a list—this year, the number of classical choices has been doubled to about 10 in each category to allow for more options. The Prix itself lasts a full week, with daily classes and coaching sessions led by renowned teachers. “The well-being of the candidates is primary,” says Amanda Bennett, the new artistic director of the Prix. “They have time to make friends and to experience constructive feedback.”

The jury also observes the dancers in class. Contrary to popular belief about competitions, the jurors look for a range of qualities beyond technical facility; Bennett cites artistry, courage, individuality, musicality, and use of dynamics. The finals, which can be watched live on the Prix’s website anywhere in the world, showcase this vision of ballet. “The most exciting thing for us,” says Bennett, “is recognizing that elusive thing we call quality, the ability to touch the audience.” (…)

» Read the full article in Dance Magazine: “A Prize to Be Won,” January 2012





October 3, 2011

Insider to Head The Royal Ballet (Pointe Magazine)

Laura @ 18:39 —
Filed under: English,News — Tags: , , , , , —

The name of Monica Mason’s successor has been known for a few months now, but it remains a surprise for many – Kevin O’Hare, The Royal Ballet’s current administrative director, will succeed her as artistic director at the end of the 2011-2012 season. Here is my take on his appointment, complete with quotes from choreographer Christopher Wheeldon, for the news pages of Pointe Magazine:

Cover of the October/November 2011 issue © Pointe Magazine

Cover of the October/November 2011 issue © Pointe Magazine

When it came to casting the part of next Royal Ballet artistic director, most ballet fans expected that a familiar face would land the job. (Several big names—including Christopher Wheeldon—were repeatedly tossed around.) In the end, however, Monica Mason will be succeeded in July 2012 by an insider no one saw coming: Kevin O’Hare, her administrative director since 2009.

A former principal with Birmingham Royal Ballet, O’Hare retired from dancing in 2000 to train in company management. After stints with the Royal Shakespeare Company and BRB, he joined The Royal’s management team in 2004. “Kevin knows the company and has already established a clear and communicative relationship with the dancers,” explains Wheeldon, who choreographed Alice’s Adventures in Wonderland for The Royal earlier this year.

While some have deemed the appointment unexciting, O’Hare is intimately familiar with the company’s English repertoire and won over the selection panel with ambitious plans to bring together “the most talented artists of the 21st century to collaborate on the same stage,” as he said in a press release. He won’t be lonely at the top, either: Both Wheeldon and resident choreographer Wayne McGregor, along with associate director Jeanetta Laurence, have agreed to be part of his “senior artistic team.” The terms of their involvement remain to be defined, according to Wheeldon, but “there are future projects in the works, including another possible full-length ballet.” (…)

» Read the full interview in Pointe Magazine’s news section (scroll down to see it)





August 15, 2011

Le Mariinsky et Londres, une histoire d’amour ?

Laura @ 21:26 —
Filed under: Français,News,Other — Tags: , , , , , , —

Le Ballet du Mariinsky était de retour à Londres cet été, et j’ai eu le plaisir d’assister à leurs deux derniers programmes sur la scène du Royal Opera House, Anna Karénine et La Bayadère. Pas de critique cette fois, mais un petit papier d’information pour Le Monde, paru dans l’édition du 13 août :

A Covent Garden, au coeur de Londres, les rumeurs d’émeutes semblent venir d’un autre monde. Le Ballet du Théâtre Mariinski, l’un des joyaux de la danse classique, y célèbre jusqu’au 13 août le 50e anniversaire de sa première tournée en Europe de l’Ouest, et a déployé à cette occasion ses moyens les plus raffinés au Royal Opera House. Six programmes se sont succédé depuis fin juillet, et de Petipa à Balanchine et Robbins, du Lac des cygnes à La Bayadère, le faste de l’ensemble a conquis le public.

Au printemps 1961, Paris et Londres découvraient pour la première fois la compagnie russe, fondée au XVIIIe siècle et rebaptisée Kirov par les autorités soviétiques. La troupe recrée le grand répertoire classique, dont le style est jalousement gardé à Saint-Pétersbourg : noblesse, harmonie des lignes, expressivité, corps de ballet d’une homogénéité et d’un lyrisme inégalés. (…)

» Lire l’article complet sur Le Monde.fr

Ulyana Lopatkina and Danila Korsuntsev in Swan Lake © Natasha Razina

Ulyana Lopatkina and Danila Korsuntsev in Swan Lake © Natasha Razina





September 14, 2010

Live Festival – Biennale de la Danse de Lyon

Laura @ 17:08 —
Filed under: English,News,Other — Tags: , , , , , , , , , , , , , —

I am currently attending this year’s Biennale de la Danse in Lyon – one of France’s mighty dance festivals, with no less than 57 works being performed in the city until October 10. Created in 1984, the Biennale has always leaned strongly towards contemporary dance, but it knows how to juggle between old masters and young creators – bringing the likes of Pina Bausch to the Lyon Opera House and featuring up-and-coming French choreographers in an array of smaller venues scattered around the city. This edition is also the last for long-time artistic director Guy Darmet, and he chose to go out on a jolly note with the following title, printed in bright pink everywhere: “Encore!” (More!) But how cheerful should we be about the program?

I’ll be tweeting live from a number of shows and press conferences at @bellafigural – look out for the #BiennaleLyon tag!

IMG00069-20100912-1548

A snapshot from the festival's Défilé (scroll down for more)

Bella Figura’s early picks

Neo-Classical Riots

  • Les Ballets de Monte-Carlo: Rite of Spring / Altro Canto Part I, Maison de la Danse, until September 14
    The landmark Hodson/Archer reconstruction of the 1910 Rite of Spring, rarely seen in France, combined with a neo-classical masterpiece: artistic director Jean-Christophe Maillot’s Altro Canto Part I, choreographed in 2006, a stunning, androgynous take on Monteverdi featuring Maillot’s sculptural muse, Bernice Coppieters.
  • Lyon Opera Ballet: Forsythe evening: Quintett/Workwithinwork, Lyon Opera, September 24-28
    The only other classically-trained company to take part in the festival, the Lyon Opera Ballet, is a Forsythe believer. The two works in this bill, both company premieres, are seldom performed in France, and should serve the company’s modern edge well.
Ballets de Monte-Carlo - Altro Canto Part I © Christian Ganet

Ballets de Monte-Carlo - Altro Canto Part I © Christian Ganet

Modern Dance History Lesson

  • Trisha Brown Dance Company: You Can See Us/Foray Forêt/Opal Loop – Cloud Installation #72503/L’amour au théâtre, Le Transbordeur (Villeurbanne), September 14-15
    The American choreographer is celebrating the 40th anniversary of her company, and the works shown in Lyon offers a glimpse of her range and evolution. A complete “Parcours Trisha Brown” is even in place, with an exhibition at macLYON and a selection of Early Works shown outdoors, at the Parc de la Tête d’Or.
  • Pina Bausch/Tanztheater Wuppertal: Nelken, Lyon Opera, September 15-20
    Now is the time to celebrate the legendary Pina Bausch, who passed away just a year ago, amid concerns about the long-term survival of her historical company. Dominique Mercy sensitively discussed the “mourning” state of the Tanztheater Wuppertal during the press conference, and the company is to continue exploring Pina Bausch’s large repertoire.
    » Watch: A trailer for Nelken
Tanztheater Wuppertal - Nelken © Ulli Weiss

Tanztheater Wuppertal - Nelken © Ulli Weiss

American Success Stories

  • Ailey II: Ailey Highlights / Splendid Isolation II / The Hunt / Revelations / Echoes, Théâtre des Célestins, September 15-26
    Alvin Ailey’s school is now a landmark in the American dance world, and the young Ailey II company, comprised of advanced students, is an eager advocate of the choreographer’s wide repertoire. With a series of Ailey highlights and Revelations, they are taking historical North American works to France. 3 recent creations by Jessica Lang, Robert Battle and Thang Dao complete what is set to be 2 beautiful mixed bills.
  • Bill T. Jones/Arnie Zane Dance Company: Fondly Do We Hope… Fervently Do We Pray, Maison de la Danse, September 18-22
    Wondering about the current political and racial turmoil in the USA? Bill T. Jones, one of America’s most cherished Black choreographers, comes to Lyon with a full-length dance work about Abraham Lincoln, the White president who ended the Civil War, and seems bound to provide us with much food for thought.
    » Watch: Bill T. Jones discussing Fondly do we Hope… Fervently do we Pray
Ailey II in The Hunt © Eduardo Patino

Ailey II in The Hunt © Eduardo Patino

Local Talents

  • Compagnie Käfig/CCN de Créteil: Boxe Boxe, Maison de la Danse, September 25-October 9
    A hip-hop company from Lyon recently offered the direction of one of France’s CCN (regional Choreographic Centers), Käfig produces eclectic works with a clear urban feel.
  • Compagnie Maguy Marin/CCN de Rilleux-la-Pape: Salves, Petit Théâtre du TNP, September 13-19
    Maguy Marin’s highly theatrical and sometimes practically dance-less works have found their audience in Lyon ever since she became director of the local CCN. Her strange sense of poetry can be compelling, and this small-scale new work will hopefully be a worthwhile addition to the company’s repertoire.
Maguy Marin's Salves © Christian Ganet

Maguy Marin's Salves © Christian Ganet

Special Mention: Unlikely Collaboration of the Year

  • Ballet Preljocaj/Bolshoi Ballet: And then, a thousand years’ peace, Maison de la Danse, September 24-27
    Angelin Preljocaj and the Bolshoi: these are two names I never thought I would combine in the same sentence. And yet here they are, suddenly brought together for the France-Russia Year. Lyon’s Maison de la Danse is the first touring venue for this work, to be created in Moscow on September 14, and with half the dancers from Ballet Preljocaj and half from the Bolshoi, it could turn out to be weird, compelling, or anything in between. If anyone can rekindle Preljocaj’s dwindling creativity, however, it may just be today’s Bolshoi.
Ballet Preljocaj/Bolshoi Ballet - Rehearsal image © JC Carbonne

Ballet Preljocaj/Bolshoi Ballet - Rehearsal image © JC Carbonne

Outsiders: Nasser Martin-Gousset, Olivier Dubois, Catherine Diverrès and Michel Kelemenis in the “French choreographers” category; Les Indes dansantes, a Baroque dance performance; local ventures such as Compagnie Propos and Compagnie Acte; flamenco dancers Andrés Marin and Angeles Gabaldon; Balé de Rua, Deborah Colker and Focus Cia de Dança for some South American energy.

And it all started with a Parade…

Let’s finish off with a few snapshots of the traditional Défilé (Parade) in the streets of Lyon, aptly titled “La Vie en Rose” (Life in Pink). Hundreds of amateur dancers gathered for a display of crazy costumes and silly group dances watched by around 300 000 people last Sunday, according to the Biennale – a bit of dance in the sunshine while companies prepared in dark theatres.

Biennale 1

A new genre of tutu?

Majestic float

A majestic float...

Hip hop parade

Hip hop parade

Lonely pink tutu with bubbles

Lonely pink tutu with bubbles





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