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Wednesday, December 16, 2009
Friday, December 11, 2009
I found this in Birmingham Royal Ballet's Members' Newsletter, Entrechat. Become a member of BRB's Friends (I recommend it highly) at www.brb.org.uk
Wednesday, December 9, 2009
The Cuban men are renowned for the ability to jump, and this was much in evidence, especially in a fun piece for five men, Accents, choreographed by Eduardo Blanco. Their jumps are remarkably high, but with very soft, quiet landings. One of the men wowed the audience with his ability to do fast pirouettes, slowing down with incredible control while lowering his pointed foot to "cou de pied" on the ankle.
The only downside was that, as I have noticed before, Cuban National Ballet's costumes tend to be quite ugly, with very old-fashioned designs often overloaded with ruffles on the upper body.
The legendary Alicia Alonso was in attendance and received a standing ovation from the audience.
Wednesday, November 25, 2009
Monday, November 16, 2009
Monday, November 9, 2009
Monday, November 2, 2009
Monday, October 26, 2009
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- Hamburg Ballet School – Words Unsaid, choreographed by Sasha Riva
- Paris Opera Ballet School – A Corps, Essence, choreographed by Florent Melac
- Royal Danish Ballet School – Elements, choreographed by Viktoria Falck-Schmidt & Ida Praetorius
- Canada’s National Ballet School – a currently untitled work, choreographed by Sara Coffield
- National Ballet School of Cuba – Danzon Barocco, choreographed by Denia Luisa Suárez Leyva
- John Cranko School (Stuttgart) – Hidden Fears, choreographed by Alessandra Spada
- Royal Ballet School – Brush Strokes, choreographed by William Bracewell
- Partner schools without student choreographers – Improvisation AI09, directed by NBS' Shaun Amyot
- San Francisco Ballet School – Time Piece, choreographed by Myles Thatcher
- Canada’s National Ballet School – Elegy for a Round World, choreographed by Helen Clare Kinney
- Royal Winnipeg Ballet School – The Sea Within Us, choreographed by Alex Lantz
- Canada’s National Ballet School – Surge, choreographed by Rob Binet
Friday, October 23, 2009
Monday, September 14, 2009
Tuesday, September 8, 2009
30 September - 3 October 2009
Belfast Grand Opera House
13 - 17 October 2009
Plymouth Theatre Royal
22 - 24 October 2009
Sunderland Empire Theatre (near Newcastle)
6 - 7 November 2009
Sadler's Wells Theatre, London
12 - 14 November 2009
Monday, September 7, 2009
The ballet is very high-energy, reflecting the driving rhythms of the music. Principal dancer Vanessa Lawson was a standout, with focus, commitment, and incredible strength and speed making clean work of the limit-pushing choreography.
Wednesday, September 2, 2009
Tuesday, September 1, 2009
Wednesday, August 19, 2009
Noriko Kobayashi Ballet Theatre, a small but ambitious Tokyo-based company founded in 1973, specializes in performing the 20th-century repertoire of the Royal Ballet, keeping alive many masterpieces of the Ashton, MacMillan and de Valois repertoire rarely seen elsewhere. Their mixed program performed August 19 and 20 in Tokyo was no exception. "Mixed" was the word, as the combination of Ashton's frothy display of classical virtuosity from 1933, Les Rendezvous, with MacMillan's dark and tormented The Invitation, followed by his fun-filled Elite Syncopations, made for a very varied night.
Female principal Ayako Ono's lovely lightness and joyousness, with plenty of Ashtonian épaulement and beautiful arms, were the highlight of Les Rendezvous, a typically charming Ashton work in which "Walkers Out" meet in a park and dance. Unfortunately, her partner, Makoto Nakamura, performed somewhat mechanically and without much elegance or musicality. Indeed, the male dancers, many of them borrowed from Tokyo's New National Theatre, were the weakest part of the company; there was a notable lack of pointed feet in jumps. Auber's music, at times a little bombastic, was nonetheless dancy. The costumes, to the original design by William Chappell, white romantic tutus for the women edged with pink, were suitably charming, although the pink-ribbon headdresses looked unfortunately like gift bows taped to their heads.
Elite Syncopations, which usually has western audiences in fits of laughter, fell a little flat. The requisite charisma and pizzazz are perhaps qualities that do not come so easily to Japanese-trained dancers. The Calliope Rag solo performed by Kizuna Takahata, which needs a lot of sexpot glamour to come across the footlights, was simply perky. Undermined from the start by the fact that both dancers were the same height, the pas de deux for the tall girl and short boy (Ikuko Kusumoto and Atsushi Sasaki) failed to elicit even so much as a ripple of laughter from the audience on opening night. The second cast (Yuki Ohmori and Akimitsu Yahata) were much more successful at capturing the comedy of this pas de deux.
Ripples of laughter were the last thing on anyone's mind during The Invitation, a one-act story ballet depicting the loss of an Edwardian-era teenage girl's innocence when she is raped by an older man visiting her family. This ballet is a little like a Mayerling in embryo, and, watching the story inexorably unfold, the audience feels the same sensation of impending horror. The whole cast acquitted themselves well with finely delineated characters. As the girl, a part created by Lynn Seymour, Akiko Shimazoe was excellent. A particularly moving moment was when she tottered on not-fully-pointed pointe after being raped. As The Husband, guest artist Robert Tewsley displayed compelling stage presence and dramatic intensity. Convincingly remorseful after the rape, he nonetheless quickly collected himself to walk off arm in arm with his wife as if nothing had happened.
Ms. Kobayashi is to be commended for presenting such an audience-challenging program, especially a mere week after Japanese balletomanes had sated themselves on several weeks of classical warhorses and international guest stars in the World Ballet Festival.
Tuesday, August 18, 2009
Meanwhile my Japanese friend introduced me to a great resource at the Library of the New National Theatre. They have a fantastic video archive of their performances which you can search by title of the ballet, date of the performance, or other key words (in Japanese, I'm not sure if it works in English). We spent a fun afternoon watching Asami Maki's Lady of the Camellias, which has some beautiful pas de deux and solos for Armand, and lovely costumes, but doesn't have the same dramatic impact as Neumeier's take on the same theme. Partly I think this was because the music chosen wasn't as intensely romantic as the Chopin that Neumeier uses to such effect. Also on our program were Raymonda, which unfortunately just seems to be an irremediably silly ballet, and Roland Petit's Die Fledermaus.
If you visit Tokyo, be sure to visit the New National Theatre (at Hatsudai station on the Keio new train line). It is also a beautiful building making remarkable use of wood and stone in an elegant Japanese way.