After the final curtain

One of the things that amazes me about watching the Royal Danes dancing Bournonville, bouncing around like the Energizer bunnies of ballet, is that they never look as if they're tired, or even breathing (but you know they have to be; what they do is so aerobic that any normal person would be gasping for breath after about 16 bars of music). These 13 dancers did it almost every night for two weeks, sometimes twice a day, with a transatlantic flight in the middle, and the joy just poured off the stage to those of us who were lucky enough to be in the audience. Here's the proof they are human after all! Thank you, thank you, thank you, Soloists and Principals of the Royal Danish Ballet for giving your all for us. Rest up a bit back home! Can't wait for the next Bournonville Festival in 2018.

Dancers of the Royal Danish Ballet after the final curtain of their last show at the Joyce Theater in New York, January 2015

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What those Degas dancers are really saying

These are very funny:
http://sessions.cloudandvictory.com/hold-me-closer-tiny-dancer-degas-interpreted/

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Royal Danish Ballet's Andreas Kaas: Reflections on NBOC

Royal Danish Ballet's Andreas Kaas was in Toronto on exchange with the National Ballet of Canada for Nutcracker. The NBOC interviewed him before (click here: http://toursenlair.blogspot.ca/2014/12/royal-danish-ballet.html)
and after. Below he talks about his role as an Icicle in James Kudelka's Nutcracker, which I saw him perform.
I was also lucky to see him with the "Soloists and Principals of the Royal Danish Ballet Bournonville Celebration" in New York this past week, and I can tell you, he is one to watch, with spectacular technique, undeniable star quality and an immense joy in dancing. Every year I put a Copenhagen trip on my schedule, and it was announced in New York that the RDB is looking at another Bournonville Festival (a top Ballet Bucket List item) for 2018, so do let me know if you're interested in coming to Copenhagen some time to see their remarkable dancers, about whom Alastair Macaulay of the New York Times says: "The rush of happiness that keeps flooding the theater is so pure that it may well bring tears to the eyes; it did to mine, more than once Tuesday, the opening night.The skill and charm with which these performers put across this choreography is glorious to behold."

Dancer Exchange: Andreas Kaas As part of a dancer exchange, Andreas Kaas (above right) from The Royal Danish Ballet came to Toronto for six weeks to rehearse and perform The Nutcracker with The National Ballet of Canada. What were your first impressions? In some ways I felt I knew what to expect – the life of a dancer includes daily class, rehearsals and performances. But there were some differences I noticed right away: at home our school, studios and theatre are all in the one building. I’ve spent the last 13 years of my life there and it really feels like home. Here the school is separate altogether, and there are different rehearsal and performance buildings. Also, at the Walter Carsen Centre there is one dressing room for men and one for women, and all ranks from Principal to Corps share that room. For performances all the dancers move to a multitude of rooms at the Four Seasons Centre. I’m used to sharing a dress room every day, all year, with just one other person. But part of the purpose of this exchange was for me to get out of my comfort zone, go somewhere different and have new experiences. Although I was nervous when I first arrived, and felt that people would be assessing me critically, I felt that everyone at the National Ballet was very open and welcoming. What was the most memorable part of The Nutcracker for you? Dancing as an Icicle in the Snow trio was so different from anything else I’ve danced. In a pas de trois for two men and one woman, the level of complexity is greater as is the degree of trust required, not just with a female partner but also between me and the other male. I thought it was fortunate that Félix Paquet and I were both new to the parts and as a result we were both discovering our way together. We were also lucky to work with Alexandra MacDonald as our Snow Queen. She has done the part before so her experience, confidence and suggestions made it easier for us. Our second full rehearsal was on the stage, with full costumes, sets and lighting, and with both a photographer and donors in the audience. But it was the best thing to get out there, throw ourselves into it and to learn from it. Overall we ended up performing in more shows than originally expected, which was exhausting but a lot of fun. It was one of the most satisfying parts I’ve danced. How did you find audiences in Toronto? There is a great audience here in Toronto! When I was here for the Erik Bruhn Competition, I thought the audience was so excited and involved because it was an intimate competition and a special evening. But every day of The Nutcracker the audiences were eager and responsive. I told my mother and brother, who flew here for Christmas, and my uncle and his family who came down from Barrie, how unique and important The Nutcracker is here. In fact, ballet seems to be a valuable part of culture here – everywhere I went as I explored the city I saw something about the National Ballet. What are you taking away from the dancer exchange? I felt this has been the best experience of my life so far. It has been a true pleasure and privilege to be immersed in a new situation like this. It has taught me a lot about myself in terms of how I work and the support systems I am fortunate to have at home but could create for myself in a new place too. I have grown incredibly from this wonderful experience. After the intensive schedule of performances, and the great people who are here, I really feel a part of the National Ballet. I’m going to miss it. But I’m also eager to go home and appreciate the wonderful opportunities I have there. Overall, I feel much more prepared to tackle new challenges. I’m keen to do something like this again. And I’d love to come back again too. "Arabian coffee" with Tanya Howard (l.) Corps de Ballet member Emma Hawes will be leaving shortly to dance with The Royal Danish Ballet in a new production of Swan Lake. What advice do you have for her? I’m so excited for her to come to Copenhagen. I want to show her where I come from and introduce her to my friends and colleagues at the Royal Danish. I’m proud of my company and we will make her feel at home and ensure she has a great experience. My advice is not to be nervous, but to come with an open mind and a sense of adventure.

If you love ballet, please check out my season of outstanding ballet trips by clicking here. GET MORE BALLET OUT OF LIFE WITH TOURS EN L'AIR Use the buttons below to share this post on facebook, twitter, by email, or other social media. Follow me  on twitter: @thewordlady on facebook: https://www.facebook.com/katherine.barber.37 You can sign up to have my ballet updates delivered directly to your inbox here. Privacy policy: we will not sell, rent, or give your name or address to anyone. You can unsubscribe at any point

Royal Ballet announces June US tour dates and rep

Royal Ballet Principal Guest Artist Carlos Acosta’s critically-acclaimed production of Don Quixote will receive its American premiere at the Kennedy Center, Washington D.C. from 9–14 June. The ballet will also be performed at the Auditorium Theatre, Chicago from 18–21 June.

 

Natalia Osipova as Titania and Matthew Golding as Oberon in The Dream, The Royal Ballet, © ROH . Bill Cooper 2014

New York season overview:
David H. Koch Theater 23–28 June



June 23: fundraising gala featuring The Dream
Cocktails 6:30pm
Dinner and dancing to follow.
For further information, please contact Scott Young
at 646-278-0442 or syoung@joyce.org.
June 24-26: Song of the Earth(Macmillan), The Dream(Ashton)
June 27-28: Infra (McGregor) The Age of Anxiety (Scarlett), an highlights from The Royal Ballet’s repertory including the central pas de deux from  Aeturnum (Wheeldon)
***IF YOU MIGHT BE INTERESTED IN A TRIP TO NEW YORK TO SEE THESE TWO PROGRAMS, PLUS ABT'S SWAN LAKE, FRIDAY JUNE 26 TO SUNDAY JUNE 28, PLEASE EMAIL ME ASAP AT TOURSENLAIR@GMAIL.COM***
 

A fundraising Gala Performance in aid of The Royal Ballet and The Joyce Theater opens the week of performances on Tuesday 23 June and will feature Frederick Ashton’s classic ballet The Dream which was created in 1964 to celebrate the 400th anniversary of Shakespeare’s birth. The tour coincides with the 50th anniversary of the first performance of The Dream in the USA.

The New York residency also includes two programmes celebrating the work of British choreographers closely associated with The Royal Ballet. Programme One features Kenneth MacMillan’s powerful Song of the Earth which was created in 1965. Set to Gustav Mahler’s great song cycle, MacMillan explores the fragility of human life and features six episodes which are atmospheric rather than literal interpretations of the text. Song of the Earth will be performed with Frederick Ashton’s The Dream from 24–26 June.

 

Eric Underwood and Melissa Hamilton in Infra © ROH / Bill Cooper 2010

Programme Two is a mixed bill comprising Infra by Royal Ballet Resident Choreographer Wayne McGregor, The Age of Anxiety by Royal Ballet Artist in Residence Liam Scarlett, and highlights from The Royal Ballet’s repertory including the central pas de deux from Royal Ballet Artistic Associate Christopher Wheeldon’s award-winning Aeturnum.

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News from the Bournonville Celebration

Gudrun Bojesen

A dancer chat was held at the Joyce Theater after the second performance of the "Bournonville Celebration" by the Soloists and Principals of the Royal Danish Ballet group. Shortly after the curtain came down on exuberant Napoli pas de six and tarantella, which predictably had me smiling from about the first bar and feeling as I was about to burst with happiness, the dancers emerged looking as if they had barely broken a sweat or raised their heart rate.

The most exciting news first:

Another Bournonville Festival is being planned by the Royal Danish Ballet for 2018! You can be sure Tours en l'air will be organizing a trip, so start saving your pennies now. I attended the last Festival in 2005 and it was a week of absolute joy. Definitely a Ballet Bucket List item. 

When Nikolaj Hubbe was appointed Artistic Director of RDB a couple of years ago, he said he wasn't interested in another Bournonville Festival, so it is very heartening to know that he has changed his mind. 

It is also very heartening to hear the 29-year-old RDB Principal Dancer Ulrik Birkkjaer, who organized this mini-tour of RDB dancers in their post-Christmas break, speaking of Bournonville's 19th-century ballets and style with such enthusiasm and respect, something which shines through when he himself dances Bournonville.

Gudrun Bojesen and Sorella Englund joined Birkkjaer and Bournonville scholar Erik Aschengreen on the panel. When asked how he had chosen the 13 dancers for the tour out of the 85 dancers in the company, Birkkjaer joked that it's hard to pick and choose among one's colleagues, but "That's ballet!".

He mentioned his deep indebtedness to the coaching given him over the years by Sorella Englund, whom he described as "an Artist with a big A". He noted that both Gudrun Bojesen (the world's best Sylph in my opinion, who literally looks as if she's made of air) and Diana Cuni will hit the mandatory retirement age at the RDB of 40 within the next couple of years (Cuni this season and Bojesen next) and so this was a precious opportunity to see them. 

Bojesen mentioned that one of her greatest "special moments" on stage was the final performance with her regular partner Thomas Lund (now director of the Royal Danish Ballet School) a couple of years ago. She felt at the time that it was also her retirement from the role, so when Ulrik asked her to join this group, she said, "Only for you, Ulrik". (One definitely gets the impression from watching Birkkjaer both onstage and off that he could charm the birds out of the trees with a flirtatious grin!)

Englund, when asked if there were any standout moments for her watching dancers she had coach, described the great gratification she gets from watching her proteges develop character, musicality, and technique. "I feel like they are all my children, that I have the world's best kids, and it feels better than being on stage myself".

An audience member asked about the current vogue for reconstructions of 19th-century ballets and whether this was also happening with Bournonville ballets.  A reconstruction was recently done for the National Ballet of Georgia of "From Siberia to Moscow" (the "Jockey Dance"  performed as part of this program had been otherwise the only surviving fragment). Another ballet was mentioned but I couldn't catch its name. 

These Royal Danish Ballet dancers perfectly embodied the following statement by Bournonville, which is also one of my favourite ballet quotes:
"The beautiful always retains the freshness of novelty, while the astonishing soon grows tiresome."

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Livestream from the Guggenheim: Justin Peck and Miami City Ballet

See trailer here:
http://youtu.be/a8PNhVJ5aaA

 

HEATSCAPE LIVESTREAM PREVIEW

Watch the Works & Process at the Guggenheim livestream for HEATSCAPE on Sun, Jan 18, 7:30pm EST at guggenheim.org/live. 


On Jan 18 and 19, 2015, Works & Process at the Guggenheim will present MIAMI CITY BALLET: JUSTIN PECK & SHEPARD FAIREY. Choreographer Justin Peck along with Miami City Ballet dancers and Artistic Director Lourdes Lopez, and street artist Shepard Fairey will participate in Works & Process at the Guggenheim leading up to the Company’s March 27th world premiere of Heatscape. Moderated by Ellen Bar (New York City Ballet, Ballet 422), Peck, Fairey (Jan 18 only), and Lopez will discuss the creative process and company dancers including principals Tricia Albertson, Renan Cardeiro, Patricia Delgado, Kleber Rebello and corps member Shimon Ito will perform excerpts from Heatscape, in a one of a kind, behind-the-scenes look at the highly anticipated world premiere.
Heatscape is Justin Peck’s newest work for Miami City Ballet (MCB), premiering during the Company’s Florida season of programming on March 27, 2015. Commissioned by MCB artistic director Lourdes Lopez, the new work will feature original art design by Shepard Fairey. The unlikely collaboration came about while Peck was in Miami to stage Chutes and Ladders for the 2013/14 season. At the suggestion of Lopez, Peck took in the colorful street art in the burgeoning arts district of Wynwood, Miami. He was particularly drawn to Shepard’s murals on display at Wynwood Walls. Inspired, he contacted Fairey, who agreed to create an original art backdrop for the piece. Heatscape is 35-minutes long, has a cast of 17 and is set to Bohuslav Martinů’s imaginative Piano Concerto No. 1. Noted design team Reid Bartelme and Harriet Jung will create original costumes for the work.

FILM CREDITS

World Premiere March 27th
Miami City Ballet

HEATSCAPE
New Ballet by Justin Peck
New Designs by Shepard Fairey
Music by Bohslav Martinu
Concerto for Piano and Orchestra No. 1, H149
Used by arrangement with European American Music Distributors Company, Sole U.S. and Canadian Agent for Schott Music GmBH & Co. KG, publisher and copyright owner.

Performed by: Emily Leichner, piano; Jiri Belohlavek, conductor; Czech Philharmonic Orchestra, Courtesy of Naxos of America, Inc.

Made possible by the generous support of Gila Kaplan, The Rockefeller Foundation, National Endowment for the Arts: ArtWorks, Armando and Margarita Codina, and Bob Benson.

DANCERS
Tricia Albertson, Michael Sean Breeden, Renan Cerdeiro, Andrei Chagas, Jeanette Delgado, Patricia Delgado, Jovani Furlan, Suzette Logue, Kleber Rebello, Chase Swatosh, Eric Trope, Zoe Zien

DIRECTED BY
Ezra Hurwitz, Justin Peck

DIRECTOR OF PHOTOGRAPHY
Carlos Reyes

CHOREOGRAPHY BY
Justin Peck

MUSIC BY
Bohuslav Martinu

EDITING
Ezra Hurwitz
Carlos Reyes

1ST AC
Alejandro Villegas

2ND CAMERA OP
Biagio Musacchia

DOLLY GRIP
Lewis Reif

PRODUCTION ASSISTANTS
Jose Trujillo, Laura Morcate, Neil Marshall, Andres Catano

talkshopstudios.com

SPECIAL THANKS
Gilla Kaplan, Wynwood Walls, Rum Bum Studios

MURALS BY
Fafi, Shepard Fairey, Futura, Maya Hayuk, Kashnik, Ryan McGinness, Retna, Swoon, Miss Van, David Walker

© Everywhere We Go LLC

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Reminder: Free livestream of Paquita from Munich Sunday Jan. 11

The Bayerische Staatsoper in Munich will livestream the new Paquita  choreographed by Alexei Ratmansky, with costumes by Jerome Kaplan and reconstruction of the Petipa choreography by Doug Fullington after notations in the Harvard collection:

Sunday, Jan. 11, 2015, 6.00 p.m. (C.E.T.) (noon Eastern Standard Time)
Paquita
Choreography: Alexei Ratmansky / Marius Petipa
Musical direction: Myron Romanul
Soloists and ensemble of the Bayerisches Staatsballett

**You can also see this production LIVE as part of my Munich-Stuttgart April 2015 ballet trip, booking deadline January 20. More info here: http://toursenlair.blogspot.ca/2014/12/munich-stuttgart-ballet-trip-signup.html

Bavarian State Ballet livestreams are only available live; they are not archived after the fact. Livestreams are free of charge and available online over http://operlive.de/

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NYCB's Teresa Reichlen talks about Symphony in C

Lovely short video from New York City Ballet about Symphony in C (with some amazing overhead shots). One of the great classics of the rep, and it's part of Tours en l'air's ballet trip to New York  for Victoria Day weekend, May 14-17. Tempted? Get in touch!

 

Thursday 14 May - Sunday 17 May 2015

Victoria Day weekend

New York

5 performances

New York City Ballet:

Symphonic Dances (Martins), New Justin Peck, Mercurial Manoeuvres (Wheeldon)

Walpurgisnacht Ballet, Sonatine, La Valse, Symphony in C (all Balanchine)

All Bournonville: La Sylphide, Divertissements

American Ballet Theatre:

Les Sylphides (Fokine), Pillar of Fire (Tudor), Fancy Free (Robbins)

Jardin aux Lilas (Tudor), Rodeo (de Mille), Theme and Variations (Balanchine)

in addition: wardrobe tour and "Meet the NYCB dancer"

http://youtu.be/oCX-VS_dDVw

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"The Millepied Revolution" at Paris Opera Ballet

Philippe Noisette recently interviewed Benjamin Millepied about his vision for Paris Opera Ballet. This is  a translation.

The choreographer is a breath of fresh air for the Opera. Benjamin Millepied intends to  reinvigorate classical ballet. He will unveil his first season as director of dance in February.


Since taking over in November, Benjamin Millepied is to be seen on all fronts: he had his first annual Paris Opera Ballet "Concours" as director of dance. This is a POB institution that does not please everyone. To date, it is the only way for a dancer to move up to the position of principal dancer.  

Meanwhile, Benjamin Millepied oversaw the major ballets of the end of this year, "The Nutcracker" and "La source" programmed by Brigitte Lefèvre before her departure. He has not hesitated to give leading roles to such rising talents as Leonora Baulac, Germain Louvet and Hugo Marchand. Above all, Benjamin Millepied prepares seasons in his image: musical, surprising and a bit glamorous. In his office the 2015-2016 season brochure lies in wait. On the wall a few photos and a drawing signed "Aleph" (his son with Natalie Portman). But Millepied also has his detractors and knows to be on the lookout for attacks. He remains focused on his difficult task: making the Paris Opera Ballet the finest in the world.

You have just experienced your first annual "Concours" as the director of the ballet. Your impressions?

With the Concours a dancer can perform a variation that they should perhaps not normally dance. At the same time I tend to think that a performer must be judged in the studio and on stage. There is a competition aspect in the Concours that is probably no longer needed. Paris Opera Ballet is the only company which has such a competition for advancement up to the level of Premier Danseur. You have to wonder why other institutions in the world of dance do not choose this system.

What do you find the most shocking about this competition? 
Think about it: these young dancers will work five weeks with a coach, get up early, stay late. And everything hinges on a variation of a few minutes. It's tough. And the very idea of a ranking is objectionable for a dancer. We are talking about art, not sport.

Do you see yourself abandoning it?
I am questioning its existence, but it is not in my power to eliminate it. But I think many things surrounding the Concours must be restructured around many things. Beyond this competition, it is important to have a reflection on the body of the dancer, on his or her health.
 
Indeed, this is one of your "projects"?
One of my first decisions here was to change the floors to be better shock absorbers: the audience does not see it, but it is hugely important for performers. We will also tighten up the number of classes in the morning to see how each dancer works. I teach class myself  once a week, as well. I also want to look at the details, such as the lunch break: it usually happens at 4 pm and lasts thirty minutes. This is not healthy. And I will hire  physiotherapists. This is not a whim from my American years but a real need for the dancer of our time. To think ahead about the muscular work of the back or feet is to prepare the dancer,  to avoid repeated injuries.

You are also a choreographer. What do you look for in an interpreter?
A true individuality, musicality too. Someone who is not afraid to express themselves. I try to pay attention to everyone here. There are not different companies at the Opera at eaach rank: there is one Paris Opera Ballet.




 
In just over a month the public will discover your debut as a programmer.
This season is special to me with a "celebration of dance today"  spirit. And with the desire to present classical ballet through the prism of new choreographers and musicians. That is the role of the Paris Opera Ballet. We must use this potential and support to get there. I can not wait for Christopher Wheeldon, who triumphed with "An American in Paris" at the Châtelet this winter, or Justin Peck to be with us. We still dance Nureyev. But we can consider the role of the corps de ballet differently. Ditto for George Balanchine. My vision of this great master I danced at the New York City Ballet is not necessarily the same as that practiced here.




And Millepied the choreographer?
I will create a piece for Ballet: but for once in my career I can start thinking about it, to start working on it seven months ahead of time! And I do not despair of one day creating a simple pas de deux for the POB dancers, something like a variation. Pure dance. The role of a director-choreographer is to make its stars shine.

You intend to surprise?
I am trying to bring to the Paris Opera Ballet creators who have different visual universes. They come from the cinema or from music. We must be the strongest.

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