Category Archives: Ballet Media

Sidi Larbi Cherkaoui to direct Royal Ballet Flanders


REPOSTED FROM DANCING TIMES Sidi Larbi Cherkaoui to direct Royal Ballet Flanders: Wednesday, 04 February 2015

Choreographer Sidi Larbi Cherkaoui is to be the new artistic director of Royal Ballet Flanders, it was announced on February 4. Cherkaoui will take up his post on September 1, 2015, with Tamas Moricz as his associate artistic director.

Cherakaoui joins the company after a series of upheavals. In 2012, director Kathryn Bennetts left Royal Ballet Flanders after clashing with Flemish culture minister Joke Scahuviliege; her successor, Assis Carreiro, left abruptly in 2014.

As a contemporary choreographer taking over a classical ballet company, Cherkaoui has said that “The course I will be seeking to pursue with the company is one of reconciliation”. Tamas Moricz said: “We want to take Royal Ballet Flanders to a new and inspiring place in the world of dance. We both share the aim of allowing dancers to maintain their firm classical background by continuing classical training and repertoire, while also bringing the company into a contemporary space. Classical ballet and contemporary dance can exist alongside each other, and that is the situation at present. Our aim is to draw both these worlds into a creative hub within this company.”

Cherkaoui praised the company’s achievements: “As a contemporary choreographer who was born in Antwerp, I have been following the development of Royal Ballet Flanders for 20 years now. The talent, technical virtuosity, sensitivity and musicality of its dancers have always inspired me, so it was an honour for me to share a piece from my own repertoire with the company last season. Faun [as part of Diaghilev Unbound, 2013–2014 season] was a first step towards an exchange of repertoire with the ballet company.

“For the past ten years, as well as developing my contemporary choreography work I have also worked with foreign ballet companies every year… Through all these experiences I have gained the confidence and energy that I will need in the role of artistic director at Royal Ballet Flanders…

“For a number of years there has been a constantly growing exchange between the different dance disciplines, as classical ballet and contemporary dance increasingly complement each other. Although there is always a key idea running through the content of my work, what I am able to achieve with ballet dancers in terms of form and technique is very different from my work with contemporary dancers. I am therefore looking forward to seeing these differences evolve further in future.

“At Eastman I open up specific themes that allow contemporary dancers to translate them into earthbound gestures with strong contrasts and an animalistic flexibility, but in ballet I can develop feather-light pointe movements to draw outlines in space in a more calligraphic way. In time, I also want to be able to reverse those ‘differences’; I find it exciting to let the two worlds flow into one another without losing any of their fascinating differences or nuances.

“I am not making this move to Royal Ballet Flanders alone. I am bringing with me Tamas Moricz as my right hand man: a highly talented dancer and dance teacher who has himself danced for many years in performances created by William Forsythe. Together with him I will be working out the future direction for the ballet. That direction will respect its history while also cherishing the ambition to open up new paths. Eastman will still be my contemporary company. Organic exchanges with Royal Ballet Flanders will of course develop, but I am definitely not going to force that.”

Picture: Sidi Larbi Cherkaou. Photograph: Koen Broos

via Sidi Larbi Cherkaoui to direct Royal Ballet Flanders.

Vadim Budarin, Nina Danilova – PDD, Solos from ‘Egyptian Night’ (1908) / ‘Cléopâtre’ (1909)


Debussy Prélude à l’après-midi d’un faune


via Debussy Prélude à l'après-midi d'un faune – YouTube.

Bolshoi Ballet Class Concert [insearchofdryads.wordpress.com)


Bolshoi

via Bolshoi Ballet Class Concert.

Cuban Ballerina In Moscow (1958) – YouTube


Cuban Ballerina In Moscow (1958) – YouTube.

New Russian Ballet “A Vision Of A Rose” (1968)


New Russian Ballet “A Vision Of A Rose” (1968) – YouTube.

▶ Beryl Grey At The Bolshoi (1958)


 

▶ Beryl Grey At The Bolshoi (1958) – YouTube.

$5 Million to Benefit New York Dance – NYTimes.com


 

Dance

$5 Million to Benefit New York Dance

JAN. 11, 2015

Arts, Briefly

Compiled by LORI HOLCOMB-HOLLAND

The Harkness Foundation for Dance announced on Sunday that it would distribute $5 million in grants over the next decade to five organizations that support dance. The recipients are the Brooklyn Academy of Music, the Joyce Theater, City Center, the 92nd Street Y and the NYU Langone Medical Center’s Hospital for Joint Diseases, which houses the Harkness Center for Dance Injuries. Each organization will receive $1 million, making this the foundation’s largest grant to date. Plans for the funding include support for dance presentation at the academy; a new performance series at the Joyce; renovations at City Center; a new residency program at the 92Y; a new boardroom at the Hospital for Joint Diseases; and the development of online courses about dance injuries and treatment.

via $5 Million to Benefit New York Dance – NYTimes.com.

Carmen and Maya, Oh My! Oh My! (43 minutes)


Starring Plisetskaya, Carmen Suite, is Cuban choreographer Alberto Alonso’s ballet in one-act set to music by Plisetskaya’s, husband and composer, Rodion Schedrin (Russian). First choreographed in 1967, this enduring version is available on YouTube (below) and features Alexander Godunov, as well.

Bizet’s melodies are modernized with percussion, faster rhythms, and new color, heightening the effect of the instrumentality and choreography, which in turn violently accents the music’s rhythms and sharpens the senses, underlining the theme.  There is an almost artwork-like approach to parts of the choreography-my favorite is the bull. The stark scenery, almost hell-like coloring and pit appearance of the walls, use of red and lighting, devil innuendo, slithering movements which contrast with the doll-like movements of Maya’s legs, Godonov’s solo is particularly moving in the bright yellow shirt, mocking his tender feelings, and making him appear the clown in love. The costumes, and lighting, creation of  sharp contrasts in the choreography, movement between dark and light,  black lines, and even the shadow-like manifestations of fates, bulls, and the watchful eye of the police in silhouette, which draws the viewer in on many possible different levels, sequence of the movement of film, impossible on stage alone, make this a most interesting use of cinematography and art in film and ballet. In a surrealist way, Maya is content to sit back, predatory almost, watching, while these other themes are played out, though all the while remaining the object of desire which results in the story being told in a sort of “round”, as the scenery suggests, and as in comedy, timing is given very practical and followable use here. Like a clock or time, in a sometimes whirlwind way the hand plays out, and the camera circles in much the same way, all in a dance. Many different things are going on at once, creating a higher sense of drama and a sense of urgency. Initially banned by the Soviet hierarchy as “disrespectful” to Bizet, the opera, and the ballet, it has since become Shchedrin’s best-known work and is more frequently attempted by companies, perhaps one of the only ballets which works better on film. Of particular interest is the fact that the artful components, and Plisetskaya’s natural understanding of how to play the role, not focusing as much on the dance, or acrobatics of it, but rather on the subtlety of the “less is more”, fine acting, upper body and expression, leaving a mystique to Carmen’s possibilities unlike any other, but also supporting the version of one of the readily available and best examples from the period of modern choreography with clear story-telling. Several other “stars” have attempted it on stage, but I like this version best. Another favorite, for other reasons, is Alicia Alonso’s version  http://youtu.be/SEOmKbvHT_U  which is a bit more Spanishy, perhaps, and simpler, but she is just a wonderful and physically expressive dancer. Some people prefer her version of it.

Uliana Lopatkina’s version http://youtu.be/5Zie4d4MbGo is a successful “copy” of it (in some senses), but the choreography is reworked to highlight Lopatkina’s assets, rather than focusing on the story and the original choreography, though able to be performed by her technically, it just does not resonate with me at all. Perhaps a case where Maya’s more sprightly and lightning quick abilities while moving, due to her small size, give her sufficient time to wait, pause and act. Despite Lopatkina’s obvious talents and abilities, this is perhaps not the best piece for her due to height. However, disappointingly, the full version of it is not available online, just a scene from the habanera. I am sure she is good-it would be so much better if it were, probably. Maria Alexandrova’s more recent version http://youtu.be/h8VUfO-3G4o is also pretty good, but I do not see the control or maturity in her movements in it that Maya possesses and what the heck, it’s wonderful, but not the same (to me). That version is also available for comparison below.

http://youtu.be/1KDA52GUd8I

 

▶ (The Little Humpbacked Horse: Ocean and Pearls) Трио Океана и Жемчужин из балета «Конёк-горбунок» – YouTube


Grand Prix Final of Mikhailovsky theatre (November, 21, 2012)

Vaganova Ballet Academy

Trio of Ocean and Pearls from ‘The Little Humpbacked Horse’ ballet

via ▶ Трио Океана и Жемчужин из балета «Конёк-горбунок» – YouTube.

▶ From The Humpbacked Horse: Ocean and Pearls (Almayeva)


▶ Katia Almayeva, 12 and Gillian Fitz, 11 perform Ocean and Pearls – YouTube.

Pleasant Stuff: Understanding How Ratmansky Reminds Us of “The Art of Ballet”



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Cendrillon, Théâtre Mariinsky, 2002

Crédit : Iouri Belinski / ITAR-TASS

The Bolshoi is a hit on the big screen

En commandant à Ratmansky ce ballet en trois actes de Prokofiev, le théâtre a porté le chorégraphe de 36 ans du rang de débutant à celui de professionnel de haut niveau. Seul un maître peut donner vie à ce genre de partitions, et Ratmansky l’a fait comme l’un des plus grands. Il a invité d’autres artistes, Ilya Outkine et Evgueni Monakhov, qu’il aurait été auparavant impossible d’imaginer sur la scène académique russe.

By ordering Ratmansky ballet in three acts by Prokofiev, 
theater choreographer brought the 36 years of the rank beginner 
to high-level professional. Only a master can give life to this kind of 
partitions, and Ratmansky has done as one of the greatest. He invited 
other artists, Ilya Utkin and Yevgeny Monakhov, it would have been previously 
impossible to imagine the Russian academic scene.

Ensemble il ont conçu un hommage à l’utopie soviétique du ballet, avec une « valse des étoiles » citant subtilement la « valse de Mochkov » et les « études de Glier », que les ballerines adoraient danser avant la guerre et au son desquelles marchaient avec enthousiasme les jeunes du Komsomol.

Together they designed a tribute to the Soviet utopia of ballet, with a "dance 
of the stars" subtly quoting "Mochkov Waltz" and "Glier studies" that 
worshiped ballerinas dancing before the war and marched to the sound which 
enthusiastic young Komsomol .

Le Clair ruisseau, Théâtre du Bolchoï, 2003

Crédit : E.Fetisova / Bolshoï

L’idée de faire renaître un ballet soviétique réprimé sur la vie dans les kolkhozes a été accueillie avec scepticisme par plus d’un. Mais Ratmansky a choisi de se concentrer principalement sur la musique colorée et grotesque de Chostakovitch. Cependant, sous le voile du kolkhoze était caché un véritable vaudeville français, où le mari-agronome n’a aucune idée que sa femme du kolkhoze a étudié à l’école de ballet, ce qui donne lieu à de nombreuses situations comiques.

The idea of reviving a Soviet ballet repressed about life in the collective farms 
was greeted with skepticism by many. But Ratmansky has chosen to focus primarily 
on the grotesque and colorful music of Shostakovich. However, under the veil of 
the kolkhoz wa hidden a real French vaudeville, where the husband - agronomist 
has no idea that his wife kolkhoz studied at the ballet school, which gives 
rise to many comic situations .

Le clou du ballet est le solo d’un danseur classique avec un vieux paysan, qui doit jouer le rôle d’une partenaire-Sylphide. Dans cette scène le chorégraphe a finement joué avec le style du vieux ballet, la danse sur les pointes par un homme, et la psychologie masculine même. Contre toute attente, le spectacle a rencontré un grand succès lors de la tournée du Bolchoï à Paris et à Londres, et l’American Ballet Theater a même monté ce ballet sur la scène du Metropolitan Opera de New-York.

The ballet of the nail is the solo of a ballet dancer with an old peasant who 
has to play the role of a partner - Sylphide. In this scene the choreographer 
finely played with the style of the old ballet, dancing on the tips of a man, 
and the same male psychology. Against all odds, the show was a great success 
during the tour of the Bolshoi in Paris and London and the American Ballet 
Theater has even mounted this ballet on the stage of the Metropolitan Opera 
in New York.

Saisons russes, New York City Ballet, 2006

Crédit : New York City Ballet

Loin des réalités russes et des querelles de ballerines, Ratmansky a monté un ballet mordant basé sur la musique des chants du Nord russe, recueillis et revisités par le compositeur Leonid Desyatnikov. La musique de ce dernier sera, pour le chorégraphe, au moins aussi importante que celle de Chostakovitch.

Far from the Russian realities and ballerinas quarrels Ratmansky 
staged a bite ballet based on the music of the Russian North songs, 
collected and revisited by composer Leonid Desyatnikov. The music of the 
latter will, for the choreographer, at least as important as that of 
Shostakovich.

Malgré le nom du ballet, on n’y retrouve pas de détails ethnographiques : ces danses rappellent les rondes traditionnelles de manière subtile, comme les tuniques des ballerines les sarafanes, et la coloration nationale du spectacle ne vient pas des couvre-chef des danseurs mais du jeu irrégulier des rythmes.

Despite the name of the ballet, we do not find ethnographic detail: these 
dances are reminiscent of the traditional round subtly, like tunics ballerinas 
the Sarafan and the national color of the show does not come from hat dancers 
but the irregular rhythm game.

Ces combinaisons semblent très claires et le mouvement est facilement reconnaissable. Tantôt le festin, tantôt la grande nostalgie, sont incarnés par cinq couples de danseurs, et chacun de ces dix personnages conduit, à un moment, le reste du groupe.

These combinations seem very clear and movement is easily recognizable. 
Sometimes the feast, sometimes great nostalgia , are played by five pairs 
of dancers, and each of these ten characters leads at a time, the rest of 
the group.

Opéra, Théâtre La Scala de Milan, 2013

Crédit : Teatro alla Scala

Ce spectacle créé dans la maison d’opéra la plus connue d’Europe a dévoilé que Ratmansky était plus qu’un simple connaisseur et admirateur du passé du ballet soviétique. En collaborant de nouveau avec Leonid Desyatnikov, il a voulu rendre hommage au grand art d’avant-Mozart.

This show created in the most famous opera house in Europe revealed that 
Ratmansky was more than a connoisseur and admirer of the past Soviet ballet. 
By collaborating again with Leonid Desyatnikov, he wanted to pay tribute 
to the great art avant- Mozart.

Dans ce spectacle, les majestueux dieux et héros antiques se livrent à des festins baroques sur les textes de Metastasio et en paraphrasant Gluck. La chorégraphie conserve également tous les paradoxes subtils des rythmes de Ratmansky et la densité diabolique des mouvements de chaque action musicale.

In this show, majestic ancient gods and heroes engage in Baroque feasts 
on the texts of Metastasio and paraphrasing Gluck. The choreography also 
retains all the subtle paradoxes rhythms Ratmansky and diabolical density 
movements of each musical output.

Paquita, Ballet d’État de Bavière, 2014

Credit: Bavarian State Ballet
Crédit : Ballet d'État de Bavière

This former ballet by Petipa is another love of Ratmansky. 
When he headed the Bolshoi Ballet, Ratmansky was mounted it 
in collaboration with Yuri Burlak's luxurious Corsaire. 
Paquita is another rare piece of the ballet repertoire. 
To reconstruct this lost work after the Revolution, 
he had to study the Harvard University Archives. The 
ballet creates a perfect harmony of the past and present.
Cet ancien ballet de Petipa est un autre amour de Ratmansky. Quand il dirigeait le ballet du Bolchoï, Ratmansky avait monté en collaboration avec Yuri Burlak un luxueux Corsaire. Paquita est une autre pièce rare du répertoire de ballet. Pour reconstituer cette œuvre perdue après la Révolution, il a dû étudier les archives de l’Université d’Harvard. La ballet crée une harmonie parfaite du passé et du présent.
All the vicissitudes of fate of high French aristocrat in a gypsy camp in Spain
are told by expressive pantomime . Ballerina legs do not go up to the ears 
but gently raise a little above the waist.

Toutes les péripéties du destin d’une aristocrate française élevée dans un campement de bohémiens en Espagne sont racontées par des pantomimes expressifs. Les jambes de ballerines ne montent pas jusqu’aux oreilles mais se soulèvent délicatement un peu plus haut que la taille.

 

Leurs partenaires n’essaient même pas de lancer les danseuses au-dessus de leur tête mais touchent à peine leur ceinture, en les retenant dans des positions pittoresques. La bohémienne se permet d’accepter la proposition de l’aristocrate épris d’elle seulement quand elle découvre ses origines nobles.

Their partners do not even try to start the dancers over their heads but barely 
touch their belt, holding them in picturesque positions. It is only possible 
to accept the proposal of the aristocrat in love with her only when she discovers 
his noble origins.

Ballerina over the moon with selection | Illawarra Mercury


Dapto’s Charlee Corrie is headed for New York City

By LOUISE TURK

Jan. 6, 2015, 4:43 p.m.

Charlee Corrie is a finalist in the prestigious Youth America Grand Prix. Picture: CHRISTOPHER CHAN

Charlee Corrie is a finalist in the prestigious Youth America Grand Prix. Picture: CHRISTOPHER CHAN

The world is a stage for Dapto ballet dancer Charlee Corrie who has been selected as a finalist in the prestigious Youth America Grand Prix ballet competition.

The nine-year-old is among a shortlist of international finalists who will compete in the annual event, which is held in April over six days at multiple venues around New York City.

The Youth America Grand Prix is the world’s largest student ballet scholarship competition and is regarded by many as a stepping stone to a professional dance career for young people aged nine to 19.

Charlee will dance in workshops and in staged performances with other finalists, under the watchful eyes of judges and scouts from the world’s best ballet schools.

To be selected for the New York finals, Charlee submitted a DVD of her performance of the doll variation from the classical ballet Coppelia and a contemporary piece titled The Ballet Dancer.

Charlee is trained by her mother Vanessa Corrie, principal of the Vanessa Lee Dance Academy at Dapto, and dance teacher Chantelle Watts.

Ms Corrie choreographed the contemporary piece; and Ms Corrie and Ms Watts instructed Charlee as she learnt the classical variation.

The DVD audition took place in November and the Corries were notified of Charlee’s success by email on December 21.

‘‘I was shocked and over the moon with the news,’’ said Ms Corrie, who will accompany her daughter to New York.

Charlee’s father Brad Corrie and her younger sister Ruby, 6, will also make the journey to cheer on the budding ballerina.

‘‘We are all going over to support Charlee in this fantastic opportunity,’’ Ms Corrie said.

‘‘It will broaden her experience to participate in classes with kids from around the world and the performance experience will be amazing.

‘‘She will be dancing with the cream of the crop.’’

Charlee will compete in the 9-11 years age division of the competition which culminates in a gala night performance at the Lincoln Center’s David H. Koch Theatre.

Ms Corrie said she noticed her daughter’s strong dance potential around the age of seven.

‘‘She has the physical facilities – good flexibility and turnout – and she is also clever at picking up choreography and retaining it,’’ Ms Corrie said.

‘‘She is also very responsive in class and picks up the corrections easily.’’

Charlee successfully auditioned for a position in the Australian Ballet School’s Interstate Training Program in 2014. She will start attending workshops and personal visits with the esteemed Melbourne-based school this year.

Meanwhile, before Charlee starts polishing her New York routines, she is rehearsing this week with other Vanessa Lee Dance Academy students in the lead-up to the Showcase National Dance Championships, to be held at Jupiter’s Casino on the Gold Coast from January 12 to 19.

The dance school is competing in 20 troupe dances at the event which attracts competitors from Australia, New Zealand, Canada and the United States.

Charlee will perform in 16 routines during the week.

via Ballerina over the moon with selection | Illawarra Mercury.

Nowness: Haut Vol


Haut Vol, Benjamin Millipied/Louis du Caunes

2015


2015.

dance book discussion et al