Tag Archives: Alexei Ratmansky

Doug Fullington – on Stepanov Notation | NetworkDance


Doug Fullington – on Stepanov Notation | NetworkDance.

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NYC Ballet’s Amar Ramasar on Alexei Ratmansky’s PICTURES AT AN EXHIBITION


 

 

NYC Ballet’s Amar Ramasar on Alexei Ratmansky’s PICTURES AT AN EXHIBITION – YouTube.

beat that! Millepied’s plans for the Paris Opéra


REPOSTED FROM DANCING TIMES

Millepied’s plans for the Paris Opéra : Wednesday, 04 February 2015

Benjamin Millepied has announced plans for the 2015–16 season of the Paris Opéra Ballet, the first he has programmed as director. It’s an ambitious season, with many new works, including one by new associate choreographer William Forsythe and a new production of The Nutcracker, to be choreographed by Arthur Pita, Sidi Larbi Cherkaoui, Liam Scarlett, Edouard Lock and Millepied.

Millepied announced his season alongside Stéphane Lissner, who has been general director of the Opéra since July 2014: the two leaders promise a new level of cooperation between the ballet and opera companies. The new Nutcracker will be performed as a double bill with Tchaikovsky’s opera Iolanta – as these works were performed together at their premiere in 1892. The five choreographers will create separate scenes for the new production.

Millepied has also commissioned new works from Justin Peck, Wayne McGregor, Jérôme Bel and himself. Peck’s work will be danced to Poulenc’s Concerto for Two Pianos and Orchestra, with designs by artist John Baldassari. McGregor’s piece will be set to Pierre Boulez’s Anthème II as part of an evening celebrating the composer.

Millepied, who danced at New York City Ballet (NYCB) from 1995 to 2011, brings an American slant with some of his programming. The season will include Balanchine’s Theme and Variations, Duo Concertant and Brahms-Schönberg Quartet, Jerome Robbins’ Opus 19/The Dreamer, Goldberg Variations and Other Dances. Justin Peck, the resident choreographer at NYCB, is represented by In Creases as well as his new commission; Christopher Wheeldon’s Polyphonia, created for NYCB, also joins the repertoire. The season will also include company premieres by Anne Teresa De Keersmaeker, Alexei Ratmansky and Maguy Marin.

There are just three evening-length revivals: Giselle and Rudolf Nureyev’s productions of Romeo and Juliet and La Bayadère. There will also be works staged in the foyer of the Opéra Garnier. Choreographer Boris Charmatz will stage a new event to open the season, with 20 dancers performing solos from the 20th-century repertoire in the public spaces of the Opéra Garnier.

Millepied and Lissner also announced a new digital platform, “3e Scene”, or “Third Stage”. Hosted on the Paris Opéra website, this will present new work by composers, choreographers, directors, visual artists, filmmakers and writers. There will also be a new Paris Opéra Academy, which will offer residencies to young choreographers from inside and outside the company. The choreographers will be mentored by William Forsythe. Millepied told the New York Times that the academy aimed to teach dance-making as a craft. “We won’t necessarily discover more geniuses, but there will be more competence,” he said. “Composers learn the principles of harmony, counterpoint, technique, and choreography is no different.”

Millepied has also announced touring plans, and works scheduled for later seasons. The company will visit one French city each season, touring to Brest in the 2015–16 season. Major tours to the US are being planned. Guest companies at the Paris Opéra will include Anne Teresa De Keersmaeker’s Rosas, Batsheva Dance Company and English National Ballet, who dance Le Corsaire at the Opéra Garnier in June 2016.

Looking ahead, Millepied has commissioned an evening-length work from Alexei Ratmansky for the 2016–17 season. He also expects to schedule some work by the iconic modern dance choreographer Merce Cunningham. At the press conference, critic Laura Capelle reports, Millepied explained that he had almost left NYCB to dance for the Cunningham company.

Performances for the Paris Opéra Ballet’s 2015-16 season are now on sale.

Picture: Benjamin Millepied at the Opéra Garnier. Photograph: Julien Benhamou

via Millepied’s plans for the Paris Opéra.

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.

Principal Dancer Wendy Whelan to Bid Farewell to the NYC Ballet in Special Performance, October 18


Principal Dancer Wendy Whelan to Bid Farewell to the NYC Ballet in Special Performance, 10/18 – Topix.

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