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Subject: "SFB at Paris - Othello, 17 mai 2001" Archived thread - Read only
 
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Catherine

17-05-01, 11:34 PM (GMT)
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"SFB at Paris - Othello, 17 mai 2001"
 
   This evening thus took place Opening night of the 2d program presented by SFB in Paris. After their mixed bill programm, they presented this full length Othello evening. It's a ballet in three acts and four tables The choreography is from Lars Lubovitch, on a music of Elliot Goldenthal. Both were besides present this evening at the final curtain for the European creation of their ballet.
The sets consists of panels of glass which by plays of light and projections of pictures become Cathedral interior or palace Cyprus island, Othello or Desdemone rooms. The first act consists of two tables which evoke the wedding of Othello and Desdémone and fest which is given to this occasion. The first table opens on a solo on the ground of Othello to continue with its wedding with Desdémone.
This first act is more a one act of exposure which makes it possible to introduce the characters in particular Cassio, and its relations with Desdémone and which allow Iago to plot against Othello.
The handkerchief serves as "conductor" throughout this ballet, offered like gift of wedding to Desdémone, it will be stolen in second act before becoming the part of cheating to the 3rd act. The second act evokes the victory of Othello to Cyprus. This table is splendid that it is by choreography or the set. In a bluish atmosphere, it evokes at the same time the storm, the victory, the waiting of Desdemona, Emilia and Cassio. Boat arrival in the wearing of Cyprus and the throw of mooring ropes is one of the strong moments of this ballet.
It is in this set that Iago will make believe in the treason of Desdémone. Finally the third act is divided into two tables, the room of Othello where Iago completes to convince Othello of the cheat of his wife, and the room of Desdémone, where the two heroes will die.
The rather modern music very has per moments of sonorities jazz, it evokes also Prokofiev and also Glass or Britten. The setting in scene and the decorations make besides much thought of Romeo and Juliette.
Choreography is a mixture skilful andcomplex of neo-classic and contemporary dance, like the solos of Iago or Othello, the pdd between
Cassio and Desdémone are in the purest neo-classic vein. Lubovich keeps even a small entertainment by five excellent dancers (three girls and two boys to which is added Cassio).
Choreography is rather strong and emphasizes well the softness of Desdémone, the force and the anger of Othello, the youthful charm of Cassio, the hatred of Iago and the brittleness of Emilia, marry subjected and devoted maidservant.
With the second act also intervenes the character of main Bianca of Cassio and by whom the scandal arrives, in a sensual and bedazzled dance. The tables are skilfully built and of many ideas enamel the ballet, in particular in the third act, Iago and Othello in a powerful pdd stopped to make it possible Othello to imagine Desdemone in the arms of Cassio (those appear in a high set several times).
Lubovich alternate pdd, pas de trois soli and together with happiness. In particular the ballet is enamelled many duets between
Iago and Othello. It should be noted that it uses the points for Desdemone and Emilia, against Bianca as a girl of the people, evolves naked feet. All the pdd of the third act are wonderful, pdd between Emilia and Desdemona with the Cross, pdd between Iago and Othello or the final pdd between Othello an Desdemona.
The dancers as for them are splendid, Yuri Possokhov incarne virile Othello, with the powerful dance, its despair, its hatred and its love arise marvelously well and its last pdd with Desdemone is splendid of intensity. This one is danced by Yuan Yuan Tan, with its long silhouette, it has the brittleness of the character but her pointes are solid, her splendid arabesques and it forms a splendid couple at the sides of Possokhov. She dances completely fluently. In the role of Emilia, we were likely finally to see Julia Adam (choreographer of Night and already seen in Sandpaper) in a role much more consistent. Her interpretation of Emilia is perfect, that it is as a subjected wife or rebel. Parrish Maynard camps hatable Iago with so happiness. His choreography very contemporary and is anchored much more in the ground than that of Othello. Gonzalo Garcia is a youthful Cassio with perfect technique. Lorena Feijoo as
Bianca is really superb, which presence, and which peps. On Their sides, We can't forget corps de ballet which is also excellent. If Othello is perhaps not as enjoyable as ballets of the first evening, it enables us to discover another aspect of the company and
its talent in interpretation as well choreographic as artistic. They are really actor dancer. The ballet is really interesting and must to be see more many times to discover all details.
But It's easy to constate that really the SFB is a company of very first plan.


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  Subject     Author     Message Date     ID  
  RE: SFB at Paris - Othello, 17 mai 2001 Renee Renouf 18-05-01 1
     RE: SFB at Paris - Othello, 17 mai 2001 Catherine 18-05-01 2
         RE: SFB at Paris - Othello, 17 mai 2001 Renee Renouf 18-05-01 3
  RE: SFB at Paris - Othello, 17 mai 2001 Terry 18-05-01 4
     RE: SFB at Paris - Othello, 18 mai 2001 Catherine 18-05-01 5
     RE: SFB at Paris - Othello, 17 mai 2001 Renee Renouf 19-05-01 6
         RE: SFB at Paris - Othello, 17 mai 2001 Terry 19-05-01 7
             RE: SFB at Paris - Othello, 19 mai 2001 (matinee and evening... Catherine 19-05-01 8
                 RE: SFB at Paris - Othello, 19 mai 2001 (matinee and evening... Renee Renouf 20-05-01 9
                     RE: SFB at Paris - Othello, 19 mai 2001 (matinee and evening... Catherine 20-05-01 10

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Renee Renouf

18-05-01, 01:44 AM (GMT)
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1. "RE: SFB at Paris - Othello, 17 mai 2001"
In response to message #0
 
   Ah, Catherine, at last to receive your initial impressions. I do hope you will see the other two casts. Pierre and Vilanoba
I believe are both slated to dance Othello. I was particularly affected by Vilanoba's Othello - he seemed to understand the layers of being a Moor in Venice remarkably well. I think you will like Katita Waldo also. I've forgotten who is dancing opposite Pierre

my computer has decided to cause me problems so I will cut this short including no periods!

Feijoo is new to the role of Bianca - the earlier ones were Claudia Alfieri, now with Smuin Ballets/SF and Marisa Lopez, now dancing with the Dutch National Ballet. I particularly liked Lopez, who danced with something of the gypsy, quite elemental. I think this must be some of what Feijoo brought to the role.

I will wait eagerly for your further impressions.


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Catherine

18-05-01, 07:13 AM (GMT)
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2. "RE: SFB at Paris - Othello, 17 mai 2001"
In response to message #1
 
   I must see each performance of Othello tonight it's Cyril Pierre with Lucia Lacarra, I believe it's her debuts in the role and naturly I will see Pierre-François Vilanoba, it was one fo my favourite dancers in POB, and I was very sad when he left the POB.
he will not miss me.
It's Alice LuAn Lewitzke who alernates with Feijoo in Bianca role.
Just a remember from yesterday, the public was divised, they loved or not, and the final applause were a few cold. But Garnier was full.


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Renee Renouf

18-05-01, 05:00 PM (GMT)
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3. "RE: SFB at Paris - Othello, 17 mai 2001"
In response to message #2
 
   Catherine, thanks for the response. I am so glad to hear that the Garnier was full. From your earlier postings, I was under the impression that the auditorium was half empty.

Lacarra and Pierre are married, as you probably know. He offsets
her beautifully. She made a superb impression in Robbins' The Cage during her first season with San Francisco Ballet, and got the local Isadora Duncan Dance Award for it. Except for some abstract works, I've not seen that impression equalled although she did a handsome Raymonda, Act III, of Nureyev.

Interesting to read that the Garnier prices are lower than usual.
Better they be lower and the auditorium full than a half-filled house at higher prices.


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Terry

18-05-01, 05:47 PM (GMT)
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4. "RE: SFB at Paris - Othello, 17 mai 2001"
In response to message #0
 
   Renee -- do you think SFB has a lot to offer to Lucia? Sometimes, I feel as if the works do not completely satisfy her...not that I know a great detail about her or anything. I did read in an interview that the reason why she wanted to transfer from Marseille to SFB was because she wanted to do a lot more purely classical pieces. But SFB seems to be doing that less every year, and is doing more contemporary pieces nowadays (there's nothing wrong w/ this...but maybe some more revivals of classical pieces would be nice too) Besides the classics, I think she would be very good in some of Neumeir's pieces, and would definitely be excellent in Macmillan's "Manon" (I did read that she wanted to dance "Manon" with Malakhov!!) and if SFB did a little more Petit (for eg, instead of "L'Arlesienne," "Carmen" would have probably impressed the audience a lot more...) Perhaps I'm being a little too greedy, but I'm a great fan of Lucia, and I wish she could be doing a little more...=)


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Catherine

18-05-01, 10:21 PM (GMT)
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5. "RE: SFB at Paris - Othello, 18 mai 2001"
In response to message #4
 
   Tonight was the second performance about Othello with Cyril Pierre and Lucia Lacarra. The ballet is really very interesting. Lubovich arrive by choreography to depicted really fine the character and their personnality. The pdd are absolutely wonderful. Music remains to me also Dutilleux works and especially Le Loup.
Act II is really a success, with this alternative group dance and pdd so intensive between Othello and Iago, the pdd where Othello ask for the handkerchief and Desdemona'reaction, Bianca dance and so on... In Act 3, the first picture in Othello's room is really a marvellous thing, the suggestion by Iago and the illustration of Othello thinks. Pdd in first act are so sensuality and announced the drama with the handkerchief around Desdemona neck.
Garnier was full tonight and it was a great success. Lacarra and Pierre are a couple in life and we see it on stage, the relationship between them are more closer. You believe completely in their passionate love.
Pierre's Othello is more convincing that Possokhov one. Possokhov is more "monolithique", he is not tortured as Pierre. Pierre suffers, he has more feeling. Besides of him Lacarra is really beautiful in the role. She is lyric too but less cold than Tan. Julia Adam is always perfect in Emilia. Damian Smith is a more cynical Iago than Parrish Maynard. Gonzalo Garcia is always brilliant in Cassio role. Alice Lu An Lewitzke is a good Bianca but it miss to her the peps of Feijoo. Against she dances very well but she has less presence on stage.
It was a big success tonight. I don't know how will be Pierre-François Vilanoba tomorrow in this role but Cyril Pierre was really magnificent.
The corps de ballet is always good.


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Renee Renouf

19-05-01, 02:51 AM (GMT)
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6. "RE: SFB at Paris - Othello, 17 mai 2001"
In response to message #4
 
   Terry, to respond to your comments about LaCarra and the "classical" repertoire of San Francisco Ballet. San Francisco
Ballet policy seems to provide at least one "big" classical work a year and then a one act, if we are to evaluate from last
season "Romeo and Juliet" and "Raymonda" and this year "Raymonda'
and "Sleeping Beauty" and next year with "Giselle."
There's not much chance SFB will do "Carmen" since it went into
the repertoire of Ballet San Jose last year and Ana Lobe did a
magnificent Carmen. That is being danced again this coming season. The fact that La Carra has danced "Raymonda", "Sleeping Beauty" and now "Othello" means she is being given major roles.
And she was well featured also in "Black Cake" as well as "L'Arlesienne". She strikes me as a dancer who would have been most at home in the kind of repertoire the Grand Ballet du Marquis de Cuevas offered, but it's unlikely that any company
of that particular quality will surface these days.


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Terry

19-05-01, 04:39 PM (GMT)
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7. "RE: SFB at Paris - Othello, 17 mai 2001"
In response to message #6
 
   Renee -- thank you for the information!!


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Catherine

19-05-01, 11:33 PM (GMT)
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8. "RE: SFB at Paris - Othello, 19 mai 2001 (matinee and evening)"
In response to message #7
 
   LAST EDITED ON 20-05-01 AT 00:34 AM (GMT)

Last performance of Othello. This afternoon it was Pierre François Vilanoba and Katita Waldo who interpret the main tittle. It's not because I'm french, that I will say I saw the best Othello. Vilanoba is Othello, he has the beast instinct, dances with necessary strongh, musicality, fluidity. His partnership was absolutely perfect. Really lover of his Desdemone, hated her. The final pdd was absolutely wonderful and his death is a great moment. Besides him Katita Waldo is the best dramatical Desdemona even she is not the best technically, she is Desdemone and her play is really amazing in all the final scene of the "Ave Maria" and naturly the pdd before her death. This scene is absolutely wonderful. Garcia was again Cassio, more better day after day, I think he would be principal. Smith is also wonderful as Iago as well as Adam whose acting is really a marvellous thing. Lewintsky in Bianca was better than yesterday night. Corps de ballet was really good too.
Tonight for the ending night it was again Tan and Possokhov, they were wonderful too but don't play at all as Waldo and Vilanoba. Possokhov is more human, he danced like felix. Here again the last pdd was absolutely perfectly danced. Maynard doesn't act as Smith, he is more "awful", more devil.
Really this ballet is a wonderful piece, it's a little masterwork, by the intensity of the dance, the quality of pdd, intelligence of movement. All in this ballet is really so well studied. I hope they will add it at POB repertory. It's sad that in France, we don't know make modern creation like that. Full lenght story ballet. Perhaps Hurlevent by Belarbi will follow this example but I'm not sure at all even the ballet is based on Wuthering Heights.
Really good performance, really good ballets and good company I hope you can see it really often.
To note Garnier was full for the both performance and the audience acclamed the two performance. At the end of the last performance, all the company was on stage around Otello dancer to say goodbye to Paris.
Hope they come very soon, so they are brilliant and good.


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Renee Renouf

20-05-01, 06:49 PM (GMT)
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9. "RE: SFB at Paris - Othello, 19 mai 2001 (matinee and evening)"
In response to message #8
 
   Catherine, thank you so much for your comments about Pierre-in
Francois Vilanoba and Katita Waldo. That was my impression at
the only performance I saw him dance in the ballet in San Francisco. I thought I just might be a bit too prejudiced, but
I think he caught the feeling of the delicate balance between
the Moor and the Moor turned Christian, but susceptible to rumor
superbly.
About Katita Waldo, I consider her one of the great dramatic
talents in the San Francisco company, a talent which has not been fully exploited. Her port de bras is particularly subtle and
individual. I did see her in the title role of La Sylphide to advantage. As to her technical strength, I don't know whether you have seen William Forsythe's The Vertiginous Thrill of Exactitude, but she has danced that with extraordinary aplomb,
and that is one totally non-stop series of technical demands at
unflagging speed. So, in that sense, I cannot consider her lacking in technical capacity in the slightest. What she may not
be so secure in is the demands of legato adagio. To me that would be the basis upon which you made your evaluation. Because in allegro she takes a back seat to no one. To see her with Kristin Long and Tina Le Blanc in the Vertiginous Thrill of Exactitude is simply a staggering experience.
As for Vilanoba, he could just stand and I would be transported.
There is something extraordinarily sensitive and attuned about
him. I understand he is exceptionally concerned about his
partnering. Like all really fine exponents there is a certain
absence of egoism in his approach to roles which enables him to go to the core, the essence of the character. We are awfully lucky to have him.

Oh, as post-script, all your postings, both in French and in
English, have been forwarded to the Public Relations Department
at San Francisco Ballet. There is someone there fluent in French
who has translated your comments and they have been posted for
all the staff to see. So Catherine is quite a blessed name there
at the company offices. Thank you again.


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Catherine

20-05-01, 07:41 PM (GMT)
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10. "RE: SFB at Paris - Othello, 19 mai 2001 (matinee and evening)"
In response to message #9
 
   Concerning Waldo, she has the problem to pass after Lacarra and Tan who have both impressive extension of legs and it's for that at the first approach, we have the feeling to see a dancer less technical but more the time pass in the ballet and more you forget this lack of rising of legs, because she has lyrism and she is absolutely wonderful in the last act.
I prefer this kind of dancer, she is an artist. I don't see her in Vertiginous but she don't must lack of technique is she is able to dance it. I saw this ballet in Paris two years ago with Gillot, Baey, Osta, Daniel, Reichert, Abbagnato and I know especially for the leading role it's a challenge to dance it, speed, technical. It's one of the more terrific ballet I saw this last year.
Concerning Pierre-François I was afraid to be "chauvine" how we say in France, because I found him marvellous in second movement of Prism, In Sandpaper ballet he is impressive and his Othello is the best I saw. I'm happy to read your cumment about him. And I'm absolutely "hungry" you have it in your troup. It's a joke because I'm happy he could make the career POB don't give to him.
I hope the same thing for Hervé Courtain who will POB to join Boston ballet. I think in a selfish way, I hope he will come back in Paris but I'm glad that someone are able to note he is one of the best sujets of POB. And in an other way I hope he will make career at Boston Ballet and will become quickly principal and have the role that POB don't want to give to him. And POB don't see it as well for Pierre-François.


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