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Subject: "Latest Review Links - wb 11 February 2002" Archived thread - Read only
 
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Conferences What's Happening Topic #2478
Reading Topic #2478
Bruce Madmin

11-02-02, 10:04 AM (GMT)
Click to EMail Bruce%20M Click to send private message to Bruce%20M Click to view user profileClick to add this user to your buddy list  
"Latest Review Links - wb 11 February 2002"
 
   opps - deleted the original thread by mistake!

Each day we add the latest links to reviews and interviews that we find on the major newspaper web sites around the world. If you find a link that we have missed do please post it up, preferably as a URL link.

For convenience here is a link to last weeks thread:
http://www.danze.co.uk/dcforum/happening/2463.html

Bookmarking this page.
Click on the following link and then bookmark the links page that comes back - it's a special URL that will always bring you to the thread with the latest reviews:
http://www.ballet.co.uk/todayslinks

The bookmarks we go off and find are being taken again.... We should not need to state this but these links are for our readers use and not for other websites to take and pass off as their own. We ask all visitors to respect Ballet.co's site and the way it operates.


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  Subject     Author     Message Date     ID  
  Monday Links - 11th February 2002 Bruce Madmin 11-02-02 1
  Tuesday Links - 12 February 2002 Bruce Madmin 12-02-02 2
     RE: Tuesday (2) More on La Bayadere. Brendan McCarthymoderator 12-02-02 3
         RE: Tuesday (2) More on La Bayadere. alison 12-02-02 4
             RE: Tuesday (2) More on La Bayadere. Jane S 12-02-02 5
             RE: Tuesday (3) More on La Bayadere. Brendan McCarthymoderator 12-02-02 6
                 RE: Wednesday links - 13th February AnnWilliams 13-02-02 8
                     RE: Wednesday links - 13th February (2) Brendan McCarthymoderator 13-02-02 9
                         RE: Thursday links - 14th Feb. AnnWilliams 14-02-02 10
                             RE: Thursday links - 14th Feb. Kevin Ng 14-02-02 11
                             RE: Friday links - 15th February AnnWilliams 15-02-02 12
                             Links for Saturday 16th Brendan McCarthymoderator 16-02-02 13
                             RE: Links for Saturday 16th Bruce Madmin 16-02-02 14
  Sunday Links - 17 February 2002 Bruce Madmin 17-02-02 15
     RE: Sunday Links - 17 February 2002 Bruce Madmin 17-02-02 16

Conferences | Topics | Previous Topic | Next Topic
Bruce Madmin

11-02-02, 10:05 AM (GMT)
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1. "Monday Links - 11th February 2002"
In response to message #0
 
   There is still much in the papers about Princess Margaret - she was a very great supporter of the Royal Ballet.

Guardian Coverage:
http://www.guardian.co.uk/margaret/0,7368,417854,00.html

Telegraph Obituary
http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2002/02/11/db1101.xml&sSheet=/portal/2002/02/11/ixport.html

Times Obituary
http://www.thetimes.co.uk/article/0,,60-204537,00.html

Independant Obituary
http://news.independent.co.uk/people/obituaries/story.jsp?story=119280

FT Obituary
http://news.ft.com/ft/gx.cgi/ftc?pagename=View&c=Article&cid=FT3H6C6AHXC


Australian Ballet
In the steps of the Empire
Though Menzies stayed away on opening night, the prime minister's beloved Mother England was a key force in the formation 40 years ago of the Australian Ballet, writes Valerie Lawson.
A lovely long piece of a read... love the start...
"Sir Robert Menzies didn't care much for men in tights. Watching Rudolf Nureyev encased in skin-tight white one evening, the prime minister covered his eyes. Asked how he was enjoying the performance of Giselle, he said: "I enjoyed the music. I will open my eyes in the next act, when I understand Dame Margot Fonteyn will command the stage."
http://www.smh.com.au/news/0202/09/spectrum/spectrum1.html

Book Review
of ISADORA: THE SENSATIONAL LIFE OF ISADORA DUNCAN
by Peter Kurth
Dancing to greet the new dawn
Anne Applebaum
Ducan said "The people who are in sympathy with me understand what I am trying to do better than myself, the people who are not in sympathy understand better than I why they are not."
The people who were not in sympathy with Isadora, on the other hand, tended to mock:
'All she did was stand, taking at times a few steps from one side to the other, or stoop, while she looked up and raised her arms above her head.'"
http://www.spectator.co.uk/bookreview.php3?table=old§ion=current&issue=2002-02-09&id=832

Ailey Troupe Lights a Torch
A work that conjures up the spirit and athleticism of FloJo opens the performance phase of Salt Lake's Cultural Olympiad.
By LEWIS SEGAL
"Salt Lake City - No announcement or program note on Saturday linked the name of 1980s Olympic track champion Florence Griffith Joyner to Judith Jamison's new plotless one-act jazz suite "HERE ... NOW." for the Alvin Ailey American Dance Theatre. But this modern dance tribute to selfless athleticism in general and female heroism in particular borrowed so much from Joyner's unique achievements and persona that its local premiere at the Capitol Theatre launched the performance component of the city's 2002 Cultural Olympiad in a blaze of reflected glory."
http://www.calendarlive.com/top/1,1419,L-LATimes-Theater-X!ArticleDetail-51324,00.html

Reviews
The naked truth, now with added star quality
by richard morrison
"TODAY, for the first time in 217 years, The Times’s critics offer you not just their scintillating prose and rapier wit, but something even punchier. We are inaugurating a system of “star ratings” so that you can see at a glance whether that new play at the Almeida is a turkey or a triumph"
http://www.thetimes.co.uk/article/0,,585-204467,00.html

BUGLISI/FOREMAN DANCE
Zigzagging Emotions and a Technical Glitch
By JACK ANDERSON
"The choreography made the cast (...) at various times look determined, impassioned, capricious and introspective. Unfortunately, there seemed little reason for most of the shifts in tone and, although each scene was short, the dance as a whole gave the impression of being long-winded."
http://www.nytimes.com/2002/02/11/arts/dance/11BUGL.html


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Bruce Madmin

12-02-02, 09:14 AM (GMT)
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2. "Tuesday Links - 12 February 2002"
In response to message #0
 
   BRB
Ballet will honour a full life with tribute season Princess Margaret 1930 - 2002
"Her patronage of the Birmingham Royal Ballet is to be marked with plans to dedicate the company's forthcoming season to Princess Margaret.
    Chief executive Derek Purnell said the management committee would meet today to discuss the proposal. 'As the Princess only died at the weekend, we haven't discussed it yet, but I think it is likely we will dedicate the next Birmingham season to Princess Margaret.' "
Birmingham Post via the FT site
http://globalarchive.ft.com/globalarchive/article.html?id=020211006944

RB
La Bayadere, Opera House, London
Meagre version of classic saved by the dancing girls
By John Percival
"Luckily the opening night brought a good account of the three big roles. Tamara Rojo and Carlos Acosta are ideally matched as the tragic heroine Nikiya and her lover Solor. Both have marvellously strong, exact technique. That's great but more to the point is the expressiveness with which both use their virtuoso gifts, their responsive playing together and the similar way they phrase movements to music."
http://enjoyment.independent.co.uk/theatre/reviews/story.jsp?story=119568

RB
Dream lovers swirl in silk
La Bayadere, The Royal Ballet
Natalia Makarova, after Marius Petipa
by Tom Sutcliffe
"But La Bayadere, more than any other classic, is an ensemble piece, and the evening's greatest reward came when Natasha Oughtred led out the corps de ballet for an impeccable rendition of the hypnotic Kingdom of the Shades scene (the moment when, lost in an opium dream of his dead lover, Solor dreams that he sees an infinity of Nikiyas processing past him in the underworld). Beautiful work in particular from Jamie Tapper, whose precision placing compels the gaze."
http://www.thisislondon.co.uk/dynamic/hottx/top_review.html?in_review_id=464849&in_review_text_id=417824


RB Bayadere is discussed/reviewed on the following Ballet.co threads:
http://www.danze.co.uk/dcforum/happening/2481.html
http://www.danze.co.uk/dcforum/happening/2480.html


Pina Bausch, Sadler's Wells, London
Lindsay Kemp, Peacock Theatre, London
Life's a beach, so boogie
By Jenny Gilbert
"The full tanztheater message emerges from the accumulation of fragments, and as ever in these Pina Bausch marathons, nothing is arbitrary, nothing is haphazard. One may rail against the show's length, but even the longueurs, I suspect, are part of the grand plan."
http://enjoyment.independent.co.uk/theatre/reviews/story.jsp?story=119443

MARGARET TRACEY
Farewell Performance, With Balloons and All
By ANNA KISSELGOFF
"Like the princess she personified so beautifully in "The Sleeping Beauty," Margaret Tracey has always filled her dancing with a natural glow and good manners.
    "At the ripe old age of 34, she has decided to retire from the New York City Ballet where she has been a principal and one of the company's most charming ballerinas. Her farewell performance on Saturday night at the New York State Theater attracted a packed house and was a warm affair."
http://www.nytimes.com/2002/02/12/arts/dance/12TRAC.html

Inbal Dance Theater of Israel
La MaMa
Yeminite Jewish Troupe Mixes the Folk and the Modern
By JENNIFER DUNNING
The Inbal Dance Theater of Israel was created in 1950 to preserve and advance Yemenite dance and music through a careful blending of the old and the new. Sara Levi-Tanai, the self-taught dancer who founded the company, blended Yemenite folk forms and contemporary modern dance with remarkable success to tell stories that reflected the tension between tradition and change. Ms. Levi-Tanai also enlisted modern-dance choreographers from around the world to create a repertory and style whose admirers included Martha Graham and Jerome Robbins."
http://www.nytimes.com/2002/02/12/arts/dance/12ROUN.html


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Brendan McCarthymoderator

12-02-02, 12:03 PM (GMT)
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3. "RE: Tuesday (2) More on La Bayadere."
In response to message #2
 
   From The Times, Debra Craine on Bayadere. "Tamara Rojo's interpretation, impressive though it was, held something back..Marianela Nunez came close to stealing the show as Gamzatti, the Rajah’s haughty daughter".
http://www.thetimes.co.uk/article/0,,684-206332,00.html

And Judith Mackrell in the Guardian: "Marianela Nunez was a dangerously credible Gamzatti. In addition to dancing one of the most elegantly finessed solos of her career her acting proved a pleasingly obnoxious mix of pretty, blonde petulance and a ruthless avidity worthy of Imelda Marcos".
http://www.guardian.co.uk/Archive/Article/0,4273,4354504,00.html


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alison

12-02-02, 01:36 PM (GMT)
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4. "RE: Tuesday (2) More on La Bayadere."
In response to message #3
 
   Ismene Brown's review is also out, in hard copy at least, in the Daily Telegraph.


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Jane S

12-02-02, 01:40 PM (GMT)
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5. "RE: Tuesday (2) More on La Bayadere."
In response to message #4
 
   Interesting that we suddenly seem to be getting back to overnight reviews - the Times' new format (reviews printed in the main news section) presumably means they can always do this in future.

(Is the Standard's piece really by Tom Sutcliffe?)


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Brendan McCarthymoderator

12-02-02, 01:44 PM (GMT)
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6. "RE: Tuesday (3) More on La Bayadere."
In response to message #4
 
   Alison,

The Telegraph is less reliable about printing Ismene's reviews than it was. Her piece is available on an associated website, and I suspect will turn up on the Telegraph site tomorrow. Here's a taster: "One noticed, very sadly, that the leads and most of the soloists were trained abroad, and yet the corps de ballet's beauty in the Shades scene was unified, delicate, a product of combined spirit and aesthetic aspiration. As my companion said to me. "It's unbearably moving, and I don't know why."

Ismene Brown's review


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AnnWilliams

13-02-02, 09:12 AM (GMT)
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8. "RE: Wednesday links - 13th February"
In response to message #6
 
   Ismene Browne in the Telegraph on Bayadere. You may or may not be able to open it:

'In the mere 12 years since the great Kirov ballerina Natalia Makarova brought La Bayadère to the Royal Ballet, it has proved a balletic mountain-climb that dancers and the public cannot resist, and on its opening night the reception for Tamara Rojo, Carlos Acosta, Marianela Nunez and the corps de ballet was tumultuous'

Http://www.portal.telegraph.co.uk/arts/main.jhtml;$sessionid$5502LJYAAA4ENQFIQMGSFF4AVCBQWIV0?view=HOME&grid=P15&menuId=-1&menuItemId=-1&_requestid=56462

Clement Crisp on Bayadere:

'What a beautiful ballet is La Bayade`re. Its narrative may verge on kitsch, its procedures (Petipa's reliance upon such predictable matters as processions, stormy confrontation, a "white" scene for a massed corps de ballet) may be formulaic, but it holds the stage and it holds our attention still, after 125 years.'
Http://globalarchive.ft.com/globalarchive/article.html?id=020213001676&query=ballet


From the Independent's News Pages, Tony Hall confirms plans (foreshadowed in his interview with balletco) to show ballet performances on a big screen in Tower Hamlets. The first ballet will be Romeo and Juliet. If that proves a success, the experiment will be repeated outside London. Talks are also taking place for cinemas to screen Royal Opera House performances free of charge. The piece also announces new appointments to the ROH board. One of those leaving the board is Ross MacGibbon.
http://enjoyment.independent.co.uk/theatre/news/story.jsp?story=119741

From the Evening Standard, a typical piece of Brian Sewell rant on the BBC's digital services:

BBC4's licence for drivel

Http://www.thisislondon.com/dynamic/news/top_story.html?in_review_id=498177&in_review_text_id=459853


Anna Kisselgoff in the New York Times on an international ballet gala:

'New and impressive talent from Russia and Portugal studded the annual International Ballet Gala on Monday, a single-night event that was presented for the third year at the New York State Theater. The evening was again subtitled "Stars of the 21st Century" and featured various pas de deux and solos from a mix of 13 American and foreign dancers.'
Http://www.nytimes.com/2002/02/13/arts/dance/13GALA.html


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Brendan McCarthymoderator

13-02-02, 09:24 AM (GMT)
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9. "RE: Wednesday links - 13th February (2)"
In response to message #8
 
   This link will work for Ismene's piece.

Ismene Brown on La Bayadere

This is a must-read. From the New Republic a substantial essay by Jennifer Homans on the state of ballet today. "It is not the absence of a genius that ails contemporary ballet. The problem is deeper and far more pervasive: ballet has become a crushingly conservative art form. In the course of the past twenty years, we have watched dancers retreat into tight technical perfection, petrified beauty, and contrived imitations of past glories. We have seen a vibrant, complicated, and playful art form lose its inner life and settle into a glamorous complacency".
http://www.tnr.com/021802/homans021802.html


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AnnWilliams

14-02-02, 09:34 AM (GMT)
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10. "RE: Thursday links - 14th Feb."
In response to message #9
 
   Can't find anything at all in the UK newspapers today - anyone else?


Jennifer Dunning in the New York Times reports on Monte/Brown Dance:

'Lisa Monte choreographed "Lost Objects" well before the terrorist attacks of Sept. 11. It was a dance drawn from her growing sense of loss as she grew older and faced life changes. But "Lost Objects," performed by Monte/Brown Dance in a world premiere on Tuesday night at the Joyce Theater, is as universal as it is specific. In its quiet expression of formal sorrow, it is a "Dark Elegies" for the 21st century.'
Http://www.nytimes.com/2002/02/14/arts/dance/14MONT.html

Deborah Jowett in the Village Voice on Bill T Jones (and others):

'In the summer of 1992, I was talking to Bill T. Jones. Having created a number of angry solos and the highly political Last Supper at Uncle Tom's Cabin/The Promised Land, he said he needed simply to make something "beautiful." Ten years later (eight after his controversial Still/Here), he's struck the beauty lode dead on, and found gold.'
Http://www.villagevoice.com/issues/0207/jowitt.php

The Sydney Morning Herald reports a disagreement between Russia and Canada at the Salt Lake city winter olympics:

' "In the eyes of the vast majority of observers, including those who have been around the sport of skating for many years, Sale and Pelletier were hosed Monday," wrote Dave Stubbs in the Montreal Gazette newspaper.'
Http://www.smh.com.au/news/0202/14/sport/sport102.html


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Kevin Ng

14-02-02, 12:40 PM (GMT)
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11. "RE: Thursday links - 14th Feb."
In response to message #10
 
   There's a review of the Kirov's Sleeping Beauty in Washington this week by Sarah Kaufman in the Washington Post.

http://www.washingtonpost.com/wp-dyn/articles/A7841-2002Feb13.html


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AnnWilliams

15-02-02, 09:13 AM (GMT)
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12. "RE: Friday links - 15th February"
In response to message #11
 
   Another thin day, so please do post if you find anything.

The Guardian enthuses on Opera North's celebration of Richard Rodgers:

Something Wonderful

'The only item to elicit an aficionado's ejaculation of "Oh, yeah!" is purely orchestral: a whiplash version of the ballet sequence from On Your Toes, originally choreographed by Balanchine and inspirationally conducted here by Holmes.'
Http://www.guardian.co.uk/Archive/Article/0,4273,4356383,00.html

From the Sydney Morning Herald:

Another Aussie gets Covent role

By Michael Shmith (shurely shome mishtake? Ed.)

Http://www.smh.com.au/news/0202/15/text/entertain9.html

From the New York Times:

So Impish, You Great Big Beautiful Doll

By ANNA KISSELGOFF

Two stars of the Kirov guest-dance with the Connecticut Ballet in 'Coppelia':
Http://www.nytimes.com/2002/02/15/arts/dance/15COPP.html

Anna Kisselgoff again on Les Grandes Ballets Canadien:

Pushkin's Countess Turns Enemy of the People

'The main thing about "The Queen of Spades," a new Canadian ballet production with spectacular mixed-media effects, is that it has trouble telling a story, much less the one it promises.'
Http://www.nytimes.com/2002/02/15/arts/dance/15SPAD.html


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Brendan McCarthymoderator

16-02-02, 08:05 AM (GMT)
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13. "Links for Saturday 16th"
In response to message #12
 
   LAST EDITED ON 16-02-02 AT 08:53 AM (GMT)

Judith Mackrell contrasts two casts in the RB's Bayadere. "Cojocaru's debut in La Bayadère yesterday certainly started out very differently from Rojo's four days earlier, with a fine lyricism that looked almost saintly compared with Rojo's earthy, impulsive interpretation. There was more ecstasy than eroticism in her quivering responsiveness in her love duets with Solor, but, as she danced towards her death, Cojocaru allowed Nikiya's delicacy to be engulfed by a tragic force - the violence with which she arched her back, the reckless height to which she stretched her legs, the vertiginous swoon of her phrasing made her body look literally racked with grief.
http://www.guardian.co.uk/Archive/Article/0,4273,4357360,00.html

Last year's Olivier awards are reported in the Guardian
http://www.guardian.co.uk/Archive/Article/0,4273,4357379,00.html

The Indie has yet another review of Peter Kurth's Isadora. "As mythical today as the figures she revered in Greek drama, Isadora eludes final capture. But Kurth offers us a clear and probable likeness".
http://www.independent.co.uk/story.jsp?story=120233

The BBC News report on Princess Margaret's funeral notes that music from Swan Lake was played as mourners arrived.
http://news.bbc.co.uk/hi/english/uk/newsid_1822000/1822905.stm

The Kirov are at the Kennedy Center and Sarah Kaufman of the Washington Post reviews Balanchine's 'Jewels'. "In honoring this work, the Kirov affirms the wisdom of Balanchine's decision to seek his freedom. How exciting it is to see the Kirov embark on the same journey".
http://www.washingtonpost.com/wp-dyn/articles/A19127-2002Feb15.html

The Washington Times reviews the Kirov both in Jewels and Beauty. "Most striking of all is the company's penchant for sky-high leg extensions, a technical element that started to appear on the scene only a few decades ago. Such extensions seem out of place amid the decorum of "Sleeping Beauty." They created the only jarring note in the otherwise singular perfection of Miss Zakharova's "Diamonds" role".
http://www.washtimes.com/arts/20020216-28938.htm

Lewis Segal of the LA Times on dance at the Olympics
http://www.calendarlive.com/top/1,1419,L-LATimes-Theater-X!ArticleDetail-51537,00.html

From the Moscow Times, advice on culture weekends in St Petersburg, booking, where to stay, where to eat.
http://www.tmtmetropolis.ru/metropolis/stories/2002/02/15/109.html

And, for Anneliese, I did seek out this month's Tatler. No Cojocaru photoshoot online sadly, but there was this.
"Tatler meets the Oscar nominated actress Cate Blanchett in her favourite organic café in Camden and finds out she liked ballet as a child because 'the arthritic teacher had a dog called Pepe the Dancing Dog who used to show us the moves'".
http://www.tatler.co.uk/


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Bruce Madmin

16-02-02, 09:20 AM (GMT)
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14. "RE: Links for Saturday 16th"
In response to message #13
 
  
Oh dear dept...
West End theatre workers on picket for fairer pay
By Louise Jury,
http://enjoyment.independent.co.uk/theatre/news/story.jsp?story=120359


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Bruce Madmin

17-02-02, 08:51 AM (GMT)
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15. "Sunday Links - 17 February 2002"
In response to message #0
 
   RB, Yaa Asantewaa
Bring on the phoney fakirs
La Bayadère Royal Opera House, London WC2
Yaa Asantewaa, Warrior Queen Queeen Elizabeth Hall, London SW1
by Jann Parry
"The Royal Ballet has just 24 ghostly bayadères descending the Himalayas, not enough to seem an everlasting procession. But on Monday's opening night they gave an illusion of perfection. There were fine debuts in the leading roles. Carlos Acosta is a noble Solor, a tiger-slaying hero trapped in an arranged marriage. His hell-cat of a bride, Marianela Nunez, has her claws well into him, refusing to release him to the pure-hearted Nikiya (Tamara Rojo)."
http://www.observer.co.uk/review/story/0,6903,651228,00.html

RB
Dance: All that glitters...
The Royal Ballet’s La Bayadère looks wonderfully exotic, but musically, it’s a bit lacklustre, says David Dougill
"Both Rojo and Bussell gave beautifully shaped and thought-out performances; the former, new to the role, somewhat more reserved, while Bussell, with the authority of experience, inhabited it fully. But the greatest triumph was Acosta’s — in the breathtaking virtuosity of his dancing, every effect surely placed and musically expressive, but without ostentation. He cares for his ballerinas perfectly, and gives a convincing, intelligent reading of a character some interpreters leave shady. It’s a great role for him, and he made La Bayadère his ballet."
http://www.sunday-times.co.uk/article/0,,187-207537,00.html

ROH Audience
Why it's trainers, not tiaras, for a night out at the opera.
Vanessa Thorpe, arts correspondent
Good to see the ROH coming out fighting re their posh image! An interesting story and nice to see some metrics around about who visits the Opera House. However I'm not sure I've detected much, if any, change in the (ballet) audience since the ROH was reopened. Hopefully they will be able to repeat their research in a couple of years and see how things are moving.
"For generations, the popular image of the average Covent Garden operagoer has remained the same: grey-haired and doddery, the men wearing formal evening dress, the women draped in the family jewels. But the Royal Opera House has discovered that its audience is much more in tune with the twenty-first century than expected.
    "The modern opera or ballet fan is much less well-off and younger than Royal Opera House officials had believed, according to new research.
    "Ticket-holders are now just as likely to arrive dressed in ordinary high-street fashions as designer labels. And, after the performance, a large proportion of them will return to a student flat or a modest starter home. 'These independent figures are encouraging, as they show we are already attracting a far broader spectrum of the population than was previously thought,' said Tony Hall, executive director of the opera house, who is leading efforts to dump its elitist image after its £78.5m National Lottery award for refurbishment."
http://www.observer.co.uk/uk_news/story/0,6903,651649,00.html

NYCB
Abstract Ballets That Repay Many Viewings
By ANNA KISSELGOFF
"A good plotless ballet requires even more repeated viewing precisely because it has no plot to serve as a road map and depends on structures that are not always visible at first glance. George Balanchine's pure- dance works at City Ballet take years to reveal all their secrets.
    "Balanchine needed 40 years to educate a public to look at dance in a new objective way, in terms of steps and structure in relation to music. He turned to this aesthetic, hardly a universally held attitude, after creating his early choreography for Serge Diaghilev's Ballets Russes in Europe in the 1920's. Those who still consciously or subconsciously see ballet as a theatrical synthesis of the arts hark back to the Diaghilev model that Balanchine rejected. Eventually in New York, an audience was won over to his aesthetic — through repeated viewing.
    "Today, with Peter Martins as artistic director, City Ballet is the only dance company in the world that can annually play 23 weeks (seven or eight performances a week in a 2,800-seat house) in a single city. It has the audience and the repertory...."
http://www.nytimes.com/2002/02/17/arts/dance/17KISS.html

Boston Ballet
Giving new energy to traditional 'Giselle'
By Christine Temin
"Not since the days when Rudolf Nureyev would come to town and electrify the Boston Ballet has the company seemed as energized and single-minded as it did in Thursday night's opening of Maina Gielgud's production of ''Giselle.''
    "Gielgud's staging of the mid-19th-century classic is both traditional and profound. "
http://www.boston.com/dailyglobe2/047/living/Giving_new_energy_to_traditional_Giselle_+.shtml

Geon van der Wyst
More than a pin-up prince
Geon van der Wyst, National Ballet of Canada
Beneath his perfect golden-boy exterior, there's a vulnerability about this Australian dancer, writes SARAH HAMPSON
By SARAH HAMPSON
Ta to Brendan for finding this. An interesting/thought provioking introduction I think...
"On an October night last year, the fantasy of ballet, with all its heightened beauty, perfection and grace, swept into the ballroom of Toronto's Four Seasons Hotel. The occasion was the black-tie gala for the 50th anniversary of the National Ballet of Canada. Many of the company's supporters were there, gowned and bejeweled, champagne flutes held delicately in hand. Members of the company floated by, all of them, dancers or not, slim and beautifully dressed.
    "Never had the connection between what the ballet offers, and why society types are drawn to it as supporters been more on display. That connection is about perfection, or the fantasy of it, I thought, observing the passing scene. The polite conversations about nothing too complex or unpleasant. The air-kissing. The way everyone paraded a bit, in their evening costumes, as if on a stage. The idea that society wives can be ballerina-like, paragons of femininity, archetypal princesses in some pretty life.
    "By supporting the ballet, it seemed to me that night, the wealthy and upwardly mobile are supporting an idealized vision of their own lives.
    "And so it was telling, and perhaps not surprising, that when Geon van der Wyst, a 30-year-old Australian dancer, joined the company last year, he was heavily promoted by the National Ballet's in-house publicists as a sort of pin-up prince. Gushy profiles in the media ensued. He fits the fantasy all right -- tall, blond and ridiculously beautiful -- and it didn't hurt that during a two-year hiatus while recovering from an injury, he worked as a model, once posing for a Calvin Klein underwear ad.
    "But in talking to van der Wyst, what emerges is his vulnerability......."
Geon van der Wyst interview

Ballet San Jose has a 'Ball' with comedy
By Octavio Roca, Chronicle Dance Critic
"The lavish company premiere of David Lichine's 1940 "Graduation Ball" shared the Valentine's Day opening with George Balanchine's sublime "Apollo" and with Dennis Nahat's "Rivulet." The Balanchine was interesting, and the Nahat was, well, athletic. But Lichine's little treasure, with Nahat himself as a saucy schoolmistress keeping order among schoolgirls and cadets, was pure joy from start to finish."
http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2002/02/16/DD238593.DTL&type=performance

Ballet San Jose
DANCERS CHALLENGED TO EVOKE GODLINESS
Ballet San Jose brings grace to `Apollo'
By Anita Amirrezvani
"Although the Ballet San Jose dancers acquitted themselves well, all the leads need more time to settle into their roles, which require enormous physicality combined with the ability to project godliness. It's no simple task for mere mortals."
http://www.bayarea.com/mld/mercurynews/2681458.htm

Cirque Éloize
Inspired by Dance, a Circus Is Writing the Poetry of Flight
Cirque Éloize is a spare, refined cousin of glitzy Cirque de Soleil -- and a kind of answer to it.
By MATTHEW GUREWITSCH
"Many Cirque Éloize artistes being alumni of Cirque du Soleil, a family resemblance would be hard to deny. Acts easily transfer back and forth, and a spiritual overlay — an implication that the pageant hints at a quest of the spirit — is certainly common to both. Yet Cirque Éloize is gaining a name, in the words of The San Francisco Chronicle, as "almost the anti-Cirque du Soleil."
    "How so? "The difference is the budget," Jano Chiasson said with a gentle chuckle over the phone from Montreal. A founding member of Cirque Éloize, the son of an engineer from the Magdalen Islands and grandson of a fisherman and a house carpenter, Mr. Chiasson is the Flying Man whose act (accompanied by Samuel Barber's "Adagio for Strings") opens "Cirque Orchestra" on what many regard as its very highest note."
http://www.nytimes.com/2002/02/17/arts/dance/17GURE.html


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Bruce Madmin

17-02-02, 09:29 AM (GMT)
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16. "RE: Sunday Links - 17 February 2002"
In response to message #15
 
   one from Brendan...

Jan de Schynkel and Scottish Dance Theatre
All the right moves
by Christopher Bowen
"WHEN Scottish Dance Theatre’s artistic director, Janet Smith, first met Jan de Schynkel, she knew the young choreographer’s talent was "something extraordinary". They met in 1999 when Smith was a judge for the Peter Darrell Choreographic Award and Belgian-born de Schynkel - at that time a dancer with Rambert - was one of the finalists. From that first meeting, says Smith, it was clear that the panel had found a winner.
    "We could tell from the video of his work that he had talent," she recalls. "But when you talk to Jan there is the same intensity you find in his movement and it has to find an outlet. I remember thinking, he has to make work or he’s going to burst!"
http://www.scotlandonsunday.com/atplay.cfm?id=183752002


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