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Subject: "ENB's new triple bill" Archived thread - Read only
 
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Jane

02-03-00, 04:24 PM (GMT)
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"ENB's new triple bill"
 
   I saw the first performance of ENB's latest triple bill on Tuesday - as usual, it will certainly look better when they've settled into it a bit, but even now it's well worth catching - though they're not doing many performances.

It's another Tetley sandwich, and I find Voluntaries much less tedious than Sphinx as a centrepiece. The RB used to do Voluntaries and my only complaint would be that it did look better on a bigger stage - but it should be a useful acquisition for ENB.

A new soloist, Leo Zen - ex-Miami City Ballet - danced the Poet in Sylphides; other good performances came from Klimentova in Voluntaries and the extremely likeable Ramos in the closing Etudes.


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  Subject     Author     Message Date     ID  
  RE: ENB's new triple bill Helen 08-03-00 1
     RE: ENB's new triple bill Jane S 08-03-00 2
         RE: ENB's new triple bill Helen 08-03-00 3
             RE: ENB's new triple bill Eugene 09-03-00 4

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Helen

08-03-00, 08:47 PM (GMT)
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1. "RE: ENB's new triple bill"
In response to message #0
 
   I saw this triple bill last night in Liverpool. It was certainly much enjoyed by the large audience who, as usual, ranged in age from 4 to 90 and,as usual,tended to be a bit noisy(not just the childen, either)- far too much paper rustling and coughing. Very irritating, but on the other hand I'm glad it was so well attended. Alice in Wonderland is more or less sold out.

I thought Les Sylphides was very impressive, and it's not really an easy ballet to put across. The dancers had a strong sense of the Fokine style and were beautifully light. I liked Leo Zen in the male lead. This was Markova's staging, and I felt her influence.

Not easy to go from this to Tetley's Voluntaries, as one or two of the principals did. I've never seen this ballet before, and although I liked the set and lighting, I thought the dancers seemed rather uncomfortable with some of the choreography, and there was some very dodgy partnering. The huge amount of physical effort involved was a little too obvious. The audience adored it, though, as did the local critic.

In Lander's Etudes the dancers seemed much more at home, and reached a fine pitch of exhilaration. This ballet is exhausting to watch! I too very much liked the young Yosvani Ramos. He has a strong very attractive personality, and is beautiful to look at. He's Cuban, like Acosta.

Just a point though. Whatever happened to epaulement, and beautiful placing of the head? Almost all of these dancers, especially in Etudes, seemed to put the emphasis very much on feet and legs; but ballet is about the whole picture, isn't it ?


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Jane S

08-03-00, 08:58 PM (GMT)
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2. "RE: ENB's new triple bill"
In response to message #1
 
   Helen, was Takahashi in Sylphides? I forgot to mention her, but I thought she was a really nice dancer with more of the right feeling for Sylphides than either of the other women.


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Helen

08-03-00, 09:48 PM (GMT)
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3. "RE: ENB's new triple bill"
In response to message #2
 
   Yes, Takahashi did the Prelude, Monica Perego the Mazurka and Simone Clarke the Waltz. I thought they all did well, but I agree that Takahashi wsa closest to the spirit of the ballet. She also was in the Pas de Trois in Voluntaries-- quite a contrast!


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Eugene

09-03-00, 10:23 PM (GMT)
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4. "RE: ENB's new triple bill"
In response to message #3
 
   I think that Etudes is perhaps the most visually stunning plotless ballet around.

I would love to see it but as the ENO are performing it only on weekdays it is not really practical for me to see it!

I saw it in NYork at the Met 2 years ago in the best triple bill I have ever seen - La Sylphide (act 2 only with the delightful Yan Chen), Kylian magnificent Sinfionetta and of course Etudes. It was a night I would never forget. And for once the gargantuem Met Opera house seem so appropriate for such a night of ballet.


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