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Found 7 results

  1. Starting this thread for ENB's new acquisition: Johan Inger's version of Carmen (originally created for Compaña Nacional de Danza) set to Rodion Shchedrin's Carmen Suite based on themes by Georges Bizet, with additional music by Marc Álvarez. Costume design is by David Delfin, sets by Curt Allen Wilmer and Leticia Ganan, lighting by Tom Visser. Minju Kang, Emily Suzuki, Erina Takahashi and Ivana Bueno are scheduled to make their debuts as Carmen.
  2. Attended five very different evenings this last week (21st - 28th March). First up was a trip to Islington, and Kidd Pivot’s Assembly Hall at Sadlers Wells. Dancing whilst lip synching to spoken words almost a Crystal Pite speciality. The decision by committee ruthlessly exposed, and throw in some superb solos/duets, plus Crystal’s astonishing way of moving groups of dancers around the stage, added up to an intriguing evening (apart from a break for a technical hiccup, which broke the mood rather, just as things were getting properly weird!) Next was a slide down into the Linbury to see Sydney Dance Company, with their triple bill Ascent. Loved the short opening piece by AD Rafael Bonachela, the near continuous flow of the two couples of dancers was fascinating, as they filled the space, and veritably bounced off each other. Bonachela came on in the 10mins pause to charmingly introduce the company and thank all involved etc, whilst they changed the flooring/set for ‘The Shell, A Ghost, The Host & The Lyrebird’ (ch Marina Mascarell, plus her dancers). What we saw was as baffling as the title, with people swinging around on ropes, attached to torn flags/sails. I assume they were doing it right, as none were left marooned in the light rig above. Loved the score/forest soundscape (where the Lyrebird made its presence known) but apart from the odd solo, disliked this piece. After the interval (much needed to unscramble brainbox) came Anthony Hamilton’s Forever and Ever. The choreography was stunning and compelling, as the dancers stripped away layers (literally, in most cases, with costumes under costumes) with some couples ‘twinned’ in synchronicity for example - but the ‘music’ was just horrible. The opening solo to blissful silence (I came to relaise very shortly) seemed rather tagged on and as well as she danced it, I felt than an intro of 10-15 seconds would have sufficed. If I see it again, I will enjoy it even more with earplugs Perhaps the quiet highlight of the week for me was at The Place (near Euston) for Mark Bruce’s Frankenstein. After an appetiser of 6 short dances to Mark’s own music (grouped as 'Liberation Day') as a sort of intro to the six dancers (how lovely to some good contemporary dancing to actual music), came a short (50mins) retelling of the Frankenstein tale. Jonathan Goddard was at his most mesmeric as the Monster, though perhaps the star of the show was Guy Hoare’s lighting (despite a technical hiccup - am I a Jonah or something?) allowing maximum use of the space. Came away wishing I had at least one more ticket Wednesday was back to ROH for the MacMillan triple. Charmed by Dances concertante once again, stunned by Sarah Lamb in Requiem, sat out DD in the Floral Hall. (plenty already been said about this bill) Thursday was Sadlers Wells for ENB’s Carmen (ch Johan Inger). Minju Kang as Carmen looks like a star in the making, and surely won’t be a First Artist for long. Found the piece rather episodic, and not particularly emotional or passionate. The movable pillars that acted as scenery seemed more animated at times, than some of the choreography There were moments (mainly when Kang was on stage), but also an awful lot of rolling on the floor or walking about. And Francesca Velicu as ‘The Boy’ ?? The score wrapped around snippets of Bizet’s monumental tunes was well done I thought. Kept feeling there was a great work trying to get out, but it never quite made it. Enjoyable evening though, all told. This week was like recapturing my adventures when I first started to get into dance, when I went to almost everything I could. Sadly though, these days will now need a rest for 2-3 days! (Thank you Easter!)
  3. TodayTix currently has discounted tickets on sale for midweek performances: 27/3, 28/3, 2/4, 3/4 & 5/4
  4. TodayTix has listed the above productions for certain dates. However, these are currently not discounted. In fact the ticket prices are higher than if booked directly with the ROH. e.g. Manon 23rd February O/S M10: ROH price £140 vs TodayTix price £161, O/S V12: ROH Price £120 vs TodayTix Price £138. Amphi A46: ROH Price £99 vs TodayTix Price £114 e.g. Carmen 5th April O/S K13 ROH Price £245 vs TodayTix Price £282
  5. On Saturday I attended the second performance of a new version of Carmen, choreographed by Didy Veldman. It was produced by key players in the previous Osipova vehicle (The Mother) Alexandra Markvo and her organisation Bird and Carrot Productions, and the composer, Dave Price, also worked on both dance pieces. It premiered at a theatre in the Edinburgh International Conference Centre, also like The Mother. The concept is ambitious albeit cliched, a play within a play, or more accurately a ballet within a danced play. It covers two acts. There are five performers, Osipova, Isaac Hernandez, Jason Kittelberger, Hannah Ekholm and Eryck Brahmania. They are in the process of filming Carmen but their relationships mirror those in the ballet. At times it is confusing as to whether a particular section is the filming or the ballet, although when Brahmania or Hernandez are holding cameras it is, of course, obvious that it is the filming. A major theme is jealousy, with Michaela, the character performed by Ekholm in the play element, consumed with jealousy of the increasingly sexual relationship of Carmen and Jose, as well as Jose's jealousy of Escamillo, in the ballet. In a play section Ekholm (Michaela) and Carmen have a long duet where their relationship fluctuates, as Carmen tries to placate her colleague, until the jealousy explodes. The ballet ends, as usual, with a violent pas de deux between Jose and Carmen. It was these duets which were the most powerful parts of the piece. Overall I felt that the whole came to less than the sum of the parts. The quality of the choreography varied and it was too long, some editing, particularly of the 'play' parts, would strengthen its impact. On the plus side, I particularly liked the way Carmen's interiority is explored in a way that isn't equalled in the ballet versions of Carmen that I know best (those of Roland Petit and Alberto Alonso). This gives Osipova the opportunity to delve into the anxieties and the emotions that propel Carmen's behaviour ; and it is a powerful vehicle for highlighting Osipova's strengths in acting and dancing. The opportunities for the other dancers were more limited. Hernandez danced well but the choreography for him was not very varied, concentrating mostly on his jumps. Kittleberger only came fully into his element in the final section. Ekholm's contribution became less prominent in the second half. The music worked well. Mostly original there were also some segments from Bizet's score. The designs were attractive especially the vivid red costumes for Carmen. There was video although the images were at times obscure over different surfaces rather than a full screen. And the printed programme was excellent value at £5, informative and very well illustrated, a marked contrast to the £15 programme for Polunin Ink at the Royal Albert Hall. The audience were very enthusiastic at the end, even though I heard people say they hadn't always followed what was going on. As a vehicle for Natalia Osipova it works well., it's an ideal role for her..... no doubt in time there will be a video on SkyArts to accompany all the other Osipova programmes.
  6. Queensland Ballet is presenting Liam Scarlett's Firebird right now, in late May 2018. The Australian Ballet presented Graeme Murphy's Firebird in March. Interesting programming, that. Queensland Ballet is presenting Ben Stephenson's Cinderella in September. TAB is presenting Ratmansky's Cinderella in November. Even more interesting programming. And in October, Queensland Ballet takes its party piece, Scarlett's Midsummer Night's Dream to Melbourne. Not Sydney, not Adelaide, but Melbourne. Home and bulwark of TAB. What do they say? Once is accident, twice is coincidence, three times is ... no, not enemy action, but action, certainly. A little context. In 2012, Queensland Ballet was a worthy provincial ballet company known for its dedication to taking ballet to regional centres throughout Queensland. In 2012, Li Cunxin, (Mao's Last Dancer Li Cunxin), was appointed Artistic Director. In 2013, he brought in Jenna Roberts from Birmingham Royal Ballet and Carolyn Judson, Texas Ballet Theatre, to help raise standards. In 2014, it was the big guns ... Carlos Acosta, Tamara Rojo and Steve Macrae (!!!), and in 2015 Alina Cojocaru. In 2016, Liam Scarlett became Artistic Associate and in 2017 Evgenia Obratzova of the Bolshoi replaced Alina Cojuocaru when she had to withdraw. (How does a small and insignificant provincial company attract such stellar names? Heaven only knows.) And this October, they're going to Melbourne. Looks remarkably like an announcement. 'We're here.' After Firebird, they are. Liam Scarlett's Firebird is unlike that of Fokine or even Murphy. It is not a battle between good and evil. At the heart of the work is the relationship between the firebird and Koschei. Both are powerful magical creatures, engaged in an eternal battle for dominance, but at the same time linked by a shared and profound sensuality. Laura Hidalgo's firebird is elemental, a force of nature; curious, inquisitive, intelligent. Koschei (Rian Thompson) is a far darker creature, one who expresses his power through sexual domination. Into their kingdom, blunders the Prince (Joel Woellner). The firebird is intrigued. The Prince is terrified. The fear and desperation to escape that the firebird exhibits in Fokine's original belongs here to the Prince, although he finally succombs to the firebird's curiosity and her sensuality. She leaves, but not before giving him a feather to summon her in case of need. From here, the story is more conventional. Koschei's enslaved maidens enter, together with the newly enslaved Princess. Prince and Princess fall in love (a beautiful, gentle pdd) before Koschei's creatures enter, followed by Koschei himself. A confrontation ensues, during which Koschei demonstrates his sexual domination, leading ultimately to the Prince summoning the firebird. Here the narrative deviates from tradition once again. The firebird does not fight Koschei; rather she causes him and his minions to fall asleep. She then shows the Prince the egg which conceals Koschei's soul. The Princess seizes and smashes the egg, thus killing Koschei. (This I think, was a total surprise to the firebird. She didn't understand humans at all ☺)The ballet ends with the firebird standing over Koschei's body, radiating grief. Laura Hidalgo as the firebird was utterly compelling, dominating the stage whenever she was on it. I could not take my eyes off her. Rian Thompson as Koschei came near to matching her, and together, these two created an utterly memorable evening. I wish I could say that Acosta's Carmen was similarly memorable. Perhaps it was, given that I thought at the beginning that I had mistakenly wondered into a performance of The Full Monty. The woman to my left fell asleep and snored loudly through most of the performance. The woman to my right turned to me after the final curtain and said, 'Well, that shows that great dancers are not necessarily great choreographers.' Just about says it all, really. But The Firebird demonstrates that we now have two serious classical ballet companies in Australia. Alleluia.
  7. The latest Royal Ballet mixed bill opened tonight, with Viscera, Afternoon of a Faun, Tchaikovsky pdd and the new Carmen (from Carlos Acosta). Was at the dress rehearsals last week, to put together a gallery of the opening night cast: Viscera - Nehemiah Kish, Leticia Stock © Dave Morgan. Courtesy of DanceTabs / Flickr Carmen - Marianela Nunez © Dave Morgan. Courtesy of DanceTabs / Flickr Carmen - Marianela Nunez, Carlos Acosta © Dave Morgan. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: RB - Carmen, Viscera, etc mix bill Courtesy of DanceTabs / Flickr By kind permission of the Royal Opera House
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