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li tai po

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  1. This is deeply distressing news. Liam was never afraid to use masterworks of the concert hall for his ballets - in that respect, he resembled Kenneth MacMillan. I remember with particular pleasure his early ballet Of Mozart, set to one of the most popular Mozart piano concertos, where he was clearly inspired by working with Laura Morera and Ricardo Cervera - and then his "late" work, the glorious Symphonic Dances, whose music has ironic premonitions of the end in the final movement and which was such a wonderful vehicle for Zenaida Yanowsky, as she neared the end of he
  2. I wholeheartedly welcome the comments of Floss above, but I would like to add another neglected name to the list of heritage choreographers - Leonide Massine. Dame Ninette did much to embed his work in the repertoire of the Royal Ballet. He came in person to mount his Diaghilev successes of La Boutique Fantasque and The Three-Cornered Hat in 1947 and danced the miller himself with great success, partnering Margot Fonteyn. He also danced the can-can in La Boutique Fantasque with Moira Sheaer and later with Alexandra Danilova. These were the only Diaghilev ballets to be premiere
  3. Here are two streams on you tube, free of charge. Dancers stay in the Dutch National Ballet Junior Company for only two years, before moving on either into the main company or elsewhere - so coronavirus has been severely restricting their opportunities to gain experience of performing on stage. They are streaming a rare revival of Hans Van Manen's 1983 ballet, In and Out, which is set to music by Laurie Anderson and Nina Hagen. It seems remarkably modern for its time and is a riot of movement and colour. Hans Van Manen is still going strong and is rapidly approaching
  4. There is a beautiful performance of Scenes de Ballet from 2004 with Miyako Yoshida and Ivan Putrov (with Martin Harvey, Yohei Sasaki, Joshua Tuifua and Edward Watson, no less). I find this version stylish, witty and full of edge - it has been issued commercially. What is wrong with this performance, Stucha?
  5. The great Kirov/Mariinsky ballerina, Altynai Asylmuratova, is 60 today. She is originally from Kazakhstan. After retiring from performing, she became the director of the Vaganova Academy in St. Petersburg. She is now director of the Astana Opera Ballet and of the Kazakh National Academy of Choreography (KNAC). The students of KNAC have filmed a birthday tribute to her. https://www.youtube.com/watch?v=hNhWTB4NFXs&feature=youtu.be
  6. My understanding is that the dancers will continue attending the Royal Opera House during the lockdown period and will be able to perform both programmes in an empty house. The intention is to record both programmes for subsequent streaming.
  7. Well I thoroughly enjoyed watching a live show from Astana, for once - and some of the dancers have become quite familiar. The dancing was a bit tentative, but the dancers were clearly enjoying being back on stage after six months' gap. Aigerim Beketaeva and Bakhtyar Adamzhan were fully committed in Notre Dame de Paris, and there was plenty of attack from Anel Rustemova and Daler Zaparov in the Corsair pas de deux. Tomorrow (Saturday) they are streaming a live performance of Scheherazade with Anastasia Zaklinskaya and Bakhtyar Adamzhan - it transmits at 1 pm UK time.
  8. The Astana Opera Ballet is presenting its opening ballet gala tomorrow (Friday) at 7 pm Kazakh time (2 pm UK time). The live audience is restricted to 50 persons, but it is being shown on Kazakh TV. The programme includes Petipa's Harlequinade Pas de Deux, Messerer's Spring Waters, a pas de deux from Petit's Notre Dame de Paris, Scheherazade pas de deux, extracts from two Kazakh ballets and an extended extract from Le Corsaire. All the principal dancers are performing. Here is the link https://tengrinews.kz/tv/
  9. I understand that the Astana Opera House in Kazakhstan will present its opening Ballet Gala tomorrow (Friday), following the Opera Gala last Friday. The live audience is restricted to 50 persons, but the performances are being streamed live on Kazakh TV. Tomorrow's gala is being show at 7pm in Astana (2 pm in the UK). This is the link https://tengrinews.kz/tv/
  10. There is a fascinating essay by Henry Danton, no less, as the Talking Point column in the new October edition of The Dancing Times. Henry Danton draws on his experience working under Nicolai Sergeyev in the 1940s in the Sadler's Wells Ballet, Mona Inglesby's International Ballet and the Australian Ballet. He has been having an extended and friendly disagreement with Alexei Ratmansky over the authenticity of current versions of Ivanov and Petipa's choreography. Ratmansky has of course tried hard to reconstruct the original ballets from documentary sources. Henry Danton
  11. Sad to see so many of the experienced dancers leaving. Their performances have given us a lot of pleasure over the years. The dancers coming up through the company will be challenged to fill their shoes. It is invidious to pick out individuals, but nevertheless I would like to mention Barry Drummond, who is clearly only half way through his career. I first noticed him as Caroline's lover in the Royal Ballet School matinee of Lilac Garden, where he was romantic and ardent - taking on a role which requires a demanding interpretation from a young dancer. Throughout his
  12. Dutch National Ballet are presenting seven performances in September of Dancing Apart Together, a programme of new choreography. They are performing in their Opera House with a socially distanced audience - and no interval. According to their website, all performances are sold out. They have posted one of their excellent videos as a trailer, showing all 8 choreographers presenting their works - with fascinating explanations by Hans Van Manen, Annabelle Lopez Ochoa, Ernst Meisner, Juanjo Arquez and of course Ted Brandsen himself. The programme appears mouth watering -
  13. Thank you very much, Sebastian, for this clip. The costume makes the point that Princess Florine is a princess and not a bluebird. Sadly neither Vikharev's reconstruction for the Mariinsky, nor Ratmansky's more recent reconstruction appear to have been filmed for public consumption.
  14. I was fascinated by this discussion. Petipa choreographed the Bluebirds as a fairy tale with a story, as much as Puss-in-Boots, Little Red Riding Hood (and Cinderella). The Vaganova Academy teaches the choreography carefully in terms of the story and its interpretation - and the Mariinsky perform it in the same context. Some European companies treat the pas de deux as a bravura exercise with scant regard to the story - which has led to some interesting differences of opinion backstage.
  15. The Mariinsky has reopened with performances of a Petit double bill - Carmen Suite and Le Jeune Homme et la Mort - which does not require many dancers. They are about to embark on a series of Giselle performances. I understand that about 20 dancers have tested positive for coronavirus and some are quite ill. The performances appear to be going ahead, but from Saturday (8 August) all classes and rehearsals, even one to one rehearsals, have been cancelled. Artists who are not involved in performances are asked not to come to the theatre. The Bolshoi has not yet reopened, but ful
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