Jump to content

Search the Community

Showing results for tags 'Alexei Ratmansky'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • The forums
    • Performances seen & general discussions
    • Ballet / Dance news & information
    • Dance Links - reviews, news & features
    • Doing Dance
    • Ticket Exchange & Special Offers
    • Not Dance
    • Photo archive
    • About BalletcoForum

Categories

There are no results to display.


Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Location:


Interests

Found 6 results

  1. So, a brief run of Ratmansky's The Bright Stream starts tonight. If you're lucky enough to have a ticket, do let us know how it goes!
  2. San Francisco Ballet's season of four mixed bills begins at Sadler's Wells tonight. All thoughts here, please. The bills are: 1. Ratmansky's Shostakovich Trilogy: "In a triptych of works, world renowned choreographer Alexei Ratmansky pays homage to Dmitri Shostakovich. Attracted by the theatricality of his music, Ratmansky has returned time and time again to the work of the Russian composer. The three works, Symphony #9, Chamber Symphony and Piano Concerto #1 reflect Shostakovich’s life and experiences in abstract form." 2. Liang / Marston / Pita: "In The Infinite Ocean, Taiwanese-born American choreographer Edwaard Liang interprets loss and letting go. Cathy Marston adapts Edith Wharton’s haunting tale of adultery, Ethan Frome, in Snowblind. And, in a match made in Wonderland, the fantastically surreal choreographer Arthur Pita is inspired by the music of the Icelandic icon, Björk Guðmundsdóttir for his Björk Ballet." 3. Welch / Scarlett / Peck: "Set to the violin concertos of Johann Sebastian Bach, Stanton Welch’s Bespoke explores dance itself in a love letter to ballet. The critically acclaimed Hummingbird by British choreographer Liam Scarlett is accompanied by Philip Glass’ Tirol Concerto, with shadowy designs by regular collaborator John Macfarlane. “Virtuoso of the form” (New York Times) Justin Peck uses the electronic music of M83 for Hurry Up, We’re Dreaming." 4. McIntyre / Wheeldon / Dawson: "With the title lifted from the work of Walt Whitman, Your Flesh Shall Be a Great Poem inhabits the eccentric world of Trey McIntyre’s grandfather. Sadler’s Wells Associate Artist Christopher Wheeldon joins forces once again with the composer Keaton Henson to take on the modern world in Bound To. And, in his first work for the company, David Dawson’s Anima Animus is ballet technique stretched to its outer limit, set to Ezio Bosso’s Esoconcerto."
  3. La Bayadère Berliner Staatsballett. Ratmanksy - amazing production! Seminova as Nikiya, Virelles as Solor, Correa as Gamzatti. I love the way Ratmansky does Grand Ballet Kitsch with total seriousness and commitment. It was on the one hand watching the 19th. Century come alive, but with Bakst’s spirit hovering throughout, and a witty, knowing but academically informed 21st century approach. His use of mime is perfect - no other does it as well. It was truly a language in itself. The dancing first rate throughout (....although first night wobbles visible amongst the Shades, when they were on solid ground not the slope), Polina and Yolanda totally nailed it. Alejandro’s solo a little underpowered, but still a great performance. Loved the sets - the Himalayas in the background, great palace destruction, and fabulous costumes. Riotous applause!
  4. Saw no one has yet lifted this topic off, so I thought I would jump in. I wrote a review of the production itself the last time round so I will leave that to historical record. In many ways I thought last night's outing was more fair to the the variety of Ratmansky's choreographic outlines - and certainly Burlaka's 'Dramatic Conception' - such as it exists in this particular 're-imagining'. Indeed - and perhaps more to the point - it was the Bolshoi Ballet Company - itself - as a whole - that here now shone minus its originating - and focus stealing - 'Vasipova' effect, as thrilling as that historic moment in balletic time was. That is perhaps ironic given much of the Bolshoi's own history ... but there is no question but that it is more fitting just now. (The Shrew of the last two nights has made that vividly clear. This is a Company set sail with a differing - if not an entirely different charge.) In many ways I felt that Ekaterina Krysanova bettered her predecessor as Jeanne in that she seemed a tad more comfortable in the many character dance aspects and was certainly determined in her character observations throughout. Her stare as she progressed forward at the end pierced through with steel. What a gloriously versatile artist this young dancer is. Certainly you could feel that in the clearly distinct differences in her own O/O framework. She is, in fact, the ONLY female principal who will have appeared in principal roles in ALL FIVE of the ballets being presented in London's 2016 Bolshoi season. This surely is HER season and hers - at least as far as I'm concerned - is very much a well deserved showcase ... as was it on this occasion for the dramatically thrilling Igor Tsvirko (looking - as arrayed here - every inch the Bolshoi's answer to John Travolta of yore) - who threw his own eye popping - both literally and figuratively - blaze into last night's mix as Philippe. Denis Rodkin was replaced 'due to injury' (as announced) last night by the arduously svelte Artem Ovcharenko and his real-life fiancee (it has been publicly announced they will be getting married later this month) the always enticingly exquisite Anna Tikhomirova - surely a principal in waiting. They dazzled as Mireille de Poitiers and Antoine Mistral and the oh, so difficult partnering of that central adagio - even inclusive here of a very small slip by Tihomirova which Ovcharenko make almost entirely unnoticable. Theirs was a heart-rendering love knot and oh, so very musically enhanced. Outstanding too - once again - in the role he originated - was that phenomenal character artist in a company of world leading character dancers, Vitaly Biktimiov. Once more he proffered a distinctly 'David-Niven-like' air as Gilbert, Captain of the Marseillais. How lucky we are to be able to watch his ever present and always uniquely stunning detail of his life enriching creations much as we are with our very own and equally vivid Gary Avis. Denis Savin once again brought keen heart to Jerome as did the effervescent Nina Kaptsova as Adeline (much as she had in the performance now incarcerated on DVD). I felt that Chudin - in an act of wholly unnecessary luxury casting - was a tad wasted in the role of The Marquis Costa de Beauregard - for short of his revelatory bristling brises - there is not a great deal of dance for this character and otherwise Chudin did appear somewhat out of place at times - (and the wig too certainly does him no favours much as it historically didn't a younger Wayne Eagling - who every year he seems to facially resemble more and more - in the RB's Nutcracker). This may well, of course, have been an appropriate character choice given that this role is largely written out as the proceedings progress; a bit like David Cameron after Brexit. That said I was entranced once more by the gloriously witty account Denis Medvedev gave as King Louis XVI in his one scene. During this you could well see why Stalin - zealously puffing smoke from his Bolshoi box - would reportedly guffaw with such bucolic mirth. Indeed at one point therein I thought I could hear the trace of his echo. In all though it was the stunning character dances - here in such an abundantly rich array - that tied this fanciful delight up with a distinctly charged ribbon. Georgy Gusev's precision in placement alone in the thrilling Marseillaise Dance almost cried out 'Liberte, egalite ... and certainly fraternite' and the adoring audience once again detonated in the explosive thunder of their admiration.
  5. I apologise for being late, but I guess as the Swiss member of the forum I should finally give a review of Alexei Ratmansky's Swan Lake reconstruction. I was lucky enough to have tickets for the Premiere, and I have to say it was a wonderful performance by Viktorina Kapitonova. Alexander Jones was also very nice and was a great Prince Siegfried too. The movements were very feminine, and the circus-like acrobatics of modern versions was replaced by the story of Maidens rather than swans, and faster, lower, more natural movements by the main characters. The italian style was very much welcomed by the Zurich Crowds, and there were some tears at the very dramatic (not happy) ending. The evening passed like a beautiful fairy tale as was Ratmansky's Sleeping Beauty. All performances are sold out, though I am sure there will be tickets at La Scala, where Ms Zakharova will no longer be guesting, instead the Principals of the italian company will dance it. Maybe this is a sign of a change in direction at La Scala, which I imagine will have a big impact on ticket sales. The costumes were delightful and you can see the photographs and summary of reviews on Ms Kapitonova's personal website here The FT gave the performance 5 stars The trailer has been posted on another thread, but the direct youtube video is here
  6. I've just been reading Alastair Macaulay's review of ABT's "new" Sleeping Beauty as revised/restored by Ratmansky: http://www.nytimes.com/2015/03/11/arts/dance/review-ratmanskys-the-sleeping-beauty-has-premiere-in-california.html?ref=dance&_r=1 He sounds pretty taken with it. Would love to read feedback from anyone who's been to see it.
×
×
  • Create New...