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Found 6 results

  1. Just saw this in Canterbury and was very pleased. Sadly not sold out but some very good dancing and a lovely little orchestra. I think the Macmillan choreography is a masterpiece, but this was interesting and quite exciting. Short. The friar has a hugely extended role and it all happens on a smallish stage which I guess is also the case in Leeds. Anyone else seen it? I'd be curious to hear views.
  2. In my newly found interest in POB, I watched parts of their Romeo & Juliet by Nureyev online recently, was intrigued by the difference to the MacMillan version in the final death scene and wondered what else might differ. So I looked at the different casts in their current run of Nureyev’s R&J and, inspired by Yasmine Naghdi’s and Matthew Ball’s superb double debut at the ROH last autumn, I decided to go for the youngest and most junior lead couple – Léonore Baulac and Germain Louvet. Baulac joined POB in 2008 and has been Premier Danseur since 2016: Louvet joined in 2011, Sujet since 2015. They were initially shown as cover, featured in a public rehearsal in February when they were in the early stages of learning the choreography, and then received two performances plus a general rehearsal, and a further performance was added when another cast became unavailable. Friday’s performance, which was the one I went to, was their last. The scenery in Nureyev’s Romeo & Juliet is sumptuous – shiny facades of palaces to both sides, laden market stalls. The story shows additional details, in particular in act 3 (the following not in chronological order) – why Romeo does not receive the letter (as the priest that is meant to deliver the letter to him is killed), how Romeo hears that Juliet has died (Benvolio stumbles upon the mourners and runs off to inform Romeo), a dream scene for Romeo in which he envisages the idyll of being together with Juliet, Juliet’s nightmare when death comes to meet her. Not only Juliet has a number of friends but also Romeo – not just Mercutio and Benvolio but also further friends. So more of everything in Nureyev’s ballet, and I found the scene a little overcrowded at times with lots of market traders/ citizens and all of Romeo’s friends, or all of Romeo’s and all of Juliet’s friends on stage at the same time. There were also a few elements that I found borderline vulgar in acting/ in costume. Juliet is quickly becoming a strong, driving force in the relationship that is formed with Romeo, it is her who initiates the early kisses at the ball at the Capulet’s house, and this suits Léonore Baulac very well. Baulac displayed hugely expressive and impressive acting throughout. Her eyes turn in amazement when Paris asks her for a dance at the ball, her love of Romeo is overwhelming as is her desolation when Tybalt is killed by Romeo, her despair upon realising that Romeo has poisoned himself is excruciating – she simply is Juliet. Romeo has lots of solos throughout – pirouettes, balances in arabesque, jumps into arabesque, a round of double assemblées. Germain Louvet, to my amateur eyes, showed a beautiful line and acquitted himself well given the challenging choreography and acted very well, and I look forward to seeing more of him. The two leads displayed lots and lots of chemistry on stage, the love and passion was clearly there, from when they meet at the ball through to the end. Surprisingly, the PDD between the two had various solos/ the two dancing next to each other, following each other, with a few lifts here and there but – compared to what I remember from the MacMillan version - not very much overhead. Mercutio’s death – Mercutio brilliantly played by Emmanuel Thibault – is more brutal as all his friends still think that he is playing with them and so make fun of him even when he is already dead. Benvolio shows a lot more personality than what I remember from the MacMillan version; he is the mediator, trying to prevent fighting in act 1 however then also getting angry at the Capulets. Sébastien Bertaud whom I much enjoyed in Tombe displayed vivid acting and beautiful dancing and interacted very well with Mercutio and Romeo. Paris, in the performances of MacMillan’s version that I’ve seen, can come across as likeable and genuinely trying to understand why Juliet doesn’t like him. In contrast, I found Paris in Nureyev’s version as unsympathetic as can be. All in all, I prefer MacMillan’s version, and it has been an interesting experience to compare the two. A thought for the dancers as the company has been in three concurrent different productions in recent weeks (Iolanta/ The Nutcracker just finished its run), and I guess the rehearsal process/ schedule will not always have been easy.
  3. What a splendid start to the season! Superlative! ***** Five stars! It doesn't get any better! Well done! Steven McRae, Sarah Lamb and the whole company! The cinema audiences are in for a treat on Tuesday!
  4. Does anyone have any idea of the castings for Romeo and Juliet yet? I am going to the Bristol performances and am dying to know. I cannot understand why the ENB leave it so late to announce casting.
  5. I am a keen RB follower, nevertheless an amateur spectator. Would be interested to hear others views of tonight's opening night performance. For myself my review is mixed. It is a very different R & J - pacy and colourful, more Cuban Carnival than Downton Abbey. Immensely strong corps de ballet and marvellous performances from the males dancing Tybalt and Mercutio. Vladimir Shkylarov delights with his leaps and strong presence - this is Romeo as stud muffin - but Konstantin Zverev dancing Paris had so much sheer presence and charisma, he dwarfed the others. I adore Diana Vishneva and loved her Anna Karenina the last time they visited, despite a lukewarm critical reaction. Tonight she didn't disappoint - lithe and elegant, technically superb. But for me she isn't Juliet. She is too polished, too much the older woman who's been around rather than a vulnerable virginal young girl. And I couldn't find much chemistry between her and Vladimir Shkylarov, the relationship not seeming to develop at all. However, neighbours to the left of me thought the dramatic tension was wonderful, so... Packed to the rafters with an enthusiastic audience who gave a warm welcome.
  6. Scottish Ballet brings Krzysztof Pastor's dramatic tale of love and loss back to life ROMEO & JULIET Glasgow / Aberdeen / Inverness / London / Edinburgh 19 April – 24 May 2014 Choreography: Krzysztof Pastor / Music: Sergei Prokofiev / Dramaturgy: Willem Bruls / Design: Tatyana van Walsum This Spring, Scottish Ballet will return to the stage with the world’s most famous tale of love and loss in a powerful and vivid reinterpretation of Shakespeare’s tragic story of star-crossed lovers, Romeo & Juliet. This exhilarating production, which was created for Scottish Ballet by Polish choreographer Krzysztof Pastor in 2008, has since gained status as one of the Company’s most iconic works - with a second hugely successful tour in 2010. Now, for the first time, Romeo & Juliet will return under the focused guidance of Scottish Ballet’s Artistic Director, Christopher Hampson, who joined the company in 2012. In another first, Romeo & Juliet will be performed at Sadler’s Wells in London from 14 – 17 May, giving audiences there the opportunity to see this unique and enchanting adaptation for themselves. Set in the 20th century, this passionate story of forbidden love unfolds through three dramatic acts as time moves on inexorably. Beginning in black-and-white, in a 1920s Italian metropolis, Pastor uses a back projector depicting stark images of First World War trenches to invoke a message of conflict and turmoil - a clear hint of what is to unfold on stage. The second act moves to the sepia-toned 1950s, in the wake of Mussolini’s Fascist dictatorship. Finally, the third act is set amidst the backdrop of warring nations in the 1990s; a land dominated by the eerie blue light of television cameras that report 24/7 from the frontline of global wars. Loyal followers of Scottish Ballet will see the evolving talent within the Company as a number of recognisable faces dance principal roles. Artistic Director Christopher Hampson, who has firmly secured his reputation as a master in creating captivating and unique choreographic works following productions such as Hansel & Gretel and Rite of Spring, said: “To be involved with bringing one of the Company’s most loved productions back to the stage is both an honour and a great opportunity. “When producing a show that has already been so well received, the pressure is on to ensure that all the beauty, drama and physicality, essentially what audiences have fallen in love with, remain as vibrant as the day it was first performed. “My personal challenge has been to select the principal roles from a corps of exceptionally talented dancers, all of whom have demonstrated an overwhelming dedication and commitment brought about by their love of this production. It’s this connection that shines through and will appeal to people both coming to see this Romeo & Juliet for the first time as well as those returning for the second or even third occasion. He continued, “I’m confident that with the combination of talent on stage and an incredible musical score which many already know and love, we will do justice to Pastor’s original production, which remains as current today as it did in 2008. Speaking ahead of the very first performance in 2008, Krzysztof Pastor described what audiences could expect. He said: “It is set in the 20th century, but we move through three different periods within that century. The characters don’t age, though, they remain the same, but the change of setting is really just to emphasise the fact that this story could be happening at any time.” “In this story the conflict is between the Montagues and the Capulets,” continues Pastor, “but it could as easily be between a Catholic and a Protestant, or a Muslim and a Jew. Divisions and conflicts, walls and wars are timeless.” Romeo & Juliet will open at The King’s Theatre, Glasgow on Saturday 19 April and run until Saturday 26 April. It will then tour to His Majesty’s Theatre, Aberdeen (30 April – 3 May), Eden Court, Inverness (7 – 10 May), Sadler’s Wells, London (14 – 17 May) and The Festival Theatre, Edinburgh (21 – 24 May). Webcasts: Thursday 27 March and Thursday 3 April at 4pm. Delve into the rehearsal process of Romeo and Juliet and follow two dancers on their way to the stage. Take the opportunity to ask Scottish Ballet’s talented dancers questions and find out more about what it takes to perform as Romeo and Juliet. Get in touch via twitter at #SBRomeoJuliet or email your questions to Christina.riley@scottishballet.co.uk Romeo & Juliet is sponsored by Adam & Company. Please see editor’s notes and listings below for further information on dates and times of Scottish Ballet’s audio described performances and touch tours. LISTINGS King’s Theatre, Glasgow Sat 19 – Sat 26 April 2014 Evenings - 19 & 22 - 26 April @ 7.30pm / Matinee 26 April @ 2pm Audio described performance (preceded by a touch tour at 12.30pm) on Saturday 26 April @ 2pm. Ballet Cafe Late at Scottish Ballet, Tramway on 23 May @ 7pm. Tickets £10. Book online at scottishballet.co.uk/balletcafe Free Pre-Show talk at Glasgow Weir Hall, Scottish Opera on 24 April (Focus on Dance) and 25 April (Focus on Music). Contact King’s Theatre box office to book. Free Post-Show discussion at Glasgow, Kings Theatre on 25 April. No booking required. Insight at King’s Theatre on 26 April @ 11am. Tickets £5.50 / £3.50 concession. Book through box office. Tickets: £10.50 - £43.50* Tickets including ATG booking fee: £11.50 - £44.50 Box Office: 0844 871 7648 Book Online: www.atgtickets.com/venues/kings-theatre * *No booking fees charged on sales made in person at the venue Box Office, by Theatre Card holders or Groups. ATG booking fees plus a £2.85 transaction fee apply for all other sales. Aberdeen, His Majesty’s Theatre Wed 30 April - 3 May 2014 Evenings - 30 April, 1– 3 May @ 7.30pm / Matinee 3May @ 2pm Audio described performance (preceded by a touch tour at 12.30pm) @2pm on Saturday 3 May. Ballet Cafe Late on Tuesday 29 April @ 7pm. Tickets £10 Free Pre-Show talk at His Majesty’s Theatre on 1 May (Focus on Dance) and 2 May (Focus on Music). Free Post-Show discussion at His Majesty’s Theatre on 2 May. Insight at His Majesty’s Theatre on 3 May @11am. Tickets £5.50 / £3.50 concession. Book through the box office. Tickets from £27.50 – £15.50* / Premium seats £37.50* * Booking fees apply Box Office: 01224 641122 Book Online: www.aberdeenperformingarts.com/events/scottish-ballet-romeo-juliet Inverness, Eden Court Wed 7 May – Sat 10 May 2014 Evenings 7-10 May @ 7.30pm / Matinee 10 May @ 2pm Audio described performance (preceded by a touch tour at 12.30pm) on Saturday 10 May @ 2pm. Ballet Cafe Late on 6 May @ 7pm. Tickets £10 Free Pre-Show talk at Eden Court on 8 May (Dance) and 9 May (Music). Free Post-Show discussion at Eden Court on 9 May. Insight at Eden Court on 10 May @11am. Tickets £5.50 / £3.50 concession. Book through box office Tickets* - Fri 9 and Sat 10 evening £30.00 / £27.00 / £23.00 / £20.50 Weds 7 / Thurs 8 evenings / Sat 10 May matinee £28.00 / £25.00 / £21.00 / £18.50 Box Office: 01463 234234* Book Online: www.eden-court.co.uk* / In person at Eden Court *Booking fees apply London, Sadler’s Wells Wed 14 May – Sat 17 May 2014 Evenings 14-17 May @ 7.30pm / Matinee 14 May @ 2.30pm Audio described performance (preceded by a touch tour at 1pm) on Saturday 14 May @ 2.30pm Pre-Show talk at Sadler’s Wells Kahn Lecture Theatre on 16 May. Free to same day ticket holders Tickets* Stalls: £24 / £36 / £42 First Circle: £18 / £36 / £42 Second Circle: £12 / £18 / £24 Box Office: 0844 412 4300 Book Online www.sadlerswells.com/RomeoandJuliet / In person at Sadler’s Wells *Transaction fee applies. £2.50 for telephone bookings / £1.75 for online and concessionary bookings. No charge for in person bookings. Edinburgh, Festival Theatre Wed 21 May – Sat 24 May 2014 Evenings 21-24 May @ 7.30pm / Matinee 24 May @ 2pm Audio described performance (preceded by a touch tour at 12.30pm) on Saturday 24 May @ 2pm. Ballet Cafe Late on Tuesday 20 May @ 7pm. Tickets £10 Free Pre-Show talk at Festival Theatre on 22 May (Dance) and 23 May (Music). Free Post-Show discussion at Festival Theatre on 23 May. Insight at Festival Theatre on 24 May @11am. Tickets £5.50 / £3.50 concession. Book through box office Tickets* Premium seats £42.50 General tickets £37.50 to £15.50 Box Office: 0131 529 6000 (Mon – Sat, 11am – 6pm) Groups (8+): 0131 529 6005 (Mon – Fri, 10am – 6pm) In person at 13/29 Nicholson St EH8 9FT (Mon – Sat, 10am – 6pm or until curtain up on performance nights) Book Online: www.edtheatres.com *A booking fee of 75p is charged per ticket for online, phone and postal bookings by the Festival & King’s Theatres Edinburgh. Maximum charge of £3 for phone and postal bookings. For bookings of 8 or more, call 0131 529 6005 where no booking fees apply. Ticket prices include a contribution to the Theatres Development Fund. An 80p handling charge will be added for posting your tickets to you. Festival City Theatre Trust is a registered Charity SC018605. EDITOR’S NOTES Krzysztof Pastor Choreographer, Romeo and Juliet Krzysztof Pastor began his ballet training with the Ballet School in his home town of Gdańsk. After his training, he joined the Polish Dance Theatre in Poznań (1975). In 1983 Pastor became a soloist with Le Ballet de l'Opéra of Lyon in France, dancing ballets by Gray Veredon, Hans van Manen, Kurt Jooss and others. From 1985 to 1995, he danced with the Dutch National Ballet (Het Nationale Ballet), working with many well-known choreographers such as Carolyn Carlson, Nils Christie, Nacho Duato, Rudi van Dantzig, Jan Linkens, Eduard Lock, Hans van Manen, Maguy Marin, Toer van Schayk, Nina Wiener, and Peter Wright. He danced major roles in both classical and neoclassical ballets, as well as modern dance works. Pastor completed his first choreographic work in 1986 for an international gala performance in Lodz. After creating several ballets for the Dutch National Ballet’s workshop programmes, he was asked to design a ballet for the company’s main programme in 1992, the successful Shostakovich-Chamber Symphony. He worked as a freelance choreographer from 1995. In the 1997/98 season he joined the Washington Ballet as its choreographer in residence, and became the Dutch National Ballet’s choreographer in residence in the 1998/99 season. Pastor has gained considerable recognition as an international choreographer, creating nearly fifty ballets to date, including the acclaimed Do Not Go Gentle… and In Light and Shadow; the full length production Kurt Weill, Acid City, Don Giovanni, Tristan and Dangerous Liaisons; as well as Symphony Fantastic for the Australian Ballet. In 1995 Pastor's duet Detail IV won the Gold Choreography Award of the Helsinki International Ballet Competition. In 2000 he was awarded the Medal of 200 Years of Polish Ballet by the Ministry of Culture in Poland, and the Dancers Fund '79 Choreography Prize in the Netherlands. His works: Do Not Go Gentle… (2000) and Kurt Weill (2001) were hailed in the Netherlands as great artistic events of those seasons, and presented as such at the Dutch Days of Dance. In 2001, his ambitious and challenging production Kurt Weill was also nominated at the Bolshoi Theatre (Moscow) for the prestigious international Benois de la Danse Prize in no less than three categories. In January 2003, Krzysztof Pastor was appointed resident choreographer of the Dutch National Ballet, sharing the position with Hans van Manen. In December 2007 he was invited by the Bolshoi Ballet in Moscow to work with the Bolshoi's star Svetlana Zakharova (duet from “Tristan” and solo from “Voice”). In May 2008 in Edinburgh, Pastor premiered his own original, cutting-edge version of Prokofiev's Romeo & Juliet with Scottish Ballet. Alongside his work for the Dutch National Ballet, Pastor has created ballets for many companies in other countries, such as the Royal Swedish Ballet, Ballet Opera Dresden, Israel Ballet, Royal Flemish Ballet, Ballet of the Polish National Opera in Warsaw (Górecki's Third Symphony, 1994), National Ballet of Lithuania, National Ballet of Latvia, Donau Ballet, Hungarian National Ballet, National Theatre in Brno, Ankara State Ballet, Australian Ballet, West Australian Ballet Royal and New Zealand Ballet. After years of artistic absence from Poland, Krzysztof Pastor was invited by the Polish National Opera in Warsaw to stage his Tristan to the music of Richard Wagner. Following the choreographer's first visits to Warsaw, the theatre's general director Waldemar Dąbrowski asked Pastor to accept the position of director of the Polish National Opera's ballet company, with the aim of giving the company artistic independence and elevating its position at the Teatr Wielki to that of the Polish National Ballet. Pastor took up his new post in 2009 while retaining his duties as resident choreographer of Het Nationale Ballet in Amsterdam. His newest work is And the Rain Will Pass... which was created specially for the Polish National Ballet (2011). In 2010 director Krzysztof Pastor received the prestigious Terpsichore Award which was presented by the Polish Theater Artists Union. In 2011 he was awarded by the Polish Minister of Culture and National Heritage the highest cultural award, the Gloria Artis Gold Medal for his choreographic achievements around the world and for his artistic and organizational effort to raise the prestige of ballet art in Poland. In 2011 Krzysztof Pastor took on the additional duties of artistic director of ballet at the Lithuanian National Opera and Ballet Theatre in Vilnius.
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