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Found 11 results

  1. No comment on the dress rehearsal today, for the usual reasons, but did anyone happen to catch the pre-show announcement about two (I think) cast changes? I missed this as my neighbour arrived rather noisily at exactly that moment and so I am puzzling as to who we saw who isn't on the cast list.
  2. I notice there is a programme on the BBC World service at 0900 on Thursday 7 November about Nureyev.Guests in the discussion include Julie Kavanagh and Thierry Fouquet.
  3. Ralph Fiennes is to direct “The White Crow,” written by David Hare, which centers on the life of Russian ballet dancer Rudolf Nureyev. http://variety.com/2017/film/global/ralph-fiennes-rudolph-nureyev-the-white-crow-1201977389/
  4. On Friday 5 January 2018 I finally took a trip I have been meaning to make for ages. I went to see the grave of Rudolf Nureyev in the Russian Cemetery outside Paris. It took me about an hour to get there from Paris. You take the RER C line to Sainte Genevieve-des-Bois then you pick up a local bus - the 3 towards Croix Blanche will get you to Piscine stop and from there it is a minutes walk to the cemetery. You can use single tickets for Paris on the local buses. It cost me about EUR15 to do the trip. Whilst at the cemetery on the way to Nureyev's grave I also saw that of Serge Lifar, Ballet Russes Principal. The Russian Chapel at the cemetery is only open at weekends and visitors will be relieved to know there are toilet facilities there too. Going back to the station I got a number 1 bus from over the crossroad near the bus 3 return stop and the return buses are headed for Gare RER. The tomb of Nureyev, I should say that the colours are far more vibrant in real life it's just my photo that is little dull. Flowers and pointe shoes left in tribute to Nureyev. Little did I know it was actually 25 years since his death the very next day on 6/1/2018. Fringe detail of the carpet mosaic. Serge Lifar's grave. Had it not been so bitingly cold I would have stayed a little longer to see other famous graves but it was too chilly to hang around! I would definitely recommend a visit though as the cemetery is lovely, and Nureyev's grave is a work of art - he collected carpets hence the mosaic carpet tombstone.
  5. Today social media is full of posts remembering Rudolf Nureyev - he would of been 80yrs old today. I only saw Rudolf dance twice, in Manchester late 70's or early 80's and then later in a tiny theatre in Italy in the mid 1980's (1987 maybe?). I think he danced in Manchester because someone was injured and he stepped in, but I could be wrong... 25 yrs since this force of nature passed and we still honour his memory, and that says it all.
  6. Well whatever is, or isn't going on behind the scenes at the ENB, it didn't show in tonight's performance, which was glorious. What a fabulous place to watch a ballet, the Royal Festival Hall is, everyone can see, the sound is glorious, although the stage is small, but I soon forgot that, caught up in a production so full of gifts i didn't know where to look....
  7. English National Ballet Song of the Earth & La Sylphide Romeo & Juliet / Akram Khan’s Giselle / Nutcracker National Tour Wednesday 11 October – Saturday 2 December 2017 Performance times and ticket prices vary www.ballet.org.uk Continuing its commitment to taking world-class ballet to audiences across the country, this autumn English National Ballet presents five productions on its national tour. Two works new to English National Ballet’s repertoire, Sir Kenneth MacMillan’s masterwork, Song of the Earth and August Bournonville’s La Sylphide recreated by Frank Andersen and Eva Kloborg, will be performed at the Manchester Palace Theatre (11-14 October) and Milton Keynes Theatre (17 – 21 October). First performed in 1965, MacMillan’s choreography for Song of the Earth was different from anything he had previously devised. Featuring three central figures, a Woman, a Man, and a Messenger, this powerful, moving exploration of life, death, and renewal is set to Mahler’s song cycle, Das Lied von der Erde, performed live by English National Ballet Philharmonic. These performances of Song of the Earth coincide with the 25th anniversary of MacMillan’s death. Devised by one of the world´s leading producers of Bournonville ballets, Frank Andersen and Eva Kloborg’s faithful version of the 1830s Romantic ballet La Sylphide sees James wake from a dream on the morning of his wedding to Effy to encounter a mysterious sylphide before him, setting off a fateful sequence of events. Song of the Earth and La Sylphide will also be performed at the London Coliseum in January 2018. Winner of the South Bank Sky Arts Award for Dance, Akram Khan’s Giselle comes to Liverpool for the first time, with performances at the Liverpool Empire Theatre (25-28 October). Hailed as “a masterpiece of 21st century dance” (Mail on Sunday), Khan’s Giselle is one of a community of migrant workers cast out of their jobs in a condemned garment factory. Last season over 40,000 people saw Akram Khan’s reimagined Giselle performed on tour. The world’s greatest love story, Rudolf Nureyev’s Romeo & Juliet returns this autumn with performances at the Bristol Hippodrome (21-25 November). Featuring inventive and passionate choreography, and set to Prokofiev’s famous score, performed live by the English National Ballet Philharmonic, these performances mark the 40th anniversary of the production, which was originally created for English National Ballet in 1977 to celebrate the Queen’s Silver Jubilee. English National Ballet had its most successful Nutcracker run on record last season, when over 100,000 people came to see the production on tour or at the London Coliseum. This year sees Wayne Eagling’s Nutcracker tour to the Mayflower Theatre Southampton (29 November – 2 December) before returning to the London Coliseum, continuing the Company’s tradition of presenting a Nutcracker production each year since 1950. Listings information: Song of the Earth / La Sylphide Manchester Palace Theatre Wednesday 11 October - Saturday14 October 2017 Press night: Wednesday 11 October 2017 For more information, see: www.ballet.org.uk/song-sylphide Song of the Earth / La Sylphide Milton Keynes Theatre Tuesday 17 October - Saturday 21 October 2017 Press night: Tuesday 17 October 2017 For more information, see: www.ballet.org.uk/song-sylphide Akram Khan’s Giselle Liverpool Empire Theatre Wednesday 25 October - Saturday 28 October 2017 Press night: Wednesday 25 October 2017 For more information, see: http://giselle.ballet.org.uk Romeo & Juliet Bristol Hippodrome Tuesday 21 November - Saturday 25th November 2017 Press night: Tuesday 21 November For more information, see: www.ballet.org.uk/romeoandjuliet Nutcracker Mayflower Theatre, Southampton Wednesday 29 November - Saturday 2 December 2017 Press night: Wednesday 29 November 2017 For more information, see: www.ballet.org.uk/nutcracker Booking fees may apply. About English National Ballet English National Ballet has a long and distinguished history. Founded in 1950 as London Festival Ballet by the great English Dancers Alicia Markova and Anton Dolin, it has played a major role in the growth and history of ballet in the UK. Today, English National Ballet is renowned for taking world-class ballet to the widest possible audience through its national and international tour programme, offsite performances at festivals including Glastonbury and Latitude, its distinguished orchestra English National Ballet Philharmonic, and being a UK leader in creative learning and engagement practice and delivery, building innovative partnerships to deliver flagship programmes such as English National Ballet’s Dance for Parkinson’s. Under the artistic directorship of Tamara Rojo, English National Ballet has gained new acclaim as it introduces innovative new works to the Company’s repertoire while continuing to honour and reinvigorate traditional ballet.
  8. 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.
  9. According to the Daily Telegraph article provided in today's Links http://www.telegraph.co.uk/news/bbc/12009837/Male-ballet-dancers-are-now-centre-stage-says-Darcey-Bussell.html, "The programme [Darcey's Ballet Heroes] is intended to be broadcast at the end of the BBC's Year of Song and Dance, and will be joined by documentaries about Nureyev, Acosta, and Pina Bausch." Can't say I'd been particularly aware of the "Year of Song and Dance", but there you are.
  10. 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.
  11. I'd meant to post something about this a month or two back, but recent reports in Today's Links (http://www.balletcoforum.com/index.php?/topic/1602-dance-links-wb-sunday-august-5-2012/, entries 6 and 7 at the time of writing) have made the subject topical again. The Paris Opera Ballet's March live relay of Rudolf Nureyev's production of La Bayadère has been shown in UK cinemas over the last couple of months, and also, I now see, in the USA. (It couldn't be shown live, because the date picked clashed with the Royal Ballet's live broadcast of Romeo and Juliet). It featured Aurélie Dupont as Nikiya, the newly-promoted étoile Josua Hoffalt as Solor and Ludmila Pagliero as Gamzatti. All the showings I could find seemed to be around lunchtime on a weekday, which will doubtless have reduced the possible audience, but did anyone else get to see it? I loved seeing the opulence of this production again: it really is stunning. Among the secondary casting, I have to admit to being very taken with Charline Giezendanner in the Manu, and later on as whichever Shade she danced: she has a very vivacious stage personality, which came over well in the former. It was interesting seeing Pagliero being promoted to étoile on stage - she'd taken on the role at the very last minute due to multiple injuries, not having danced it since the previous production run, I believe - but I was rather sorry that it took the focus so much off Dupont at the curtain calls: Gamzatti is very much the secondary role in this production, unlike in the Makarova production for the Royal Ballet, where the ballerinas are rather more evenly cast. I still wish Nureyev had been able to restore the final act, though - knowing that it might have been possible always leaves me with the feeling that this production is somehow incomplete.
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