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Ballet Black - War Letters


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Ballet Black's War Letters opened at the Linbury Theatre last night. The photocall was most enjoyable.  Let us know what you think. Here are a couple of my impressions.

 

 

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 The Company in Christopher Marney's War Letters 

 

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 Jose Alves and Sayaka Ichikawa, Damien Johnson and Sarah Kundi, Jazmon Voss and Cira Robinson in War Letters 

 

More pictures on www.johnrossballetgallery.co.uk

 

 

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A couple more pics from War Letters - part of Ballet Black's terrific mixed bill, currently running at the Linbury (at ROH)

 

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Ballet Black - War Letters (Cira Robinson, Damien Johnson)
© Dave Morgan. Courtesy of DanceTabs / Flickr


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Ballet Black - War Letters (Jacob Wye, Kanika Carr)
© Dave Morgan. Courtesy of DanceTabs / Flickr


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Set from DanceTabs - Ballet Black mixed bill (War Letters)
Courtesy of DanceTabs / Flickr
By kind Permission of the Royal Opera House

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I'd just like to put a plug in for Canadian choreographer Rob Binet, who also has a piece on this program. I've been watching Rob since he was a 12-year-old at Canada's National Ballet School and have been really impressed by his choreography for one so young (he's just 21). So I'd love to hear from anyone who sees this program how you like his latest piece.

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I'd just like to put a plug in for Canadian choreographer Rob Binet, who also has a piece on this program. I've been watching Rob since he was a 12-year-old at Canada's National Ballet School and have been really impressed by his choreography for one so young (he's just 21). So I'd love to hear from anyone who sees this program how you like his latest piece.

 

I liked the choreography, but thought the music was bloody awful. Fortunately I have the ability to switch off 'music' I don't like somewhere between ears and brain...

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I liked the choreography, but thought the music was bloody awful. Fortunately I have the ability to switch off 'music' I don't like somewhere between ears and brain...

Lucky you! I wish I could do that. I just can't bring myself to like ballets where I hate the music. In the past Rob has chosen beautiful music (I remember one piece set to Palestrina for the National Ballet School).

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Katherine:  I'm delighted to hear of someone having set to Palestrina!  If you can recall the motet used, I'd love to know, as I've often wondered how well 16th century polyphony might be used for choreography.  In particular, I feel that Thomas Tallis's 8-choir, 40 voiced 'Spem In Alium' offers lots of opportunity over some 11 minutes - progressive entries and exits, a steady pulse, two general pauses, and a massive finish.  

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