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n° 276 • the international DANCE magazine
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Preljocaj,
Research
and Creation
4,90
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Editor-in-chief
Alfio Agostini
Contributors/writers
Erik Aschengreen
the international dance magazine
Leonetta Bentivoglio ENGLISH Edition
Donatella Bertozzi
Valeria Crippa
Clement Crisp
Gerald Dowler
Elisa Guzzo Vaccarino
Marinella Guatterini This issue’s cover story
Marc Haegeman is devoted to
Anna Kisselgoff choreographer Angelin
Dieudonné Korolakina Preljocaj . On the cover
Kevin Ng Isabel García López,
Jean Pierre Pastori from Ballet Preljocaj, in
“Gravité” at the Lyon
Martine Planells
Biennale (ph. J.C.
Olga Rozanova
Carbonne)
Roger Salas
Sonia Schoonejans Above, Preljocaj
René Sirvin rehearsing his new
Lilo Weber “Winterreise” for La
Scala ballet company;
Editorial assistant
with Antonella Albano
Cristiano Merlo and Nino Sutera
Translations ( ph. Brescia & Amisano,
Simonetta Allder Teatro alla Scala)
Cristiano Merlo
Editorial services, design, web
Luca Ruzza
6 News – from the dance world
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pub@ballet2000.com
ph. (+33) 09.82.29.82.84
20 Cover story :
(+39) 011.19.58.20.38 Angelin Preljocaj: Research and Creation
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28 On stage! Reviews :
La Scala Ballet, Milan
n° 276 - XII. 2018 Paris Opéra Ballet
Ballet du Rhin
Staatsballett Berlin
Compañía Blanca Li
Ballet du Capitole, Toulouse
Zurich Ballet
Grupo Corpo Staatsballett Berlin: “La Bayadère”
Tanz Luzerner Theater
Batsheva Dance Company
Ballet Nice Méditerranée
Compañía Nacional de Danza, Madrid
Stuttgart Ballet
The Royal Ballet, London
BALLET 2000
B.P. 1283 – 06005 Nice cedex 01 – F
tél. (+33) 09.82.29.82.84 Paris Opéra Ballet: “Glass Pieces”
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Companies
Lyon’s homage to Trisha
In January, the Lyon Opera Ballet is paying a
tribute to Trisha Brown, a leading figure of
American post modern dance who passed away
in 2017. The French company is dedicating to
her one of its “portrait programmes” of this
year (after a Merce Cunningham evening and
prior to a Jirí Kylián programme). Three works
by Brown have been chosen, the first of which
is Newark, a French creation made in 1987 for
the Centre National de la Danse Contemporaine
of Angers, an institution that holds historical
significance for French contemporary dance.
Rising and dropping backdrops, like a second
musical score, give Newark its tempo. The other
two works in this triple bill were made in col-
laboration with visual artist Robert
Rauschenberg: Foray Forêt (1990) is a sort of
foray into the subconscious, while the ultra-
famous Set and Reset/Reset (1983), to music by
Laurie Anderson, constitutes a manifesto of the
choreographer’s aesthetic principles, with the Lyon Opera Ballet: “Newark”, c. Trisha Brown (ph. M. Cavalca)
dance’s continuous flowing movement actually
concealing a complex and precise pattern of
trajectories. “Walpurgis Night” sequence of an imaginary Soir de fête), to George Balanchine. The Nice
and wild witches’ Sabbath teeming with de- company’s focus on period French repertory
mons. Various choreographers over the years is again borne out by their revival of Les Deux
A Nice Faust by Eric Vu-An have created to this music, some to produce Pigeons by Albert Aveline (1919) from the old
At the end of 2018 Ballet Nice Méditerranée ballets in their own right, independently of (and longer) late 19th-century ballet The Two
(i.e the troupe of the Nice Opera directed by the opera – from Léo Staats, director and Pigeons by Louis Mérante: a “charming” and
Éric Vu-An) presented a creation and a revival. choreographer of the Paris Opéra Ballet in the romantic ballet, it is emblematic of the elegance
Vu-An himself choreographed the dances from early 1900s (from whom Vu-An probably took and joie de vivre of the French school that Vu-
Charles Gounod’s Faust, the famous, long his cue, having already “resuscitated” Staats’ An has been reviving of late.
Marlene Fuerte, Luis Valle – Ballet Nice Méditerranée:“Faust”, c. Éric Vu An (ph. F. Levieux)
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Ballet du Rhin: “The Heart of my Heart”, c. Gil Carlos Harush (ph. A. Poupeney)
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swings or cha-cha-chás. The programme is how-
ever completed by a completely different kind of The Bolshoi remembers Ekaterina Maximova
work inspired by the aesthetics of the Surrealist
movement and its political criticism, especially as Taking advantage of this or that anniversary, the Russian companies always find an
expressed in the films of director Luis Buñuel. It is excuse to celebrate their great artists at special soirées that lace the regular seasons’
by Spanish choreographer/director Marco Morau programmes. This is the case also, first and foremost, at the Bolshoi Theatre of
of the La Veronal company and borrows its title Moscow. Thus, on 1 February the great Muscovite theatre is paying tribute to Ekaterina
from that of the famous Surrealist periodical: Le Maximova on the occasion of the 80th anniversary of her birth and 10th of her passing.
Surréalisme au service de la révolution (“Surrealism Maximova was one of the most loved and internationally-famous Russian ballerinas
at the Service of the Revolution”). of her era and with her stage partner and husband Vladimir Vasiliev formed one of
the legendary partnerships of the Russian ballet. Various current principals of the
Bolshoi are to perform in this commemorative show, devised and organised personally
The Grand-Théâtre reopens in glory by Vladimir Vasiliev, which will feature some of the most significant roles of this
Following the Abou Lagraa creation Wahanda, next technically-dazzling ballerina whose stage personality ranged from roles “of charm”
March the Ballet du Grand-Théâtre de Genève to more academic and even dramatic ones.
(Switzerland) is returning to its home-stage which
reopened to the public at the end of 2018, after a Ekaterina Maximova, Vladimir Vassiliev in 1979 in "Romeo and Juliet",
revamp of the theatre (which had been built in the c. Maurice Bejart (ph. F. Levieux)
Eclecticism style at the end of the 19th century)
that has brought to light some of its original
ornamental motifs. The Geneva-based dancers will
be dancing ballets by Jirí Kylián who has been
absent from their repertoire for the last 10 years.
Despite announcing his retirement as a
choreographer, the 71-year-old Czech
choreographer’s works nevertheless continue to
feature extensively on the billboards of many
European theatres. The Geneva troupe are reviving
two of Kylián’s most famous ballets: Bella Figura
and Petite Mort. Greek choreographer Andonis
Foniadakis’s Glory (to Händel’s Gloria) completes
the programme; it was created in Geneva in 2012
and thus returns to its origins after going all around
the world thanks to the numerous international
companies that have acquired it.
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Sofia Matyushenskaya,
Kimin Kim –
Yacobson Ballet:
“Don Quixote”
(ph. M. Logvinov)
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reshaped the physiognomy of this 40-dancer
strong German company and of its repertoire,
Polunin, from Nutcracker to adding his own creations to it, as well as
Sacre important acquisitions by leading choreogra-
The name of Sergei Polunin has re-ap- phers on the international scene. He is
peared in papers all over the world awaited in Vienna in September 2020 as next
thanks to the success of the new Walt director of the Staatsoper Ballet but will
Disney movie The Nutcracker and the continue his association with the Deutsche
Four Realms directed by Lasse Oper as “Resident Choreographer”. Noted
Hallström (director of Chocolat), a big for his choice in music, the first of Schläpfer’s
box office hit. (See review in this two creations, is awaited in February in
issue’s Multimedia section). Actress Duisburg and is set to Sergei Prokofiev’s
Keira Knightley is the protagonist of Seventh Symphony; the other one, scheduled
this film which, in a way, qualifies as in April in Düsseldorf, is set to Béla Bartók’s
a “ballet film” seeing as the cast also 44 Duets for 2 Violins.
features Misty Copeland of American
Ballet Theatre and Polunin in the
dance sequences. Alongside his film Directors
activity (which began in 2017 with
Sergei Polunin: “Sacré”, c. Yuka Oishi Kenneth Branagh’s remake of Murder
(ph. A. Das Neves) on the Orient Express), Polunin “the
Sweden looks to France
bad boy of ballet”, as he has been Nicolas Le Riche arrived at the Stockholm
nicknamed by the international media, continues to perform in Sacré, his signature Opera House last September and has taken
show devoted to Vaslav Nijinsky devised with Japanese choreographer Yuka Oishi. over at the helm of the Royal Swedish
It ran in December in Milan and Amsterdam. Nowadays Polunin, who caused a Ballet. He has firmed up a season that
sensation when he quit The Royal Ballet of London, isn’t tied to any one company preserves a few of the company’s repertory
but regularly performs at the Munich Opera House with the Bavarian State Ballet ballets, such as Marcia Haydée’s version of
directed by Igor Zelensk as “permanent guest dancer” together with various other The Sleeping Beauty or Pär Isberg’s The
well-known Russian dancers. Nutcracker (ispired by The adventures of
Peter and Lotta, the famous Swedish
children’s book invented by author/painter
creations by its director, Martin Schläpfer, Elsa Beskow), whilst also introducing works
Martin Schläpfer’s pre-Vienna planned in the two cities where it is based, by choreographers of note on the international
creations Duisburg and Düsseldorf. 58-year-old plane, from Jirí Kylián to Angelin Preljocaj
During the coming months the Deutsche Schläpfer, is Swiss and a prolific and Alexander Ekman. Next February there
Oper am Rhein ballet company has two choreographer; in the past few years he has will be a French mixed bill that includes Suite
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Royal Swedish Ballet: “The Sleeping Beauty”, c. Marcia Haydée (ph. S. Vilks)
en blanc, one of the few works by Serge Lifar Édouard Lalo’s Namouna, the ballet features up by a multi-tiered unadorned stage. A
still performed today: created at the Paris a series of “academic technique studies” in creation by former Paris Opéra danseur-étoile
Opéra in 1943 to various extracts from the poetic and serene atmosphere conjured Jérémie Bélingard completes the programme.
Obituary
Arthur Mitchell
Arthur Mitchell passed away in New York last September at the age of 84.
He was one of the male leading lights during New York City Ballet’s heyday,
joining the company in 1955 and becoming the first Afro-American dancer to
be nominated principal in a US ballet company and, thus, a symbol of re-
demption and social achievement for Black Americans. It was precisely in or-
der to give opportunities to black classical dancers – for many years discrimi-
nated against in ballet, an art considered for “Whites only” – that Mitchell
founded the Dance Theater of Harlem in 1969 with Karel Shook and created a
number of ballets for them. He remained at the company’s helm for many
years although it was put on hiatus in 2004 owing to severe financial con-
straints. As of 2012 the Dance Theater of Harlem is back to its full company
status, albeit with a reduced activity. But Mitchell will be remembered espe-
cially as one of NYCB’s big male stars. George Balanchine created various
roles for him, including (to mention only the most notable titles) Allegro Brillante
(1956) and Agon (1957 – period footage of the central pas de deux, which
Mitchell dances with Diana Adams, can be seen on YouTube); in 1962 Mitchell
also created, to huge acclaim, the sprightly and humorous role of Puck in
Balanchine’s A Midsummer Night’s Dream. After training at the School of
American Ballet (NYCB’s school), and before entering the company, he per-
formed on Broadway and with the modern dance ensembles of Donald McKayle
and John Butler, the latter creating for him (as did choreographer John Taras)
once Mitchell was with NYCB.
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ON THE COVER
There are few French choreographers capable of cre- didn’t consider dance a ‘male’ thing, the young Alba-
ating with the same ease both for classical dancers and nian boy took off his judo kimono and donned a leo-
“contemporary” dancers (meaning those who haven’t tard instead.
had classical/academic training). 61-year-old Angelin Hip hop hadn’t yet reached the suburbs of Paris where
Preljocaj, on the other hand, has no difficulty in switching the Preljocaj family lived, thus the future choreographer’s
from the former to the latter and he does so with the training began with ballet classes. The teenager how-
ease of an all-round artist endowed with special talent. ever felt the need to express himself over and beyond
Probably part of his ability comes from having had a the rules that govern academic ballet and so he began
broad-based training: he started off in ballet, studied to attend lessons given by Karin Waehner, a pupil of
German Expressionism, discovered American modern Mary Wigman, who was then teaching Expressionist
dance and then joined the company of Dominique Bagouet movement and improvisation.
who was the leading light of French contemporary dance However, thanks to a proactive undersecretary of cul-
in the 1980s. Some of Preljocaj’s works feature in the ture, Michel Guy (who founded the famous Festival
repertoires of the big ballet companies which have been d’Automne in Paris), it was American modern dance
commissioning bespoke creations from him. that was especially popular in France in the 1980s –
Why does a dancer become a dancer? Some will re- first and foremost Merce Cunningham. Preljocaj dis-
ply that it couldn’t be otherwise for them: they have covered him at one of the Events presented at the Angelin
always danced. Others will concede that chance may Centre Pompidou. Like many other young dancers, Preljocaj
have played a part in it. In Angelin Preljocaj’s case, he went off to New York to attend courses given by rehearsing
one can talk of a revelation: a photo of Rudolf Nureyev the great American choreographer, albeit continuing his creation
in his heyday, with a caption alluding to his defection to go to ballet lessons as well. Thus, at under 25 years “Winterreise”
from the Soviet Union, fascinated the twelve-year-old of age, he had a triple grounding, having added to his with La Scala
whose parents, similarly, were opponents of the Alba- classical training the modern idioms of German and dancers
nian regime and émigrés in France. The die was cast American dance which privilege, respectively, free (ph. Brescia/
and so, regardless of severe reproof from his father who expression and technique and form. Amisano)
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Ballet Preljocaj:
“Gravité”,
c. Angelin Preljocaj
(ph. L. Philippe)
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Upon returning to France, he soon entered the com- fiancées are anything but submissive and relations be- Ballet Preljocaj:
pany of Dominique Bagouet, one of the key figures of tween the two sexes soon veer towards collision. Geared “Roméo et
so-called French “nouvelle danse”. This was his big op- towards a basic form of story-telling, Preljocaj’s vo- Juliette”,
portunity. Similarly to Preljocaj, Bagouet had been clas- cabulary was already easily recognisable here with its c. Angelin
sically-trained but had also studied with Cunningham fast changes in direction, ground-level jumps and arms Preljocaj
in New York and Carolyn Carlson in Paris before win- flung into space – and it was praised by critics. (ph. J.-C.
ning the famous Concours de Bagnolet in 1976 and es- Shortly afterwards, in 1990, the Lyon Opera Ballet Carbonne)
tablishing his own group. The distilled dance of this commissioned from Preljocaj a Romeo and Juliet to music
“Pierrot lunaire” had such poetic impetus and gestural by Prokofiev. And once again, the French-Albanian cho-
punch that they left traces in his mature style. For two reographer nailed it. In his version the two lovers are
years Angelin danced for Bagouet, then became his as- no longer victims of two feuding families but, rather,
sistant and was encouraged by him to branch out into of a social structure in which classes remain categori-
creation. cally separate. Preljocaj put the girls on pointe, thereby
In 1985, after winning the Concours de Bagnolet him- demonstrating that he didn’t wish to be labelled as an
self – the first step towards official recognition, Preljocaj exclusively contemporary choreographer (a term that
established his own company for which he created, among in France, at the time, was in blatant contrast with classical
other works, Larmes blanches (“White Tears”, 1985) dance). Above all, by asking cartoonist Enki Bilal to
and À nos héros (“To our Heroes”, 1986), two short create the designs, Preljocaj kicked off a longstanding
works in which, along with a precision of lines and a collaboration with artists of all stripes to whom, from
diversified approach (he was still working under the dual then onwards, he was to turn for almost all his crea-
influences of Cunningham and Bagouet), his choreogra- tions. As was the case with Diaghilev’s Ballets Russes
phy’s hallmark sensuality, energy and calligraphic clarity which he admires, Preljocaj wants to work with con-
were already emerging. temporary creators. His intention also being that of testing
Thanks to the cultural policy of decentralisation and dance’s “resistance” vis-à-vis the other arts, collabo-
generous subsidies given to French institutions for cho- rating with visual artists, composers, writers, costumers
reographic creation, various CCNs (national choreo- or film directors, almost always of note, is thus an op-
graphic centres) and dance festivals began cropping up portunity for him to cultivate his imagination.
all over France. In 1989 one of these commissioned from But Preljocaj does not deny himself any kind of ex-
Preljocaj a choreography to Igor Stravinsky’s Les Noces. perience, the search for pure movement being just as
It was his first big success. Thanks to his knowledge interesting to him as an all-round show. Throughout his
of Balkan traditions, Preljocaj de-russified the wedding entire career, passing through the various territories of
rite conceived by Igor Stravinsky and Bronislava Nijinska choreography, from one style to another – from an ab-
in 1923, stripping the work of any form of hierarchy stract ballet, such as Empty Moves, to story-ballets such
and transforming it into a wild abduction in which the as Snow White or Romeo and Juliet, from renderings of
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– How does this research apply to your story-ballets, for example your Romeo and Juliet?
– Here I can give you a precise example. At a certain point Juliet is believed to be dead, a dead weight in
other words, but you see her standing up and Romeo dances with her inert body; the effect is the result of my
“laboratory side”, of a study I conducted myself into the principles of active/inactive, unconnected to the
dramaturgy to which it was later applied. It’s what I call the concrete application of pure research. This is all
the more evident in my abstract works, such as Gravité, where I’m continually asking myself the question of
heaviness, of physical weight, as the first datum of an equation to be solved. I obtain all the lab findings that I
then need to develop into a “research work for public viewing” that will show choreographic thought in
progress, the actual process that takes place in my mind during creation. But all this detracts nothing from
the theatrics. I love story-telling, just as I love research: it’s an essential part of my work.
– In a way, but it will tell of sentiments in an entirely free interpretation of the lyrics, although there is cer-
tainly going to be a “story” of sorts underlying the idea of a journey.
– It has been noted that it’s rather unusual for you to work with a company other than your own...
– Indeed it is. The artistic understanding that, clearly, the dancers of my own company can guarantee is
important to me. Various pre-existing works of mine have entered the repertoires of other companies but so
far I’ve only produced creations for the Paris Opéra, New York City Ballet and, now, for La Scala. But let’s
not forget that I’ve already restaged Le Parc and La Stravaganza for La Scala’s dancers – hence they are
familiar with my style and work, which is highly reassuring when it comes to a challenging work like Winterreise.
That’s why I was happy to accept Frédéric Olivieri’s invitation to create a new work for them. When I met
them again I found the company has further grown as a whole, with some really interesting personalities. I
immediately singled out some of them for specific roles which are going to be – to get back to what we were
saying – abstract, but not too abstract...
(A.A.)
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If you click on “Boutique” on Ballet Preljocaj’s website (www.preljocaj.org) you’ll find a selection of DVDs
with works by Preljocaj. His great success Le Parc, created for the Paris Opéra and also restaged at La Scala,
Milan, is available on a Bel Air Classiques label. The recording dates back to the year it was created, 1994,
with the original cast led by Isabelle Guérin and Laurent Hilaire.
Another Opéra creation of his, Siddharta, with Nicolas Le Riche and Aurélie Dupont, is available on an Art
Haus label, while a DVD released by Opus Arte features the Parisian troupe in Le Songe de Médée (“Medea’s
Dream”), with Marie-Agnès Gillot and Wilfried Romoli, and in MC 14/22 (Ceci est mon corps).
Ballet Preljocaj can instead be seen on two DVDs released by MK2, Eldorado and Blanche-Neige (“Snow
White”), while a TF1 DVD brings us a film directed by Preljocaj and Valérie Müller, Polina, danser ma vie:
it’s the story of a promising young Russian dancer who is about to enter the Bolshoi Ballet when a contem-
porary dance show reveals a new facet of dance to her…
the Ballets Russes repertory, such as Le Sacre du or Laurent Mauvignier for Ce que j’appelle oubli (“What
printemps or Noces, to spiritually-inspired works such I Call Oblivion”). Not to mention his forays into film,
as MC 14/22 Ceci est mon corps (“This is my Body”), in particular his direction (jointly with Valerie Müller)
or to works that are based on a desire to represent re- of Polina.
ality, such as N. However, Preljocaj’s talent is all the In 2009, at the age of 52 after he had gradually stopped
more fired-up when it is juxtaposed with that of other dancing in his works, he made a solo stage comeback
creators he admires or when it is inspired by literary (in which he both acted and danced) in Le Funambule
works such as those by Pascal Quignard for L’Anoure (“The Tightrope Walker”); with a text by Jean Genet,
Elisa Carrillo
Cabrera –
StaatsBallett
Berlin:
“Snow White”,
c. Angelin
Preljocaj
(ph. E.
Nawrath)
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Aurelie
Dupont and
Nicolas Le
Riche of the
Paris Opéra
in the famous
kiss scene
from “Le
Parc” by
Angelin
Preljocaj (ph.
P. Victor)
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La Scala Ballet Nevertheless, after Nicoletta Manni’s tech- Paris Opéra Ballet
nique-based Manon, alongside Timofej
Andrijashenko’s elegant Des Grieux, we wit-
nessed with pleasure the birth of a new cou-
Manon, the Lescauts and ple, Emanuela Montanari and Claudio A tribute to Jerome
La Scala’s family Coviello, carried along by their common vision Robbins
of this ballet and whose lines and proportions
L’Histoire de Manon – chor. Kenneth were totally in sync. At home in the story- Chor. Jerome Robbins: Fancy Free, mus.
MacMillan, mus. Jules Massenet ballet repertory, Montanari was a sensitive Leonard Bernstein; A Suite of Dances, mus.
Milan, Teatro alla Scala and ever-changing Manon, credible both as Johann Sebastian Bach; Afternoon of a Faun,
a social climber in Paris’s salons and in her mus. Claude Debussy; Glass Pieces, mus.
After a long tour of China last September, ruinous downfall and deportation to Louisiana; Philip Glass
the Ballet Company of La Scala, Milan returned Coviello, bursting with passion, demonstrated Paris, Palais Garnier
to their home stage in L’Histoire de Manon. an interpretative maturity capable of delving
The cast was led, during the first few deep into Des Grieux’s self-harming roman- The Paris Opéra chose not to pay tribute
performances, by star couple Svetlana ticism. to French choreographer Marius Petipa, the
Zakharova/Roberto Bolle who have been danc- The choreography has a wealth of charac- bicentenary of whose birth fell this year. For-
ing the lead roles successfully for several ters and the company as a whole, and its in- tunately however, like most big companies in
years, in Milan and elsewhere. dividual soloists, were able to find therein the west, it did celebrate the centenary of the
Kenneth MacMillan’s ballet entered the numerous opportunities to shine alongside birth of another giant: American choreographer
repertoire at La Scala in 1994 thanks to the two protagonists. Thus, the role of Jerome Robbins. The programme consisted in
Alessandra Ferri (at the time dancing alongside Lescaut, Manon’s perverse brother, was four highly diverse works that pointed up the
Julio Bocca) who bought it back to the theatre portrayed in all its multiple nuances: in the freedom of inspiration and expression of a cho-
as part of her ‘dowry’ of pièces de résistance first cast, Nicola Del Freo, very strong reographer who, as the case may be, could be
from her early career in London. Ferri’s technically, brought out an unexpected dark austere or light, jovial or melancholic, scathing
finely-wrought interpretation remains and bullying aspect; in the second cast or funny, and whose style ranged from so-called
unparalleled, with the sinuosity of her Christian Fagetti’s Lescaut was neurotic and “neoclassical” ballet to jazz, often blending the
shoulders, her ample cambrés, her ability to lecherous, while in the third cast Walter two together.
break the line of her back as she flies tragically Madau emphasised the character’s cynicism Fancy Free, created in 1944, with its trio of
in the finale and her rendering of the workings and vileness, a puny upstart ambitiously sailors looking trying to find themselves girl-
of the mind of a teenager swept away by weaving his wanton web. friends before their shore leave ends, conjures
her own mischief in an unforgiving world. Valeria Crippa up a scene that wasn’t far removed from what
Nicoletta Manni, Massimo Garon, Nicola del Freo – La Scala Ballet, Milan: “L’Histoire de Manon”, c. Kenneth MacMillan
(ph. Brescia/Amisano)
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could actually be seen on the streets of New the latter has a more serious, less vigorous ap- be doing in any big city. About forty dancers
York in those days. The versatile talent of young proach. in bright colours cross paths, seemingly indif-
Rabinovitch, who had of late adopted the stage Vaslav Nijinsky’s L’après-midi d’un Faune ferent to each other until the pace revs up and
name of Robbins, came together in a flash: a is definitely at the root of Afternoon of a Faun out of the crowd emerge couples that seem to
classic vocabulary, everyday gestures and ar- which Robbins created in 1953, but there is seeking out their own paths. In the second
ticulate mime, all of which exhilarated with an nothing traditional about his version. Robbins scene, which is set out like a fresco, a couple
entertaining zest of “swing”. The sets, wor- shows us two dancers in front of a mirror in a dance a serene duet while behind them silhouettes
thy of an Edward Hopper painting, together rehearsal studio as they rehearse Nijinsky’s of girls, moving in a file, can be seen in a bluish
with Leonard Bernstein’s score, conjure up choreography and observe one another. It’s a light. The ethereal – almost sci-fi – atmosphere
magnificently the very mood Robbins was seek- perturbing duet and not devoid of traps be- of this sequence conjures up the picture of a
ing: exciting and jolly – yet not happy, because cause the dancers have to convey the impres- perfect world in which Sae-Eun Park e Florian
the shadow of war looms over the feeling of sion of a mirror that isn’t actually there and Magnenet float around. The rhythm acceler-
happiness giving it a fleeting flavour. Fancy Free make the studio rehearsal a reflection of real ates in the third scene, as men come on stage,
was an immediate hit, giving Robbins and life, without slipping into Narcissism. Couple like gymnasts ready for the Olympics.
Bernstein the idea of turning it into a musical Myriam Ould-Braham/Mathias Heymann do No sets, no story, all is told in terms of motion
– On the Town – which soon afterwards be- this outstandingly, Léonore Baulac/Germain and rhythm, with a clarity of movement that
came a film starring Gene Kelly and Frank Louvet less so. makes Glass Pieces an authentic crystal gem.
Sinatra. Lastly, Glass Pieces, created in 1983 to Philip Sonia Schoonejans
No complaints about the Opéra dancers’ Glass’ repetitive music, joins
impeccable interpretation: sailors Paul Marque, together expressive force and
Alexandre Gasse and Alessio Carbone are funny, classical rigour and purity. Whilst
feisty and irresistible as they seduce Dorothée Dance – the lovely work that Philip
Gilbert, Valentine Colasante or Roxane Glass, choreographer Lucinda
Stojanov, girls with a spark, whose movements Childs and visual artist Sol Lewitt
are instantaneously responsive to those of the had created together four years
boys. A gem of a work, and now in the Opéra’s earlier – remains nothing but a
repertoire. merely formal piece, Glass Pieces
A Suite of Dances, which Robbins created arouses sentiment, kindles the im-
in 1994 for Mikhail Baryshnikov to music by agination and enthrals the public.
Bach, is always a challenging solo for any dancer: Here the girls aren’t in sneakers
the technical difficulties must appear seamless but on pointe.
to the spectator whose eyes are meant to fo- People are just walking around
cus on his amusing and jaunty interpretation in the first scene, as they would
and elegant complicity with the onstage cel-
list, in this case Sonia Wieder-Atherton.
François Alu, a principal who resembles a
danseur-étoile, and Hugo Marchand, a danseur-
étoile who resembles a principal, share the role: Francois Alu – Paris Opéra
the former is “foot” loose but incisive and al- Ballet: “A Suite of Dances”,
luringly scornful of the piece’s complexities; c. Jerome Robbins (ph. S. Mathé)
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Staatsballett Berlin
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Ballet du Capitole The southern French city Toulouse has there, 18 bayadères instead of the original
much to recommend it culturally, not least 32, for instance, and, while costumes were
the growing reputation and quality of its rich and detailed, there was no scenery,
ballet company led by ex-Opéra de Paris apart from the famous ramp.
In the Steps of Nureyev étoile and choreographer Kader Belarbi. In Belarbi could call on some important
a country now almost entirely given over friends for this programme, and one could
Raymonda Act III – chor. Rudolf Nureyev to contemporary dance, he and his ensemble easily see the careful coaching by Elizabeth
after Marius Petipa, mus. Alexander stand proud for the French ballet tradition, Platel and Charles Jude in the impressive
Glazunov; Romeo and Juliet (Balcony pas presenting programmes of real quality and performances by the Toulouse dancers,
de deux) – chor. Rudolf Nureyev, mus. Sergei interest, none more so than the opening nowhere more so than in Natalia de
Prokofiev; The Sleeping Beauty (Act III pas performances of the 2018/19 season ‘In the Froberville’s imperious Raymonda, whose
de deux) – chor. Rudolf Nureyev after Steps of Nureyev’. famous solo was finely judged, an unhur-
Marius Petipa, mus. Pyotr I. Tchaikovsky; For Belarbi, Nureyev was a French cho- ried and haughty performance indeed, yet
Cendrillon Act II pas de deux – chor. Rudolf reographer whose legacy is strongest in that shot through with a melting upper torso
Nureyev, mus. Sergei Prokofiev; Swan Lake country. This programme would be ambi- and neck to offset her crispness of attack.
(Act III pas de deux) – chor. Rudolf Nureyev tious by any measure and for any company, The company launched themselves
after Marius Petipa, mus. Pyotr I. so it was a leap of faith in his dancers by positively into the demanding choreography
Tchaikovsky; La Bayadère (Kingdom of the Belarbi to ask them to deliver Raymonda throughout this work – in the male pas de
Shades) – chor. Rudolf Nureyev after Marius Act III, four pas de deux and the ‘Kingdom quatre all was not perfect, but it was de-
Petipa, mus. Ludwig Minkus (arr. John of the Shades’ from La Bayadère. The livered with genuine aplomb.
Lanchbery) company comprises only 35 dancers, so a La Bayadère saw some genuinely strong
Toulouse (France), Théâtre du Capitole little pruning had to take place here and corps work, with a real stylistic cohesion
in the slow entry of the Shades winning
out over some wobbles here and there.
Nureyev makes the bayadères too
intimidating for this critic’s liking as visions
of the eternal, but there were few caveats
in Julie Charlet’s secure, serene Nikiya or
Ramiro Gómez Samón’s dashing Solor, both
able to breathe within the choreography and
pull off some truly impressive technical
feats.
The superb Orchestre National du
Capitole contributed much to the enjoyment
and quality of the evening, such was the
verve and depth of sound they brought to
both the Glazunov and the Minkus.
Additionally, they made a real mark in both
the Tchaikovsky and the Prokofiev of the
four pas de deux which made up the central
section. In these, Nureyev’s limitations as
a choreographer (in both original and
adapted movement) were apparent, lying
crucially in his inability to resist over-
decorating and over-complicating. It was
a mark of Alexandra Surodeeva’s artistry
that she made much of Juliet’s character
in the maelstrom of the Balcony pas de
deux, which sees Romeo, in particular,
ceaselessly careering around the stage, while
poor old Petipa takes quite a battering in
the Act III pas de deux from The Sleeping
Beauty and Swan Lake; Nureyev’s
additions and changes unbalance the Old
Master’s brilliance to make both feel clunky
and inelegant.
However, the programme overall was a
genuine achievement for the Toulouse
dancers and something of which they, the
people of Toulouse and French ballet could
be proud.
Gerald Dowler
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Dominik Slavkovsky, Elena Vostrotina, Cohen Aitchison-Dugas – Zurich Ballet: “Winterreise”, c. Christian Spuck
(ph. G. Batardon)
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Andrea Sarri, Héloïse Jocqueviel – Paris Opera Ballet: “Decadance”, c. Ohad Naharin (ph. J. Benhamou)
Ballet of the Paris Opéra cent works, and this is what he has done for not from outward convention. There wasn’t
the Paris Opéra Ballet too; thus, for example, much time and they are, after all, ballet dancers.
we find sequences from Sadeh21 (2011) and Fortunately the pillars of Decadance were still
Seder (2007). This isn’t the first time that there, such as the famous “Echad Mi Yodea”,
Parisian Ohad Naharin Naharin has worked with the Paris Opéra danc- from Anaphase, the cumulative Jewish Passover
ers; in 2000 he restaged Perpetuum for them and song, set to music by The Tractor’s Revenge
Decadance – chor. Ohad Naharin, mus. Various in 2016 he was invited to the Opéra with his rock band and sung by Naharin himself whose
Paris, Opéra Garnier company and restaged Three at Palais Garnier. shattering energy is a sure guarantee of success,
This time round, however, Naharin created on each and every time.
October was a Parisian month for 66-year- and with the young generation. Sonia Schoonejans
old Israeli choreographer Ohad Naharin. While There were 30 dancers on stage, soloists and
his two companies – the Batsheva Dance Com- corps de ballet, wild, free and frisky, as if they Grupo Corpo
pany of Tel Aviv and his own “Young Ensem- were racing horses whose bridles had been loos-
ble” of dancers connected to the main company ened thus enabling them to move unrestrainedly.
– were presenting four of his works at the Théâtre The atmosphere was jolly and the public went
de Chaillot, his famous collage Decadance was along with it happily although it was hard to A sinuous birthday ritual
entering the repertoire at Opéra Garnier having discern a choreographic pattern behind all this
been readapted for the Paris Opéra dancers. playful freedom. Naharin’s works, in which Dañca Sinfonica – Giro – chor. Rodrigo
When Decadance was created in 2000 its in- clarity and precision prevail, are heavily depend- Pederneiras, mus. Marco Antônio Guimarães,
tent, was to celebrate his decade of creation with ant on interpretation and the Batsheva dancers, Metá Metá
Batsheva (at whose helm Naharin has been since accustomed to their director’s “Gaga” method, Vicenza (Italy), Teatro Comunale; Cannes
1990) by sewing together 10 excerpts from possess those qualities of intensity and formal (France), Palais des Festivals; and on tour
previous creations – hence the title. The mon- perfection that are of essence in Naharin’s
tage of the various sequences was devised so choreography. When the Grupo Corpo from Belo Horizonte
as to create a brand new work. Complicity with On the other hand, it wasn’t easy for the (Brazil) debuted in Europe in 1995, spectators’
the public, the poetic quality of a duet, broth- young Paris Opéra dancers – despite their en- eyes became filled (especially as they watched
erhood (at times competitive) between men, thusiasm and curiosity, and despite the Gaga Nazareth) with the refinement of an ensemble
irresistible feminine sweetness and, obviously, lessons they attended assiduously during rehears- that was capable of conveying the strength of
Jewish roots without the burden of religion: all als – to feel the intensity of Naharin’s gestures an ethnic/modern/academic idiom, graced with the
of these featured in Decadance and were inwardly and give them an ideal form without elegance of the sets (at the time by Fernando
expressed with energy and elegance. the aid of mirrors – which he doesn’t want in Velloso) depicting large coloured roses and the
Subsequently, Naharin continued to develop the rehearsal studios as he wants the veracity chic of black tail-coats, costumes from which more
Decadance with excerpts from other more re- of the gestures to emerge from an inner need, roses would spring, and which, together, succeeded
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and highly musical duet Sortijas. In the per- Batsheva Dance Company
formance I saw Sandra Salietti Aguilera and
Zach Enquist dance the duet with immacu-
late precision and timing. There are in fact
three casts, yet I am sure there will not be Humanity raises the
any difference in the quality.
The company, directed by Kathleen
white flag
McNurney, has been in amazing shape from Last Work – chor. Ohad Naharin, mus. Grisha
almost day one when it was formed in 2009 Lichtenberger
by the former ballet mistress with Heinz Ferrara (Italy), Teatro Comunale
Spoerli’s Zürcher Ballett and Richard
Wherlock’s Ballett Basel. Since then it has The Batsheva Dance Company of Tel Aviv,
moved from strength to strength – even though directed by Ohad Naharin, has brought back
working conditions have deteriorated with the to the Teatro Comunale “Claudio Abbado”
number of dancers reduced to only nine this of Ferrara (Italy) the splendour of the good
season. Yet, the American director has proved old days when dance shows were always sold-
she possesses not only proactive management out. One could remark that considering this
skills – she has formed a partnership with company is considered one of the world’s best,
Codarts Rotterdam to train some of their stu- this was to be expected.
dents by taking them into the company – but My colleague Sonia Schoonejans has already
has also, first and foremost, shown an important reviewed Ohad Naharin’s Last Work per-
knack for choosing the right dancers and, at formed at MontpellierDanse; it isn’t his last
the same time, a steady hand for style and work, in spite of its title, but has already quite
precision. She has shown impeccable taste in a bit of history to its name, having been sub-
choreography and a good eye in choosing crea- ject to date (and probably since 2015) to a
tive artists for her group. number of reworkings. The idiom is still the
Let’s Bowie! danced to eight songs by the Each season she has commissioned several indefinable “Gaga” method (N.B. not code!)
late English rock star is the seventh dance piece works by young choreographers, a full-length invented by Naharin, capable of rendering the
Georg Reischl has made for Kathleen one and several shorter ones for mixed bill eve- dancers’ bodies (18 of them here) very flex-
McNurney’s Lucerne-based company. Two nings, and by doing so she has managed to ible and responsive to one another, and ex-
years ago the Austrian choreographer and keep the dancers at her side for a much longer tremely recognisable according to their respec-
former dancer in William Forsythe’s Ballett period than small companies in small towns tive expressive characteristics.
Frankfurt was named Associate Artist of the are normally able to do. And what dancers Last Work remains clearly divided in three
Lucerne Theatre and thus she contributes regu- these are! Tanz Luzerner Theater is a com- parts that flow seamlessly into one another,
larly to the repertoire of this small ensem- pany of fabulous young people, so exuber- with the silhouette of a dancer in a long blue
ble. And so does Spanish choreographer ant and versatile that I sometimes feel like I costume running for the entire duration of the
Cayetano Soto (40). In 2015 he thrilled audi- am being transported by a magic wand from show (approximately 70 minutes) on a tread-
ences with Malasombra to music by La Lupe; Lake Lucerne and its mountains to the flat mill at the back of the stage. Perhaps Naharin
now he returns with his smashing Twenty Eight lands of The Netherlands and NDT II. has made some changes to the choreography,
Thousand Waves and the wonderfully poetic Lilo Weber still however sustained by Grisha
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Cristina Casa, Alessandro Riga – Compañía Nacional de Danza: “The Nutcracker”, c. José Carlos Martínez (ph. C. Quezada)
men enjoying being the centre of attention In 1986 the troupe that used to be called
and eager to give their all in the comically Compañía Nacional de Danza, Ballet del Teatro Lírico Nacional La Zarzuela
ridiculous choreography, and so it proved in Madrid (and is now the Compañía Nacional de Danza
Nice whose male dancers donned the lurid of Madrid) produced a Nutcracker with cho-
pants, socks and sleeves, puffed out their reography by American choreographer Ray
chests and had a ball. To the Brazilian Barra which remained in its repertoire only a
percussiveness of the soundtrack, North has
Martínez says goodbye to short while. Barra had set the ballet in Berlin
them subvert the idea of masculinity with Madrid with Nutcracker during la Belle Époque, with designs in a
preposterous moves and hints that beneath “Modernist” or Art Nouveau style, the same
many a preening, strutting man is something Cascanueces – chor. José Carlos Martínez, period setting now chosen by 49-year-old José
else waiting to be released. mus. Pyotr I. Ciaikovsky Carlos Martínez for his new Nutcracker. He
Gerald Dowler Madrid, Teatro Real himself has danced this ballet numerous times,
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first and foremost the Nureyev version at the rector of the Compañía Nacional de Danza be disappointed, but Detrich is his own man,
Paris Opéra where he was a danseur étoile, with this production which he has made with and has clear ideas where Stuttgart Ballet should
but also a version by Fernando Bujones staged scattered and out-of-context quotations from be going, as evidenced by a clever and intriguing
in Madrid in 1996; Martínez was then danc- the traditional Nutcracker, plus a quantity of first season which opened with a fearsome
ing beside Agnès Letestu (also from the Opéra, choreographically-uninteresting inventions. triple bill that was designed to stretch the
and at the time his wife) with a short-lived Light and costume designs (the latter by Iñaki dancers – it certainly delivered on that.
company called Ballet Clásico Mediterráneo Cobos) function reasonably, but the sets (by The opening work was, quite rightly by
which also comprised various dancers from Monica Boromello) are absurd and empty, of John Cranko, the creator of the original
the Compañía Nacional – artists who Nacho almost amateur mediocrity. ‘Stuttgart Miracle’, but this was a rarity: his
Duato (in those days director of the Compañía Roger Salas 1966 Concerto for Flute and Harp set to the
Nacional and adverse to ballet) was ‘keeping Mozart of that name. Made for twelve men
on the bench’ with practically a veto on dance. Stuttgart Ballet and only two women, it was and is a conscious
Such is Spanish ballet’s history of Nut- pendant to an accompanying women-heavy
cracker in our times (a history that has been work. It is rare to see male dancers performing
concealed not on account of modesty but, together for so long and in a work demanding
rather, of prejudice and scorn for historical Shades of White such stylistic cohesion, and today’s dancers
truth). have to work hard at this quirky male ballet
The lack of homogeneity among the danc- Concerto for Flute and Harp – chor. John blanc. Embedded in the male ensemble are
ers who constitute today’s Compañía Nacional Cranko, mus. Wolfgang A. Mozart; ‘Kingdom two soloists, parts taken with distinction by
de Danza, and of authoritativeness among their of the Shades’ from La Bayadère – chor. Natalia the elegant English Principal David Moore
maîtres and répétiteurs, is such that all the Makarova after Marius Petipa, mus. Ludwig and one of the company’s jewels, Stuttgarter
‘patching-up’ and stylistic differences between Minkus (arr. John Lanchbery); Symphony in Friedemann Vogel who is dancing now at the
them are blatant. C – chor. George Balanchine, mus. Georges very peak of his considerable abilities. A star
We are aware that most ballet companies Bizet dancer indeed.
of today (apart from the Russian and Asian Stuttgart (Germany), Opernhaus Natalia Makarova’s ‘Kingdom of the
ones) have an inevitable cosmopolitan voca- Shades’ from her production of Petipa’s La
tion and this means that a lot of hard work is As one chapter closes, another opens. Af- Bayadère was a new acquisition by Detrich,
needed to achieve the ideal of an ensemble ter 22 years of Reid Anderson as director of and the female dancers certainly found the
whose components can tune up together to Stuttgart Ballet, Tamas Detrich has begun his delivery of Mariinsky stylistic purity a real
reach a collective ‘symphonic’ (as it were) tenure as his successor with a programme of challenge – there is nowhere to hide in the
uniformity of movement and accents. How- great ambition and a distinct personal artis- famous adagio entry of the Shades. In a new
ever, the Spanish company is still a long way tic vision. Detrich knows the company through Himalayan setting, this work looked ravish-
from this, even though there is some lustre and through, having been a dancer, ballet master ing, and the Staatsorchester made the strong-
and a sort of convinced elation on stage – and, finally, Assistant Director; he knows the est of cases for Minkus’ score. The three
which is already quite a bit better than what ensemble’s strengths and weaknesses and is solo shades and Elisa Badenes as Nikiya
we saw in their recent Don Quixote. steeped also in its traditions and history. Those worked visibly hard to deliver the demanding
José Carlos Martínez ends his tenure as di- who wish for a radical change of direction will choreography, and, while the overall effect
Stuttgart Ballet: “Konzert für Flöte und Harfe”, c. John Cranko (ph. Stuttgart Ballet)
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Marianela Nuñez, Vadim Muntagirov – The Royal Ballet: “La Bayadère”, c. Natalia Makarova (ph. B. Cooper)
lacked the serenity that can characterise the and challenge for any company, and, where The Royal Ballet
very best performances, they emerged the Petipa seemed to restrict the dancers,
relatively unscathed and, indeed, with some Balanchine appeared to release them, garner-
distinction; Badenes suppressed her naturally ing bright, zesty dancing characterised by en-
soubrette stage persona to achieve something thusiastic attack by all the dancers. The demi- Stellar Bayadères
of greater nobility. While newly-elevated soloists were the most successful in bringing
young Principal Adhonay Soares da Silva un- this quality to the choreography while there La Bayadère – chor. Natalia Makarova after
deniably has the mastery to bring off Solor’s was less precision from the eight lead danc- Marius Petipa, mus. Ludwig Minkus (arr. John
considerable technical demands, he looked too ers and, in some cases, rather unfocussed mu- Lanchbery)
young and eager for the penitent, opium-filled sicality; Vogel again, delivered an object les- London, Covent Garden
warrior. son with the extraordinary quality of his
Symphony in C made up the trio of ballets dancing. This is a tale of two Bayadères – two
for this opening programme, a real showcase Gerald Dowler Nikiyas and two Gamzattis. In scheduling of
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Viengsay Valdés, Dani Hernández – Ballet Nacional de Cuba: “Giselle” (R. Pujol)
Muppet Show; she was welcomed as a superstar with multiple guests and duets. The guests are a
for an eagerly-awaited master class, together with means of bringing to the island works by today’s
husband/partner Nelson Madrigal. top choreographers such as Lar Lubovich, Alexei
Camilo Ramos and an enthusiastically-greeted Ratmansky, Christopher Wheeldon, David
Yanela Piñera arrived from Australia’s Queens- Dawson, Ohad Naharin.
land Ballet and offered Bayadère and a Black In the chocolate-box Teatro Martí the festival
Swan, as well as an extract from Liam Scarlett’s also unfailingly hosted a flamenco section with
A Midsummer Night’s Dream. Rafael Amargo, María Juncal, the Gades
Adiarys Almeida, formerly with Boston Bal- Foundaton; a bonus resulting from the global
let and now free-lancing (she recently guested at contacts that the festival has over the years built
the Rome Opera House in Sleeping Beauty) up with countries ranging from the whole of Latin
offered the sort of Black Swan that one only gets America to Austria with its Europa Ballet, to
to see in Cuba, partnered by Taras Domitro who South Korea, to the National Ballet of Mongolia.
was formerly with San Francisco Ballet: an Isabella Boylston and former child prodigy
astounding approach thanks to her extremely diva- Aram Bell (who, now fully grown-up and with
like air and attack, no punches pulled as she American Ballet Theatre, has lived up to expec-
warmed up the public right from her entrance, tations) were among the most impressive
all the way to her blaring feats of technique and interpreters of various repertory pas de deux.
interpretation and to her final, glowing and never- Also in from the USA was Joaquín de Luz of
ending curtain calls. New York City Ballet, elegantly partnering Maria
As usual there were many concert-programmes Kochetkova (Norwegian National Ballet) who was
a truly inspired and feather-light Giselle.
Le Corsaire is a staple and allowed Claudia García
Grettel Morejón – Ballet Nacional de Cuba: and Raúl Abreu, names of note on the Havana-
“Carmen”, c. Alberto Alonso based troupe’s present list of dancers, to shine
(ph. A. Sanguinetti) with the virtuosic qualities it takes to emerge.
Other Cuban ‘new entries’ included Chanell
Cabrera and Yankiel Vázquez, both remarkable and
impressive in The Flames of Paris. As Aurora in
Sleeping Beauty Sadaise Arencibia confirmed herself
to be on the high echelons of the Cuban company,
dancing beside Raúl Abreu, another first-rate young
dancer, while the very dainty Grettel Morejón stood
out as Kitri in Don Quixote and as Carmen.
As for the strictly Cuban repertory, we saw
again Muerte de Narciso (with sets and costumes
by Roger Salas) interpreted this time by Dani
Hernández, and La Flauta Mágica, both of which
by Alonso, as well as the second act of a Cinderella
devised by Pedro Consuegra who kept for himself
the role of the Stepmother and is (as he himself
untiringly declares) in love with Petipa.
In the Night by Jerome Robbins was the high-
light of the opening gala forty years on from its
entry into the Cuban repertoire: it was danced
by Morejón and Rafael Quenedit, Sadaise
Arencibia and Raúl Abreu, Ginett Moncho and
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she shuts down the machine that produces war
and unhappiness in the world.
The young Clara reminds us a bit of Alice in
Wonderland, or Dorothy in The Wizard of Oz,
running around at breakneck speed, cleverly and
bravely fighting and challenging her enemies in a
world of Little Red Riding Hood-like forests where
red toadstools have white spots, of Kremlin-like
domed palaces, of enchanted castles, sleighs and
hot-air balloons, of turrets and great staircases,
of big tops and clowns that resemble rolling
Russian dolls, of snow-clad landscapes and
flowery slopes, of horrific ravines and waterfalls,
of enormous dome-capped halls with gigantic
machinery: a great deal of everything in a
multicoloured, fast-moving roundup of images
taken from every fairytale that ever was and
magnified by digital effects.
But all of this, and there really is a lot (if not
too much), including the ultra rich and colourful
costumes by Jenny Beavan, would not suffice
without the “big names”, those top film stars and
ballet dancers, that increase box-office sales.
Clara, the young, wide-eyed, smart and roman-
tic scientist who we often see trembling with fear
(a key ingredient in any self-respecting fairytale),
is played by MacKenzie Foy; her heartbroken
father is Matthew MacFayden; Mother Ginger,
initially terrifying then heroic, is popular actress
Helen Mirren.
“The New Julia Roberts”, Keira Knightley, is
Sugar Plum, who initially seems so sweet and
kind but later turns out to be wicked and hungry
for power; wise old Drosselmayer is played by
Morgan Freeman, the superstar of so many action
movies, here with a black patch over his eye.
On the dance side, choreography is by The
Royal Ballet of London’s young Artist in Resi-
dence, story-ballet choreographer Liam Scarlett;
in addition to lavish ball sequences with about
thirty lords and ladies, “Ballerina Princess” Misty
Copeland, ABT’s African-American principal who
fires the dreams of little girls all over our multiethnic
planet, sparkles in tutu and tiara.
Partnering her as the Sweets Cavalier of the
Sergei Polunin and Misty Copeland in Walt Disney film “The Nutcracker and the Four Realms” Land of Sweets, is blond Sergei Polunin, the bad
(ph. L. Sparham) boy of ballet in our times, billed as Russian – as
needs be, to give the film valued-added – although
he is in fact Ukrainian, one of the numerous
Films The plot, re-written by Ashleigh Powell, begins talented sons and daughters of “Little Russia”.
like that of the Marius Petipa ballet: as on every They dance together in the middle of the film,
Christmas Eve, the Stahlbaum Family get together with bespoke steps and spins for the multiple
in the Drosselmayer home for presents and a ball. cameras placed all around them, as well as
Disney’s Nutcracker, more But Clara and her father are sad gracefully and vigorously embellish-
of everything because of the passing of her mother,
Marie, who was a beautiful, clever
ing the scrolling credits.
Lil Buck, star of Jookin (an acro-
Once again Walt Disney has decided to cash and kind scientist. batic and stylish type of street dance),
in on Christmas with its new US/international The gift which the girl receives, is the protean monster Mouse King,
blockbuster, The Nutcracker and the Four Realms and which had been chosen for her also providing the choreography and
directed by Swedish film director Lasse Hallström, by her mother, is a locked egg-shaped motion capture performance for the
famous for his ABBA music videos and for My musical-box, which she must unlock character.
Life as a Dog, and by Joe Johnston who in order to grow up and save Nutcracker is played by African-
specialises in children’s films and has won an Oscar mankind. As she searches for the American Jayden Fowora-Knight, a
for Special Effects. key it is snatched away by a mouse loyal officer who falls in love with
A hands-down hit which reinvents the story, and so Clara finds herself in a parallel Clara but must, for duty’s sake, refrain
starting with the ballet which is a must during world where, with the help of from succumbing to such plebeian
the holiday season. Nutcracker-Captain Philip Hoffman, sentiments.
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Gustavo Dudamel conducts the orchestra which DVD naughty, intolerant of rules and doesn’t make
plays music from the Tchaikovsky Nutcracker the slightest effort to fit in. But a former glory
Suite, updated and with new tracks added by James Bolshoi – film by Valery Todorovsky – of the company, now an arrogant and neurotic
Newton Howard; Lang Lang, comparable to a Factoris Films, 2018 teacher (who, however, is capable of being
planetary pop star, is at the piano. And, in case A Russian film entitled Bolshoi (with refer- humane when needed), takes a liking to her and
this hadn’t cut it, Andrea Bocelli and Son have ence to the ballet company of the ‘great’ Mos- glimpses in the girl that special spark that sets
also been called in to sing their duet Fall on me. cow theatre) was released in 2017 and is now her apart from the others (what a pity that
Bursting with top-notch names, this umpteenth available on a Factoris Films DVD (in the Rus- the adult actress/ballerina interpreting the role
Nutcracker has been described as “empty but sian original, as well as English and French). is every bit identical to all the others). In the
eye-popping”; a novelty, yet full Trumpeted as successor to the end, amidst rivalries and intrigue (including
of things we are already familiar famous (or infamous) Black Swan, this under the bedsheets), the girl makes her debut
with and which are, film by Valery Todorovsky recounts at the Bolshoi in the role of Odette/Odile along-
consequently, comforting. It will the adventures of a young girl from side a womanising and internationally-famous
serve its purpose by appealing the provinces who dreams of escap- danseur-étoile (interpreted, rather well, by
to a diversified public: each ing from her distressed social Nicolas Le Riche).
spectator will have his/her own circumstances into the world of ballet. Therefore, nothing new: the story is hackneyed,
reasons for going to see it – be The girl is discovered by chance by the characters are stereotypes (at times even
they lovers of ballet, of film-stars, a former dancer of the Bolshoi Theatre farcical), the acting is often caricatural and some
of fairytales, or just parents and of Moscow, now more interested in of the scenes are totally ridiculous for anyone who
grandparents who have to keep booze than anything else, undergoes is familiar with the dance milieu; obviously, they
the kids entertained during the an improbable audition and is accepted respond to the demands of filmmaking. Some will
school-holidays. into the prestigious theatre’s ballet like this film – but probably not if they like ballet.
Elisa Guzzo Vaccarino school. She is unbelievably cheeky, C.M.
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Books sponsible for spreading his ideas in the States Shawn gathered together all available material
where, in fact, Delsarte’s name is much better on Delsarte in order to do justice to the latter’s
known than in Europe. His only principles that had ended up being watered down
Every Little Movement, A Book biography has been written by an and distorted by his success in addressing a
about Delsarte – by Ted Shawn, American: none other than Ted motley audience, from actors to politicians.
Dance Horizons, 2016 Shawn, often called “Father of Shawn’s book is an important practical
This book was originally pub- American Dance” who, with Ruth handbook, providing the key theoretical notions
lished in the USA in 1954 (with St.Denis, founded the Denishawn of François Delsarte.
a re-edition dated 1966) and is company and school in 1915 The book begins with a discussion of Delsarte
also available as an e-book on where Martha Graham, Doris as a scientist who discovered how the human
ebooks.com. Translated into Humphrey and Charles Weidman body moves under the stimuli of emotions. It
French in 2005, it is now finally studied, in 1933 formed an all- proceeds by looking at the laws he developed
available in Italian too, prompt- male group of dancers, and in as a result of his research and continues by
ing us to take another look at this 1941 established Jacob’s Pillow discussing the application of the science of
seminal work on the French 19th- as a summer dance center/festi- Delsarte to the art of dance. Shawn goes on to
century musician and teacher val. describe how Delsarte influenced the develop-
François Delsarte (1811-1871) The author of numerous books ment of American modern dance pointing out
whose work heavily inspired modern dance. (such as Ruth St. Denis: Pioneer and Prophet that without his theoretical principles he
François Delsarte wasn’t a dancer, he began (1920), Gods Who Dance (1929), (Shawn) and other dance innovators would not
his career as a singer but had to quit when his Fundamentals of a Dance Education (1935), have been able to make headway – and, con-
voice broke and spent the rest of his life studying Dance We Must (1950), plus autobiography sequently, American modern dance would not
the relationship between movement and emo- One Thousand and One Night Stands (1960)), exist.
tions, between feelings and their physical ex- Shawn had been interested in the work of E.G.V.
pression. Delsarte never wrote books explain- Delsarte and his movement principles for a long
ing his method but his favourite protégé, time, considering them to be the bedrock of WEB
American comedian Steele Mackaye, was re- American modern dance. For over thirty years
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Classica
www.mondoclassica.it
28, 30. XII: The Best of the Bolshoi Ballet
2. I: La Commedia – c. Emio Greco – Ballet
de Marseille
6. I: Jewels – c. George Balanchine – Ballet
de l’Opéra de Paris
7. I: Roberto Bolle: l’arte della danza
(docum.)
Mezzo
www.mezzo.tv
28. XII: Ballet de Kiev: La Bayadère – c.
Marius Petipa
29. XII, 11. I: La Belle au bois dormant – c.
Marius Petipa –Ballet du Théâtre Mariinsky
de Saint-Pétersbourg
31. XII, 5, 18. I: Le Casse-Noisette – c.
Kader Belarbi; Le Corsaire – c. Kader Belarbi
– Ballet de Toulouse
1, 7, 12, 25. I: Chaplin – c. Mario Schröder;
Pinocchio – c. Ivan Cavallari – Ballet du
Rhin
4. I: Grande Soirée du Ballet de l’Opéra
de Paris Béjart Ballet Lausanne: “La IXe Symphonie”, c. Maurice Béjart (ph. K. Hasegawa)
8, 14, 19, 21. I, 1. II: La Neuvième Symphonie
– c. Maurice Béjart – Béjart Ballet Lausanne,
Tokyo Ballet; Le Tour du monde en 80 22, 28. I: Noé; La Belle et la Bête; L’Après- Mezzo live HD
minutes – c. Maurice Béjart – Béjart Ballet midi d’un Faune – c. T. Malandain – Ballet
Lausanne Biarritz www.mezzo.tv
15, 26. I: Yaroslavna – c. Vladimir Varnava 29. I: Now – c. Carolyn Carlson – Carolyn 27, 28. XII, 1. I: Noé; La Belle et la Bête;
– Ballet du Théâtre Mariinsky de Saint- Carlson Dance Company; Pneuma – c. L’Après-midi d’un Faune – c. T.
Péterbourg; La Fontaine de Bakhtchisarai Carolyn Carlson – Ballet de l’Opéra de Malandain – Ballet Biarritz
– c. Rostislav Zakharov Bordeaux
30, 31. XII, 3, 8. I: Cendrillon – c. Alexei
Ratmansky – Ballet du Théâtre
Ballet du Rhin: “Chaplin”, c. Mario Schröder (ph. A. Poupeney) Mariinsky de Saint-Pétersbourg; La Belle
et la Bête – c. Thierry Malandain – Ballet
Biarritz
2. I: Yaroslavna – c. Vladimir Varnava
– Ballet du Théâtre Mariinsky de Saint-
Péterbourg; La Belle et la Bête – c. Thierry
Malandain – Ballet Biarritz
4. I: Yaroslavna – c. Vladimir Varnava
– Ballet du Théâtre Mariinsky de Saint-
Péterbourg; Noé – c. Thierry Malandain
– Ballet Biarritz
6, 9, 10, 11, 15, 20, 21, 23, 24, 25, 29.
I: Coppélia – c. Charles Judes – Ballet
de l’Opéra de Bordeaux; Casse-Noisette
– c. Ben Stevenson – Estonian National
Ballet
11. I: Russia – c. Marco Morau – La Veronal
13, 16, 17, 18, 22, 27, 28, 30, 31. I, 1.
2. II: Mata Hari – c. Ted Brandsen –
Het Nationale Ballet; Hommage à Hans
van Manen – Het Nationale Ballet
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– Prague National Ballet Theatre
31. I, 1, 2. II: Serenade – c. G.
Balanchine; Separte Knots – c.
E. Gat; Le Sacre du printemps
– c. G. Tetley – Prague National
Theatre Ballet
The Karlín Music Theatre
12. II: Romeo and Juliet – c. P.
Zuska – Prague National
Theatre Ballet
Estate Theatre
16, 17, 25. I, 27. II: Valmont – c.
L. Vaculík – Prague National
Theatre Ballet
19, 26. I, 9. II: The Little Mermaid
– c. J. Kodet – Prague National
Theatre Ballet
DENMARK
Vahe Martirosyan – Staatsballett Berlin: “La Bayadère”,
c. Alexei Ratmansky (ph. Staatsballett Berlin) Copenhagen
Det Kongelige Teater – The
Opera House
AUSTRIA BELGIUM 18, 19, 22, 23, 24, 25, 26. I: Krash Tiina Myllymaki, Sergei Popov –
& Chopin Dances – c. T. Rushton Finnish National Ballet:
– Royal Danish Ballet “The Little Mermaid”,
Wien Bruxelles c. Kenneth Greve (ph. S. Viika)
Staatsoper Théâtre de la Monnaie GERMANY
25, 27, 29. XII, 1, 2, 4. I: Der 5.-9. I: Cie Rosas: Les Six
Nussknacker – c. R. Nureyev Concertos Brandebourgeois – Way Ever Lasting – c. N.
– Wiener Staatsballett c. A. T. De Keersmaeker Berlin Horecna; Fantasies – c. c. R.
17, 19, 24, 26. I: Sylvia – c. M. 23-26. I: Cie Rosas: Quartett – Staatsoper Unter den Linden Sucheana – Ballett der
Legris (L. Mérante) – Wiener c. A. T. De Keersmaeker 2, 9. I: La Bayadère – c. M. Petipa Deutschen Oper am Rhein
Staatsballett (A. Ratmansky) – Staatsballett 12, 20. I: Le Lac des cygnes –
11, 13, 20, 22, 23, 25. II, 2, 6, 8. CZECH REP. Berlin c. M. Schläpfer – Ballett der
III: Le Lac des cygnes – c. R. 1, 14. II: Romeo und Juliet – c. Deutschen Oper am Rhein
Nureyev – Wiener Staatsballett J. Cranko – Staatsballett Berlin
Volksoper Prague Deutsche Oper Hamburg
27, 30. I, 2, 6, 16, 19. II: Coppélia National Theatre 25, 27. XII: Casse-Noisette – c. Grosses Haus
– c. P. Lacotte – Weiner 4, 5. I: The Nutcracker-A Y. Burlaka, V. Medvedev – 28, 31. XII, 3, 6, 7, 13. I: The
Staatsballett Christmas Carol – c. Y. Vàmos Staatsballett Berlin Nutcracker – c. J. Neumeier –
Komische Oper Hamburg Ballet
15. II: Distant Matter – c. A. Van 10, 11, 19, 20, 24, 26. I, 2. II: Don
Alina Nanu – Prague Opera Ballet: “The Nutcracker”, c. Yuri Vàmos Dijk; Half Life – c. S. Eyal – Quichotte – c. R. Nureyev –
(ph. M. Divisek) Staatsballett Berlin Hamburg Ballet
16, 17. I: Brahms-Schoenberg
Dresden Quartet; Liebeslieder Walzer –
Semperoper c. G. Balanchine – Hamburg Ballet
25, 27. I. 10, 16, 24. II: Carmen 3, 6, 9, 12, 16, 19. II: Orphée et
– c. J. Inger – Ballett Dresden Eurydice – c. J. Neumeier –
Hamburg Ballet
Duisburg 8, 13. II: Nijinsky – c. J. Neumeier
Theater der Stadt – Hamburg Ballet
8. I: Le Lac des cygnes – c. M. 17, 21. II: All Our Yesterday –
Schläpfer – Ballett der c. J. Neumeier – Hamburg Ballet
Deutschen Oper am Rhein
9, 23. II: Sinfonie nr 1 – c. R. München
Sucheana; One Flat Thing, Nationaltheater
Reproduced – c. W. Forsythe; 28. XII, 2, 4. I: The Nutcracker
Ulenspiegeltänze – c. M. – c. J. Neumeier – Bayerisches
Schläpfer – Ballett der Staatsballett
Deutschen Oper am Rhein 10, 11, 13, 26. I: Die
Kameliendame – c. J. Neumeier
Düsseldorf – Bayerisches Staatsballett
Opernhaus 19, 20. I: Raymonda – c. M.
5. I: creation – c. R. Binet; The Petipa (R. Barra) – Bayerisches
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Staatsballett
1, 4, 17. II: Kairos; Sunyata;
Borderlands – c. W. McGregor
– Bayerisches Staatsballett
22, 24, 26. II: Alice’s Adventures
in Wonderland – c. C. Wheeldon
– Bayerisches Staatsballett
Stuttgart
Opernhaus
28, 30, 31. XII, 3. I: Symphony
in C. – c. G. Balanchine; Konzert
für Flöte und Harfe – c. J. Cranko;
La Bayadère (Acte des ombres)
– c. M. Petipa – Stuttgart Ballet
16, 20, 24. I: La Dame aux
camélias – c. J. Neumeier –
Stuttgart Ballet
2, 7, 12, 17, 25. II: Die sieben
Todsünden – c. K. Weill –
Stuttgart Ballet
22, 26. II: One of a Kind – c. J.
Kylián – Stuttgart Ballet
SPAIN
Alice Firenze, Mihail Avraam, Ioanna Sosnovschi – Wiener Staatsballet: “Sylvia”, c. Manuel Legris
(ph. A. Taylor)
Madrid
Teatro Real
21, 23, 24, 26. I: Ballet de l’Opéra 27, 28, 30, 31. XII, 1, 2. I: 29, 30, 31. I, 1. II: Los Angeles
de Paris: Afternoon of a Faun;
FRANCE
Cendrillon – c. R. Noureev – Dance Project: création – c. B.
A Suite of Dances – c. J. Robbins; Ballet de l’Opéra de Paris Millepied
Sonatine; Rubis – c. G. Paris 16, 17, 19, 20, 21, 22, 23, 26. II, 8, 9, 10. II: Daphnis et Chloé –
Balanchine; Trois Gnosiennes Opéra Garnier 1, 2, 3, 5, 6, 8, 9, 11, 12, 14, 15, c. J.-C. Maillot; Le Spectre de
– c. H. van Manen 2, 3. I: La Dame aux camélias 19. III: Le Lac des cygnes – c. la Rose – c. M. Goecke; Prélude
– c. J. Neumeier – Ballet de R. Nureyev – Ballet de l’Opéra à l’après-midi d’un faune – c.
FINLAND l’Opéra de Paris de Paris J. Verbruggen; Petrouchka – c.
5, 7, 8, 10, 11, 13, 15, 16, 18, Centre Pompidou J. Inger – Les Ballets de Mon-
19, 21, 22, 25, 26, 27, 28. II, 1, 6-9. II: Fabrice Lambert: te-Carlo
Helsinki 2. III: Faun – c. S. L. Cherkaoui; Aujourd’hui, Sauvage Théâtre de la Ville – Les
Opera création – c. M. Goecke; Noces Théâtre des Champs-Élysées Abbesses
19, 22, 23, 24, 26, 29, 30. I, 1, 6, – c. P. Lidberg – Ballet de l’Opéra 2, 3, 4, 5, 6. I: Ballet de l’Opéra 20-30. XII: Hofesh Shechter
9, 12. II: The Little Mermaid – c. de Paris de Kiev: Casse-Noisette – c. V. Company: Show
K. Greve – Finnish National Ballet Opéra Bastille Kovtun 8-11. I: Vincent Dupont: Refuge
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14-16. I: Kat Valastur: OlLinity 2. II: Ballet de l’Opéra de Lyon:
18-20. I: Igor & Moreno: Andante Under a Day – c. J. Inger; Petite
24-26. I: Adi Boutrous: Submission Mort; No More Play – c. J. Kylián
19-23. II: Eun-Me Ahn Co.: “North
Korea Dance” Lyon
27. II-12. III: Cie Maguy Marin: Maison de la Danse
MayBe 18-22. XII: Malandain Ballet
Théâtre de Chaillot (Salle Jean Biarritz: Noé – c. T. Malandain
Vilar) 8-12. I: Fabrice Ramalingom:
10-13. I: Ensemble Modern: Story My (Petit) Pogo
Water – c. E. Gat 15-19. I: Hofesh Shechter
17-25. I: Ballet de Lorraine: Plaisirs Company: Grand Finale
inconnus 24-26. I: Ballet de l’Opéra de
7-22. II: Ballet Preljocaj: Gravité Lyon: Newark; Foray Forêt; Set
Théâtre de Chaillot (Salle and Reset/Reset – c. T. Brown
Gémier) 29. I-2. II: Cie Deborah Colker:
9-12. I: Arcosm: Bounce! – c. T. Cão Sem Plumas
Guerry, C. Rocailleux 8-13. II: Compañía Nacional
16-24. I: La Baraka: Wonderful de Danza: Don Quichotte – c.
One – c. A. Lagraa J. C. Martínez
12-14. II: Cie Emmanuelle Vo-
Dinh: Cocagne Massy
19-22. II: Cie Jann Gallois: Opéra
Compact 11, 12, 13. I: Yacobson Ballet:
Le Lac des cygnes – c. M. Petipa,
Aix-en-Provence L. Ivanov
Le Pavillon Noir 9, 10. II: Ballet du Rhin: Chaplin
15, 16. I: Cie Wayne McGregor: – c. M. Schröder
Autobiography – c. W. McGregor
24-26. I: Cie Wang/Ramirez: We Marseille
are Monchichi KLAP
31. I-1. II: Malaindain Ballet Biarritz: 19. I: Kollectif Ko.com: Quand
Noé – c. T. Malandain on se retrouve entre nous
7-8. II: David Wampach, Tamar chacun reprend sa place
Shelef: Enoo
Montpellier
Biarritz MontpellierDanse
Gare du Midi
28, 29, 30. XII: Rêveries
romantiques; Sirène – c. T.
Malandain – Malandain Ballet Bordeaux Opera Ballet:
Biarritz “La Fille mal gardée”,
c. Frederick Ashton
Bordeaux (ph. J. Benhamou)
Opéra National de Bordeaux Léonore Baulac, Mathieu Ganio – Paris Opéra Ballet:
26, 27, 28, 29, 30, 31. XII: La Fille “The Lady of the Camellias”, c. John Neumeier (ph. F. Levieux)
mal gardée – c. F. Ashton – Ballet
de l’Opéra de Bordeaux
14, 15. II: DCA: Petites Pièces
courtes – c. P. Decouflé
Cie Maguy Marin: “May B.”, c. M. Marin
Colmar
Théâtre Municipal
24, 25. I: Le Lac des cygnes – c.
R. El Meddeb – Ballet du Rhin
Dijon
Auditorium
24. I: Cie Catherine Diverrès: Blow
the Bloody Doors off
31. I: CCN de Montpellier: Jours
Étranges – c. D. Bagouet
Lille
Opéra
16, 18, 20, 22, 24. I: Pygmalion –
c. R. Orlin
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Ballet du Rhin
Suresnes
Suresnes Cités Danse
Théâtre Jean Vilar
11. I-3. II: Suresnes Cités Danse
Toulouse
Casino Théâtre Barrière
26, 28, 29, 30, 31. XII: Don
Chisciotte – c. K. Belarbi – Ballet
du Capitole
Versailles
Château de Versailles/Opéra
Royal
28, 29, 30. XII: Ballet Preljocaj:
Roméo et Juliette – c. A. Preljocaj
GREAT BRITAIN
Birmingham
Hippodrome
19, 20, 21, 22, 23, 26, 27, 28. II:
Beauty and the Best – c. D. Bintley
– Birmingham Royal Ballet
Tanztheater Wuppertal:
“Since She”, c. Dimitri Edinburgh
Papaioannou (ph. J. Mommert)
Festival Theatre
27, 28, 29, 30. XII: Cinderella – c.
Théâtre La Vignette C. Hampson – Birmingham Royal
16, 17. I: David Wampach: Endo Ballet
30, 31. I: Hamdri Dridi: I Listen Sarah Lamb – The Royal Ballet: “The Nutcracker”, c. Peter Wright
(You) See; Paola Stella Minni, Glasgow (ph. K. Kuras )
Konstantinos Rizos: Pa.Ko.Doble Theatre Royal
Le Corum/Opéra Berlioz 4, 5, 6, 8, 9, 10, 11, 12. I: Cinderella
23, 24. I: Ballet du Capitole: “Dans – c. C. Hampson – Birmingham 22-25. II: Wuppertal Tanztheater: 16-20. I: English National Ballet:
les pas de Noureev” Royal Ballet New Piece II – c. A. L. Oyen Manon – c. Kenneth MacMillan
19, 20. II: Ballet Preljocaj: La Coliseum 29, 30. XII, 2, 3, 4, 5, 6. I: English
Fresque London 3-13. I: English National Ballet: National Ballet: The Nutcracker
Royal Opera House Swan Lake – c. D. Deane – c. W. Eagling
Mulhouse 28, 31. XII, 1, 5, 7, 8, 9, 11, 15. I:
La Filature The Nutcracker – c. P. Wright –
1-3. II: Ballet du Rhin: Le Lac des The Royal Ballet Ballet de Lorraine: “Plaisirs Inconnus” (ph. A. Paul)
cygnes – c. R. El Mebbed 2, 4. I: The Concert – c. J. Robbins;
Les Patineurs – c. F. Ashton; Winter
Nancy Dreams – c. K. MacMillan – The
Opéra de Nancy Royal Ballet
26. II: “Plaisirs inconnus” – Ballet 18, 19. I: Asphodel Meadow – c.
de Lorraine L. Scarlett; The Two Pigeons – c.
F. Ashton – The Royal Ballet
Nice 15, 16, 19, 20, 22, 23, 27. II, 1, 2,
Opéra 22, 25, 30. III: Don Quichotte – c.
22, 23, 27, 28, 29, 30, 31. XII: Le M. Petipa, A. Gorsky (C. Acosta)
Ballet de Faust – c. E. Vu-An; Les – The Royal Ballet
Deux Pigeons – c. E. Vu-An – Ballet Royal Albert Hall
Nice Méditerranée 28, 29, 30, 31. XII: The Nutcracker
Conservatoire à Rayonnement – c. P. Wright – Birmingham Royal
Régional de Nice Ballet
15. II: Ballet Nice Méditerranée: Sadler’s Wells Theatre
“Pas de deux & Co.” 4. XII-24. I: New Adventures: Swan
Lake – c. M. Bourne
Strasbourg 14-17. II: Wuppertal Tanztheater:
10, 11, 12, 13, 14, 15. I: Le Lac New Piece I – Since She – c. D.
des cygnes – c. R. El Meddeb – Papaioannou
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ITALY 24, 25, 26, 29, 30. I, 1. II:
Winterreise – c. A. Preljocaj –
Balletto del Teatro alla Scala
Bologna Teatro degli Arcimboldi
Teatro Comunale 30. I: Roberto Bolle and Friends
29, 30, 31. XII: Balletto di Mila- Teatro Carcano
no: Lo Schiaccianoci – c. F. 29. XII-1. I: Balletto del Sud: La
Veratti Bella addormentata – c. F.
27. II: Svetlana Zakharova: “Amo- Franzutti
re” 27. I: Balletto di Roma: Otello
Teatro Duse – c. F. Monteverde
30. XII: Moscow Classical
Russian Ballet: Lo Schiaccia- Modena
noci Teatro Comunale Luciano
30. I: Balletto di Roma: Otello Pavarotti
– c. Montevede 18. I: Aterballetto: Sarabande
13. II: Ballet Flamenco Español: – c. J. Kylián; Domus Aurea –
Carmen – c. T. Osuna c. D. Tortelli
26. II: Balletto Yacobson: Don
Cesena Chisciotte
Teatro Bonci
11. I: Balletto di San Pietroburgo: Napoli
La Bella addormentata Teatro di San Carlo
2. II: Aterballetto: Tempesta – 29, 30. XII, 2, 3, 4, 5. I: Lo Schiac-
c. G. Spota cianoci – c. G. Picone – Ballet-
to del Teatro San Carlo di Na-
Ferrara poli
Teatro Comunale
19. I: Mario Martone: Tango gla- Padova
ciale: reloaded (1982-2018) Teatro Verdi
31. I: Parsons Dance: 19. I: Lutz Förster: Dance Stories
Microbust; Caught; Wolfgang; 1. II: Balletto di Roma: Otello –
Whirlaway – c. D. Parsons; Ma c. F. Monteverde
Maison – c. T. McIntyre Nicola Del Freo – La Scala Ballet: “The Nutcracker”,
28. II: Balletto Yacobson: La Bella c. George Balanchine (ph. Brescia-Amisano) Parma
addormentata ParmaDanza
Teatro Regio
Genova Milano 1. II: DC Entertainment: Lo
Teatro Carlo Felice Teatro alla Scala Schiaccianoci – c. A. Amodio
No Gravity Dance Company:
11-13. I: Balletto di Astana: Il 16, 19, 20, 29, 30. XII, 3, 4, 10, 7. II: Parsons Dance Company:
“Divina Commedia”,
lago dei cigni – c. A. Asylmuratova 12, 15. I: Lo Schiaccianoci – c. Microbust; Caught; Wolfgang;
c. Emiliano Pellissari
(Petipa, Ivanov) G. Balanchine – Balletto del Whirlaway – c. D. Parsons; Ma
31. I-3. II: Balletto sul Ghiaccio Teatro alla Scala Maison – c. T. McIntyre
di San Pietroburgo: La Bella
addormentata
“The Sleeping Beauty on Ice” with The Saint-Petersburg
Legnago State Ballet on Ice
Teatro Salieri
2. II: Balletto di Roma: Otello –
c. F. Monteverde
Livorno
Teatro Goldoni
13. II: No Gravity Dance
Company: Divina Commedia
Lucca
Teatro del Giglio
30. I: Aterballetto: Rain Dogs;
Bliss; Birdland – c. J. Inger
26. II: DCEntertainment: Medi-
terranea – c. M. Bigonzetti
Mestre
Teatro Toniolo
26. XII: Balletto di San
Pietroburgo: Lo Schiaccianoci
60
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HOLLAND
Amsterdam
National Opera & Ball
27, 29, 30, 31. XII, 1. I:
Cinderella – c. C. Wheeldon
– Het Nationale Ballet
9, 16, 22, 23, 24, 27. II:
Requiem – c. D. Dawson –
Het Nationale Ballet
NORWAY
Oslo
Opera
24, 26, 27, 30. I, 1, 7. II: Le
Lac des cygnes – c. M. Petipa,
L. Ivanov (A. M. Holmes) –
Norwegian National Ballet
21, 22, 27. II, 2, 3, 4, 6, 8. III:
The Firebird – c. L. Scarlett;
The Rite of Spring – c. I. C.
Johannessen – Norwegian
Edo Wijnen – Het Nationale Ballet: “Requiem”, c. David Dawson (ph. H. Gerritsen) National Ballet
62
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M. Fokine – Mariinsky Ballet 3. II: Giselle – c. J. Coralli, J. Mikhailovsky Ballet V. Vainonen, M. Messerer –
Mariinsky Theatr II Perrot, M. Petipa – Mikhailovsky 11, 12, 13. II: Casse-Noisette Mikhailovsky Ballet
8, 9. I: Spartacus – c. L. Ballet – c. N. Duato – Mikhailovsky 26, 27. II: La Bayadère – c.
Yakobson – Mariinsky Ballet 6, 7. II: Le Lac des cygnes – Ballet M. Petipa – Mikhailovsky Ballet
10. I: Cinderella – c. A. c. M. Petipa, L. Ivanov (A. 14, 15, 16. II: Le Corsaire –
Ratmansky – Mariinsky Ballet Gorsky, A. Messerer) – c. M. Petipa, P. Gusev, K. Moscow
12. I: Carmen Suite – c. A. Mikhailovsky Ballet Sergeyev (M. Messerer) – Bolshoi Teatr (new stage)
Alonso; Le Jeune Homme et 9, 10. II: Don Quichotte – c. Mikhailovsky Ballet 12, 13. I: Coppélia – c. M.
la Mort – c. R. Petit – Mariinsky M. Petipa, A. Gorsky – 23. II: Flammes de Paris – c. Petipa (S. Vikharev) – Bolshoi
Ballet
8, 9. II: Spartacus –c. L.
Yakobson – Mariinsky Ballet Mikhailovsky Ballet, St Petersburg: “La Sylphide”, c. August Bournonville
10. II: The Four Seasons – c.
I. Zhivoi – Mariinksy Ballet
Mikhailovsky Theatre
3, 5, 6, 7. I: Cinderella – c. R.
Zakharov – Mikhailovsky Ballet
16, 17, 18. I, 19, 20, 21. II:
Spartacus – c. G. Kovtun –
Mikhailovsky Ballet
20. I: La Sylphide – c. A.
Bournonville – Mikhailovsky
Ballet
23, 24, 25. I: Romeo and
Juliet – c. N. Duato –
Mikhailovsky Ballet
27. I: La Fille mal gardée –
c. F. Ashton – Mikhailovsky
Ballet
30, 31. I, 1. II: La Belle au
bois dormant – c. N. Duato
– Mikhailovsky Ballet
63
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Denis Savin, Ekaterina Krysanova, Georgy Gusev, Anton Savichev – Bolshoi Ballet, Moscow: “Petrushka”, c. Edward Clug
(ph. E. Fetisova)
64
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