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Королевский балет. Royal Ballet

Сообщений 31 страница 60 из 142

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Liam Scarlett's The Age Of Anxiety in rehearsal - World Ballet Day 2014 (The Royal Ballet)

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Марианелла Нуньез напомнила мне Майю Плисецкую, у которой сегодня день рождения. :jumping:

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Just the history.....

http://www.vam.ac.uk/content/articles/e … sh-ballet/

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Natalia Osipova about "Onegin"

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Back to the roots
"La fille mal gardee"

Отредактировано PIRUETTE (11-03-2015 20:04:23)

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Репетиция "Песни Земли" МакМиллана.
Мужчина, отсчитывающий позиции, Грант Койл - нотейтер или хореолог, т.е. человек, записывающий балет по системе Бенеша (современная альтернатива к записям Степанова) и читающий записи хореологов, следящий за тем, чтобы при восстановлении балета оригинальная хореография была в точности соблюдена.

Laura Morera, Nehemiah Kish and Edward Watson rehearse Kenneth MacMillan's Song of the Earth with Monica Mason and Grant Coyle. Find out more at http://www.roh.org.uk/productions/son...

Kenneth MacMillan first heard Gustav Mahler's Das Lied von der Erde in 1958. He immediately fell in love with Mahler's elegiac masterpiece and in 1959 asked if he could use the piece in a new commission for The Royal Ballet. But the ROH Board refused, concerned that such a major musical work was not suitable accompaniment for ballet. It wasn't until 1965 that MacMillan was able to create his Song of the Earth, for Stuttgart Ballet on the invitation of his friend John Cranko. The ballet was instantly acclaimed, recognized as MacMillan's arrival into full maturity as a choreographer. The Royal Ballet took the piece into their repertory only six months after its Stuttgart premiere.

MacMillan introduced a narrative thread to the piece's six movements, drawing on imagery from Hans Bethge's free translation of the six T'ang-dynasty poems that Mahler used. Marcia Haydée created the role of the woman, a figure of loneliness isolated from the movements of the corps de ballet around her. The man was created by Ray Barra, and the Messenger of Death by Egon Madsen, then only 23 years old. In MacMillan's hands Death becomes not a figure of evil but a gentle, ever-present companion. Earthbound, non-classical movements morph seamlessly into modernist curves in a work of breathtaking beauty and power.

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https://www.youtube.com/watch?v=Gb4ZvpHSpxE

Запланировано на 8 апр. 2015 г.
A partnership between Creative Industries Federation and The Royal Opera House.

Pre-election debate featuring Ed Vaizey (Conservative), Harriet Harman (Labour), Baroness Bonham-Carter (Liberal Democrat), Peter Whittle (UKIP) and Martin Dobson (The Greens).

The Culture Debate will be chaired by Martha Kearney and will feature Conservative Minister of State for Culture and the Digital Economy Ed Vaizey; Labour Shadow Secretary of State for Culture Media and Sport Harriet Harman; co-chair of the Liberal Democrat Party Committee on Culture Baroness Bonham-Carter; UKIP culture spokesperson Peter Whittle; and Green Party spokesperson for Culture, Media and Sport Martin Dobson.
The event will see the panel debate their party's policies on the arts and creative industries in front of a live studio audience including leading figures from the sector.

Put your questions to the panel using the hashtag #CultureDebate.

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New season 2015/2016

http://www.roh.org.uk/news/royal-opera- … son-201516

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Edward Watson rehearses Woolf Works (The Royal Ballet)

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In Conversation: Woolf Works

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Royal Ballet Principals Marianela Nuñez and Vadim Muntagirov perform a section of Frederick Ashton's Symphonic Variations. Find out more at http://www.roh.org.uk/productions/sym...

Отредактировано TheRisingOfTheBlackSwan (29-07-2015 17:41:11)

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Rupert Pennefather to leave The Royal Ballet

Principal dancer to leave The Royal Ballet after 16 years.

http://www.roh.org.uk/news/rupert-penne … yal-ballet

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International dance stars Alessandra Ferri and Herman Conejo return to the roles they created in the UK premiere of Martha Clarke’s impassioned work of dance-theatre, inspired by the writings of Colette. Find out more at http://www.roh.org.uk/productions/che....

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Due to injury, Natalia Osipova will not dance her scheduled performances during Autumn Season 2015.
Replacement casting is as follows:
For performances of Romeo and Juliet on 26 September, 1 October and 11 November, she will be replaced by Sarah Lamb.
For performances of Connectome on 6, 10, 20 and 22 October, she will be replaced by Lauren Cuthbertson.
For performances of Tchaikovsky Pas de deux on 26 October, 6 and 12 November she will be replaced by Iana Salenko.
For performances of Carmen on 28 and 31 October, and 2 November, she will be replaced by Laura Morera.

http://www.roh.org.uk/news/cast-changes … and-carmen
Прочла в одной из групп Осиповой в ФБ в комментах,что Наташа повредила ногу в понедельник и выбыла,предположительно, на три месяца(инфо от знакомых комментатора,связанных с КГ,т.е. не официальна).Соответственно скорее всего не будет участвовать в спектаклях в БТ и Ла Скала.

Отредактировано Yuka (17-09-2015 20:27:42)

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Это очень печальная и тревожная новость, которая, к сожалению, случилась ожидаемо.
Потому что нельзя до бесконечности мальтритировать своё тело, забывая о всех законах природы.
И если годами балерина танцует с незалеченной травмой, то рано или поздно она или дожмёт эту травму до катастрофического конца, или получит другую травму, потому что весь корпус не может работать в нормальном режиме, оглядываясь на имеющийся хэндикэп.
Надеюсь, что за наступивший волей-неволей таймаут будут залечены и старые, и новые травмы.
Мужества и терпения балерине.
И вообще - удачи! :flag:

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С balletcoforum от Amelia:

I was allowed to say that it is an old injury (foot), which required serious attention for a few years. It became more acute now.
"Мне было позволено сказать, что это старая травма (нога), которая требует серьезного внимания в течение нескольких лет. В настоящее время она стала еще более острой."

Скорейшего выздоровления Наталье,но боюсь,если травма все та же,скоро оно не наступит...И вспоминается интервью,де говорилось о нежелании пока делать операцию...

Отредактировано Yuka (18-09-2015 12:04:57)

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Пока еще не выложили видео на тюбе или вимео,выложу ссылкой.
Watch: Lauren Cuthbertson in Nowness short film Portrait of a Dancer

Portrait of a Dancer explores the risks of injury that dancers face and sees Lauren discuss her return from a near-career-ending injury last year. ‘Margot Fonteyn said, “If audiences knew what pain the dancers were enduring, only people who enjoyed bullfights could bear to watch it”’, says Lauren in the film.
‘At the beginning of last Season I was performing with Carlos Acosta. I went into the last slide and my foot completely pounded onto the stage. It was as if someone had shot my ankle… In that moment I doubted whether I would ever dance again.’
Cuthbertson’s graceful performance of Alastair Marriott's choreography makes up the second part of the black and white film, showcasing the dancer’s return to top form.

Лорен рассказывает о своей травме,которая могла привести к завершению карьеры в прошлом году, и возвращении.Вторая часть хореография от Alastair Marriott.
http://www.roh.org.uk/news/watch-lauren … f-a-dancer
Так же уже сняты Portrait of a Dancer с Steven McRae и Sarah Lamb

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http://www.gramilano.com/2016/02/sneak- … -and-ball/

Home › ballet › Sneak peek at Wheeldon’s Strapless for The Royal Ballet with Osipova, Cuthbertson, Watson and Ball
Sneak peek at Wheeldon’s Strapless for The Royal Ballet with Osipova, Cuthbertson, Watson and Ball

http://s7.uploads.ru/t/0S57h.jpg

photo by Andrej Uspenski , ROH

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http://www.nytimes.com/2016/02/16/arts/ … .html?_r=1

Review: Premiere of Wheeldon’s ‘Strapless’ at the Royal Ballet
By ROSLYN SULCASFEB. 16, 2016

"But no one gets it right every time. With “Strapless,” Mr. Wheeldon has run into trouble. The first problem is the story — or perhaps the larger problem is simply that of the story ballet, now back in fashion after the long reign of the plotless, abstract dance. Mr. Wheeldon’s full-length “Alice in Wonderland” in 2011 and “The Winter’s Tale” (2014), both created for the Royal Ballet, have been huge hits in London, but the shorter narrative work is a genre that no ballet choreographer today seems able to treat without imitating older models."

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Christopher Wheeldon on Strapless (The Royal Ballet)

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Господин Карлос Акоста попрощался со сценой как танцовщик своей хореоверсией балета "Кармен". Балет поставлен на сборную музыку из оперы и сюиты Щедрина. В нём принимают участие певцы. Надо отдать должное изобретательности хореографа - как губка, он впитал в себя всех великих. Здесь и "Болеро" от Брониславы Нижинской до Мориса Бежара, и народные кубинские танцы, и определённые фламенкообразные мотивы, и "поцелуй" - нет, не Климта, а Прельжокажа из "Парка", оттуда же, вероятно, и номер со стульями; и стрипто-танец, и порнотанец - всё пошло в ход. И даже Золушкины сёстры каким-то образом попали в суп.
Сам Акоста-Хосе получился этаким нерешительным неврастеником, Кармен-Нуньез - не свободo-, а самовлюблённой нимфоманкой, а Тореодор - Фредерико Бонелли - мачо-мачо-мачо-мачо до карикатурности. Кстати, курит на сцене - это уже цитата из Пети.
Весёлого просмотра.

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REVIEW: ROYAL BALLET - GISELLE - ROYAL OPERA HOUSE
PERFORMANCE: 26 FEBRUARY - 15 APRIL 2016
REVIEWED BY GRAHAM WATTS - TUESDAY 1 MARCH 2016

Performance reviewed: 26 February

The eponymous heroine of Giselle is a gentle and fragile peasant girl and so it’s a sad irony that the perennial vulnerability of a dancer’s body, incessantly pushed to the limit, day after day, should have led to the late withdrawal of Natalia Osipova from performing this role: one that won her two National Dance Awards in 2014.

Sarah Lamb stepped into the breach to add to her sole scheduled performance (with Ryoichi Hirano, on 28 March) and since she is a ballerina who deserves more opportunities for opening night performances, our potential loss in missing Osipova became a satisfying gain in the alabaster frailty of Lamb’s charming performance. For me, Lamb exudes an aura of East Coast elegance; a “Grace Kelly” in ballet. She is blonde, beautiful and from the right side of America (though Boston, not Philadelphia) so it’s not a fanciful allusion. Many of the great ballerina roles require significant character shifts across more than one act and Lamb once again demonstrates great skill as a malleable actress in an interpretation of Giselle that is initially driven by dignity and helplessness (a victim of her circumstances) and then, in Act II, by courage and determination (when her character sets out to control the action, against all the odds).

For those unfamiliar with the plot of ballet’s most enduring tale from the great Romantic era of the early nineteenth century, Giselle is deceived by a philandering aristocrat, Count Albrecht (masquerading as a peasant boy); and she dies a dramatic death when her lover’s real identity and his duplicity are revealed. In the first act, her nervous mother has told a prescient tale – in mime, delivered here with superb clarity and animation by Kristen McNally – about the Wilis, ghosts of jilted brides who haunt the local woods and force young men to dance themselves to death. Giselle joins this peculiar tribe of The Dancing Dead but rebels against them to save Albrecht when the Wilis – having already disposed of Hilarion, whose desire for Giselle had set in train the undoing of his rival – turn their vengeful attention on the sorrowful Albrecht; during his nocturnal visit to Giselle’s woodland grave. It’s the Romantic ideal of love surviving death even if the guy was a bit of a cad!

Sir Peter Wright’s production was the first ballet that I saw after the renovation of The Royal Opera House at the turn of the century. It had been going for fifteen years’ prior to that but it remains as fresh as ever, especially since John Macfarlane’s backdrop in Act II was given a makeover when the ballet was revived in 2011. Now, the first ghostly images of Wilis, fleetingly seen at the opening of the second act, are remarkably ethereal, setting the scene so perfectly for what is to come. Wright has made fifteen productions of Giselle around the world and this Royal Ballet staging came 20 years’ after the first (for Stuttgart Ballet, in 1966). Today, it remains a quintessential, defining, thoughtful interpretation of a story that is ubiquitous in the ballet world.

In addition to the enforced change in the title role, this opening night provided a balance of experience and new interpretations throughout the cast. Having rehearsed for his debut with a different partner, Matthew Golding brought some fresh new brushstrokes to the usual interpretation of Albrecht. He started nervously, even fluffing a cue or two, and seemed ill-at-ease with some of the character’s standing around in Act I (always a difficult and under-rated part of a ballet dancer’s art) but his was a performance that steadily improved into a coruscating final pas de deux with Lamb.

The cast was enlivened by the mature interpretations of a number of long-standing company stalwarts: Thomas Whitehead and Johannes Stepanek brought believable and realistic touches, respectively, to the roles of the jealous Hilarion and Albrecht’s faithful squire; Christina Arestis combined unapproachable nobility with aristocratic largesse as Bathilde (Albrecht’s betrothed).

Elsewhere, a newer generation thrived as the lead Wilis: Tierney Heap was suitably cold and imperious as Myrtha, their Queen, while maintaining the strength of her technique in ultra-difficult step and jump combinations (her footwork, including the long backward diagonal of pas de bourrées, was never short of exquisite); and, as her attendants, Olivia Cowley and Beatriz Stix-Brunell were equally enchanting. The well-drilled strength of the corps de ballet as the 24 other ghostly brides was also of the highest order.

Stardom is such that I daresay many came only to see Osipova. I hope that any initial disappointment at her enforced absence will have been quickly subsumed into delight at the overall strength of the company at another stellar opening of this attractive signature production.

For a company that started way back in August, this year’s mid-season break (which occurred two days after this opening night) has come so late in the year that the freshness in this performance – from dancers who have barely had a break in more than six months – is all the more remarkable. By the way, when they return, it seems hopeful that Osipova will make her two other scheduled shows (on 17 and 29 March) and also look out for Vadim Muntagirov’s *debut in this production (partnering *Marianela Nuñez) on 22 March (plus 31 March and 6 April, screened live in cinemas). There are five other great casts to savour throughout March and early April. Take your pick, because it’s the production that is the real star.

Continues in rep until 15 April 2016
Full details & casting:
roh.org.uk
http://londondance.com/articles/reviews … E.facebook

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"Giselle" photos Osipova-Golding

http://www.theballetbag.com/2016/03/23/ … a-golding/

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Marianela Nuñez and Vadim Muntagirov on why they love Giselle (The Royal Ballet)

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Obsidian Tear – The Invitation – Within the Golden Hour

http://www.gramilano.com/2016/05/obsidian-tear/

Kenneth MacMillan’s stark emotional drama The Invitation returns to The Royal Ballet for the first time in 20 years. Created in 1960, it marked a shocking departure from the conventions of ballet. A one-act work that explores emotional boundaries and sexual violence, portraying a young couple’s sexual initiation by an older married couple, ending with the onstage rape of the girl by the older man - with Gary Avis, Frankie Hayward, Vadim Muntagirov and Zanaida Yanowsky, photos by Andre Uspenski..

https://scontent-vie1-1.xx.fbcdn.net/t31.0-8/13301335_1005007352910859_891594451126273017_o.jpg

https://www.facebook.com/gramilano/phot … mp;theater

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Frankenstein

https://drive.google.com/file/d/0B0CxE3 … 0724906358

https://drive.google.com/file/d/0B0CxE3 … 0724906358

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