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Королевский балет. Royal Ballet

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Adapting Shakespeare Insight (The Royal Opera and The Royal Ballet)

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Alice's Adventures in Wonderland in rehearsal (The Royal Ballet)

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Alice’s Adventures in Wonderland

LIVE 23 October 2017

Conductor Koen Kessels

Alice - Lauren Cuthbertson

Jack/The Knave of Hearts - Federico Bonelli

Lewis Carroll/The White Rabbit - James Hay

Mother/The Queen of Hearts - Laura Morera

Magician/The Mad Hatter - Steven McRae

Concert Master  - Ania Safonova

The Nutcracker

LIVE 5 December 2017

Conductor - Barry Wordsworth

The Sugar Plum Fairy - Sarah Lamb

The Prince - Steven McRae

Clara - Francesca Hayward

Hans-Peter/The NutcrackerA - lexander Campbell

Herr Drosselmeyer - Gary Avis

ChoirL - ondon Oratory Junior Choir

Concert Master - Peter Manning

The Winter's Tale

LIVE 28 February 2018

Conductor - Alondra de la Parra

Hermione - Lauren Cuthbertson

Leontes- Edward Watson

Perdita - Sarah Lamb

Florizel - Steven McRae

Paulina - Laura Morera

Polixenes - Matthew Ball

New Wayne McGregor / The Age of Anxiety / New Christopher Wheeldon

LIVE 27 March 2018

Manon

LIVE 3 May 2018

Swan Lake

LIVE 12 June 2018

he Royal Ballet presents a new production of Tchaikovsky’s magnificent classical ballet, with additional choreography by Liam Scarlett and designs by John Macfarlane.

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Photo Album: first look at The Royal Ballet’s triple bill by Tharp, Pita and Shechter

https://www.gramilano.com/2017/11/photo … -shechter/

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Dance review: Giselle at Covent Garden
Matthew Ball, a first soloist, replaced the injured American star David Hallberg mid‑ballet to partner Natalia Osipova. The transition was seamless

Debra Craine
March 2 2018, 5:00pm,
The Times

★★★★★
What incredible bad luck. The American ballet star David Hallberg was finally being reunited with his favourite stage partner, Natalia Osipova. It was in a performance of Giselle at the Royal Opera House and it was a big deal. He had spent almost three years off the stage while recovering from a devastating foot injury; now, performing again at the age of 35, he was looking forward to reviving his acclaimed partnership with Osipova.

On Thursday night, when the curtain rose on Peter Wright’s production, it looked as though Hallberg’s belated debut with the Royal Ballet was worth the wait. He has the perfect stature for Count Albrecht — noble, handsome, proud — and his dancing is beautifully polished, finely wrought. Osipova looked incredibly happy in his company, her Giselle playful and high spirited, every thrilling feeling evident in her wonderfully excitable dancing.

But then came a prolonged interval and a curtain speech by Kevin O’Hare, the Royal Ballet’s director, announcing that Hallberg had been injured during the first act and couldn’t dance the rest of the ballet. So instead, Matthew Ball, a first soloist who was at home on his night off, was whisked to Covent Garden to warm up, get into costume and take over as Albrecht.

A cast change this dramatic mid-ballet can destabilise an entire performance, but the second half, with its aura of ghostly malice and transcendent love, was astonishing. Osipova and Ball had never danced Giselle together before, but you couldn’t tell. The transition was seamless.

While Osipova’s heartbroken heroine launched herself into the stratosphere with a remarkable combination of energy and ethereality that only she can muster, Ball offered tender support, romantic momentum and a surprisingly well-rounded portrait of the duplicitous count. His final solo, with Albrecht taking what he thinks is his final breath, was a fantastic few minutes of dancing.

They received a tremendous ovation from the Opera House crowd, who had ventured out on a bitterly cold night and were rewarded with an outstanding — if unexpected — evening. Osipova and Hallberg are still scheduled to dance another Giselle on March 9 and two performances of Manon in April — watch this space. Meanwhile, Ball and Osipova are due to perform Swan Lake together in May and June. On the evidence of their half Giselle they are a combo to watch.
https://www.thetimes.co.uk/article/danc … -v7kkpkvxx

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https://www.nytimes.com/2018/03/02/arts … allet.html

Review: ‘Giselle’ Reunited Hallberg and Osipova, but Only for an Act
By ROSLYN SULCASMARCH 2, 2018

Natalia Osipova as Giselle and David Hallberg as Albrecht in the Royal Ballet’s “Giselle.” Mr. Hallberg injured himself in the first act and didn’t return for the second. Credit Bill Cooper/ROH
LONDON — It’s never good news when the curtain draws back before the second act, and the artistic director steps out to speak. And so it went on Thursday night at the Royal Opera House here, where the American star David Hallberg and the Russian ballerina Natalia Osipova were finally reunited on stage in “Giselle,” the ballet that ignited their celebrated partnership when they first performed it together in 2009 at American Ballet Theater.

Mr. Hallberg, announced Kevin O’Hare, the director of the Royal Ballet, had injured himself at the start of Act 1, and would not perform Act 2. Matthew Ball, a first soloist who recently made his debut in the role, would take his place.

Judging by the loud groan, it was a huge disappointment for the audience, many of whom had probably never seen Mr. Hallberg perform with Ms. Osipova, a principal with the Royal Ballet since 2013. And how must he have felt? Mr. Hallberg returned to the stage just 14 months ago, after a two-and-a-half-year injury-filled break and a painful, painstaking fight back to physical prowess. (Dancing with Ms. Osipova again, he has said, was one of his strongest motivations.)

Until the announcement, there was little indication of a problem. Albrecht, the nobleman who disguises himself as a peasant to court the lovely village girl Giselle, doesn’t have a great deal of dancing in Act 1. If Mr. Hallberg seemed slightly muted in those passages, with legs and jumps kept low, it was in keeping with the effortless air of nobility that he brought to the role from the moment he arrived on stage.

His Albrecht is genuinely infatuated with Giselle, rather than a cad with a seduction plan. By the end of the act, Mr. Hallberg seemed aware of the depth of his feelings, appalled by the vast error and consequences of his actions. That he could convey all this while negotiating a just-sustained injury is a tribute to his artistry and to that of Ms. Osipova, who offered a rivetingly original account of the role.

Matthew Ball, who stepped in for Mr. Hallberg, with Ms. Osipova in the second act. Credit Bill Cooper/ROH
Most ballerinas play Giselle as a shy, charming, innocent village girl who readily falls for the mysterious (and perhaps calculating) stranger she has just met. Ms. Osipova’s Giselle may be naïve, but she rushes at life with gusto and sensuality. The moment when Ms. Osipova and Mr. Hallberg first lock eyes has a Romeo and Juliet electricity: You can almost see the shock of physical sensation and recognition, and feel the inexperienced Giselle’s confusion and momentary fear at these unfamiliar emotions.

But her passion overwhelms that fear; for once, the character’s love of dancing — an idea stated repeatedly in the first act — is perfectly aligned with her take-no-prisoners personality. There is a wildness, sometimes even an ungainliness in Ms. Osipova’s dancing here that suggests how her Giselle is animated by raw emotion. When she dances for the courtiers who have turned up during a hunt, a sustained balance in arabesque becomes an expression of sheer joy, her final circle of chainés — quick whirling turns done in a circle — a thrilling expression of an uncontainable inner vitality. This all goes a long way in explaining Albrecht’s growing enthrallment.

But Giselle has a weak heart, something Ms. Osipova points up more acutely than most interpreters, with small private moments of pain. When she discovers Albrecht’s betrayal, the shock is greater than she can withstand. She goes heartbreakingly, unprettily mad, then dies. (I cried.)

In Act 2, Giselle has been transformed into a Wili, one of the vengeful ghosts of jilted women who haunt the forest at night. Ms. Osipova’s extraordinary high, weightless jumps and almost uncannily floating arms were thrillingly beautiful. In her tender passion for Albrecht, and her fearless confrontation with the Wilis as she protected him, you could recognize the impetuous, passionate girl of Act 1.

Mr. Ball, who had performed Albrecht only once before, did heroic duty in stepping into Mr. Hallberg’s shoes. Although he and Ms. Osipova have rarely danced together, there was no visible strain or discordance in their pas de deux, and he offered a convincing account of Albrecht’s back-from-the-brink despair as Giselle finally vanished forever.

Afterward, as the curtain rose on the cast, Ms. Osipova pushed Mr. Ball forward and applauded. The day was saved. Now let’s hope that Mr. Hallberg will be back for his next scheduled “Giselle” here, on March 9.

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N.Osipova, M.Ball curtain call

https://www.facebook.com/lucia.maria.77 … 493924855/

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Мэтью Болл рассказал о своём внезапном появлении в "Жизели" с Натальей Осиповой после травмы Дэвида Холберга.

https://www.thetimes.co.uk/magazine/cul … -m0kbqq396

“I had walked in my front door two minutes before I got the call. I was about to sit down and kick my feet up — and the next thing, the phone buzzed. It was a complete shock. It wasn’t really registering. You do one step at a time. I called a taxi, and it was during that taxi ride that I realised this was going to happen.”

His Giselle was Osipova:

“It was a bit like, ‘I usually do this in this bit. We’ll make it work.’ She’s very un-divaish. She’s committed to her interpretation, but it’s not pretentious or giving her partner extra nerves.”

The substitution announcement after the interval was greeted by groans:

“Someone I know who was in the audience let out a scream, which changed the mood. I had to trust that I had it in me. I’d saved the show anyway, just by turning up — I felt liberated by that.

“Usually, when preparing a role, you make all these decisions. But here I was making them in real time... it was more fresh, raw — more like me”.

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ROH опубликовал планы на 2018/2019 год.

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2018/2019 from "Dancing Times"

http://s7.uploads.ru/t/cMlwI.png

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The Royal Ballet performs a new production of Tchaikovsky’s magnificent classical ballet. Production and additional choreography by Liam Scarlett and designs by John Macfarlane.
Find out more at http://www.roh.org.uk/swanlake

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Льюк Джеггинз отписался в "Гардиан" по первому блоку "Манон", поставив спектаклю пресловутые пять звёзд (кто бы сомневался).
Франческа Хэйворд была утончённой, перейдя из ранга инженю в женственные артистки. Марианела Нyньез была самой классической и безупречной Манон. Вот с Осиповой всё гораздо сложнее. И хотя в общем и целом отзыв комплиментарный, особенно о сносящей крышу "любовной смерти" Осиповой со Шкляровым (опять же, кто бы сомневался), но в описании явления "Наташи" содержатся утверждения и словечки из серии "приложил, так приложил". Итак, читаем.
https://www.theguardian.com/stage/2018/ … es_Manager

Natalia Osipova’s Manon, a week later, is a bird of a different feather. In the first scene she tumbles out of the coach, gauche and open-mouthed, ready for anything. With Des Grieux (guest artist Vladimir Shklyarov) she is skittish, coquettish, and utterly heedless of consequence. The attention of men is the oxygen that sustains her; she accepts their adoration as her due. This impression of a woman living wholly in the moment is compounded by Osipova’s unreservedly sensual body language, and by her free-form reading of MacMillan’s choreography. In the first duet with Des Grieux, she interpolates subtly ornate, flirtatious mannerisms. In the bedroom scene, she slouches and juts her lip when he’s not giving her his full attention. Dirty pointe shoes and messily tied ribbons compound an impression of gamey, vagrant sexuality. Faced with the overtly vicious lust of GM (Gary Avis), she frowns, briefly shocked, but when he arrays her in finery she preens like a child.

At the salon in Act 2, Osipova dances with a regal tilt to her chin and a triumphant little smirk. She thinks she’s in control, but MacMillan’s choreography, which sees her passed around like a plate of petits fours, tells us otherwise. Detail by detail, she paints a portrait of a woman without a plan, ricocheting from man to man, and ultimately freefalling towards catastrophe. It’s in Act 3 that the Osipova brilliance really kicks in. She draws a passionately despairing response from Shklyarov, and their liebestod is shattering.

" This impression of a woman living wholly in the moment is compounded by Osipova’s unreservedly sensual body language, and by her free-form reading of MacMillan’s choreography."  Это впечатление как от женщины, полностью живущей моментом, усугубляется откровенно чувственным языком тела и её свободным прочтением хореографии МакМиллана.

"Dirty pointe shoes and messily tied ribbons compound an impression of gamey, vagrant sexuality." Грязные пуанты и неаккуратно завязанные ленты усугубляют впечатление игривой, бомжовой сексуальности.

"At the salon in Act 2, Osipova dances with a regal tilt to her chin and a triumphant little smirk. She thinks she’s in control, but MacMillan’s choreography, which sees her passed around like a plate of petits fours, tells us otherwise." В салоне во втором акте Осипова танцует с царственным наклоном головы и триумфальной маленькой глупой улыбкой. Она полагает, что все в её власти, но хореография МакМилла, которая предусматривает её передачу по кругу, подобно тарелке с пти-фурами, говорит нам о другом.

А в остальном, прекрасная маркиза ....

Мы пойдём смотреть на Сэру Лэм в трансляции. И уже сейчас предвкушаем.

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Да, приложил показательно.
Жаль, что в Англии в прессе, соц.сетях несколько в тени продолжают оставаться замечательные примы Катбесон,Лэмб,Морера, которые по многим факторам не уступают Осиповой, а в некоторых превосходят ее...
http://www.balletcoforum.com/topic/1755 … 19/?page=1
По ссылке выше выложили составы на осенние Майерлинг, Баядерку, современный блок и Щелкунчик.
В трансляции Май-га, к моей радости, Макрей и Лэмб. Фото Стивена со спектакля очень заинтриговали.
В Баядерке покажут Нуньес, Мунтагирова и Осипову. В общем-то ожидаемый состав и я опять же рада, что Никией будет именно Нуньес, а не Наталья.
Не совсем понятна политика руководства РОХ: есть две молодые примы(Франческа Хэйворд и Yasmine Naghdi), о которых говорят как о восходящих звездах, но ни одна не получила еще трансляцию. Тот же Щелкунчик транслируют каждый год и, при всей моей любви к Марианелле Нуньес, можно было бы показать одну из молодых балерин...

Отредактировано Yuka (16-04-2018 13:57:35)

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Возможно кому-то будет интересно:
http://balletristic.com/личный-опыт-как-я-уехала-учиться-балет-2/
История от девушки, вытащившей счастливый билетик в виде обучения в Лондоне.

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Yuka написал(а):

В Баядерке покажут Нуньес, Мунтагирова и Осипову. В общем-то ожидаемый состав и я опять же рада, что Никией будет именно Нуньес, а не Наталья.


Дорогая Yuka! :flag:
В другом составе Нуньез и Осипова поменяются местами. Но транслировать будут этот. :cool:

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https://bachtrack.com/de_DE/review-obsi … april-2018

“A seminal performance by a truly great ballerina”: Alessandra Ferri triumphs in uneven triple bill
***11
Von Graham Watts, 16 April 2018
It would be fascinating to be that “fly on the wall” when each season’s repertoire for The Royal Ballet is determined, if for no other reason than to confirm my impression that, every year, there is a programme that resembles the remnants basket at a village hall bring-and-buy sale.

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Балет"Зимняя сказка" - хореограф Кристофер Уилдон / Christopher Wheeldon & Joby Talbot. The Winter's Tale - ROH (28.02.2018)

Hermione Lauren Cuthbertson
Leontes Ryoichi Hirano
Perdita Sarah Lamb
Florizel Vadim Muntagirov
Paulina Laura Morera
Polixenes Matthew Ball
Orchestra of the Royal Opera House
Conductor Tom Seligman
Choreography Christopher Wheeldon
Music Joby Talbot
28 February 2018, Royal Opera House

Запись трансляции в виде многотомеого архива (Full HD) на сайте "Погружение в классику":
http://intoclassics.net/news/2018-04-12-44969

Если кто - то не справится с архивами, обращайтесь в личку :flag:

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Спасибо, дорогой primipilos , что отслеживаете появление записей трансляций! Это исклюцительно важно. :flag:

И за тех. поддержку спасибо. :flag:

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The Royal Ballet rehearse Liam Scarlett's new Swan Lake

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Расписание кинотрансляций

https://www.roh.org.uk/cinemas

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Alastair Marriott has created numerous works for The Royal Ballet, including Being and Having Been, Tanglewood and Sensorium. His pieces are inspired by a wide range of sources, from Children of Adam, a response to Walt Whitman's poems, to Connectome, a visually stunning collaboration with designer Es Devlin, inspired by theories of neuroscience. Marriott's new ballet The Unknown Soldier, another collaboration with Devlin, imagines the story of individuals caught up in the turmoil of war. Set to a commissioned score from Dario Marianelli (Darkest Hour, Anna Karenina, Atonement), it will commemorate the centenary of the end of World War I.

https://www.roh.org.uk/productions/the- … r-marriott

Insights into The Royal Ballet's The Unknown Soldier

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