tag:blogger.com,1999:blog-78009430149365500012024-03-05T11:06:37.817+00:00AS TERTÚLIAS...As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.comBlogger701125tag:blogger.com,1999:blog-7800943014936550001.post-7216777213472248112018-02-18T11:51:00.000+00:002018-02-18T11:53:23.185+00:00Do you want to find out what is happening in the World od Dance?Jooin me in "attitude": <a href="http://attitude-devant.com"></a><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3UqvTHKSk3jUm6iFRHSUajdJWTLzu3TY03witK2x6me-OhCkFmqzwdiHCm0xRTbEP1AYvxCxQ7LZI44lWT9Ujgw_UxKi-_42sSleRXvq5bJhdgtsq7dFrYuZrKzcJYkOYzwGE2OmFIxs/s1600/SKMBT_C224e18011712400_0001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3UqvTHKSk3jUm6iFRHSUajdJWTLzu3TY03witK2x6me-OhCkFmqzwdiHCm0xRTbEP1AYvxCxQ7LZI44lWT9Ujgw_UxKi-_42sSleRXvq5bJhdgtsq7dFrYuZrKzcJYkOYzwGE2OmFIxs/s320/SKMBT_C224e18011712400_0001.jpg" width="226" height="320" data-original-width="1000" data-original-height="1414" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCVw0nCELRps6Z6hC6_bF6tycPJxrhZBfzRXXrOQg72j8Fo0XF1PBgU9nZMhQoCJehfYscPpayWUwp5PptSBxznOVbGj6dvsS8R-GtYLgOoH5Ss6NppgNP_r177OqD1lxJdFwriY71O1c/s1600/preview.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCVw0nCELRps6Z6hC6_bF6tycPJxrhZBfzRXXrOQg72j8Fo0XF1PBgU9nZMhQoCJehfYscPpayWUwp5PptSBxznOVbGj6dvsS8R-GtYLgOoH5Ss6NppgNP_r177OqD1lxJdFwriY71O1c/s320/preview.jpg" width="320" height="211" data-original-width="650" data-original-height="429" /></a></div>As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com0tag:blogger.com,1999:blog-7800943014936550001.post-21154843053301618622017-10-21T11:28:00.002+01:002017-10-21T11:29:52.046+01:00a t t i t u d e<br />
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<a href="http://www.attitude-devant.com"></a>As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com0tag:blogger.com,1999:blog-7800943014936550001.post-56407942416282198592017-06-11T20:03:00.000+01:002017-08-13T13:39:51.429+01:00Final / EndCaros amigos,<br />
<br />
Obrigado pelos anos acompanhando meu trabalho mas...<br />
<br />
... as "Tertúlias" chegaram ao final... o formato ficou antiqado, passée... <br />
E como tudo na vida, uma mudanca é necessitada!<br />
<br />
Acompanhem-me no futuro na plataforma internacional<br />
<br />
https://www.attitude-devant.com<br />
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ou<br />
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https://www.facebook.com/danceisanattitude/<br />
<br />
Tenho muitas estórias para contar para voce sobre ballet!<br />
<br />
Ricardo<br />
<br />
________________________________________________________________________<br />
<br />
Dear Friends,<br />
<br />
many Thanks for all the years following my work but...<br />
<br />
... the "Tertúlias" are going to be finished... the format is outdated, passée...<br />
And everything in life, a change is needed!<br />
<br />
Follow me in the future on the international platform<br />
<br />
https://www.attitude-devant.com<br />
<br />
or<br />
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https://www.facebook.com/danceisanattitude/<br />
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I have many stories to tell you about Ballet!<br />
<br />
Ricardo<br />
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As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com0tag:blogger.com,1999:blog-7800943014936550001.post-49195983096172384882017-06-07T21:32:00.000+01:002017-06-07T21:32:01.395+01:00Julie Andrews<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI2700JlNOsp7asUAy44hrSmOQlPGQgdniFygRrCAufnoTVj697IRvZYplRfcI1a_2ibyFdnYKSNapSmO_Iw-3fPYPZVquuoABqlIedRG18NxOu1J8kLehzWZkBsDvlYuNIw-8Y3AYm4A/s1600/ToRicardosincerelyJA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI2700JlNOsp7asUAy44hrSmOQlPGQgdniFygRrCAufnoTVj697IRvZYplRfcI1a_2ibyFdnYKSNapSmO_Iw-3fPYPZVquuoABqlIedRG18NxOu1J8kLehzWZkBsDvlYuNIw-8Y3AYm4A/s320/ToRicardosincerelyJA.jpg" width="240" height="320" data-original-width="480" data-original-height="640" /></a></div>As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com0tag:blogger.com,1999:blog-7800943014936550001.post-42404622309832206202017-05-18T10:50:00.000+01:002017-05-18T10:51:40.887+01:00Online on May 31st...The new Ballet platform...<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGSZsYz1cFROpZzCmOvCsmNhvOVQZ2m2mUcAbdI-mjrDa2LcR97sz8_TRnA0MNgnsrVcho7pc5AJbdZGlOfaeIql1QuJm2JJrYTT79A7HjhqcAovM4ilUQwBVgXivMQgIpjhtSj6YDk8k/s1600/Unbenannt.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGSZsYz1cFROpZzCmOvCsmNhvOVQZ2m2mUcAbdI-mjrDa2LcR97sz8_TRnA0MNgnsrVcho7pc5AJbdZGlOfaeIql1QuJm2JJrYTT79A7HjhqcAovM4ilUQwBVgXivMQgIpjhtSj6YDk8k/s320/Unbenannt.png" width="320" height="180" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7OzrJOHmMKqRhnyWugjySj7PBqcNKfU6d1CSMcwnumQR0ko6-P8b-siZ-3I7rfuAYX62qJWGTCILiTqTCq-8i3R-0khAKhEw8qG10UKXni52OKSx3R1Ide7WlAN94fx5IjaUFDyOvfac/s1600/ATTITUDE+3.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7OzrJOHmMKqRhnyWugjySj7PBqcNKfU6d1CSMcwnumQR0ko6-P8b-siZ-3I7rfuAYX62qJWGTCILiTqTCq-8i3R-0khAKhEw8qG10UKXni52OKSx3R1Ide7WlAN94fx5IjaUFDyOvfac/s320/ATTITUDE+3.jpg" width="320" height="203" /></a>As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com0tag:blogger.com,1999:blog-7800943014936550001.post-36981308853798738092017-05-10T09:00:00.000+01:002017-05-10T18:45:05.899+01:00Wiener Staatsballet: May 09th, 2017, Season 2017/18, Press Conference.<br />
Another season, another reason: Wiener Staatsballet, Season 2017/18<br />
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As the old song says: “Another season, another reason, for making Whoopee!” <br />
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Even if thousands of people have discussed this “Whoopee” (always “philosophizing” about its meaning), I am sure of a positive touch about it – and this sounds good, according to today’s press conference at the Opera that predicted a marvelous 2017/18 season – and a very carefully planned one too.<br />
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But before jumping into next year, here some “News” that are still going to take place during this season (that was not easy one due to the many pregnancies in the company – but on the other side, as reported, dancers like Liudmila Konovalova, Nina Polakova, Ioana Avraam and Maria Yakovleva got a chance to dance more): <br />
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The many casts for the upcoming “Swan Lake” are not only a logistic challenge but will also give some dancers the long awaited opportunity to make a debút on “Lake”. Robert Gabdullin, Jakob Feyferlik, Masayu Kimoto and Leonard Basílio will have their chance to play Prince Siegfried. On May 14th and 17th Semyon Chudin and Olga Smirnova (both from The Bolshoi) will play the leading roles. On June 4th other World Stars (this time from the Royal Ballet) will take over the roles of Siegfried and Odette/Odille: the gifted Vadim Muntagirov and magical Marianela Nuñez.<br />
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The Nureyev Gala on June 29th will be once more the “highlight” of the Season: a wonderful programme which includes, among many others, “Spartacus Pas de Deux” with Maria Shirinkina and Vladimir Shklyarov from the “Bayerisches Staatsbalet” (whom I recently had the opportunity to witness on stage in Munich), “Magnificat” (John Neumeier), that was in fact created for Sylvie Guillem and Manuel Legris, “Stars and Stripes” (Balanchine), “Solo” (Hans van Manen), “In the middle, somewhat elevated” (Forsythe) with the future principal of the “Ballet Zürich”, Elena Vostrotina and Vladimir Shishov, Balanchine’s “Tchaikovsky pas de deux” with Ludmilla Pagliero (Etoíle from National Opera de Paris) and Denys Cherevychko and “With a chance of rain” by Liam Scarlett (the same choreographer that did the “hit” “Frankenstein”).<br />
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Monsieur Legris talked about his participation as a member of the jury at the “Prix Benois de Danse” to which Wiener Staatsballet’s principal dancer Davide Dato was also nominated, the upcoming planed tounées to China and Japan as well the new DVD of “Don Quixote” that shall be released next autumn, about four new dancers joining the company: Andrés Garcia-Torres (up to now at the Volksoper) and three other (male) dancers, respectively from Italy, America and Belgium and about two Demi-Soloists leaving the company: Dagmar Kronberger that decided not to come back after getting her second baby and Greig Matthews that is joining the Joffrey Ballet.<br />
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Mrs. Mag. Simone Wohinz, commercial director of the Wiener Staatsballet, informed us about interesting facts and figures: The Ballet had 57 performances at the State Opera and 34 in the “Volksoper”. Around 150.000 viewers visited the performances (plus 7.150 in Madrid, during the Tournée at the Teatro Real, in which 5 sold-out performances of Legri’s “Le Corsaire” were shown to Spanish audiences).<br />
At the moment (44 performances up to now) at State Opera, the average seat occupancy is by 97,39% - in fact a peak figure when compared to international standards.<br />
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Mrs. Simona Noja-Nebyla, Managing Director of the Ballet Academy from the Vienna State Opera, delighted us all with all her energy and enthusiasm about the school, its team and pupils. 130 students from 22 different countries that are willing to dance and will have performed in 167 pieces by the end of the season. This means that they perform an average of 16 pieces a month (in a ten month-period) and that is an enormous accomplishment!<br />
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Manuel Legris resumed the conference giving the “news” for the 2017/18 Season: <br />
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A very “British evening” with MacMillan’s “Concerto”, McGregor’s “Eden” and the very special, lovely, passionate and romantic piece “Marguerite and Armand” created in 1963 especially for Fonteyn and Nureyev by Sir Frederick Ashton. This was in fact the first Ballet ever to be created to both. And how fitting that Monsieur Legris decided to use in it, exactly in the year in which Nureyev, if he'd still be among us, would have turned 80 years old.<br />
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“Peer Gynt” by Edward Clug, a full length contemporary work will have its Première on January 21st. Back to the repertoire are “Giselle” (which has not been performed in the Opera since 2011), “Nutcracker”, the “very round” programme “Balanchine/Liang/Proietto”, “Raymonda” (“Hopefully also with Olga Esina this time”, concluded Mr. Legris) and “Balanchine/Neumeier/Robbins” which will bring back the “beloved” Robbins’ “The Concert” (or “The perils of everybody”) – Surely a special homage to Jeromme Robbins’ 100th Birthday.<br />
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At the Volksoper Davide Bombana’s “Roméo et Juliette” with Berlioz’ music that, if I am not mistaken, was just used by Maurice Béjart until now. Back, to audience’s delight: Jorma Elo’s “A Summernight’s dream”and Patrick de Bana’s “Marie Antoinette” among others.<br />
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And of course “The Nureyev Gala 2018” that – as Monsieur Legris emphatically put it - will have to “top” this year’s Gala in honour of Rudolf Nureyev’s 80th Birthday: something not so easy to do due to the already known very high standards with which he has been “pampering and coddling” Vienna’s audiences during the last seasons… <br />
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But I am positive that he’ll surpass himself, as usual!<br />
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Yes, an extremely promising year: “another season, another reason… for making Whoopee!”As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com2tag:blogger.com,1999:blog-7800943014936550001.post-73084610282915832172017-05-07T15:17:00.001+01:002017-05-07T23:31:28.794+01:00Wiener Staatsballet: May 5th, 2017, “Giselle Rouge” - revisited<br />
This time I am not going to write about the piece itself and the ensemble, as I have done this twice before; the last time just on April 6th past (see my last review). I am going to write just about two dancers.<br />
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Yes, this “Giselle Rouge”, the last one of the season by the way, was for me “the icing on the cake” on a long run of different interpretations during the past two years.<br />
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Alexis Forabosco, one of the most expressive dancers in the Wiener Staatsballet, gave life to “The Comissioner”. I use the wording “gave life” on purpose because that is really what happened on stage last May 5th. Very far away from an interpretation that would only leave place to brutality, violence and meanness, Mr. Forabosco really gave life to a character that was far more calculating in a sort of Machiavellian way. And perhaps because of this psychological contemplation, much more frightening – and therefore human. Mr. Forabosco and his personality and great presence on stage – better put it this way: he “fills” the stage – supported by a great dynamic, great jumps, technical precision and very masculine identity – are simply what this role asks for. A dancer is his very best years. Maturity and youth at the same time. Definitely.<br />
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</div>Copyright: Wiener Staatsballet/ Ashley Taylor<br />
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Ioanna Avraam was for me the perfect “Ballerina” (Olga Spessivtesva), tormented by her passions, destiny… not being quite able to cope with it.<br />
Miss Avraam gave a very strong reading of this role and of the tragedy included in it. Not afraid of not “looking at her best”. Her Olga when compared in scenes in which she is thrown on the floor like a parcel to scenes in which she exceeds in elegance are simply amazing. <br />
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A very fine and gifted dancer, Miss Avraam is an incredibly precious asset to the ensemble of the Wiener Staatsballet. <br />
Surely one of Manuel Legris’ best decisions ever was to turn her into a soloist.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIn1MJzMfMX9npK8_cjOYpKcX3-Z8QjXvf5uV-PguzOefL7eBPN4RuL7ii1k-5pqBl3Waj0jllg-Wufdn2eQ6yBvmVuJ7AZMDG9fo3KqtdS40I-Lk5oSjpoN7yehQCMTN2NKV2IvvQB5U/s1600/003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIn1MJzMfMX9npK8_cjOYpKcX3-Z8QjXvf5uV-PguzOefL7eBPN4RuL7ii1k-5pqBl3Waj0jllg-Wufdn2eQ6yBvmVuJ7AZMDG9fo3KqtdS40I-Lk5oSjpoN7yehQCMTN2NKV2IvvQB5U/s320/003.jpg" width="240" height="320" /></a></div>Copyright: Wiener Staatsballet/ Ashley Taylor<br />
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Possessing an exquisite technique: beautiful extensions – but never “over extended” in a vulgar way- that turn into amazing Développés, magical pas-de-bourrés (YES!) and those wonderful, sensitive, fragile looking arms and hands (for me still THE factor in recognizing a great dancer) she, once more, made me aware of her talent. And how I enjoy witnessing real talent on stage. A dancer that really uses her technique as a TOOL on stage and not as the main “drive” to perform a part. All this added to her Mediterranean way of “feeling a tragedy” and portraying it in a very smooth, human, nearly touchable way made her interpretation an unique one. As Jane Fonda once said about Meryl Streep during a gala performance: She was right there. Yes, Miss Avraam was right there. Her emotions, her presence, her intelligence as a dancer.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE8llDQQ0iFBU3LDGgBGWrml8tUGcoxvUh0WB7SXbjuyyg-hTFtUG1D6XBWxg-4oBuLYD-GaDTUXqo_7lcCetKugpAC_VYcUKcAm5b25OervwNqhLOPtTIx3DOdGt4tlZG3Fi9pQT64Xg/s1600/004.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE8llDQQ0iFBU3LDGgBGWrml8tUGcoxvUh0WB7SXbjuyyg-hTFtUG1D6XBWxg-4oBuLYD-GaDTUXqo_7lcCetKugpAC_VYcUKcAm5b25OervwNqhLOPtTIx3DOdGt4tlZG3Fi9pQT64Xg/s320/004.jpg" width="240" height="320" /></a></div>Copyright: Wiener Staatsballet / Ashley Taylor<br />
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The chemistry between Mr. Forabosco and Miss Avraam was perfect. In a stage relation that might lead to overdoing the roles, they gave the audience just the right portion of feelings and emotions. And everything was there: the sexuality of the Comissioner and the sex dominance he exercised over Olga and her submission to him… and the mad Olga. So sad..<br />
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Great interpretations in this last “Giselle Rouge” of the season. I am glad I watched THIS show.As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com2tag:blogger.com,1999:blog-7800943014936550001.post-26950471281518719212017-04-14T17:23:00.000+01:002017-04-14T17:24:23.253+01:00Happy Easter everyone: on the fifth Avenue with Judy and Fred!<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3HvyTahUFuPize4BcfixsY4ezY7EhZ49ItYaawkGzFkPUTcZYKtISfvF2GQV7sB5_ceAbo_0mUjWoBoIOvMnaUsv6kS7Mbg_4bc96bXpgzeBjmn-hFc-EuuSRbg7WE1yCPs5JkwH6MdU/s1600/Easter_Parade.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3HvyTahUFuPize4BcfixsY4ezY7EhZ49ItYaawkGzFkPUTcZYKtISfvF2GQV7sB5_ceAbo_0mUjWoBoIOvMnaUsv6kS7Mbg_4bc96bXpgzeBjmn-hFc-EuuSRbg7WE1yCPs5JkwH6MdU/s320/Easter_Parade.png" width="320" height="240" /></a></div><br />
In your easter bonnet, with all the frills upon it,<br />
You'll be the grandest fellow in the easter parade.<br />
I'll be all in clover and when they look us over,<br />
We'll be the proudest couple in the easter parade.<br />
On the avenue, fifth avenue, the photographers will snap us,<br />
And you'll find that you're in the rotogravure.<br />
Oh, I could write a sonnet about your easter bonnet,<br />
And of the guy I'm taking to the easter parade.<br />
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<iframe width="560" height="315" src="https://www.youtube.com/embed/gTjTd3wZUa0" frameborder="0" allowfullscreen></iframe>As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com2tag:blogger.com,1999:blog-7800943014936550001.post-21407988114764396882017-04-13T12:41:00.001+01:002017-04-19T09:18:55.160+01:00Wiener Staatsoper: a talk with Igor ZapravdinA talk with Igor Zapravdin: April 5th, 2017<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCVOWBxH8T-rC0T_b_nHis14st2yQshoL5Wts-kKZBDvc9JfEUUK_ZWcJTVrbPXqNrZTen-TFX4C8scWmOD_e6kDgEGgDAhSSFCEuSmkdG-Wh91jK9GDOCfutkEsNmVZdjEsnkJB6doyo/s1600/17792389_1580920051936256_792205908_n.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCVOWBxH8T-rC0T_b_nHis14st2yQshoL5Wts-kKZBDvc9JfEUUK_ZWcJTVrbPXqNrZTen-TFX4C8scWmOD_e6kDgEGgDAhSSFCEuSmkdG-Wh91jK9GDOCfutkEsNmVZdjEsnkJB6doyo/s320/17792389_1580920051936256_792205908_n.png" width="180" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgztlNUyLRKPVpMaIp-7BHa30yCkcWhkhtjIVAa2rayKR1dchmulROuAdv-nfVT5GKIbbjqPrSk3mQVsV_A6zMBqdYqmX-wm93Bq9wtQgstqqAcMAVIw_fndHJFpvKx9BWo15TuPU50wrk/s1600/17806887_1580920085269586_640838245_n.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgztlNUyLRKPVpMaIp-7BHa30yCkcWhkhtjIVAa2rayKR1dchmulROuAdv-nfVT5GKIbbjqPrSk3mQVsV_A6zMBqdYqmX-wm93Bq9wtQgstqqAcMAVIw_fndHJFpvKx9BWo15TuPU50wrk/s320/17806887_1580920085269586_640838245_n.png" width="180" height="320" /></a><br />
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Astrologically speaking, what you make of yourself is a “10th house matter”. <br />
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The 10th house describes your career, your public reputation, your worldly status. It suggests your optimum contribution to society, the qualities for which you'd like to be admired and respected. <br />
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People who have their “sun” in the 10th house are blessed with so much awareness that when they enter a room every single person turns in their direction. This has to be the case with Igor Zapravdin.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioZri_8ypplFHkEEs5ezqoKyCmD_HhI9DcBnSCQazGTIKshLrSJMNJ55-bdEx7r1eY0fDFirPEe2XcIRk5DYAo0g7rWCbyZduEaIeTR832YvpOvJ0EvtBFKNGAfbpwX0Pg-TFBqkKq6sc/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioZri_8ypplFHkEEs5ezqoKyCmD_HhI9DcBnSCQazGTIKshLrSJMNJ55-bdEx7r1eY0fDFirPEe2XcIRk5DYAo0g7rWCbyZduEaIeTR832YvpOvJ0EvtBFKNGAfbpwX0Pg-TFBqkKq6sc/s320/1.jpg" width="214" height="320" /></a></div><br />
At the precise moment when he entered the Café, in which our interview was going to take place, he became the center of attention, in an almost ferocious but natural, uncomplicated way at the same time. <br />
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After shaking hands and exchanging a warm embrace, we sat down to “talk”. Oh, I do love talking to genius. I do love talking to people with broad experience and deep knowledge of their “métier”. It has been a long time since I realized that in order to go further, one has to ask questions. Many questions. Even if you feel that may be “silly”. When I think back at all people I have met, I sometimes think: why didn't I ask more? Why didn't I ask them to dinner so we could talk more? It is really a long time since I stopped being shy about asking too much. And I am glad about that! As Jane Fonda once said “It is so much better to be interested than interesting... “.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6-7Tum5GwPx-PqJrcOp1ZQaTomW5I1CENe-ykQz_25AdKUOs5jQZ615d4JcfzdwjrLSgUkqzdpSVlIdc86jxR53Xy9DkohKArUeYVAudPymmFMdm7bNZcNhv6Sc1_uOg8pmhHNteDXuk/s1600/CIMG3892.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6-7Tum5GwPx-PqJrcOp1ZQaTomW5I1CENe-ykQz_25AdKUOs5jQZ615d4JcfzdwjrLSgUkqzdpSVlIdc86jxR53Xy9DkohKArUeYVAudPymmFMdm7bNZcNhv6Sc1_uOg8pmhHNteDXuk/s320/CIMG3892.JPG" width="320" height="240" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOM_I16afVfo3peNmPUuT7WeFZ-3JJmXQlScfDr5LEpdbKmFAEUVnztfWUWDxbYZcnFkGYyi6kN7OqTIUQkwW9LD9D79iWTdR3XDhwBohAAiwYO2u46jN25fuqPfub6auHzbJQeVwQ7q0/s1600/CIMG3893.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOM_I16afVfo3peNmPUuT7WeFZ-3JJmXQlScfDr5LEpdbKmFAEUVnztfWUWDxbYZcnFkGYyi6kN7OqTIUQkwW9LD9D79iWTdR3XDhwBohAAiwYO2u46jN25fuqPfub6auHzbJQeVwQ7q0/s320/CIMG3893.JPG" width="320" height="240" /></a></div><br />
Igor Zapravdin was born in Sevastopol (Crimea) and started his musical studies at the early age of 6. When I asked him if he had ever also been to ballet classes he answered immediately “Of course, during my times in music school I also went to ballet classes... for about 6 years!”<br />
That made it all clear to me – this unique understanding of ballet and of the needs of the ballet teacher. This unique feeling for tempo. “There must be a total feeling for the person you are working with. Class is a holly place. Respect and understanding are required. Albert (Mirzoyan) knows what he needs. I give it to him – But this understanding comes with time... We have been working together for so many years!”.<br />
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Mr. Zapravdin has been working since 1992 at the Vienna State Opera.<br />
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“I am a ballet pianist – you see, a ballet pianist can be a concert pianist but a concert pianist is not a ballet pianist!” he continued, “ There are three extremely important things: the ballet repertoire – even of unimportant pieces, capacity of improvisation and the knowledge of ballet technique itself! Without these three vital things, you cannot be a ballet pianist!”<br />
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Talking to him and concentrating on writing down every single important information is not an easy thing. He is quick, pin-pointed to the last details about his work and “his soul overflows with excitement” while he is talking. Talking about the things he loves most!<br />
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“Mr. Zapravdin, you have done a great work with the musical arrangements of “Le Corsaire”... “ I started to say. “Yes, that had to be done... You see, the score from “Le Corsaire” has not the musical quality of a “Giselle”. There were so many pieces that were added to it through the years. Music from eleven composers! I have reduced them to 5!”<br />
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“Which is your favourite com... ?“ Before I could finish my sentence he answered “Riccardo Drigo”, his eyes shining with delight a the very mention of his favourite composer. <br />
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A man of great stamina, Mr. Zapravdin has been working on extra projects that include a Gala in Luxembourg on May 20th & 21st (with Vladimir Malakhov, Lucia Lacarra, Marlon Dino, Eno Peci & Natascha Kusch among others), which unfortunately I will not be able to attend and his own 25 year Jubilee at the State Opera which will take place on October 29th at the Volkstheater, which I will surely attend to. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5bd4qgFh6rzWGS6lVSq5qOqDLNw3EQ2U7RyVU1wpFuCDKgZRWeluKkM38oCuTxI57hU9H_p73OF5MbHiCV8SaQf3S08aqnd5cwEyq6Sf5ono_xTItGtsP42i7WZqETGXswk0Ta2vkZhc/s1600/17310314_10208990590018730_7551215481795863828_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5bd4qgFh6rzWGS6lVSq5qOqDLNw3EQ2U7RyVU1wpFuCDKgZRWeluKkM38oCuTxI57hU9H_p73OF5MbHiCV8SaQf3S08aqnd5cwEyq6Sf5ono_xTItGtsP42i7WZqETGXswk0Ta2vkZhc/s320/17310314_10208990590018730_7551215481795863828_o.jpg" width="226" height="320" /></a></div><br />
But that is the thing about Mr. Zapravdin his total dedication and love to a profession that found him. Yes, I do believe that artists do not look for their profession. They are chosen by it! And this the fascinating thing. I could still be sitting there, listening to the wisdom of this learned gentlemen! I am looking forward to learning more from him and from his infinite cultural baggage!<br />
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Many thanks!<br />
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Some facts about Mr. Zapravdin:<br />
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After attending music and Ballet school, Mr. Zapravdin continued his studies and graduated for composition and classical piano from the Academic Music College under the Moscow State Tchaikovsky Conservatory and Moscow State Pedagogical University. In Moscow he worked as a repetiteur in many different theatres such as “Stanislavskiy”, “ Nemirovich Danchenko Musical Theatre”, “The Musical Theatre for children” (Natalija Sac) and the “Russian State Ballet Theatre” under the direction of V.Gordeev.<br />
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Since 1992 he has been working at the “Vienna State Opera” as a Soloist and Ballet pianist. He has been in many productions as a Concert Pianist for Ballet productions, accompanying the Vienna State Opera on tournées to Luxembourg, Tokyo and Monte Carlo. Zapravdin has played in Russia, Austria, Paris, Varna, Budapest, Tokyo, South Korea, Luxembourg and Brazil. <br />
He is the music director of the Nureyev-Gala in Kazan (Russia) and of the Fanny Elssler gala which takes him to play at the Bolshoi Theatre in Moscow. He also collaborated with the cellist and Orchestra Conductor Mstislav Rostropovich.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1He-Lzack1WL1VtIteoCkKm8-kYXH6Igw2Je3QrlrlN8E1lMxX17vTlcER71rVjQTYJr7xmgQac9ARAFchXR1voGy28-s2RYaN18iN3wIc2ifyowKbX90naB2z8FzCiJmThnMudXEPRQ/s1600/CIMG3886.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1He-Lzack1WL1VtIteoCkKm8-kYXH6Igw2Je3QrlrlN8E1lMxX17vTlcER71rVjQTYJr7xmgQac9ARAFchXR1voGy28-s2RYaN18iN3wIc2ifyowKbX90naB2z8FzCiJmThnMudXEPRQ/s320/CIMG3886.JPG" width="240" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWto50CgelTJXmkx9mh6T8QUb4x76Ogmesj0-nS6jHFgcoQD3DlKIl2Ek_4689rFqHu55X2O-08RhBHhfjygLZKsNZnfH1RVpQIGLQGnxIuypq3_5H3tUwEwOU-AE7lN6z5uax7lgnyds/s1600/CIMG3887.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWto50CgelTJXmkx9mh6T8QUb4x76Ogmesj0-nS6jHFgcoQD3DlKIl2Ek_4689rFqHu55X2O-08RhBHhfjygLZKsNZnfH1RVpQIGLQGnxIuypq3_5H3tUwEwOU-AE7lN6z5uax7lgnyds/s320/CIMG3887.JPG" width="320" height="240" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6_eS6UUreaOU0HhUfbjzszmbupDHi61_L3Y6XJTF7aO60VTR_-rwbEsZxTgBMqvariL3O9Ntu7huQBbW3h1gETRRCUydgs6JIjO3un4rvmHs49xjEqvSUqkgI-DiIsUFKPmlOtiTgPSc/s1600/CIMG3888.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6_eS6UUreaOU0HhUfbjzszmbupDHi61_L3Y6XJTF7aO60VTR_-rwbEsZxTgBMqvariL3O9Ntu7huQBbW3h1gETRRCUydgs6JIjO3un4rvmHs49xjEqvSUqkgI-DiIsUFKPmlOtiTgPSc/s320/CIMG3888.JPG" width="320" height="240" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsw7IhVWOHUXxEVOgMf_vT5d8TvdFgVpb9qQ2nXaio1ZGJTUzmm2AK-0U330-tiYXt8Hk2SP0q5Gfp5n1kcRiWwPwW4jb3PtveiTXQ-Rd9w55oNuvVmwZo8pElxxpM0_riF7X5ZkJoFdI/s1600/CIMG3889.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsw7IhVWOHUXxEVOgMf_vT5d8TvdFgVpb9qQ2nXaio1ZGJTUzmm2AK-0U330-tiYXt8Hk2SP0q5Gfp5n1kcRiWwPwW4jb3PtveiTXQ-Rd9w55oNuvVmwZo8pElxxpM0_riF7X5ZkJoFdI/s320/CIMG3889.JPG" width="320" height="240" /></a><br />
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He has edited the musical arrangements of “La Bayadére”, “The Ice Queen” and from the “pas de six” from “Laurencia”. He has also published music CDs for Ballet lessons focused on the least known classical repertoire. As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com16tag:blogger.com,1999:blog-7800943014936550001.post-48718891726845836392017-04-09T17:59:00.003+01:002017-04-09T19:23:34.684+01:00Wiener Staatsballet: April 6th, 2017, "Giselle rouge" - revisited.<br />
When I heard that Robert Gabdullin was in the revival of „Giselle rouge” as “the partner” (Serge Lifar), I felt very tempted to watch this show again. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuQzYlmBfc1JmKTS31ZlUorT5VuTRO1sy3mv5IR99NNM7cgryJqNdqq16aDYX_ZX1TdqT2OuvZps_48Jw-5aTQMZM-EmgRObeAvu1rHw3mAOowzDGRC6ln9EskR_2bMAL_5deFKByKVTU/s1600/001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuQzYlmBfc1JmKTS31ZlUorT5VuTRO1sy3mv5IR99NNM7cgryJqNdqq16aDYX_ZX1TdqT2OuvZps_48Jw-5aTQMZM-EmgRObeAvu1rHw3mAOowzDGRC6ln9EskR_2bMAL_5deFKByKVTU/s320/001.jpg" width="233" height="320" /></a></div><br />
Adding to my curiosity was the “new cast”: Nina Poláková as “the ballerina” (Olga Alexandrovna Spessivtseva), James Stephens as “the friend” (Serge Lifar’s lover) and the fact that on April 6th Vladimir Shishov would be playing the police inspector (Olga’s mad, sexual, insane love affair).<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmgQgZnhhx8v8JsT0ZYuKLUaUY9UGXo1ORUqC1HGz-TMVb18UW77yuK7e-vJPKNkaHvQR3fnZUG-m9dexhGbRnXfTGwc-zUuOOPpB4K1jOzIlkXX_O7JjzkW8XC_pw_eXB-tk4M7oBDzQ/s1600/17632336_1326435627413595_3720425221035598473_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmgQgZnhhx8v8JsT0ZYuKLUaUY9UGXo1ORUqC1HGz-TMVb18UW77yuK7e-vJPKNkaHvQR3fnZUG-m9dexhGbRnXfTGwc-zUuOOPpB4K1jOzIlkXX_O7JjzkW8XC_pw_eXB-tk4M7oBDzQ/s320/17632336_1326435627413595_3720425221035598473_o.jpg" width="320" height="213" /></a></div>Copyright: Ashley Taylor/ Wiener Staatsballet.<br />
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But I had decided not to concentrate only on the main characters (like during the last times I was in the audience watching this wonderful piece) but on the corps-de-ballet. I always have the feeling that Boris Eifman’s work is constructed through “bridges” – those lead us from one “group scene” to the next letting the main characters play “in between” – but never letting us forget that the whole environment around those is the explanation of their behavior. Their “Alibi” to put it plainly. Think of hos “Ana Karenina” for example…<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg13fwPRCeMlN4-DYkY6PMUANOYYz99KrWBPXcGznMQmhRpIesL5lZn0fc47m1qpZDGKy32mQSEieBPKCjMRhTVFRKBFNUloaoCwoLYus0IX_3OavmleI9cNriE14suFCQZa4hu5s-uRvM/s1600/17553517_1326436167413541_7211116521085841889_n.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg13fwPRCeMlN4-DYkY6PMUANOYYz99KrWBPXcGznMQmhRpIesL5lZn0fc47m1qpZDGKy32mQSEieBPKCjMRhTVFRKBFNUloaoCwoLYus0IX_3OavmleI9cNriE14suFCQZa4hu5s-uRvM/s320/17553517_1326436167413541_7211116521085841889_n.jpg" width="240" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl4j6gugRcW2VRxuS5-_e0ENFFM6kxGZzDiQtRcrc0E8Rs47iS1EkTg0HvQnuZIBBAeKbfIC6hCiufHOQToBfTUQygrSkJnBn5g19tRDJ_vLfvlK5YGcbffYYHRkNahUsqzBjoCwl_2g0/s1600/17626255_1326436230746868_8099096148894556497_n.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl4j6gugRcW2VRxuS5-_e0ENFFM6kxGZzDiQtRcrc0E8Rs47iS1EkTg0HvQnuZIBBAeKbfIC6hCiufHOQToBfTUQygrSkJnBn5g19tRDJ_vLfvlK5YGcbffYYHRkNahUsqzBjoCwl_2g0/s320/17626255_1326436230746868_8099096148894556497_n.jpg" width="240" height="320" /></a><br />
Copyright: Ashley Taylor / Wiener Staatsballet.<br />
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Of course I could not do “just” that – I mean, not concentrate on the main characters. There was a lot of emotion and art’s “finesse” going on the stage of the Volksoper last night. <br />
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First of all it must be said that Andreas Schüller conducting skills are much more than you can expect at this house. Brilliant. “Giselle rouge” covers a wide range from Tchaikowsky to Adam, from Schnittke to Bizet and than from popular music (Yes, sir that’s my baby) back to Tchaikowsky and Adam back again… amazing!<br />
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Kamil Pavelka gave us a god portrait of the “teacher” – not so dramatic like Peci’s portrayal but extremely human, believable, honest. I liked this understatement. Daring and very effectfull.<br />
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James Stephen’s “friend” was good and correct. Somehow a little bit tense for me. I admire this dancer’s clean technique and long arms and legs, which will surely be a kind of asset in his future life.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGtCu23qU5aOYNAifbjA-qZDn_conu2Z-DjqEBK0xrSOG0OKosvXdLDb289M__hCMPOtuvVZiD92H9RZ7YjpbU_ykabtk5fScUwjMAOmXwO7GOv-NFsdGs9VYEAY7rMohg6oE5DPZu3xo/s1600/17634677_1326435780746913_7096136609644593814_n.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGtCu23qU5aOYNAifbjA-qZDn_conu2Z-DjqEBK0xrSOG0OKosvXdLDb289M__hCMPOtuvVZiD92H9RZ7YjpbU_ykabtk5fScUwjMAOmXwO7GOv-NFsdGs9VYEAY7rMohg6oE5DPZu3xo/s320/17634677_1326435780746913_7096136609644593814_n.jpg" width="240" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiILkAtHWI6-JsN6tru9kPY7sSa7UqztbxJgyx1JJlCT9SAlNIkQpIXMw25Vrn9ezOmuuREsa0Bxxx6XNHJkihFWoORr9_EezgxxwNIK8yk9SBEkBJcz1TnkB8n3cgViAlIZigRRM5oo0w/s1600/Giselle_Rouge_8a.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiILkAtHWI6-JsN6tru9kPY7sSa7UqztbxJgyx1JJlCT9SAlNIkQpIXMw25Vrn9ezOmuuREsa0Bxxx6XNHJkihFWoORr9_EezgxxwNIK8yk9SBEkBJcz1TnkB8n3cgViAlIZigRRM5oo0w/s320/Giselle_Rouge_8a.jpg" width="240" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZGoWo6NBSO6fvlZNG6A274PNOLiMjiOyP4jJ44m-yWwkuRixVflnLPca36_aososvL8A-zQpSltCGNx5laMviY-ebuKrb9hoWkS-4RNHle2qW6KwoUyrIJgFJKzWujaO7SA6gaFqAhLw/s1600/Giselle_Rouge_9a.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZGoWo6NBSO6fvlZNG6A274PNOLiMjiOyP4jJ44m-yWwkuRixVflnLPca36_aososvL8A-zQpSltCGNx5laMviY-ebuKrb9hoWkS-4RNHle2qW6KwoUyrIJgFJKzWujaO7SA6gaFqAhLw/s320/Giselle_Rouge_9a.jpg" width="240" height="320" /></a> Copyright: Ashley Taylor / Wiener Staatsballet<br />
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Robert Gabdullin gave another “reading” of “Serge Lifar”: not so affected like the ones I had seen before. He made us believe in Serge’s “duality”, “ambiguity” and (in his way) “honest” feelings for Olga. He was also a man of flesh and blood. Needless to say that Mr. Gabdullin’s presence on stage is growing stronger and stronger every day. An artist. Sensibility is the key word.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1_0MjYHJLsO3F17U0N1CuNHS7jhzog145_HqjsLJ-c5xMkyn7wixyN27jdwsoAfvxeSJQAgLhd4gGnZGlx1YQZXX8On1Sgq8Jca0IEpQDVrFA7e2f3FSYD3CmPGc1CZl82OQY2-S2qlg/s1600/539907_1326435880746903_7379302795393410411_n.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1_0MjYHJLsO3F17U0N1CuNHS7jhzog145_HqjsLJ-c5xMkyn7wixyN27jdwsoAfvxeSJQAgLhd4gGnZGlx1YQZXX8On1Sgq8Jca0IEpQDVrFA7e2f3FSYD3CmPGc1CZl82OQY2-S2qlg/s320/539907_1326435880746903_7379302795393410411_n.jpg" width="240" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMU6V14xhvQA1VlWLPcI09K9YkPrbY7-GDiAKWSGKh8RvNf348W5PoneTsOnjLhVFwTejrSzz-GyWUe1LpKdwjKB3TY_fIbMPQhk_pa2AD9lbfqpLdjWhJFUnlFcpuexpUARr2O0P-Qjc/s1600/17629814_1326435914080233_4133912260374394017_n.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMU6V14xhvQA1VlWLPcI09K9YkPrbY7-GDiAKWSGKh8RvNf348W5PoneTsOnjLhVFwTejrSzz-GyWUe1LpKdwjKB3TY_fIbMPQhk_pa2AD9lbfqpLdjWhJFUnlFcpuexpUARr2O0P-Qjc/s320/17629814_1326435914080233_4133912260374394017_n.jpg" width="240" height="320" /></a> Copyright: Ashley Taylor / Wiener Staatsballet<br />
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Vladimir Shishov feeling “at home” in his role as the “Inspector”. Impressive. This was the first time I have seen him in this role. And it was extremely threatening. I felt afraid sometimes… Just after a few seconds on stage – in his first intense “meeting” with Olga –he lifts her and holds her with one arm two and half meters above the stage. At this he showed her (and us) who was “the boss ‘round here”. Mr. Shishov’s presence on stage has always been a great one. He usually dominates the whole house. But this police inspector is surely a “notch above”. Not only a perfect partner but exploding within himself in a craze of feelings. Applause.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoGNyXP8xQUt_tiwlFlwDHNqcjOcj4yfflbOg5OTR53nfffy4UENdnBhB53AsTZ9HteCcqf4kUnvYsq_Ddx97ICC0d7qgMjz-cjYU8Gn26klJGLbvC7IXeKjLKmS8Frg5bhL4mGTxQpsQ/s1600/17498467_1326436037413554_5202085647755029909_n.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoGNyXP8xQUt_tiwlFlwDHNqcjOcj4yfflbOg5OTR53nfffy4UENdnBhB53AsTZ9HteCcqf4kUnvYsq_Ddx97ICC0d7qgMjz-cjYU8Gn26klJGLbvC7IXeKjLKmS8Frg5bhL4mGTxQpsQ/s320/17498467_1326436037413554_5202085647755029909_n.jpg" width="240" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF8j_FTNrvEi4yvZfiGTHwRcZRQK-O7m2T0Row7AUQylafQY2ZEGKFk3gqcdIjyuWW51utAJ8Yyc-O60s3ajThXHcyKSeiyN9Tu0llNUYibf8u4Y2Qmr4U_rJAI2ZZGle0P1K87g-d0D0/s1600/17498704_1326435760746915_6828375472692021488_n.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF8j_FTNrvEi4yvZfiGTHwRcZRQK-O7m2T0Row7AUQylafQY2ZEGKFk3gqcdIjyuWW51utAJ8Yyc-O60s3ajThXHcyKSeiyN9Tu0llNUYibf8u4Y2Qmr4U_rJAI2ZZGle0P1K87g-d0D0/s320/17498704_1326435760746915_6828375472692021488_n.jpg" width="240" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR9FBq2zREoNAdmsOFshYHXcIBqjgna_71ddhyphenhyphenr8jceqGVs9kuPDBke34kbK1RWAz_uhr_A_ak63rnU31Ejha2x1n2zwDv7s_gimLd_KMwvH4hY8zh9wgACew-rI2OmXJZeWNWW2Dw5v4/s1600/17499004_1326435980746893_3403665307335325281_n.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR9FBq2zREoNAdmsOFshYHXcIBqjgna_71ddhyphenhyphenr8jceqGVs9kuPDBke34kbK1RWAz_uhr_A_ak63rnU31Ejha2x1n2zwDv7s_gimLd_KMwvH4hY8zh9wgACew-rI2OmXJZeWNWW2Dw5v4/s320/17499004_1326435980746893_3403665307335325281_n.jpg" width="240" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA_czlTz2owB_b3ZP9wDxRZo2XZZ5afdYXqGpDBopN4ioOiO2OHRQffS7aX8VIOTciWZyPPc62o_QSZ-wSduTc9jbOfjHMzkpdxQhWfWHhhhoBuyfNMAbP3qmY_G_kXjk2qmM6i80smuE/s1600/17554194_1326436144080210_3374458722377303973_n.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA_czlTz2owB_b3ZP9wDxRZo2XZZ5afdYXqGpDBopN4ioOiO2OHRQffS7aX8VIOTciWZyPPc62o_QSZ-wSduTc9jbOfjHMzkpdxQhWfWHhhhoBuyfNMAbP3qmY_G_kXjk2qmM6i80smuE/s320/17554194_1326436144080210_3374458722377303973_n.jpg" width="240" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTBCGQULwYwwm4jPVUZyT86CUoJYGmjUU5SrwhwExMXzdPdX0xuE6zwpsLxxFB2iJ7Qzq9wdgiVQmpK8xH3lyYdbBpcH1di3iwhVjvD8woSj4yf5fKXR2qCkAKd_2DM-Asl3nrL-FgBWI/s1600/Giselle_Rouge_13a.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTBCGQULwYwwm4jPVUZyT86CUoJYGmjUU5SrwhwExMXzdPdX0xuE6zwpsLxxFB2iJ7Qzq9wdgiVQmpK8xH3lyYdbBpcH1di3iwhVjvD8woSj4yf5fKXR2qCkAKd_2DM-Asl3nrL-FgBWI/s320/Giselle_Rouge_13a.jpg" width="320" height="213" /></a> Copyright: Ashley Taylor / Wiener Staatsballet<br />
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Nina Poláková’s Olga is a very special creation. Miss Poláková, a prima ballerina at the height of her career, presented the audience with such a fine performance and this is not easy to put into words… I am not discussing technique – this “tool” she is in complete command of – but about the emotional aspects of an artist’s performance. In an awesome way she gave an extremely pin-pointed performance. Growing up, being abused, leaving her country and an abusive relationship, finding no love, falling into despair, becoming mad… <br />
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For the first time ever I was really touched when she was put into the straight jacket in order to leave the stage during “Giselle”. The once “beautiful Olga” turns into the “mad Olga”. An amazing performance. I like to honour talent.<br />
Tonight, after the performance – I almost never do this anymore – I HAD to wait for Miss Poláková to salute her. <br />
And congratulate her for waking so many emotions! <br />
Such an emotional portrait! <br />
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But I do not wish to finish this critic before mentioning the corps-de-ballet. As I have written before – I have paid much more attention to those bridges and began more and fascinated by them. All group scenes are fantastic – and require sometimes quite quick costume changes. I congratulate the corps-de-ballet for such an exquisite, finely rehearsed, precise performance… Bravo Elena Bottaro, Gala Jovanovic, Eszter Ledán, Anita Manolova, Laura Nistor, Alaia Rogers, Francesco Costa, Marat Davletshin (great posture), Marian Furnica, Igor Milos, Dumitru Tiran, Jaimy van Overeem to name just a few… <br />
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Great evening!<br />
As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com13tag:blogger.com,1999:blog-7800943014936550001.post-4825600387571374922017-03-23T18:30:00.000+00:002017-03-23T22:01:38.885+00:00Wiener Staatsballet: March 22nd, 2017. "Onegin" revisited.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-tDqYJF6LKBchL_-1eVyuho3w8Aa2hsWzf8nwedQvls982rQ0SNxgIGVYs2QhW_wHgC4MjXC1Y7al7gsBdJns58LROliwyxEVMnR6BCdOnkaebAtIy3pH7B7KDfskoEKFlVNRXuWfy50/s1600/Onegin_main_picture+001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-tDqYJF6LKBchL_-1eVyuho3w8Aa2hsWzf8nwedQvls982rQ0SNxgIGVYs2QhW_wHgC4MjXC1Y7al7gsBdJns58LROliwyxEVMnR6BCdOnkaebAtIy3pH7B7KDfskoEKFlVNRXuWfy50/s400/Onegin_main_picture+001.jpg" width="292" height="400" /></a></div><br />
For me Onegin is and always will be one the most sensitive works ever made for ballet. It may sound ridiculous – due to the fact that it is based on Pushkin’s lyrical work – but it is pure poetry... Poetry perfectly translated into ballet by John Cranko, for me until today one of the great genius of last century’s ballet – his work will live forever: I always begin, all over again, to admire immensely his “pas de deux solutions” and group scenes, as if I had never seen them before. And his personal way of building the characters into dance and into the story-telling… more to that a little bit later.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPxRfs_6Q0_Qe_wsxxXT9G9qJcjQM3mVW-HQ6lCu9uSLLroHkKgV26FXyuJLq9FxZ2IveK0JOeREmgjjQbS2wN_RTyFH5MtzqLfEUxoLTxUD-ANagEM_40yYKlU7tYbmlTz4h-lcBB7As/s1600/csm_03_Onegin_P3220177_Yakovleva_Lazik_ec574df5fe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPxRfs_6Q0_Qe_wsxxXT9G9qJcjQM3mVW-HQ6lCu9uSLLroHkKgV26FXyuJLq9FxZ2IveK0JOeREmgjjQbS2wN_RTyFH5MtzqLfEUxoLTxUD-ANagEM_40yYKlU7tYbmlTz4h-lcBB7As/s320/csm_03_Onegin_P3220177_Yakovleva_Lazik_ec574df5fe.jpg" width="240" height="320" /></a></div>Maria Yakovleva/Roman Lazik: Copyright Wiener Staatsoper/ Ashley Taylor<br />
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I was very pleased with the Corps-de-Ballet. Last time I had seen this production I thought that a lot of the precision Cranko put in his work was missing and lots of work should be done: directions, heads and – mostly – arms… that single precision that this South-African brought to life... But yesterday’s performance showed that the company has been working very hard on “style & precision”. And that made me glad! Very glad indeed! So many new faces in the company, which I am not able to distinguish from each other or, better put it this way, faces to which I cannot yet add a name to. I have to write about the ones nobody ever writes about – I have space enough, here on this online platform – and I do not have to reduce my reviews to a few sentences... <br />
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Wonderful work by Elena Bottaro (always a joy to look at!), Suzan Opperman, Céline Janou Weder (both such “pros”) and Alaia Rogers (who gave us a beautiful and precise “mirror reflection” of Tatjana – showing through her face all the thoughts, doubts and feelings of the main character! No an easy task). But we all agree that we would love to have a mirror reflection just like Miss Roger's face! <br />
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The same applies to the boys – growing very strongly as a group, in complete “unison” with each other. <br />
I have the feeling that between male dancers there are not so many “new faces” and I’d like to mention the names on which an audience can always “rely on” (and put “their feet up and relax because of the good work): Marat Davletshin, Marcin Demp, Alexis Forabosco (that will dance Gremin soon… I guess I’ll have to return to the Opera sooner than I thought!), Igor Milos, Tristan Ridel, James Stephens, Dumitru Taran, Zsolt Törok, Jaimy van Overeem and Géraud Wielick. Dancers you can really rely on. I do not remember – in all years I have been in Vienna, well... decades in fact, following Ballet here in Vienna – to have witnessed a moment in which the male dancers from the Corps-de-Ballet (many half soloists within the names I have mentioned) were so strong together. I like that! Awesome!<br />
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Nikisha Fogo, giving her début as Olga, gave a good performance – even though she must have been a bit nervous. But just as the curtain opened I felt that she “had the role” under control: in the scene in which she is doing some embroidery with her mother and foster mother, she was not doing affected movements as a dancer but really putting her strength in the fun of the movement without “pretending”. Sawing... She really was doing her embroidery. Her pas de deux with Lenski was the first “catchy” moment of the evening. Still, there is still some work to be done on this couple's "chemistry". But I am sure they will find it! <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt731CTdsTIyAQ2rc30w5d0UoqP6ByUuu4fSOZ4yZ9k2EJrbNWCLezhtCBuWYhder1hpbleuSff_UWeVqVfi6dIbGLiW2r2usZMkvxCRVtFmeWEKVWbSwxraU2n7yyAWwGHmpBuUWDiQg/s1600/csm_02_Onegin_P3220059_Dato-Fogo_854ce5399f.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt731CTdsTIyAQ2rc30w5d0UoqP6ByUuu4fSOZ4yZ9k2EJrbNWCLezhtCBuWYhder1hpbleuSff_UWeVqVfi6dIbGLiW2r2usZMkvxCRVtFmeWEKVWbSwxraU2n7yyAWwGHmpBuUWDiQg/s320/csm_02_Onegin_P3220059_Dato-Fogo_854ce5399f.jpg" width="240" height="320" /></a></div>Nikisha Fogo/Davide Dato: copyright Wiener Staatsoper/Ashley Taylor.<br />
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Davide Dato who hasn’t stopped to delight his audiences – since 6 years (I just found a review that I wrote 5 years ago, in which I said “I am sure that we will be hearing from Mr. Dato very much in the future – I could not have been more right!) is at top form. But I always say this and he always gives performances that are “a notch above” the last one. Always “surpassing” the last performance. A gifted dancer and a very good actor. His Lenski is complete – down to the last details!<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuTYeKYqkHjFDi11Et3SUYxMlPn08wmpjCDYTB8HSWmwEhZX237AGmS0bL0LJ1jF00FfCvOULIDW_etGyt0C6tda2X1mim2Z2cDR9bqj8J1SJyl109vLMxs5JdjSIYlqCAJu5141hyphenhyphenf5I/s1600/csm_04_Onegin_P3220146_Dato-Lazik-Fogo_1130dc3870.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuTYeKYqkHjFDi11Et3SUYxMlPn08wmpjCDYTB8HSWmwEhZX237AGmS0bL0LJ1jF00FfCvOULIDW_etGyt0C6tda2X1mim2Z2cDR9bqj8J1SJyl109vLMxs5JdjSIYlqCAJu5141hyphenhyphenf5I/s320/csm_04_Onegin_P3220146_Dato-Lazik-Fogo_1130dc3870.jpg" width="240" height="320" /></a></div>Davide Dato/Roman Lazik. Copyright: Wiener Staatsoper/Ashley Taylor.<br />
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For me the biggest “gift” of the evening was Alexandru (Sascha) Tcacenco as Gremin. I had never seen a Gremin that possessed such firmness and determination like this portrayal of the role. Dogmatic. Strong. After “decades” of watching Onegin I, at last, understood why Tatjana was so determined, in the last scene, in her way of sending Onegin away from her chambers. At last I understood the “bridge” that Cranko has thought of… the country girl that became the wife of an aristocrat learned also to “command” – because of his army-like behaviour… That is what I meant aat the beginning of this review. The line of story-telling and the way Cranko built his characters. But this was only possible because of Mr. Tcacenco’s performance. A dancer not only with a great stage presence but also with a great “insight” about the characters he’s playing, understanding them completely.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmkQK4OoDDf2A1amJ-P6wFttZ7bSdYcldN3nDVoz03ugeDFM7MG5OLaZsE-y49LmFY7exrC6XaIPrGa1Fr8k1_tuDnHnRiGFvbLt9tyBdTotykHqfuRfyhuNc_2fC0qgh7W2oGaqAIxhs/s1600/csm_05_Onegin_P3220159_Yakovleva-Tcacenco_c07169667f.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmkQK4OoDDf2A1amJ-P6wFttZ7bSdYcldN3nDVoz03ugeDFM7MG5OLaZsE-y49LmFY7exrC6XaIPrGa1Fr8k1_tuDnHnRiGFvbLt9tyBdTotykHqfuRfyhuNc_2fC0qgh7W2oGaqAIxhs/s320/csm_05_Onegin_P3220159_Yakovleva-Tcacenco_c07169667f.jpg" width="240" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWVOz1Np8P98KGLF7kbpUWuCa9URugB4Fo3c3q8Yo0AyTvt7bD8apWZx8hDL6C3Gf7kf3Pc-JknlW-Uteow6qFuG4FWy486uUCowVPpRV4T2TafsuI5kVxbpEDf8SmWey5nOnw7Mm_P54/s1600/csm_04_Onegin_P3010407_Yakovleva-Tcacencu_ccf0c3f92c.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWVOz1Np8P98KGLF7kbpUWuCa9URugB4Fo3c3q8Yo0AyTvt7bD8apWZx8hDL6C3Gf7kf3Pc-JknlW-Uteow6qFuG4FWy486uUCowVPpRV4T2TafsuI5kVxbpEDf8SmWey5nOnw7Mm_P54/s320/csm_04_Onegin_P3010407_Yakovleva-Tcacencu_ccf0c3f92c.jpg" width="240" height="320" /></a><br />
Alexandru Tcacenco/Maria Yakovleva: Copyright Wiener Staatsoper/Ashley Taylor<br />
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Maria Yakovleva and Roman Lazik were on their element.<br />
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Miss Yakovleva, looking beautifully frail, perhaps in the best role I have ever seen her in, gave us a sensitive portrayal of “haunted” Tatjana – down to the last details. Average audiences will not pay much attention to that – because THESE are no moments of “bravura” (and circus) onstage but, for example, her first “soliloquy” (bedroom scene) was a moment of pure art. The way she lies and moves in bed and then pretends to sleep while her foster mother enters the room, just to stand up a bit later to write on her desk… her thoughts and doubts and wishes symbolized by the mirror and the entrance of Onegin himself, in her dream. Miss Yakovleva delighted the audience – made us sometimes laugh, wonder and then cry… Her interpretation reminded me a lot of the character study that Marcia Haydée (the original Tatjana) did for her work. Insight. As a dancer and actress… <br />
In fact, technique is not all, and those moments, in which the audience is simply “hypnotized” by such a touching performance are more worth than a trunk filled with diamonds and pearls - think about Cunegonde in "Candide".<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilxFIIDvqKWKdlH1NWTgh3SkySrutp7eWovoCWDn9HQ8Mix0qB8fHVIC-jxNoBZRQuXveaqTQ80eWCvtEcATmJs24Zd5hbXJw4SBYJXQhH3yRhLvUbW0nZapPVqXWd9xgmmpsK2Z0ffmE/s1600/csm_01_Onegin_P3220072_Yakovleva_Lazik_eafae993f4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilxFIIDvqKWKdlH1NWTgh3SkySrutp7eWovoCWDn9HQ8Mix0qB8fHVIC-jxNoBZRQuXveaqTQ80eWCvtEcATmJs24Zd5hbXJw4SBYJXQhH3yRhLvUbW0nZapPVqXWd9xgmmpsK2Z0ffmE/s320/csm_01_Onegin_P3220072_Yakovleva_Lazik_eafae993f4.jpg" width="240" height="320" /></a></div>Maria Yakovleva/Roman Lazik: Copyright Wiener Staatsoper/Ashley Taylor<br />
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Mr. Lazik – in the role of his life… that was my impression. And what else could I add to that? Not much. He knows all the dark sides of this character – but also, like he showed in the first act, his “dandy”, bored side. In a very well mastered interpretation, he turned Onegin, who in Russian literature would influence so many other Russian literary characters, into a real person. Flesh and blood. Onegin is a ballet that is not only perfect for him as a character but that also emphasizes his technique and his physique – long legs and very special arms.<br />
A pure joy for Balletomanes – although sad, very sad: think about this quote that Pushkin wrote about Onegin's character: ““..depression still kept guard on him, and chased after him like a shadow - or like a faithful wife.” <br />
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Onegin is a very “round” piece – a form I simply love – precise and compact. There are no “wasted moments”. Thank you, John Cranko!As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com20tag:blogger.com,1999:blog-7800943014936550001.post-70325492280155029102017-03-13T18:25:00.004+00:002017-03-29T14:48:44.005+01:00Bayerisches Staatsballet, March 10th, 2017: SpartacusBayerisches Staatsballet, 2017, March 10th: Spartacus<br />
<br />
To be very honest I was sort of skeptical about visiting a performance of „Spartacus“(a ballet 100% associated with the Russian culture and a very peculiar feeling for aesthetics ) at the Bayerische Oper in Munich… but I could not have been more delighted after watching it!<br />
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I arrived a bit earlier than I wanted and had the time to visit the Opera. <br />
Such a difference from Vienna: 95% Germans in comparison to the many tourists that visit the Opera in Vienna. I liked that! <br />
<br />
I had a lovely seat on the 10th row and then remembered that there is no central aisle (I had not been there for a long time) – a fact of which I am not fond of… you see, I suffer a bit from claustrophobia and “to know” that I can get out from anywhere quite quickly is ALWAYS important for me. <br />
The performance started.<br />
<br />
With the exception of the “schmaltzy” pas de deux in the second act, which was used on Britain’s TV series “The Onedin line” in the 70’s and became a “no go” for me, I love Khachaturian’s music! <br />
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It was masterly conducted by Karen Durgaryan (like Khachaturian also an Armenian) and the first notes drove me back to Vienna 1982, the last time I had seen this work with Vasiliev and Bessmertnova, while I recalled that this was “just” 35 years ago.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiisIsLceEAWbz3I0gWUDVQR2YPTMGA6cy4lm9xY3C6ogGWS_Mnhl75v8vhXTpnUGHU3BkhopxjvDI_4POyunaOFWWzMn1UNFGf8dfafJVVT7URn1I4b6lfc4F2rSXD5cYZQ9e2IlyLdN4/s1600/Spartacus_Ensemble_c%2529+W.+H%25C3%25B6sl+9C2A7202.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiisIsLceEAWbz3I0gWUDVQR2YPTMGA6cy4lm9xY3C6ogGWS_Mnhl75v8vhXTpnUGHU3BkhopxjvDI_4POyunaOFWWzMn1UNFGf8dfafJVVT7URn1I4b6lfc4F2rSXD5cYZQ9e2IlyLdN4/s320/Spartacus_Ensemble_c%2529+W.+H%25C3%25B6sl+9C2A7202.jpg" width="320" height="213" /></a></div>Copyright: W.Hösl / Bayerisches Staatsballet<br />
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The girls in the corps-de-ballet impressed me in a certain way. Not very homogenous in looks, height and style but very strong technically – and with lots of stage presence.<br />
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Unfortunately I cannot say the same for the boys. Somehow I had the feeling that they were still in need of more rehearsal and more vitamin injections to play these roles more strongly: heads, arms, leg’s elevations and even musicality… all a bit uncoordinated, and definitely not exact. <br />
But there is potential there, within this group of young men. <br />
One dancer impressed me, a very gifted young Italian man called Stefano Maggiolo. I would like to see more of him on stage in the future.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz_deD2OUbGht1OfMWxWA2Nl3on_SKsCdAHMHqzy7Wjd7JOxyUUWUaaxLRUP8sr4T9F2CiMqiVEYhUzmC-LQTcTma4m5E04gCK19Nd1QwjalIVEg08qsMlGtYDJQaeO1I6w6Hsl_LsTkM/s1600/Spartacus_Shklyarov_Shirinkina+c%2529+W.H%25C3%25B6sl.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz_deD2OUbGht1OfMWxWA2Nl3on_SKsCdAHMHqzy7Wjd7JOxyUUWUaaxLRUP8sr4T9F2CiMqiVEYhUzmC-LQTcTma4m5E04gCK19Nd1QwjalIVEg08qsMlGtYDJQaeO1I6w6Hsl_LsTkM/s320/Spartacus_Shklyarov_Shirinkina+c%2529+W.H%25C3%25B6sl.jpg" width="218" height="320" /></a></div>Copyright: W.Hösl / Bayerisches Staatsballet<br />
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Vladimir Shklyavov was a great Spartacus. Of course one cannot make comparisons to “both” Vasilievs in this role – which requires unbelievable precision, stamina and, pardon me the expression, the strength of a horse. Mr. Shklyarov, a strong dancer, had the audience all the time “under control”. A very sensible dancer and an actor.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWPtPOoK_E7VUlkBy7mvqMcGAF0uFWmM4ZiOwZMEo-8AOfMWEQl4GEA_srqE1XH0aag4yeJl5G4IVlsGjyXNBpl6PYDqC0vu1tjShI-pDyuQh1z8CRS8Aka2Yu_EVRcT_y_T-Tk49cxJI/s1600/Spartacus_Shklyarov_Shirinkina+c%2529+W.+H%25C3%25B6sl+LM0A4484.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWPtPOoK_E7VUlkBy7mvqMcGAF0uFWmM4ZiOwZMEo-8AOfMWEQl4GEA_srqE1XH0aag4yeJl5G4IVlsGjyXNBpl6PYDqC0vu1tjShI-pDyuQh1z8CRS8Aka2Yu_EVRcT_y_T-Tk49cxJI/s320/Spartacus_Shklyarov_Shirinkina+c%2529+W.+H%25C3%25B6sl+LM0A4484.jpg" width="320" height="207" /></a></div>Copyright: W.Hösl / Bayerisches Staatsballet<br />
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His wife, Maria Shirinkina, played the role of Phrygia, a role that is, quite honestly, dramatically and choreographically much inferior to Aegina’s. But she was in control of it. Correct. I like when, nowadays, dancers do not use any kind of over extension as Miss Shirinkina, a dancer with a beautiful, clean technique, never does. Unfortunately the hairdo of Phrygia (and the other “slave” girls) is something that should have been changed since decades… I have been saying this for years! <br />
It still reminds me of “Bond Street” in the "swinging sixties" – which may have been surely considered very “daring” in 1968's Russia and in Grigorovich’s choreopgraphy….<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUd8WUsjlZxjnrnBiYkQfNeaEhDKeIWSdKkzB622dWv285EQNfGpmVaXCIgg3wtrEfyrRG9INH-3vSnxq-ndKIH3q1AkQYtLGHOaLjYuJia-2STrl8fuX8a-0HMECSQGE51uxk0gyNMXc/s1600/Spartacus_Erik+Murzagaliyev_%25C2%25A9Charles+Tandy_S_3698+A_7W.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUd8WUsjlZxjnrnBiYkQfNeaEhDKeIWSdKkzB622dWv285EQNfGpmVaXCIgg3wtrEfyrRG9INH-3vSnxq-ndKIH3q1AkQYtLGHOaLjYuJia-2STrl8fuX8a-0HMECSQGE51uxk0gyNMXc/s320/Spartacus_Erik+Murzagaliyev_%25C2%25A9Charles+Tandy_S_3698+A_7W.JPG" width="320" height="214" /></a></div>Copyright: Charles Tandy / Bayerisches Staatsballet<br />
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Erik Murzagaliev gave us a great, strong Crassus: a wonderful and very sensual dancer in full control of the role (and with a very clever hairdo that made me think of British actor Nicholas Clay in “The Martyrdom of St. Sebastian”) he played this half part of the couple that opposes Spartacus and Phrygia, with a certainness that is very rare on stage, especially on dancers that are so young. But I must say that his stamina left him a bit during the third act. I found out lately that Mr. Murzagaliev took the role of Crassus a while ago – his picture is not even printed in the program. <br />
I think that Mr. Murzagaliev is a dancer from whom we might hear a lot of in the near future.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiauJlHrhOqhWOM7-b0S88m-8lwJUZVVqIsh4igbjMebK3ZlLcDb5aQrL1fATNyh45J9N7N5sjd7QagpUy7HDg7OwlQBLi_8m3L7GP-_emcyuiGsILTeFG0yjq03YfOTRZo6CAX-GlPCSo/s1600/Spartacus_Preica+Zeisel%252C+Robin+Strona_%25C2%25A9Charles+Tandy_S_4259+A_30W.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiauJlHrhOqhWOM7-b0S88m-8lwJUZVVqIsh4igbjMebK3ZlLcDb5aQrL1fATNyh45J9N7N5sjd7QagpUy7HDg7OwlQBLi_8m3L7GP-_emcyuiGsILTeFG0yjq03YfOTRZo6CAX-GlPCSo/s320/Spartacus_Preica+Zeisel%252C+Robin+Strona_%25C2%25A9Charles+Tandy_S_4259+A_30W.JPG" width="320" height="228" /></a></div>Copyright: Charles Tandy / Bayerisches Staatsballet<br />
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The Star of the night was Prisca Zeisel. And the audience also thought so (Well, Miss Shirinkina had the first bow, Miss Zeisel the second... that showed the audience how much more important her performance was...). She gave us a wonderful portrait of Aegina. All the very direct ways and reasons of this quite complicated (not only emotionally but also technically) character were given to us on a “silver plate”. Miss Zeisel and her eyes “that tell us much more than she wants to reveal” (like Bette Davis’) was turned into a mad courtesan, possessed by power, lust and the flesh. This is for me the most difficult role of the show – emotionally and technically… <br />
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I won't go into pirouettes, jumps, details... she has it all... just the tool for her arstistry...<br />
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Prisca Zeisel has turned into another “persona” on stage - and that is the important point about this very young lady– dominating it, in full command of a beautiful technique and chemistry, being in full charge of her role and controlling the audience. <br />
Giving us just what she wanted to give us "right now", playing with artistry, nearly flirting with us. <br />
Just that. <br />
Just simple as that.<br />
That "simple thing" that Jane Fonda once reffered to as "to make love to the audience".<br />
But you have to be a talent to do “just that”!<br />
Her eye contact with the public has much to do with it. <br />
Enchanting.<br />
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By the way, Miss Zeisel was promoted to the rank of first soloists. <br />
This is what I call a very well-deserved promotion!<br />
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Yes, I was very skeptical about this performance. But it was wonderful!<br />
For me a production that is highly recommended!<br />
As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com9tag:blogger.com,1999:blog-7800943014936550001.post-67781340574681488502017-02-20T16:20:00.005+00:002017-03-29T14:28:57.210+01:00Wiener Staatsballet: February 19th, Premiére "Le Pavillon d'Armide" & "Le Sacre"Wiener Staatsballet: February 19th, Premiére "Le Pavillon d'Armide" & "Le Sacre"<br />
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A première is always exciting.<br />
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This one was not supposed to be really very exciting for me: <br />
I am not really a great fan of Neumeier’s work and I had the seen the general rehearsal last Friday. <br />
But still…<br />
I was very surprised.<br />
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Le Pavillon d’Armide<br />
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Before I start writing about what I have witnessed last night, I will break a rule. <br />
Well, rules are made to be broken, at least mine are… by me: I always write about the main roles at the very end of a review but this time I must start with the words MIHAIL SOSNOVSCHI BRILLIANT! <br />
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Yes and even this adjective is still not really expressing what we witnessed yesterday with his interpretation of the tortured Nijinsky's soul. <br />
This evening will be remembered because of him.<br />
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We all know dancers that are good actors but Mr. Sosnovschi’s performance was just “a notch above that”. <br />
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All of a sudden I realized that tears were running down my face with his interpretation. <br />
Emotions… who could ask for anything more? <br />
At a sort of career “top moment” (the moment in which a person reaches maturity but is still young enough to perform) he gave us a very sensible portrait of a tortured soul. Mr. Sosnovschi, an intelligent dancer that uses technique just as a tool for his artistry, he faced without fears the technical difficulties of the role (am I right that I witnessed twice triple tour-en-lairs?) and concentrated more in the character, telling the audience a “story”, making us eager to learn more about it. <br />
A very intelligent reading of Nijinky's personality and character. The highest peak of this evening.<br />
I dedicate this review to this most touching performance. I am glad that I could take part on it! Thank you.<br />
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Viennese audiences may be a bit over challenged by a piece that requires so much information and knowledge about ballet: <br />
in the mad scenes there are many references to the original Nijinsky’s choreographies of “Faun”, “Petrouschka” and “Sacre”. But does the audience realize this? <br />
If someone does not understand which roles Romola and Sergey Diaghilew (strangely mentioned in the programme as “Serge”) played in Nijinsky’s life, they'll miss a lot of the plot. <br />
If someone does not know who Tamara Karsavina and Alexandra Baldina were and what “la danse siamoise”, the one movement from the Ballet Suite “Les orientales” represented for Nijinsky’s own sexuality, they are in troube. <br />
If someone is not informed about his bipolarity. Then they’ll have a problem watching this show.<br />
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Neumeier’s language in Pavillon (which I had never seen before) reminded me of the same “formula” that he used in his “Dame aux Camelias”. <br />
In “Dame” he uses fictional characters (Manon and Des Grieux) in pas de trois (with Marguerite) and even pas de quatres (including Des Grieux). <br />
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In “Pavillon” he does not use only fictional characters like the dancer from “dance siamoise” <br />
(majestically played by Davide Dato – a dancer that never stops to surprise me… the thrill of the sensuality of this dance shivered the whole audience. I had to be sure about that, so I looked up in the dictionary: Shiver: a shudder felt down one's back, due to either fear, anticipation, nervousness, or excitement) <br />
and Armide, played very securely by Nina Polakova. <br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNuvCb2G08PnEUjdzuw-GcSNL317dQfC5HKzPWV3cAgiUs8jMMaVWndEDYHZk6eMTORFrzSB3exuaK1lyEU4Nrkvio9QN6aUDbbyB9mR5d3c9flssQ2Z8GQr6w2HXtjo2BuGb4spPSWbg/s1600/unnamed7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNuvCb2G08PnEUjdzuw-GcSNL317dQfC5HKzPWV3cAgiUs8jMMaVWndEDYHZk6eMTORFrzSB3exuaK1lyEU4Nrkvio9QN6aUDbbyB9mR5d3c9flssQ2Z8GQr6w2HXtjo2BuGb4spPSWbg/s320/unnamed7.jpg" width="240" height="320" /></a></div><br />
But also Nijinsky himself as a dancer (Denny Cherevychlo’s first entrance is a moment of pure poetry. Later he once more amazed the audience with his technique and stamina), <br />
Tamara Karsavina (very well played “in the character” by Maria Yakovleva although a bit insecure technically), <br />
Alexandra Baldina (danced with a certain emotional aloofness but with great technical certainty by Nina Tonoli), <br />
Sergey Diaghliew (wonderfully danced and well interpreted by Roman Lazik, that also played the doctor - a fact that seems to have confused many people. A very sensible dancer).<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQI8M0xsHXMNnOIrSMqkHuohHBNeFannl4AR2ltyPysND_Ql7l4GJDhoUbPnWB2C1YJ9gTm3QpR7XQ6kccx21tJQhyphenhyphen-mKKA2FgPr2WPS0AfE9uf8lsZ2Q5qri4OHZjWJxv49BgIgYhXTs/s1600/unnamed9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQI8M0xsHXMNnOIrSMqkHuohHBNeFannl4AR2ltyPysND_Ql7l4GJDhoUbPnWB2C1YJ9gTm3QpR7XQ6kccx21tJQhyphenhyphen-mKKA2FgPr2WPS0AfE9uf8lsZ2Q5qri4OHZjWJxv49BgIgYhXTs/s320/unnamed9.jpg" width="240" height="320" /></a></div><br />
Nijinky and Diaghilew the PDD: Perhaps the most beautiful and openly homoreotic pas de deux in Neumeier’s repertoire. The kiss that Diaghlew places in his hand and puts on Nijinsky’s lips is a moment of pure emotion.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNljqup31t5DPkw9_tanXVTctQG4m47-t_T2bKJ3W1rpZGw8Ig3EYDPeW-xgLiI9aFjvA8VXW9s7mcxjHV4BqJ6pNM6xCm-0LPdspseOIRpwNLiq20so0yZRr9f1H4K1K1qSZJf5UiVUg/s1600/unnamed5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNljqup31t5DPkw9_tanXVTctQG4m47-t_T2bKJ3W1rpZGw8Ig3EYDPeW-xgLiI9aFjvA8VXW9s7mcxjHV4BqJ6pNM6xCm-0LPdspseOIRpwNLiq20so0yZRr9f1H4K1K1qSZJf5UiVUg/s320/unnamed5.jpg" width="240" height="320" /></a></div><br />
In the “present” Nijinsky is in company oh his wife Romola, very dramatically played by the very sensible and talented Nina Polakova that not only wore the most elegant gown of the evening but displayed emotions on stage that are not so usual in dancing. A beautiful, touching performance!<br />
<br />
Choreographically speaking I found the connections from Nijinsky at the present to Nijinsky as a dance pupil quite difficult to follow. <br />
If you’d not know that this dancer (Richard Szabó) was supposed to be Nijinsky as a young boy, you would not understand it. Perhaps the very different looks of Mr. Szabó compared to the classical fairness of Mr. Sosnovschi don’t give us the hint. A matter of wrong casting. A younger dancer like Mr. Wielick, that looks much more alike to Mr. Sosnovchi, would have suited the role much better.<br />
<br />
Another interesting point that reminded me extremely of “La dame aux camelias”: the walkers in the park… It is so interesting to follow the phases in a choreographer’s career and find the similarities in works that they have done within the same period of creativy.<br />
More to that later.<br />
<br />
Le Sacre, <br />
is not one my favourite pieces. Having been choreographed in 1972 it has become “dated” with all those endless repetitions of queues and rows and endless “passing through” back and forth, between each other’s legs. Over and under each other. It is so “dated” in its resolutions (unlike Cranko’s pas de deux, for example) and not an easy piece to dance. <br />
And I am glad that I had never to learn how to “count” the music (although I love it!). <br />
It is really not a very comfortable piece for the dancers. Especially for the corps de Ballet. That is why I start this piece of my review (again breaking an own rule) by writing of my biggest admiration and respect to dancers like Suzan Oppermann, Alaia Rogers, Céline Janou Weder, Laura Nistor, Leonardo Basilio, Marcin Dempc, Marian Furnica, Greig Matthews, Tristan Ridel, Dumitru Taran, Alexandru Tcacenco, Zsolt Törok, Géraud Wielick and other members of the cast. This piece is harder to play than to do a “Jane Fonda’s aerobic class” of the 80’s!<br />
<br />
For me personally there are no “main roles” in “Sacre”. Sometimes I think that the last solo (danced, by the way, beautifully and with the stamina of a bull by Rebecca Horner) was just an excuse to pick “a name” as a “marquee name” to attract audiences back in the 70's. I am glad that Miss Horner is getting such roles - not an easy dancer to cast - she is neither the lyrical nor the classical "on you toe type" Ballerina. Quite difficult to imagine her in more "formal" productions but she seems to exceed in such productions, like the two Neumeier's choreographies in which she has been casted in the last two last years. But they are, unfortunately, very selden in the Opera's repertoire.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZIRg-lLwbSjKWlDA5Vemwad5_TL5Rsiu6AQfRCUG2zXmwwV4pQWJ7fwJE7hjqj_3u4QNFU9TIrMv7nxweOBid-G2LvTP0AXsSipqVe7BygWRFordkqgDgPGYx3QMmXI8u6QDS1EV0zoU/s1600/unnamed6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZIRg-lLwbSjKWlDA5Vemwad5_TL5Rsiu6AQfRCUG2zXmwwV4pQWJ7fwJE7hjqj_3u4QNFU9TIrMv7nxweOBid-G2LvTP0AXsSipqVe7BygWRFordkqgDgPGYx3QMmXI8u6QDS1EV0zoU/s320/unnamed6.jpg" width="320" height="214" /></a></div><br />
Back to the solo (is she going to be sacrificed or is she killing herself? That was never, since the 70's, clear to me!): We cannot forget that we are talking about 1972 and Neumeier was not so known at those times (later that solo would even be played by a dancer that was complete naked, I think her name was Beatriz Cordua). <br />
But, also here, these are athe similarities during a choreographer’s period, which I wrote about while commenting on “Pavillon” and “La Dame aux Camelias”. This endless display of “power”, the repetitious hard movement solutions, the constant strength required for this last solo (that amazes audiences) reminds me of the last “Wife’s solo” in "Joseph’s legend". <br />
It has the same language line, except for the endless running. <br />
Funny how choreographer’s stick to something for such a long while. <br />
Although I sometimes thing that the “young choreographer’s vocabulary” (he was young at the time) was perhaps too short. <br />
And this brings a sort of inarticulateness at the end of the creative process.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc9OcjuLoij1iUCA_PP8Fn7yqmdBCTKHhiniUwsa2TFZ-rB9WTgpJMG5P5Mird-PmjopOln1XCzEqkZYbA4P5ZgDaAYngikSQAto_la76xYt73g3_5lfUhFDDM5WdGfCwYHYFtWSwqXtY/s1600/unnamed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc9OcjuLoij1iUCA_PP8Fn7yqmdBCTKHhiniUwsa2TFZ-rB9WTgpJMG5P5Mird-PmjopOln1XCzEqkZYbA4P5ZgDaAYngikSQAto_la76xYt73g3_5lfUhFDDM5WdGfCwYHYFtWSwqXtY/s320/unnamed.jpg" width="240" height="320" /></a></div><br />
Nevertheless it was wonderful to witness once more the versatility of dancers that can do anything: Ioana Avraam, Alice Firenze and Eszter Ledan – wild, ferocious in fact, with their hair open, as well as the strength of Masayu Kimoto, Eno Peci and especially Francesco Costa, a young dancer that is turning into a very fine dancer – in such a short time. <br />
A dancer with an extremely masculine presence and charisma on stage.<br />
<br />
To add to all that we cannot leave unmentioned Michael Boder’s conducting. Always a pleasure.<br />
A very enjoyable night. <br />
<br />
All pictures, except Nijinsky's "Dance Siamoise": Copyright Ashley Taylor / Wiener Staatsballet. With my kindest Thanks.<br />
As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com27tag:blogger.com,1999:blog-7800943014936550001.post-941200634434721162017-01-26T15:34:00.003+00:002017-01-27T14:09:04.542+00:00Julie, Twiggy, Sandy Wilson and Ken: The Boyfriend...<br />
Julie Andrews's first Broadway musical was Sandy Wilson's "The boyfriend" (1954), a simple love-story full of the clichés of the 20's. Lovely and endearing. But very simple indeed. And audience's needs were changing fast.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJYPOrwiOFqnjzfABumjq-9B9MvAuw8PAvxIX5D4i7txp7NzMsToAl1fhKQFaGSEoU4oY29wzfQYK0UcAf-8hJbnGgp-2bImMxjNn_HyDvoIgF8GLNWK52m5VRe8Sv8Hr30zaYjBkCcGE/s1600/000013_hero.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJYPOrwiOFqnjzfABumjq-9B9MvAuw8PAvxIX5D4i7txp7NzMsToAl1fhKQFaGSEoU4oY29wzfQYK0UcAf-8hJbnGgp-2bImMxjNn_HyDvoIgF8GLNWK52m5VRe8Sv8Hr30zaYjBkCcGE/s320/000013_hero.jpg" width="320" height="150" /></a></div><br />
Julie conquered New York's audiences and went on to star on "My fair Lady"; Loew's und Lerner's musical adaptation of Bernard Shaw's masterpiece about classes and prejudice. But that is another story.<br />
<br />
The Boyfriend's rights were "bought" by MGM but nothing ever came out of that. The story-line was too simple, to naíve... "The boyfriend" was forgotten in some dusty shelf between hundreds of scripts and screenplays.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC2cvqw97cmIut75XcqzY8_Y3f2_QRNgcRVPmY5mgxLVtmAktYm0UmM3XgB9th8rHfa5uoLm1lhSQXjHgkYx1pVk_equSL0axOXTTy1fSc9LIISwv026yMg73r0T2BRLB-5OrxZEpjQks/s1600/Juls_TBF2.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC2cvqw97cmIut75XcqzY8_Y3f2_QRNgcRVPmY5mgxLVtmAktYm0UmM3XgB9th8rHfa5uoLm1lhSQXjHgkYx1pVk_equSL0axOXTTy1fSc9LIISwv026yMg73r0T2BRLB-5OrxZEpjQks/s320/Juls_TBF2.jpg" width="256" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLg1ddleYMhtM7pIT6uS7YVnOslKIE9lrwl_5LYDLcmA3LwpZOGwH97yA2VzI5E93OgVVoFAqtUbTnUqLPY1vQBUJJJCHgRjBqvwfJDxzvFNUFE4L2xyzMVkovDorNkHXa5ncpkXvB0-k/s1600/JULS_TBF3.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLg1ddleYMhtM7pIT6uS7YVnOslKIE9lrwl_5LYDLcmA3LwpZOGwH97yA2VzI5E93OgVVoFAqtUbTnUqLPY1vQBUJJJCHgRjBqvwfJDxzvFNUFE4L2xyzMVkovDorNkHXa5ncpkXvB0-k/s320/JULS_TBF3.jpg" width="241" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNKeLxPNVBs1GT-MBirzGIry20Go7u-f4HdlLezXZ_3DnGP7ZgxLYpYDSh28C6MJBLmwTFPLvBhbD7LNp1fGqTNuYhu8ftS037deD9xx-h81AKQn7sQNBNli4dEDrGA4uXm5TUCFUfhoQ/s1600/Juls_TBF4.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNKeLxPNVBs1GT-MBirzGIry20Go7u-f4HdlLezXZ_3DnGP7ZgxLYpYDSh28C6MJBLmwTFPLvBhbD7LNp1fGqTNuYhu8ftS037deD9xx-h81AKQn7sQNBNli4dEDrGA4uXm5TUCFUfhoQ/s320/Juls_TBF4.jpg" width="213" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXqHTvYj3iWRXWACG4ESp1gXkDEFbPoa9R9vbEvUdZDaZKHEE6d3ITDaSbWhK8TK89HnShPsSDWMWjnzXpRRKvIDb06ZBIQKicCYV2qzqAzb-3HMdTcI6eCkaCvsdKkQqokr8JVWsWTzg/s1600/Juls_TBF5.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXqHTvYj3iWRXWACG4ESp1gXkDEFbPoa9R9vbEvUdZDaZKHEE6d3ITDaSbWhK8TK89HnShPsSDWMWjnzXpRRKvIDb06ZBIQKicCYV2qzqAzb-3HMdTcI6eCkaCvsdKkQqokr8JVWsWTzg/s320/Juls_TBF5.jpg" width="320" height="264" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHZBada4oqp-N9rzqVJkZbfr61KWIp5lEByDRK7Pux1_WBcJWMhI9Y_UwwS-vA8WtFpkzViNPfnFLxPBULa6aB2TKYN8kHrd-byZZRON-15TcpJS69Ov54jTLKfQgBHxl7GVGiRq0cHjo/s1600/Juls_TBF6.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHZBada4oqp-N9rzqVJkZbfr61KWIp5lEByDRK7Pux1_WBcJWMhI9Y_UwwS-vA8WtFpkzViNPfnFLxPBULa6aB2TKYN8kHrd-byZZRON-15TcpJS69Ov54jTLKfQgBHxl7GVGiRq0cHjo/s320/Juls_TBF6.jpg" width="317" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh21o9WSlc1tkegyh-fyybB3NIE1id8Ew16O_A4yT0PxwDAqnPzHGHqxiFrY5gxvLmAZmN5ps4MbhBWVJnJbP5Zof7VQ45qfJzeTbgAEEVytEQdfxjHyjddbYFqJ0NUhSHw6Jsro8Q2qek/s1600/Juls_TBF.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh21o9WSlc1tkegyh-fyybB3NIE1id8Ew16O_A4yT0PxwDAqnPzHGHqxiFrY5gxvLmAZmN5ps4MbhBWVJnJbP5Zof7VQ45qfJzeTbgAEEVytEQdfxjHyjddbYFqJ0NUhSHw6Jsro8Q2qek/s320/Juls_TBF.jpg" width="320" height="240" /></a><br />
<br />
Then, one day in 1969 (times in which "Hair" and "Easy Rider" were successes and the "flower-power" was at its best), "rageous mad", daring British Movie maker Ken Russell decided to film it - and how clever he was: he staged it as a theatre play in a terrible and cheap West-End theatre (on the wrong side of the tracks), added a whole back-stage story to it and even a Hollywood producer that "had visions" about the silly numbers that were being played on stage, turning them in his mind into greatly produced "Hollywood Musical numbers" (From "Flying down to Rio" till "The Wizard of Oz). Russell transformed it into a classic and cult film... Unforgettable!<br />
<br />
A nameless cameo by Glenda Jackson can simply never be forgotten.<br />
<br />
A marvelous professional cast (including Royal Ballet's Christopher Gable) headed by a disarmingly amateurisch "Twiggy" (just trying a new step in her career after being the fashionable "Bond Street's and Mary Quant's darling" of the "swinging 60's").<br />
<br />
The result? Marvelous, outrageously "mad"... And I love it. Still.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxS_Ejnh8oWKXli_OT8zX4Cfz919gTlWHRKqY8ty_IRzp9PdgFPqWeh_TUCSRCbRp7wJ1Rd9OqUTNu_th6q_6EvFbdlUrzqss7a7rF8OIVV9MV3t4ncmmEHtIxnLZkMZ88pO9LgiAZpms/s1600/bf1.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxS_Ejnh8oWKXli_OT8zX4Cfz919gTlWHRKqY8ty_IRzp9PdgFPqWeh_TUCSRCbRp7wJ1Rd9OqUTNu_th6q_6EvFbdlUrzqss7a7rF8OIVV9MV3t4ncmmEHtIxnLZkMZ88pO9LgiAZpms/s320/bf1.jpg" width="320" height="237" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZCG9h2JlY0x2vbYwiXy22mpSyWTCdc8hgKe6n0OWRYO6RM4ZAlyNFT5TKkXDtJexFVbT6kawT9S0RrCoSeglO_OOVnf46Nwxfrom-4zxFd1MssWGdKi8FyN9JX4_wV83vIl5lHlLVYxw/s1600/bf2.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZCG9h2JlY0x2vbYwiXy22mpSyWTCdc8hgKe6n0OWRYO6RM4ZAlyNFT5TKkXDtJexFVbT6kawT9S0RrCoSeglO_OOVnf46Nwxfrom-4zxFd1MssWGdKi8FyN9JX4_wV83vIl5lHlLVYxw/s320/bf2.png" width="320" height="134" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhohy42x4yLtqbpiEuiAkl45HTxf8PQmvFBJ2QE8itvq24qIZUkJrHxtzqg2zDgiNeyXwuKSgdjE1pfhv8iuendcLjUwGESuDdKIRpU3tGexDAqlhDicKMltkstwbXj0LYOrcLFgvg1ThY/s1600/bf3.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhohy42x4yLtqbpiEuiAkl45HTxf8PQmvFBJ2QE8itvq24qIZUkJrHxtzqg2zDgiNeyXwuKSgdjE1pfhv8iuendcLjUwGESuDdKIRpU3tGexDAqlhDicKMltkstwbXj0LYOrcLFgvg1ThY/s320/bf3.jpg" width="320" height="204" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSMdSGWDl5hlI-lABcdZMV6DEw_UnJz_xLHKP_lw7ZdLmyklA3zrLL6p6gyaLaFQlWEx7KwjW6vaViReTonuTukOglJwjbVqp6OsjDWp5nocQNEai1xAFkMt4CmhBs-zjZnPL073DCRuM/s1600/bf4.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSMdSGWDl5hlI-lABcdZMV6DEw_UnJz_xLHKP_lw7ZdLmyklA3zrLL6p6gyaLaFQlWEx7KwjW6vaViReTonuTukOglJwjbVqp6OsjDWp5nocQNEai1xAFkMt4CmhBs-zjZnPL073DCRuM/s320/bf4.jpg" width="320" height="214" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu4bmez1hhbvaORjhFVBAamuw83x4cDkilrfVji6ZAGTTKZs0mj4lbO8jx54jLRqQzpQsiTemYBJTvOjccOlAdJklTefP6w2nDBLW9OcJHpMV3tRNtHa9LOFGrB6CVUI2UB-bOxYeN25s/s1600/bf5.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu4bmez1hhbvaORjhFVBAamuw83x4cDkilrfVji6ZAGTTKZs0mj4lbO8jx54jLRqQzpQsiTemYBJTvOjccOlAdJklTefP6w2nDBLW9OcJHpMV3tRNtHa9LOFGrB6CVUI2UB-bOxYeN25s/s320/bf5.jpg" width="320" height="188" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIp-UzsAVu4MofMmnmBuFZZQp0etkOLyGsNUF7Qaaa1rE7ndYNhUDmbXFMIcurzbZJkJ1b4_GWoG8CKUnYiPagAaabRJ3p4Wjp093srYBM55q0_EMINcE0U7pJAQ5yRPt1qI_-S8zwLgQ/s1600/bf6.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIp-UzsAVu4MofMmnmBuFZZQp0etkOLyGsNUF7Qaaa1rE7ndYNhUDmbXFMIcurzbZJkJ1b4_GWoG8CKUnYiPagAaabRJ3p4Wjp093srYBM55q0_EMINcE0U7pJAQ5yRPt1qI_-S8zwLgQ/s320/bf6.jpg" width="291" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbnRQQDO78CrAvVvLQM5ASkbT0gE6DFWoi_GcGxm0ITcqNN-vs-qTgBj2LfrkkrbpIGjV1jqlmiTBnEuF6O1Pjd9S-YqcMS5l26F5Rfl1cX46diXIXB5G02-9LOkTGkLWVK9Rf-J6EekQ/s1600/bf7.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbnRQQDO78CrAvVvLQM5ASkbT0gE6DFWoi_GcGxm0ITcqNN-vs-qTgBj2LfrkkrbpIGjV1jqlmiTBnEuF6O1Pjd9S-YqcMS5l26F5Rfl1cX46diXIXB5G02-9LOkTGkLWVK9Rf-J6EekQ/s320/bf7.jpg" width="320" height="229" /></a><br />
<br />
My favourite number: Poor little Pierrette...<br />
<br />
<iframe width="560" height="315" src="https://www.youtube.com/embed/sN0CeIGR2js" frameborder="0" allowfullscreen></iframe><br />
<br />
and...<br />
<br />
<iframe width="560" height="315" src="https://www.youtube.com/embed/W71t1BAlm3A" frameborder="0" allowfullscreen></iframe>As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com5tag:blogger.com,1999:blog-7800943014936550001.post-77448859616229720972017-01-17T18:14:00.001+00:002017-03-29T14:23:24.983+01:00Wiener Staatsballet: "Cendrillon" revisited. January 16th, 2017. Wiener Staatsballet: "Cendrillon" revisited. January 16th, 2017. <br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7USSNMapScfA9uFBSRwqgGzVjERiWXuXv6s6XifiQqkSZBmBz0HIlqhfmgqe3Oe_W3fmfKRQD18Zhf7mZExbsIKVdNfuQ8Ir2ilew5Sb6ivfUXBokHYTeiKQJE12aS8xNHsjnXGblE18/s1600/001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7USSNMapScfA9uFBSRwqgGzVjERiWXuXv6s6XifiQqkSZBmBz0HIlqhfmgqe3Oe_W3fmfKRQD18Zhf7mZExbsIKVdNfuQ8Ir2ilew5Sb6ivfUXBokHYTeiKQJE12aS8xNHsjnXGblE18/s320/001.jpg" width="255" height="320" /></a></div><br />
Somehow yesterday I had a funny feeling of „Déjà-vu” as “Cendrillon” started… of all things that I could think of just one stuck to my mind: “Annie Hall” (Woody Allen, 1977) and the (fabulous) scene in which Woody’s semi-biographical character “Alvy Singer” reveals that he always fell in love with the wrong women and we, the audience, are soon transferred to a cartoon in which Alvy makes love to Snow White’s Stepmother! <br />
I know: it is another fairy-tale! <br />
But she was not exactly the "good girl" of the movie/story, if you can remember and know what I mean!<br />
<br />
But we will come to that later again!<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLnWS_OCo5kUXo5d-CrYrRTqSqOmO4bs20TqBf77hHFK-RJN3Q1xxrRGvzQG83Ay_TO9JeTtYIFYxdVPTBrPdu3dHcnwEQ_LtXtQBqCy40yT_HrkrgLrnmbtNUuCZvtTNxpa4NKcRFurM/s1600/Alvy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLnWS_OCo5kUXo5d-CrYrRTqSqOmO4bs20TqBf77hHFK-RJN3Q1xxrRGvzQG83Ay_TO9JeTtYIFYxdVPTBrPdu3dHcnwEQ_LtXtQBqCy40yT_HrkrgLrnmbtNUuCZvtTNxpa4NKcRFurM/s320/Alvy.jpg" width="320" height="173" /></a></div><br />
At the precise moment in which Lázlo Benedek, Samule Colomber and Keisuke Nejime entered the stage as the Stepmother, Javotte and Anastasie it was love at first sight. And I must tell you: I was not the only that felt that way! <br />
I simply love those rare moments in which audiences “fall madly in love” and you feel a wave of feelings reaching the proscenium.<br />
These moments are becoming so rare nowadays...<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRN9vn_urErXe3ZV9BM311j5s3a-2SJAfSM8Hj6nGEOrV3BHdpX4j0J5_ASUxPLjWXovX3q_56sA7yZ4YEEVaqOzsrt1SaM8_Hxirtrmz2IenPMwAbw3zIXO1DDLGQZJz2shxoPIeYNGk/s1600/cendrillon-9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRN9vn_urErXe3ZV9BM311j5s3a-2SJAfSM8Hj6nGEOrV3BHdpX4j0J5_ASUxPLjWXovX3q_56sA7yZ4YEEVaqOzsrt1SaM8_Hxirtrmz2IenPMwAbw3zIXO1DDLGQZJz2shxoPIeYNGk/s320/cendrillon-9.jpg" width="320" height="240" /></a></div>copyright: Ashley Taylor<br />
<br />
The production is beautiful - with an incredble good taste all around (Something that I missed so much in the last production of "Josephs Legende"). <br />
Perhaps even more because of its simplicity that left so much more room for creativity. Thierry Malandain’s ideas and choreography are a joy. The choreography itself is much more “classical” than his previous “Don Juan” but I consider a great step in a beautiful direction. One that showed us that there’s no need about “lots of fuss” with sets, costumes, revolving stages, visual effects, videos and all the mad paraphernalia that some choreographers have been using to hide a certain lack of inventiveness. <br />
Dance. <br />
Simplicity. <br />
Unassumed.<br />
<br />
And using Prokofiev’s music splendidly. A fact we must definitely mention.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvUzqFFVePCApViWCoQYaa2qj8R8QmYv8wmLNR09umQm4qZ4Y7M8CtfPLA4jlQKSkrxkPaHVRLD00ACKdNNODNq3lZOeRM2Ft2okQ6mrJHjRpiAR9dkRHuQxYYyYhkrhLGgQ3d1ZY0kNM/s1600/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvUzqFFVePCApViWCoQYaa2qj8R8QmYv8wmLNR09umQm4qZ4Y7M8CtfPLA4jlQKSkrxkPaHVRLD00ACKdNNODNq3lZOeRM2Ft2okQ6mrJHjRpiAR9dkRHuQxYYyYhkrhLGgQ3d1ZY0kNM/s320/maxresdefault.jpg" width="320" height="180" /></a></div>copyrght: Wiener Staatsballet<br />
<br />
Jorge Gallardo’s sets and costumes are perfect. Lovely details, like the mannequins (and the whole ensemble mastered a very good use of them), the wheel in which the Fairy Godmother brings Cendrillon to the ball (such a beautiful effect that represented the carriage marvelously), the high-heels… such lovely imaginative ideas! Intelligent ideas.<br />
<br />
Even though there are many dancers that are ill at the moment – the Flu has also reached Vienna – I must congratulate the ensemble for such a good show and for such discipline.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirr0TaarL6xsz3nAjj5V3RBlTaOm7q9sYPmNFvwGa1Z5XheYaAukbhHu2PcT8t1eOEokWjpNHoiwMkbunbgTkvmoUROoY5OWKZjLtEBfiIpANRXwET4FDLlYpHyrW9_4shT3WziugchwY/s1600/Cendrillon10_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirr0TaarL6xsz3nAjj5V3RBlTaOm7q9sYPmNFvwGa1Z5XheYaAukbhHu2PcT8t1eOEokWjpNHoiwMkbunbgTkvmoUROoY5OWKZjLtEBfiIpANRXwET4FDLlYpHyrW9_4shT3WziugchwY/s320/Cendrillon10_2.jpg" width="320" height="107" /></a></div>copyright: Ashley Taylor<br />
<br />
Andrés Garcia-Torres, in three roles, but especially as the ballet-Master gave a technically very clean, very beautiful performance!<br />
<br />
Kristina Ermolenok, looking very delicate and thin, could have impressed the audience more with her presence and clean performance, had it not been for a certain tension on her upper back and neck. But this winter is hard and I do not know if she was also fighting some health troubles.<br />
<br />
Tainá Ferreira Luiz delighted as the “Solo-Fairy” – always giving 100% of her strength and concentration on stage, she was immensely sure-of-herself and confident en pointe (the only dancer to dance on her toes in this piece) and mastering perfectly the Fouettés-en-tounant. A versatile dancer she brought me to some good laughs as “the dressmaker” and again as the Fairy while trying to show the way to the prince and his friends. I like humour.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkASKxHtn1k8mQQKH0QcLt1DPeTmw-HER1qUInQX84c4h_yqp7KPXbcJcCwYUYMpQwSxfGYQ8V6bs2ak958mgfbMyUy3NcAXvnQhLqbUEifZ7q5kN112Qoft_keW09hNMbbmjHSfsmWeQ/s1600/003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkASKxHtn1k8mQQKH0QcLt1DPeTmw-HER1qUInQX84c4h_yqp7KPXbcJcCwYUYMpQwSxfGYQ8V6bs2ak958mgfbMyUy3NcAXvnQhLqbUEifZ7q5kN112Qoft_keW09hNMbbmjHSfsmWeQ/s320/003.jpg" width="207" height="320" /></a></div><br />
Gleb Shilov. A prince. What else can I say? Great presence, clean technique, very gifted physique. His experience as a performer shows on stage. I wish the choreography could include some more “Bravura” for this prince. Mr. Shilov can handle it. <br />
<br />
Unfortunately, the dullest part of the evening is Cendrillon herself. It is quite hard for a dancer to make something interesting out of the choreography. I cannot comment Miss Kovacs-Galavics’ performance because she had not the chance to show anything. <br />
This Cendrillon is normal, well-adjusted, a good girl with no fire in her, boring in fact! <br />
Other characters are so more much interesting, more challenging to play. <br />
Could you imagine Bette Davis being "a good girl" in films her whole life?<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDg3NTRyXU_1-ei6xsDrboRKLBUdKkRPbnxsW4Ec34Xx7CpqGYbjTlH1_Hm3imO7WObtXlRhwDEtSjCbT0I1eqinUw7yRS0nAoVtROAEsjN8Wvp6_UKOGp1_gCeZ8ea0gVDAMLP1IFp4E/s1600/002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDg3NTRyXU_1-ei6xsDrboRKLBUdKkRPbnxsW4Ec34Xx7CpqGYbjTlH1_Hm3imO7WObtXlRhwDEtSjCbT0I1eqinUw7yRS0nAoVtROAEsjN8Wvp6_UKOGp1_gCeZ8ea0gVDAMLP1IFp4E/s320/002.jpg" width="204" height="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu0Y_9ZWj1Nln-4iO3lHuUAamQCtDhkIfu9W3Wov7gLV5lqbOnK3kFsHKEtg_xS6xK1YDr8eziG7c8ovpNJhTINhwEGTyOrMkbvjP8f6c8MasTEKdP0i5IUUhKd_RcPJ2-pcrJt6m5Pio/s1600/Cendrillon3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu0Y_9ZWj1Nln-4iO3lHuUAamQCtDhkIfu9W3Wov7gLV5lqbOnK3kFsHKEtg_xS6xK1YDr8eziG7c8ovpNJhTINhwEGTyOrMkbvjP8f6c8MasTEKdP0i5IUUhKd_RcPJ2-pcrJt6m5Pio/s320/Cendrillon3.jpg" width="320" height="240" /></a></div>copyright: Ashley Taylor<br />
<br />
All this takes me fly back to where I started while writing this: <br />
The Stepmother (Lázlo Benedek, fabulous with his walking sticks) and the Stepsisters (Samuel Colombet and Keisuke Nejime): these are really the great Stars of the evening.<br />
Because they are fun. They are alive!<br />
<br />
You see: like Woody I also do not care about falling in love with the wrong women.<br />
<br />
A very pleasant evening at the Volksoper!<br />
As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com14tag:blogger.com,1999:blog-7800943014936550001.post-80614492146787120052017-01-11T18:13:00.001+00:002017-01-11T18:34:52.461+00:00A tribute to Angela Lansbury and her date bread!<br />
Somehow we all forgot that Angela Lansbury was also young one day...<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTcoKsSC5Tcah8jxDfPBhZEEqEyQZHw_Y8moqDI6GY0lvYs0Vob0BGw1JNEe0vf3Jwz9oRqAopfc7OITr16K7B0FbBIMHrh64IwPLRX_p2dNmVQVKqOwlFZVsQSLurtNRIhKd3DG747Eg/s1600/Angela_Lansbury_in_Till_the_Clouds_Roll_By.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTcoKsSC5Tcah8jxDfPBhZEEqEyQZHw_Y8moqDI6GY0lvYs0Vob0BGw1JNEe0vf3Jwz9oRqAopfc7OITr16K7B0FbBIMHrh64IwPLRX_p2dNmVQVKqOwlFZVsQSLurtNRIhKd3DG747Eg/s320/Angela_Lansbury_in_Till_the_Clouds_Roll_By.jpg" width="320" height="247" /></a></div><br />
Dear Angela, nice to remember you (also) like this...<br />
<br />
<iframe width="560" height="315" src="https://www.youtube.com/embed/hIsmINWdkVQ" frameborder="0" allowfullscreen></iframe><br />
<br />
P.S. I love your date bread...<br />
<br />
Angela Lansbury's Walnut Date Bread<br />
<br />
2 tablespoons unsalted butter<br />
1 teaspoon baking soda<br />
1 scant cup boiling water<br />
1 cup chopped pitted dates<br />
2/3 cup walnut pieces<br />
1 cup granulated sugar<br />
1 egg yolk<br />
1 3/4 cups unbleached all-purpose flour<br />
2 teaspoons vanilla extract<br />
Strawberry cream cheese, optional<br />
<br />
Heat oven to 325 degrees F. Generously oil a 9 x 5-inch loaf pan and dust with flour.<br />
<br />
Place butter, baking soda, boiling water and dates into a heatproof mixing bowl. Let cool. Mix in walnuts, sugar, egg yolk, flour and vanilla extract. Pour batter into prepared pan. Bake for 1 hour.<br />
<br />
Cool for 10 minutes and remove from pan onto rack to cool. Slice and serve with strawberry cream cheese and freshly brewed tea.As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com10tag:blogger.com,1999:blog-7800943014936550001.post-79571293947998128362016-12-31T16:13:00.000+00:002017-01-01T16:06:02.156+00:00Debbie Reynolds (1932 - 2016)<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirbzkBdPiTANS2uGvv9F17eescnxBZpQI2V0yrE7U59-Cbfe5bnKG0R3TdXeZ6fWssGEmNsY9Iqb_v7lNuc8YQ2ToBDpJVre5rM575vYf8gpOgcdduMobZlTgbZZ2iFq3IMknbiW21ZgA/s1600/Debbie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirbzkBdPiTANS2uGvv9F17eescnxBZpQI2V0yrE7U59-Cbfe5bnKG0R3TdXeZ6fWssGEmNsY9Iqb_v7lNuc8YQ2ToBDpJVre5rM575vYf8gpOgcdduMobZlTgbZZ2iFq3IMknbiW21ZgA/s320/Debbie.jpg" width="320" height="180" /></a></div><br />
Dear Debbie, <br />
rest in peace... <br />
and thank you for all those unforgettable moments on screen <br />
(and even on stage: I had the privilege to see your performance in the fabulous "Irene" in the 70's).<br />
<br />
Many may think you just as the all-american 100% sweet girl... like in "Singing in the rain", "Tammy", "The pleasure of his company" and so many others...<br />
But your talents were much bigger that that!<br />
<br />
Just a few will remember your performance in the (camp) film "What's the matter with Hellen?<br />
and practically no one remembers this crazy, marvelous sense of humour of yours... like in the following two next videos<br />
("What's my Line? from 1954 & 1959).<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitXmwzF7OSrtAmsJ79CG55ttbcY2MbsnVUPnjB64xgLZi_r8_YpSMsTZrUXjlFXQcskqupIvIydyd1s97bkylX596Qdk_pe-QxIotIw_KATzGIh466CYiNHnwBPY2lxhL_WW9N5gLjaws/s1600/Debbie+%2526+Carrie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitXmwzF7OSrtAmsJ79CG55ttbcY2MbsnVUPnjB64xgLZi_r8_YpSMsTZrUXjlFXQcskqupIvIydyd1s97bkylX596Qdk_pe-QxIotIw_KATzGIh466CYiNHnwBPY2lxhL_WW9N5gLjaws/s320/Debbie+%2526+Carrie.jpg" width="301" height="320" /></a></div><br />
Thank you dear. <br />
I will never forget you! You joined your daughter Carrie just a day afetr her death. <br />
Peace and harmony to both of you!<br />
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Ladies and Gentlemen: the one and only Miss Reynolds!<br />
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<iframe width="560" height="315" src="https://www.youtube.com/embed/TdMaQ9avSfs" frameborder="0" allowfullscreen></iframe><br />
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As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com2tag:blogger.com,1999:blog-7800943014936550001.post-35727731475382122272016-12-23T11:23:00.000+00:002017-03-29T15:01:46.124+01:00Wiener Staatsballet: December 22nd, 2016. "Raymonda" revisited.Wiener Staatsballet: December 22nd, 2016. "Raymonda" revisited.<br />
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It had been years since I had last seen „Raymonda“. In fact I guess it was in the 80’s with Makarova & Bujones… <br />
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Yesterday’s performance was part of a very well supervised production, with good sets (nothing breathtaking but very effective), lovely costumes (special note to the black & white tutus of Raymonda’s girlfriends), “pleasant” ballet music (even with the never ending repetitious Glasunow’s cordals) but, to be very honest, through the passing of the years I had completely forgotten how “Raymonda” simply bores and tires me… Immensely.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5DRC3sYorLCb3P9ngzK7Fb7TDqvWIjXLQOClu1zwXyc_3DRS5KjMYZPxO0JaSKEgAmG_s-co56_Gs88IWhwlDBdFJeDXov7FN5i0zv13G8Z98vdTNRd2XSL6AxEyQO9vwf2gMbRfy6Ao/s1600/Raymonda.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5DRC3sYorLCb3P9ngzK7Fb7TDqvWIjXLQOClu1zwXyc_3DRS5KjMYZPxO0JaSKEgAmG_s-co56_Gs88IWhwlDBdFJeDXov7FN5i0zv13G8Z98vdTNRd2XSL6AxEyQO9vwf2gMbRfy6Ao/s320/Raymonda.jpg" width="237" height="320" /></a></div><br />
Rudolph Nureyev repeats – like in his “Nutcracker” – the unnecessary choreographic “complications” that are very “ungrateful” to dancers and just happen to “please” the half a dozen true Ballet Connoisseurs that may happen to be visiting the performance that day. Even in other metropolis, in which there is a stronger following to Ballet - and a bigger understanding of it than in Vienna - the general public does “not get” these tricky, irrelevant obstacles that are strategically disposed throughout the ballet.<br />
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But this is only my point of view… <br />
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However there is some praise to be made to yesterday’s cast.<br />
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Nina Tonoli and Natascha Mair, two (very different) dancers in perfect “unison”, yes, exactly like in music: two or more musical parts sounding the same pitch… It has been some years since I have first started to “follow” their careers. With such an infinite joy... and I can keep on saying that they still always surprise me. <br />
One can nearly “touch” the immense progress they have been making.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTY8TqPXDq7eAJ7DV-GM59sUgP4_5gcs5vpNYk0XomH8xOcFKkaszjcNMZbaTIKijYREI6AnHh9dFwgOvi1u61ZPS4_iUvCtF7vEqzRe1eZiq4L9pSYkNHU8s8XOkpr1hxiB3GwTp65Oo/s1600/Raymonda_Kimoto__Masayu.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTY8TqPXDq7eAJ7DV-GM59sUgP4_5gcs5vpNYk0XomH8xOcFKkaszjcNMZbaTIKijYREI6AnHh9dFwgOvi1u61ZPS4_iUvCtF7vEqzRe1eZiq4L9pSYkNHU8s8XOkpr1hxiB3GwTp65Oo/s320/Raymonda_Kimoto__Masayu.jpg" width="320" height="320" /></a></div>Copyright: Wiener Staatsoper/Michael Pöhn<br />
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Masayu Kimoto and Richard Szabó: what a fortunate combination of talents. Mr. Kimoto is the kind of dancer that really makes us believe in the joy he is having while dancing. Mr. Szabó – with a very pleasant new “look” that is not only most becoming but gave him a very distinguished aspect: longer, straight hair, combed to the back. Both gave very strong performances – even though I missed a little bit more of demi-plié in Mr. Szabó’s performance in order to equalize his (already very good) jumps to Mr. Kimoto’s.<br />
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What a pleasure to witness again lovely Gloria Maass as “the white Lady”. Wearing not only the most beautiful costume of the evening but also that inimitable grace and poise that is so natural to her, she simply "enchants"! <br />
I do salute Mr. Legris’ decision of using the unique talents of this beautiful dancer again in this production.<br />
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Jakob Feyferlik: how can he do it? Every time I presence him onstage he seems to have grown more as an artist. Sometimes in just a question of a few weeks. Clean technique, very comfortable with his own “persona” onstage, Mr. Feyferlik is capturing more and more the audience’s attention. A brilliant future lies ahead of him.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0VOixIzJXc4ucRMuy6wxUCYsegDoCBVFw4YRzAQjuZ77iV_NmXeM8v-0Psh8f6YZiRQFK9EBGYqaxQe-3kyt85wPhqf4U_B4kXbS5hLN2LbFRbs383Pfdmkg-Iqp-ncuwPdpl5hBVVPo/s1600/Raymonda_Davide_Dato.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0VOixIzJXc4ucRMuy6wxUCYsegDoCBVFw4YRzAQjuZ77iV_NmXeM8v-0Psh8f6YZiRQFK9EBGYqaxQe-3kyt85wPhqf4U_B4kXbS5hLN2LbFRbs383Pfdmkg-Iqp-ncuwPdpl5hBVVPo/s320/Raymonda_Davide_Dato.jpg" width="320" height="244" /></a></div>Copyright: Wiener Staatsoper/ Michael Pöhn<br />
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Davide Dato – one of the Opera’s biggest and most gifted talents – gave once more a performance (as Abderachman) so filled with magnetism and exactitude that the audience was ecstatic. From beginning to end, every time he entered the stage this “thing” called magic happened again… and the rapport that he creates with the audience belongs to those moments that are turning more and more rare to witness. Great technique as a tool to artistry. Not great technique for the sake of great technique. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXsT-zGfjqj0ZlwzdzbtJB3XG1_ZzqQ1NPFxlpHuDSEIvLDJ6Izcp3mjdBqJ8wR6ehNFUGuOUTX-aM5v3LE01WGc8q2vUQ-ZUI1bt9MFh1n1kON84Ga3S9roFyAshYGBpbTI0X779bGP4/s1600/Raymonda_Nina_Polakova.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXsT-zGfjqj0ZlwzdzbtJB3XG1_ZzqQ1NPFxlpHuDSEIvLDJ6Izcp3mjdBqJ8wR6ehNFUGuOUTX-aM5v3LE01WGc8q2vUQ-ZUI1bt9MFh1n1kON84Ga3S9roFyAshYGBpbTI0X779bGP4/s320/Raymonda_Nina_Polakova.jpg" width="320" height="320" /></a></div>Copyright: Wiener Staatsoper/ Michael Pöhn<br />
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Last but not least Miss Nina Poláková. After yesterday’s performance one could really understand why she may be the logic choice to portray Raymonda. Even with the “obstacles” created by Mr. Nureyev, she was at complete ease with herself and gave an electric performance filled with power and delicacy at the same time. Miss Poláková does not forget for a single moment the character she is playing. She becomes completely the role. An artist. Even if the choreography requires many times lots of unnecessary complications – but I have already written about that.<br />
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It would be too much to extend these "thoughts" and mention every single dance from the corps de Ballet - many of them very gifted demi-soloists - but this time I feel like thanking the whole cast for such a professional and special "delivery" onstage yesterday. Chapeau!<br />
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<iframe width="560" height="315" src="https://www.youtube.com/embed/qsqmFlKpp-I" frameborder="0" allowfullscreen></iframe><br />
Copyright: Balázs Delbó<br />
As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com28tag:blogger.com,1999:blog-7800943014936550001.post-36790611848974278842016-12-09T17:52:00.004+00:002016-12-09T18:48:05.199+00:00The Maids (Les Bonnes): Glenda Jackson e Susannah York, atrizes... duas sacerdotisas num templo...Revi faz pouco um video muito antigo que imortalizei imediatamente como DVD.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizMBSBA-U_wvv1wBNBaum3736MvJcrr1EDxNznECOVSu2pY9OO8_XRG-2TXlo7LpareASxMxKWJrO1elaDxtiL50CYIsCGcOg5nwpJIUyuX-iGP0Leqg6ciO5cYFE5A2CnqPhQt8XauYk/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizMBSBA-U_wvv1wBNBaum3736MvJcrr1EDxNznECOVSu2pY9OO8_XRG-2TXlo7LpareASxMxKWJrO1elaDxtiL50CYIsCGcOg5nwpJIUyuX-iGP0Leqg6ciO5cYFE5A2CnqPhQt8XauYk/s320/1.jpg" width="217" height="320" /></a></div><br />
As empregadas Solange e Claire constroem elaborados, loucos rituais sado-masoquistas enquanto sua patroa está fora de casa. <br />
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Elas colocam claramente para o público que se concentram no assassinado de “Madame”. <br />
Elas se alternam, neste delirante jogo, nos papéis de empregada e “Madame”…<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw9X_IXjAb-JPhX-OkCcF4dI6wqBlBtt0soSiZgRFAbQyLmGTypla1TJtSplLvp0m0bKBX5I7eGuVlZ-FgZF9YFgECA3ok0imSZhibAzjYHLP7160N4t1c3txrqBOoBY9yYQt06YjZ1n8/s1600/2%252C5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw9X_IXjAb-JPhX-OkCcF4dI6wqBlBtt0soSiZgRFAbQyLmGTypla1TJtSplLvp0m0bKBX5I7eGuVlZ-FgZF9YFgECA3ok0imSZhibAzjYHLP7160N4t1c3txrqBOoBY9yYQt06YjZ1n8/s320/2%252C5.jpg" width="320" height="217" /></a></div><br />
Brilhantemente interpretado por grandes atrizes “daquele momento” (1974) este filme foi lançado em 1975. A inteligente direção de Christopher Miles é algo único e singular: antes desta filmagem para o (“arquivo” do) American Film Theatre as tres atrizes principais (Vivien Merchant é “Madame”) trabalharam juntas no palco do Greenwich Theatre (Londres) dando vida aos mesmos personagens. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3PDbVZ4t2emFTe4TanBmSZ7dXnANq3CA8gq6-C44lvn4wc_5PATHq4OoivXnA7S2NNvI8cpkN0cIMjuyks9NBgJWpxnikZCO09ORTCkXuEk0dK3RlwzPIgXM95xCyhFPwHTCDBReOvd0/s1600/2.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3PDbVZ4t2emFTe4TanBmSZ7dXnANq3CA8gq6-C44lvn4wc_5PATHq4OoivXnA7S2NNvI8cpkN0cIMjuyks9NBgJWpxnikZCO09ORTCkXuEk0dK3RlwzPIgXM95xCyhFPwHTCDBReOvd0/s320/2.jpg" width="320" height="238" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid5ihr2da48n1TG8PY_7obxeE-SrMLhOk5Y7mL4Cyvj95g1j6otRVBwOC3qVqlqQbWpneirWjkfV9ZiqVATN6JffEAVZP6OG15d_-UPCVi0374U6JnmNXM1tADQSTpxJvSbpLoxz0fqHA/s1600/3%252C5.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid5ihr2da48n1TG8PY_7obxeE-SrMLhOk5Y7mL4Cyvj95g1j6otRVBwOC3qVqlqQbWpneirWjkfV9ZiqVATN6JffEAVZP6OG15d_-UPCVi0374U6JnmNXM1tADQSTpxJvSbpLoxz0fqHA/s320/3%252C5.jpg" width="320" height="227" /></a><br />
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Mr. Miles coreografou e planejou minuciosamente esta versão: num curto período de 12 dias e com uma única camera que poderia entrar em qualquer parte dos cenários – e que as vezes ficava completamente estática – ele implementou muitas notas teatrais do próprio Genet ( que ainda estava vivo na época) à linguagem cinematográfica. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZZqg897MZeJg-ULVaqo5et3doe5H8v9mwwg1KCWjMJ-tdB5cQTgbBy1tqqEJjk0dj1TDpJ8Z1zhhv1Zz1VW7LeRI1rVJceKFrdZAXq9Nh1TfLcgxzM7dICQhPYjgHDWWVlbFDzVkxzBo/s1600/4.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZZqg897MZeJg-ULVaqo5et3doe5H8v9mwwg1KCWjMJ-tdB5cQTgbBy1tqqEJjk0dj1TDpJ8Z1zhhv1Zz1VW7LeRI1rVJceKFrdZAXq9Nh1TfLcgxzM7dICQhPYjgHDWWVlbFDzVkxzBo/s320/4.jpg" width="320" height="180" /></a><br />
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O resultado é magnífico. <br />
Uma obra de arte quase “home-made”. <br />
Fotogramas que fazem do Cinema um templo. <br />
Arte de primeira qualidade.<br />
Um tour-de-force, quase um duelo artístico entre duas dotadas Atrizes (o A maiúsculo não é pura casualidade), sacerdotisas da Arte.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHBVCXa3oicWZWykGSq185XGhcgT_-tyahpYgpeA32DRsXb2Zs-yfBjwaXIAeLcrW-azR-x1POrhEkZwAv1GtF4dXCNGaFO7HPJ0knjS-0GIE96MdNRp4QL-Xo3vKudtVcBJUvNfQbU50/s1600/5.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHBVCXa3oicWZWykGSq185XGhcgT_-tyahpYgpeA32DRsXb2Zs-yfBjwaXIAeLcrW-azR-x1POrhEkZwAv1GtF4dXCNGaFO7HPJ0knjS-0GIE96MdNRp4QL-Xo3vKudtVcBJUvNfQbU50/s320/5.JPG" width="320" height="183" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaAOx4lWpiVdHKhpwwNhGRhANr4zuV8IoaC6caHTbGEIvBUHMN56TLml2Gphhc5SXvdiPDulxaJBm6AXMWj260l2-3UWV_9RMJLHKWUClke_pvjGXbrR0-bKEuxkrrnn_Tjr04hEkAgCc/s1600/6.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaAOx4lWpiVdHKhpwwNhGRhANr4zuV8IoaC6caHTbGEIvBUHMN56TLml2Gphhc5SXvdiPDulxaJBm6AXMWj260l2-3UWV_9RMJLHKWUClke_pvjGXbrR0-bKEuxkrrnn_Tjr04hEkAgCc/s320/6.JPG" width="320" height="181" /></a><br />
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Altamente recomendável! <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG5vxvm6TKoRJimTXBAfDmYSYUM_I0tlGF13nSJyLR4MV6XVWg8MfIfCsOg6PHftTLpaWlRp660_FYx7NFYj-o2uHLTyOcwz1y4JTKiNWRcb0ATTbbJSQVNrKutEt-iqCYtEaXAJqJC40/s1600/7.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG5vxvm6TKoRJimTXBAfDmYSYUM_I0tlGF13nSJyLR4MV6XVWg8MfIfCsOg6PHftTLpaWlRp660_FYx7NFYj-o2uHLTyOcwz1y4JTKiNWRcb0ATTbbJSQVNrKutEt-iqCYtEaXAJqJC40/s320/7.jpg" width="320" height="244" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwI11HI8nv8zeRRGmLDfoEV0P_Dh3MO0VbNLJWzx52vkRhptK-G6s-5QzPMcqpGQP7_hfknbBVX53ehxj9Ox1_AggR53w8njclGOhy2CNEqwMZ6eJV_JYB2ax1YD0S-YrRCyZCM-93-gY/s1600/8.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwI11HI8nv8zeRRGmLDfoEV0P_Dh3MO0VbNLJWzx52vkRhptK-G6s-5QzPMcqpGQP7_hfknbBVX53ehxj9Ox1_AggR53w8njclGOhy2CNEqwMZ6eJV_JYB2ax1YD0S-YrRCyZCM-93-gY/s320/8.jpg" width="320" height="233" /></a><br />
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The Maids (Les Bonnes) filme britanico de 1975 British.<br />
Direção: Christopher Miles<br />
Baseado na peça homonima de Jean Genet.<br />
Com (as magníficas, maravilhosas, endiabradas) Glenda Jackson/Solange (que hoje em dia é política), Susannah York/Claire– uma de minhas atrizes preferidas que infelizmente já nos deixou (Alguém se lembra de York em “They shoot Horses, don’t they?), Vivien Merchant como Madame e Mark Burns como Monsieur.<br />
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P.S. Há poucos anos Cate Blanchett e Isabelle Huppert apareceram também nos palcos nova-yorkinos na mesma peça… <br />
Imaginem só… <br />
Um outro duelo artístico, com certeza.<br />
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As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com1tag:blogger.com,1999:blog-7800943014936550001.post-47181101608259583952016-11-03T09:57:00.002+00:002017-03-29T15:23:34.869+01:00Wiener Staatsballet November 1st, 2016: „Balanchine / Liang / Proietto“ – PremiéreWiener Staatsballet November 1st, 2016: „Balanchine / Liang / Proietto“ – Premiére<br />
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The evening started in a very positive way:<br />
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just before the performance started, there was a short conference in which Edwaard Liang and Daniel Proietto spoke not only about their works but also about their point of views on dance. <br />
Mr. Liang finished this short introduction with very beautiful and touching words about dancers and choreographers and dance: <br />
“We want to change things” as he mentioned how the beauty of art can change things within a human being… <br />
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These coud not have been more appropriate words to start an evening like this.<br />
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Excitement was in the air – I met some dear friends and we were in total rapport, feeling something in common: happiness and joy in being able to witness again something new. <br />
Yes, excitement. Pure excitement.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibui9Dj3607b9fz9udx7TQdZmr5YtcSEY-ji5Jx_4TMzK-9qmhFPVicDe8nPT8SOZ8KymlYVKTz0OY4qSMuYI2cLh2DWbG3LAdWNvGe-4TSNG0EkWo6K1niX3ikSmeWn8VIv528VLpd0c/s1600/Opera_Cily_Light.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibui9Dj3607b9fz9udx7TQdZmr5YtcSEY-ji5Jx_4TMzK-9qmhFPVicDe8nPT8SOZ8KymlYVKTz0OY4qSMuYI2cLh2DWbG3LAdWNvGe-4TSNG0EkWo6K1niX3ikSmeWn8VIv528VLpd0c/s320/Opera_Cily_Light.jpg" width="320" height="320" /></a></div><br />
The programme opened with Balanchine’s “Simphony in C”. <br />
As I normally say: “Mr. B. is Mr. B.”. A commentary which may not make sense first but I am always reffering to his quick, tricky and unique style. <br />
Coming from times in which dancers from the ABT not even dared to think about dancing what their colleagues at the NYC Ballet were doing,"just across the road", <br />
I am still very impressed that so many companies around the world have included Balanchine’s works in their repertoire.<br />
And quite well, I must say. Vienna is no exception.<br />
<br />
It is not easy, as we used to say, not to look like a wire-hanger while staying still on stage – especially in the second and last movements. <br />
Gala Jovanovic mastered this very tricky situation beautifully. Chapeau!<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBaSJN2rNpYgJeMlL-AUXHWQEJSuFVC89FMjMfULpS9tn8u0k-DMHpSgTO_lXPmZeuFhWfjDX2v48nRQRcuY9ChGqEM-WUdgR8DbHZISP9i6WQyW_OvkChyphenhyphen-YfnqkadwUFzIwdQ3v_Mo8/s1600/C_Natascha.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBaSJN2rNpYgJeMlL-AUXHWQEJSuFVC89FMjMfULpS9tn8u0k-DMHpSgTO_lXPmZeuFhWfjDX2v48nRQRcuY9ChGqEM-WUdgR8DbHZISP9i6WQyW_OvkChyphenhyphen-YfnqkadwUFzIwdQ3v_Mo8/s320/C_Natascha.jpg" width="214" height="320" /></a></div>Natascha Mair. Copyright: Ashley Taylor<br />
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There were some “tempo problems”: specially during the lifts – the main soloists were slight out of synchronization with the “second couples” – but the music is so quick anyhow! <br />
Natascha Mair and Jakob Feyrerlik are a beautiful pair on stage: she very much “on Mr. B's style”, he, growing so fast as an artist. A joy to watch this from performance to performance.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuJ7r8lCtwxBWCqTAR-DxwUeTtJFgve5QAavCHv6-OLYocTWSDqxe1NXS4qMBFk27Iyiup7dn3-mHBT0LVqohP-vSNP6fqpN8Zx0aPzWw9V4DYZ2wCHPwmXsbVGDS0309NYM62mzs9i2k/s1600/C_Liudmila_Vladimir.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuJ7r8lCtwxBWCqTAR-DxwUeTtJFgve5QAavCHv6-OLYocTWSDqxe1NXS4qMBFk27Iyiup7dn3-mHBT0LVqohP-vSNP6fqpN8Zx0aPzWw9V4DYZ2wCHPwmXsbVGDS0309NYM62mzs9i2k/s320/C_Liudmila_Vladimir.jpg" width="214" height="320" /></a></div>Liudmila Konovalova / Vladimir Shishov. Copyright: Ashley Taylor<br />
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Liudmila Konovalova and Vladimir Shishov, with the piece I consider the hardest in “Symphony”: very demanding but quite ungrateful. The sort of pas de deux which will not cause an standing ovation – except for connoisseurs. Both gave a wonderful portratit of what real artists are made of!<br />
<br />
Nina Tonoli, charming and Denys Cherevychko – jumping better than ever. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWMBuyR_XqmijlmyvrG67qSV1JtY0Vb8njwVJQTYQfYjtJtxUg9Did6qA7dkiI1u8VTYqvuYgZANcHuWFRypDGKXcD8672amfxLlTJKlQHpsFVxeLMz7XJeYQviAL9Txof9_JpO7hMGRw/s1600/C_Nina_Denys.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWMBuyR_XqmijlmyvrG67qSV1JtY0Vb8njwVJQTYQfYjtJtxUg9Did6qA7dkiI1u8VTYqvuYgZANcHuWFRypDGKXcD8672amfxLlTJKlQHpsFVxeLMz7XJeYQviAL9Txof9_JpO7hMGRw/s320/C_Nina_Denys.jpg" width="214" height="320" /></a></div>Nina Tonoli / Denys Chrevychko. Copyright: Ashley Taylor<br />
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Last but not least: Alice Firenze – technically VERY exact and cofident. Beautiful. A fine dancer. <br />
Robert Gabdulin showing as usual a beautiful presence on stage.<br />
Notable members of the corps de ballet – good to watch closely dancers like Franziska Wallner-Hollinek, Suzan Oppermann and to welcome back lovely Céline Janou Weder.<br />
This season is being quite difficult: injuries, pregnancies. “Chapeau” to the four very young girls – still at school – that jumped in!<br />
<br />
Murmuration is a beautiful piece. Perhaps not for Ballet-only spectators. But a joy to watch… <br />
<br />
Because of that the second intermission was extremely interesting: I followed many interesting discussions.<br />
<br />
Exactly what Mr. Liang had said before the performance, started happening within the spectators: choreographers, dancers want to change things.<br />
<br />
Many were taking a deep breath, trying either to understand or not to judge to hard or even willing to change their points of view. <br />
This “discussing” art in a sensible way, this exchange of opinions and ideas has a very good name in Portuguese and Spanish: “Tertúlias”.<br />
Perhaps you know this name from somewhere :-)<br />
These are gatherings of different persons with different opinions that discuss and philosophize about art aspects, respecting each other - even when they do no share the same opinion. <br />
I like that.<br />
<br />
Even though at the very beginning I was not quite sure what to make out of it, this work conquered me and set me into a sort of dream.<br />
<br />
The dancers were surely chosen with much care and accuracy: Ioanna Avraam, Mr. Feyferlik, Miss Ledán, Miss Firenze, Leonardo Basílio (that, all of a sudden is giving a new reading of his own persona – very confident on stage!).<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBh_Weviq2urTYkXRB6pCMXhOoqduJrTebMYjmMFPl4U-dP4368Td1Nh-b_b7EoUtEBJStu0vLSpRWOp_yzM66aOc0uRyo01T8ibT7Q4n6K7_0m_UW_igIjCH1lMBpoSggxG3B_5U0CUk/s1600/Murmuring_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBh_Weviq2urTYkXRB6pCMXhOoqduJrTebMYjmMFPl4U-dP4368Td1Nh-b_b7EoUtEBJStu0vLSpRWOp_yzM66aOc0uRyo01T8ibT7Q4n6K7_0m_UW_igIjCH1lMBpoSggxG3B_5U0CUk/s320/Murmuring_1.jpg" width="214" height="320" /></a></div>Nina Poláková / Roman Lazik. Copyright: Ashley Taylor<br />
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The main pas de deux (Nina Poláková and Roman Lazik) is – to my point of view a bit too long and repetitious. I would like to point that Mr. Lazik surprised me in a very positive way yesterday. <br />
A very good partner on whom his partners may really relly upon. <br />
Miss Poláková – always “fire and emotions” on stage.<br />
Especial distinction for Igor Milos and Zsolt Török in the “boys’ group”. Strong performances.<br />
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Blanc – the piece that everyone was waiting for…<br />
<br />
I was thrilled by its conceptual complexity. <br />
Apart from Daniel Proietto’s “relaunch” of a certain dance feeling (and way) that he considers somehow lost, <br />
there is much more to this piece. <br />
<br />
He said: Fokin’s “Les Sylphides” was an homage to “La Sylphide”. Therefore Blanc is an homage to the homage”.<br />
<br />
Delicacy and, to quote Jane Austen, “sense and sensibility”. <br />
Poetry… (I personally think that the use of the original English text would have been better – Mr. Rupp was sometime hard to understand… <br />
and let’s be honest: how many vistors from abroad do we have at the Opera that do not understand a single word of german ?). <br />
But the idea itself – to have “poetry” on stage, not only in the form of dancing, is beautiful.<br />
<br />
Some people say that the "poet" was not necessary - appart from the fact that we must respect his concept, we must admit that not every Opera House has such dancers as Miss Papava and Mr.Peçi.<br />
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The scenery and lights were prodigiously good. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfQAh2N8FNvyU0FHUstGmnecxiInz978HmxNdIS_tvrRsOBmggjHE64RhnPHSoqdm6iD27CCQsf9VzIE_g5yS2rnLvewXKHEmZq9lHt2oUhIY5EecUq8wFPodm8GoKNve0QUYofLBWVZE/s1600/emerald+city.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfQAh2N8FNvyU0FHUstGmnecxiInz978HmxNdIS_tvrRsOBmggjHE64RhnPHSoqdm6iD27CCQsf9VzIE_g5yS2rnLvewXKHEmZq9lHt2oUhIY5EecUq8wFPodm8GoKNve0QUYofLBWVZE/s320/emerald+city.jpg" width="226" height="320" /></a></div><br />
Most of all I was impressed, at the very end – when the poet meets his muse, now in reality, now as the woman she is.<br />
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As the “meadow’s set” appeared, or better said, as it was opend in fornt of us, I thought of some Hollywood magic from the 30’s… <br />
It reminded me, somehow, the colours of “The wizard of Oz” - <b>the flower fields in front of the Emerald City</b>. <br />
<b><br />
As if the piece was telling us that reality is even more magical and colourful than a dream... Beautiful!</b> <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7vhWuPlaWybotqgUDGOtAEJ7VygKrfE4NMzhq0n1CwtuAQ_U6usJs-h00T7sJeJ11jM6wkmP7nfiDvZVCUMTRzQNUF2PGOgj7tI5rw6cA2uLONRN2iFYVb2ei1JqqAm7JfHt1asuY4yo/s1600/blanc_negatives.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7vhWuPlaWybotqgUDGOtAEJ7VygKrfE4NMzhq0n1CwtuAQ_U6usJs-h00T7sJeJ11jM6wkmP7nfiDvZVCUMTRzQNUF2PGOgj7tI5rw6cA2uLONRN2iFYVb2ei1JqqAm7JfHt1asuY4yo/s320/blanc_negatives.jpg" width="240" height="320" /></a></div>Natascha Mair / Davide Dato. Copyright Ashley Taylor.<br />
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In fact, if you think about the “negatives” (which in fact on the very day of the premiére had to be changed from a quartet into a trio) <br />
that coud make sense. Lots of sense. <br />
<br />
The “negatives” – what a great metaphor, were danced exquisitely by Natascha Mair, Davide Dato and Masayu Kimoto.<br />
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My only, not very favorable, comment is to the use of the “negative film” in the background: <br />
As long as landscapes, woods in fact, were being shown it was all right. <br />
But the use of a man’s face (was this the poet?) was a little bit too much for me.<br />
It gave me the feeling that the mise-en-scène was trying to explain itself.<br />
Like saying: “See? The dancers are black and have white hair because they are “negatives”… “. Not really necessary. <br />
Good sense and understanding are a "Conditio Sinequanon" for Ballet-goers <br />
(Although I must admit that - from my seat - I could follow some reactions in the boxes and faces that made me quite sure that some people in the audience were not quite understanding what they were watching).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNfaFpa6SiJzUG4CuJn6bInjzN2nRz3_dYnnyWYJpuqhdOVY8EyMOxig-vffW8flmRZ0M85PYUfDPKM8cEErT_L-rgBV-IQLQfxzrwuhlmzLojEdWj6I2fSAh42ozeiS5BSqL9BDfJFYQ/s1600/Blanc_Ketty.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNfaFpa6SiJzUG4CuJn6bInjzN2nRz3_dYnnyWYJpuqhdOVY8EyMOxig-vffW8flmRZ0M85PYUfDPKM8cEErT_L-rgBV-IQLQfxzrwuhlmzLojEdWj6I2fSAh42ozeiS5BSqL9BDfJFYQ/s320/Blanc_Ketty.jpg" width="240" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7PfHwwTeWZ0J4gYf7E-LZytVc6B3YvgsjQM8gtZxq8ZcmJy3mVuqi_HspW8gdb69w6vnzAlIjuuYqsYLTQ_jdgW0iH-CIHWkFqDpfyhml5nihPMFMofhoW6wLGCaCfHoeFT6zfv6Lm9E/s1600/Blanc_Peci.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7PfHwwTeWZ0J4gYf7E-LZytVc6B3YvgsjQM8gtZxq8ZcmJy3mVuqi_HspW8gdb69w6vnzAlIjuuYqsYLTQ_jdgW0iH-CIHWkFqDpfyhml5nihPMFMofhoW6wLGCaCfHoeFT6zfv6Lm9E/s320/Blanc_Peci.jpg" width="214" height="320" /></a><br />
Ketevan Papava / Eno Peçi. Copyright Ashley Taylor <br />
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Ketevan Papava end Eno Peçi leaded the piece gracefully – both dancers are also extremely gifted in their acting skills – always portraying with a kaleidoscope of emotions the parts, roles they are involved with. Expressive, emotional, professional. Artists and stars of the first magnitude.<br />
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My congratulations – not only to Mr. Proietto for this intelliegnt piece but to the whole company for such an evening. Great job!<br />
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And once more to Mr. Legris for trying new things. New grounds, new challenges - and giving chances to a new generation of choreographers. <br />
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Merci, Manuel.<br />
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<iframe width="560" height="315" src="https://www.youtube.com/embed/rPdw8jofDHk" frameborder="0" allowfullscreen></iframe><br />
Copyright: Balázs Delbó / Wiener Staatsoper / Wiener Staatsballet<br />
As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com30tag:blogger.com,1999:blog-7800943014936550001.post-18724862215280567402016-10-29T11:17:00.001+01:002016-10-30T16:49:14.829+00:00My Gheisha... <br />
Uma curta „introdução“ `a esta Tertúlia…<br />
<br />
Da Wikipedia:<br />
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Gueixa (芸者?), Geiko (芸子?) ou Gueigi (芸妓?) são mulheres japonesas que estudam a tradição milenar da arte, dança e canto, e se caracterizam distintamente pelos trajes e maquiagem tradicionais. Contrariamente à opinião popular, as gueixas não são um equivalente oriental da prostituta; esse é um equívoco, originado no Ocidente, principalmente pela vestimenta das prostitutas tradicionais ter traços similares aos da cultura gueixa.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBa883DMvygOycjwfCvfMCAqXAnTEo0tgRXaydbnUFiHO_mOsfmDdnNBYGIbRh34mvNQYLQPcTQ5hExIC7GucuiTy_LDlkCtOOu2gLDS-CeZuBxHXLRPH-TJA5tpaLPQcfX8Ck7338Hkw/s1600/1.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBa883DMvygOycjwfCvfMCAqXAnTEo0tgRXaydbnUFiHO_mOsfmDdnNBYGIbRh34mvNQYLQPcTQ5hExIC7GucuiTy_LDlkCtOOu2gLDS-CeZuBxHXLRPH-TJA5tpaLPQcfX8Ck7338Hkw/s320/1.jpg" width="320" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9BksE38l6UEsC_Kb0rofC24z_-WOfNnwfzfrCqxtqF-x-YFk5wLKWMIYxqwCWuCuTPJGc_sOjfwD9rFqY9n6Kdr4aQsGh0e0OFlulaGbL45cdxanX7f2WxXxI8vSF0W9pf1TqEBNI_6E/s1600/2.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9BksE38l6UEsC_Kb0rofC24z_-WOfNnwfzfrCqxtqF-x-YFk5wLKWMIYxqwCWuCuTPJGc_sOjfwD9rFqY9n6Kdr4aQsGh0e0OFlulaGbL45cdxanX7f2WxXxI8vSF0W9pf1TqEBNI_6E/s320/2.jpg" width="224" height="320" /></a><br />
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No Japão, a condição de gueixa é cultural, simbólica e repleta de status, delicadeza e tradição. Ao longo dos séculos, esse contexto foi desenvolvido pelo aperfeiçoamento da técnica dessas artes e pela estrutura rígida necessária para se tornar uma gueixa e permanecer como tal.<br />
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Alguns dizem que as gueixas habitam uma realidade separada, que eles chamam de karyūkai ou "a flor e mundo de salgueiro".<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgitESgDMU64TDs2kkwgaa7ndtSVc3onIH30w6NW1EGMZRYgq0_On8jJdCAx7o_48ma9p1izhc1Of0ZX2m_jLm8rkiWCFAibl6SS7x-Y4i9v4eRQb1lkzgur3EZZwCAKt6JBF92sjLy1YA/s1600/3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgitESgDMU64TDs2kkwgaa7ndtSVc3onIH30w6NW1EGMZRYgq0_On8jJdCAx7o_48ma9p1izhc1Of0ZX2m_jLm8rkiWCFAibl6SS7x-Y4i9v4eRQb1lkzgur3EZZwCAKt6JBF92sjLy1YA/s320/3.jpg" width="320" height="180" /></a></div><br />
Tradicionalmente, a gueixa começaria seu treinamento em uma idade muito jovem, as vezes aos 3 ou 5 anos, mas a idade média era aos nove anos de idade. Isso não era uma prática comum nos distritos respeitáveis e desapareceu na década de 1950 com a proibição do trabalho infantil. Algumas meninas estavam ligadas às casas de gueixas (okyia) como filhas. Essas meninas ficaram conhecidas como hangyoku. Filhas de gueixas eram frequentemente criadas como gueixa, normalmente como uma sucessora (atotori, que significa "herdeiro" ou "herdeira" nesta situação particular) ou tendo papel de filha (musume-bun) para a okiya.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp6ehnVa2nv7QBA9Crtf9blXkZxhWVcFinfzHLAYkDkvErsF_rKaE4RzKn-OGL9tbALP9uleC1-aUX7DeTqgt5ecQrsuhnNU5FUYJnmIUFzyTrNp4JCByvYuY20lVSiCCNKIGS9BKUzBA/s1600/4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp6ehnVa2nv7QBA9Crtf9blXkZxhWVcFinfzHLAYkDkvErsF_rKaE4RzKn-OGL9tbALP9uleC1-aUX7DeTqgt5ecQrsuhnNU5FUYJnmIUFzyTrNp4JCByvYuY20lVSiCCNKIGS9BKUzBA/s320/4.jpg" width="207" height="320" /></a></div><br />
Elas dão continuidade a seu estudo da música e dança ao longo de suas vidas. Elas podem trabalhar até seus oitenta e noventa anos e praticam todos os dias, mesmo após setenta anos de experiência. <br />
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Algumas gueixas não só dançam e tocam música, mas também são escritoras, fazendo poemas melancólicos. E outras pintam imagens ou compõem música.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb_wPUmSQUYVOkYgeuqULzGd2eY-QMmrXGpp4cgQLjmzbbGFVQAP5xKrlF_aa_x1JX5gpcEvOxE82Kv3KmCWl8SMCUZWLFxswDNB8BndExGsdihP1kf14Ywma_y_qjrMh6C5AMLDydSxg/s1600/MacLaineDVD.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb_wPUmSQUYVOkYgeuqULzGd2eY-QMmrXGpp4cgQLjmzbbGFVQAP5xKrlF_aa_x1JX5gpcEvOxE82Kv3KmCWl8SMCUZWLFxswDNB8BndExGsdihP1kf14Ywma_y_qjrMh6C5AMLDydSxg/s320/MacLaineDVD.jpg" width="320" height="320" /></a></div><br />
Revendo o filme “My gheisha” com Shirley MacLaine e me deliciando com um trabalho dela que foi praticamente esquecido, fiquei mais uma vez intrigado com sua “transformação” para às cameras… que deve ter sido muito desconfortável…<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVkEipD2doAGWjQGyMlqvGjKA9qxSfQW2nmaNVypW15jXHl6I9E-Wrpst192T3E4Dnv9x7hY4gE9TZ-bdP7v4NYHohQDurKI4Rq2ji2wJTI2Ynt8Zs4oHtGz6qk-V2GwoUdM5lFq5cwLU/s1600/MacLaine2.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVkEipD2doAGWjQGyMlqvGjKA9qxSfQW2nmaNVypW15jXHl6I9E-Wrpst192T3E4Dnv9x7hY4gE9TZ-bdP7v4NYHohQDurKI4Rq2ji2wJTI2Ynt8Zs4oHtGz6qk-V2GwoUdM5lFq5cwLU/s320/MacLaine2.jpg" width="320" height="165" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN8Y-J41m2-DwdI2FXEGF9Z64h4sI8h0aGr8L_zdsgREI8lNgp2C4mXK461cNgCpLMDX-fksb9B21LLSHVS1d7ZoPlGtsJQzWsJR5k1WRZI2noWOYzf0Uh7W4iq2WfP2_mv4__5cCplDQ/s1600/MacLaine3.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN8Y-J41m2-DwdI2FXEGF9Z64h4sI8h0aGr8L_zdsgREI8lNgp2C4mXK461cNgCpLMDX-fksb9B21LLSHVS1d7ZoPlGtsJQzWsJR5k1WRZI2noWOYzf0Uh7W4iq2WfP2_mv4__5cCplDQ/s320/MacLaine3.jpg" width="254" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNm8LnOBcVMMzjIriXEoVQKfmBY5_tE16SAZJqhEbnlW7XRItj4c8j8R9QOR4VWi0z5tBGXQhVvZU8aeACmtAWQsNvbG1WTdrnCVxE8UF2wWnWR0QHJT16wHT6pf4Gt8va8LJZXo2pR3w/s1600/MacLaine.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNm8LnOBcVMMzjIriXEoVQKfmBY5_tE16SAZJqhEbnlW7XRItj4c8j8R9QOR4VWi0z5tBGXQhVvZU8aeACmtAWQsNvbG1WTdrnCVxE8UF2wWnWR0QHJT16wHT6pf4Gt8va8LJZXo2pR3w/s320/MacLaine.jpg" width="265" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjySL9vA7mnkLJtqgro8k4jvJRnXT21VabGV6VT9gHnngmRBvUmSEMCZbJg_sUFvykAW6cu5lE-OtuNXuflHEy5b062LhSAJNcQ5HK5YA_w4f50x-p5PrgAfguh7pHU831PTbG5Sa1bkEo/s1600/MacLaine4.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjySL9vA7mnkLJtqgro8k4jvJRnXT21VabGV6VT9gHnngmRBvUmSEMCZbJg_sUFvykAW6cu5lE-OtuNXuflHEy5b062LhSAJNcQ5HK5YA_w4f50x-p5PrgAfguh7pHU831PTbG5Sa1bkEo/s320/MacLaine4.jpg" width="255" height="320" /></a><br />
<br />
Atriz de uma versatilidade extrema, ela se encontrava num período muito frutífero de sua carreira… <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1jsAxSIGXaAzPn264hP8-zAeV_1SicNLTflM2UkJ1ea10J6Up0TssSzZHO7MOaIV9y4FJMDmMSqF0QPuIeHQdiYQ0iE5Mgtyg95fUkEuzv523cF9_lKuRIfbIg-8cep0uxhaiu2P0dkY/s1600/MacLaine5.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1jsAxSIGXaAzPn264hP8-zAeV_1SicNLTflM2UkJ1ea10J6Up0TssSzZHO7MOaIV9y4FJMDmMSqF0QPuIeHQdiYQ0iE5Mgtyg95fUkEuzv523cF9_lKuRIfbIg-8cep0uxhaiu2P0dkY/s320/MacLaine5.jpg" width="320" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge-SlVs92956KnNOfoaxf-l1AR0kooJpcQkoNmWP3w_0MGnTVf_a9mOKGGycDo6zmSDQcjdQxyPhlusaKhppUee0RryVH8Xre6JwONcj8ZFVy8mXX9NCDlxilkhDhsWS-0ebXTC1r1uiU/s1600/MacLaine_Time.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge-SlVs92956KnNOfoaxf-l1AR0kooJpcQkoNmWP3w_0MGnTVf_a9mOKGGycDo6zmSDQcjdQxyPhlusaKhppUee0RryVH8Xre6JwONcj8ZFVy8mXX9NCDlxilkhDhsWS-0ebXTC1r1uiU/s320/MacLaine_Time.jpg" width="246" height="320" /></a><br />
<br />
Tinha feito há pouco, entre outros vários papéis, “Simone Pistache” em “Can-Can” (bailando desenfreiadamente), a ascensorista em “The Appartment” (“Se meu apartamento falasse”) e a trágica Martha, que se suicida em “The children’s hour” (“Infamia), assumindo em “My Gheisha” o papel duplo de Lucy Dell / Yoko Mori como mais um desafio… <br />
<br />
Maravilhosa MacLaine…<br />
<br />
P.S. All pictures found in the internet. I owe no copyrights to these pictures.<br />
<br />
<iframe width="560" height="315" src="https://www.youtube.com/embed/y47SwwfaTBk" frameborder="0" allowfullscreen></iframe><br />
As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com10tag:blogger.com,1999:blog-7800943014936550001.post-20725613556246289182016-10-22T16:22:00.002+01:002016-10-28T11:17:11.043+01:00Duška Sifnios (1934 - 2016)Duška Sifnios<br />
<br />
(Skopje, October 15th 1934, Brussels October 14th 2016)<br />
<br />
My admiration and respect – FOREVER – to this beautiful Lady that created with Bejárt the “table role” of his “Boléro”. <br />
<br />
An amazing dancer!<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrG71YMoghTCLfqo_YVnr0ZhWp3s5bS8xadtbX_QNHMz_XtsD97t1Tc5EHFkgwELSUwyQOjLTl78TJaVGawRASbBcapKkCY2vUeCZmTqYY2CXkYqJt4kivYjmuYjZzw_Nx9kNh9BhvO3s/s1600/Duska3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrG71YMoghTCLfqo_YVnr0ZhWp3s5bS8xadtbX_QNHMz_XtsD97t1Tc5EHFkgwELSUwyQOjLTl78TJaVGawRASbBcapKkCY2vUeCZmTqYY2CXkYqJt4kivYjmuYjZzw_Nx9kNh9BhvO3s/s320/Duska3.jpg" width="269" height="320" /></a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSpbSlwmuOQWMe4DX1r63aYtWEsp00VGfJVbCo9jNsbvFlhg0PFh0k2cZXFtAO8QCfd2vF-KxzX0T5j3fq2kVQXggaqvYDTBYuym8MUDisYlrVyIKVBc_FLWGBrhIU63VMbRJcX1LbsEg/s1600/Duska4.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSpbSlwmuOQWMe4DX1r63aYtWEsp00VGfJVbCo9jNsbvFlhg0PFh0k2cZXFtAO8QCfd2vF-KxzX0T5j3fq2kVQXggaqvYDTBYuym8MUDisYlrVyIKVBc_FLWGBrhIU63VMbRJcX1LbsEg/s320/Duska4.jpg" width="320" height="214" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2WVhgC6y0KBlBOOiOmcK-DV4H__cOmuzMNVxP7vslOFnQM7uKf-kz4S1V1ZAxNBraIXhSH0eUy-eCyRhAvT5j6LO46txa6chmg99l1At3vyNxW5aTDNBWV3vJhGbuRdWu4JYMr0oelfA/s1600/Duska6.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2WVhgC6y0KBlBOOiOmcK-DV4H__cOmuzMNVxP7vslOFnQM7uKf-kz4S1V1ZAxNBraIXhSH0eUy-eCyRhAvT5j6LO46txa6chmg99l1At3vyNxW5aTDNBWV3vJhGbuRdWu4JYMr0oelfA/s320/Duska6.jpg" width="320" height="202" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQp0QUIm0Qd43q31mTxAOALpuRxSNHuB63uvzY3RtRV4Yq2BcOQW9fP-4euuEKAaAuQiUEP_FHSuYG1JYsyjpgntOg-m7EjBRy-QayM496MuE1p7UkEQnpBzSRIqU6ACoPG_ApZD4BSGQ/s1600/Duska7.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQp0QUIm0Qd43q31mTxAOALpuRxSNHuB63uvzY3RtRV4Yq2BcOQW9fP-4euuEKAaAuQiUEP_FHSuYG1JYsyjpgntOg-m7EjBRy-QayM496MuE1p7UkEQnpBzSRIqU6ACoPG_ApZD4BSGQ/s320/Duska7.jpg" width="320" height="216" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgltkO6DoHbE2fZR6G9WLAmZ0aLo8h2Vnx-DrTvJOWMdwn15hqqiXzqJoI2vq-6h-_S5J997qAR9YiAGZzFpiWQi59eMuoEWAty35mfz2wz7GxS_cS4ZS3dRBiemsuOTD8XbuyZuBKH_TM/s1600/Duska8_Milorad+Miskovitch.jpg" imageanchor="1" ><br />
<br />
During the seventies I remember watching the whole "Boléro", with her and the Ballet de XXiéme Siécle, at a film exhibition promoted by the culture departmment of the belgium Consulate in Rio de Janeiro.<br />
<br />
Her husband, André Vandernoot, conducted this beautiful live performance from 1961!<br />
<br />
Does anyone know where a copy of this masterpiece could be found?<br />
Such a lost treasure...<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqlE94SkjcX5tnXrMrL8Ap0H-eT_4H2YzBzAFdXWw4nPOzi3tP6frru8npa5WH__3tLyFqucXpB84XrTnsK8ZnTD4P28WP2plJW1rylV-2VlcG7s_rNhQTmWxfoXcWI_Yr9A4iv2ZXPWc/s1600/Duska+5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqlE94SkjcX5tnXrMrL8Ap0H-eT_4H2YzBzAFdXWw4nPOzi3tP6frru8npa5WH__3tLyFqucXpB84XrTnsK8ZnTD4P28WP2plJW1rylV-2VlcG7s_rNhQTmWxfoXcWI_Yr9A4iv2ZXPWc/s320/Duska+5.jpg" width="320" height="147" /></a></div><br />
<iframe width="560" height="315" src="https://www.youtube.com/embed/YeuUgqaA0C4" frameborder="0" allowfullscreen></iframe><br />
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P.S. October 24th...<br />
Her son, Patrick Vandernoot, has just sent the Bolero-video to me... such kindness!<br />
<br />
<iframe width="560" height="315" src="https://www.youtube.com/embed/0woHFDgdvho" frameborder="0" allowfullscreen></iframe><br />
As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com16tag:blogger.com,1999:blog-7800943014936550001.post-27825604814156146322016-10-18T19:25:00.000+01:002017-04-04T12:44:52.382+01:00Wiener Staatsballet October 17th, 2016: "Le Corsaire" - revisited<br />
Somehow I remember a song from the rock-opera „Evita“ in which the main character says to Perón something like “we were just at the right time, at the right place”.<br />
<br />
I was yesterday at the right time time, at the right place: <br />
<br />
“Le Corsaire” at the State Opera Vienna with Liudmila Konovalova and – giving his debút in Vienna – the world famous Star Vadim Muntagirov (Royal Ballet). <br />
<br />
What an evening…<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCTCupX8auD1Y3T-1uFA6hO9PaPC6bFLWp_S_E4gvKwWVvVmnSBGqO63GpPVX8UDXOeb4ZTk8NCeyCL3aqqBgtllVQzC8iJxrnEoPOFMsIn_8Uqg1qOuylxfI-eYIIVFCZ6ZjVLNv5UgE/s1600/001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCTCupX8auD1Y3T-1uFA6hO9PaPC6bFLWp_S_E4gvKwWVvVmnSBGqO63GpPVX8UDXOeb4ZTk8NCeyCL3aqqBgtllVQzC8iJxrnEoPOFMsIn_8Uqg1qOuylxfI-eYIIVFCZ6ZjVLNv5UgE/s320/001.jpg" width="233" height="320" /></a></div><br />
I had not seen Manuel Legris’ “Le Corsaire” since its premiére, last March. <br />
I remember writing these “thoughts” also last march in a critic: <br />
At this point, and to finish this long review, I would like to quote Dame Margot Fonteyn’s, a person whose thoughts about art I much admire: “the first night is the worst time to make a hard and fast criticism: a baby never looks its best on the day it is born”. <br />
Thinking earnestly about it, I added: <br />
“If this baby is already looking like this on its first night, so good, it is surely going to be a beauty, a star of first magnitude”.<br />
<br />
And it turned to be one!<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-C03fGc0pZHox0jD0WxIhlroZeAvFDzCDdJ55jLbVJruP9fM1scP7Rf8geza1AF5zT4RLAIQMInpM8VPI-4gTbnx3Yq3B0fe-p-0FzEGj6gfu990Nw5BBIFgwUzqKBnmN16hbqEZxYlo/s1600/2016_10_17_Corsaire+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-C03fGc0pZHox0jD0WxIhlroZeAvFDzCDdJ55jLbVJruP9fM1scP7Rf8geza1AF5zT4RLAIQMInpM8VPI-4gTbnx3Yq3B0fe-p-0FzEGj6gfu990Nw5BBIFgwUzqKBnmN16hbqEZxYlo/s320/2016_10_17_Corsaire+1.jpg" width="320" height="162" /></a></div>Copyright: Thomas Schulz<br />
<br />
The work, the cast, everything “matured” so beautifully during the last months. <br />
Even though this Season is proving to be a difficult and hard one for some members of the company – due to many illnesses and even pregnancies , there is a certain “shortage” of dancers. <br />
Five Médoras in a row for Liudmila Konovalova are surely a difficult task to manage. But her yesterday’s performance was a pure dream. It paid for all the struggle: <br />
technically in top form, combining her talents as an actress in full unison with her partner – she filled the stage with so much emotion that sometimes it was quite hard for me to retain some tears. <br />
I cherish these sublime moments. <br />
She is one the few dancers to be at ease dancing both Médora and Gulnare. In perfect, full command of both parts. <br />
What else can a choreographer wish for? <br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJzG3dAaPm8x5H4AFqTr-zBJ1nj0gVUG2L_ukGRB88tUnJoX_PXuyL3ARsh-8J_yOSrTKTtCBzd1zJtBJJ9RUBPOjUr4STDMoSc_KFafUK67bijT_iqxkrRHmORMlqFuQaIcxdYT3DzHs/s1600/konovalova_vadim1.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJzG3dAaPm8x5H4AFqTr-zBJ1nj0gVUG2L_ukGRB88tUnJoX_PXuyL3ARsh-8J_yOSrTKTtCBzd1zJtBJJ9RUBPOjUr4STDMoSc_KFafUK67bijT_iqxkrRHmORMlqFuQaIcxdYT3DzHs/s320/konovalova_vadim1.jpg" width="240" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiowPhYngEJjyNgcB4wcMIxo7_AIiaOiMG6A7XlkV82FqD_xsjQX1FM139Elgf7kz6XYWTZIw0-RNbASmaGs1caBTFZbwjKQTcor_BHBA582QxkLL6EcyDmHYm5sn4E2H2P-KXb4COEAvQ/s1600/konovalova_vadim2.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiowPhYngEJjyNgcB4wcMIxo7_AIiaOiMG6A7XlkV82FqD_xsjQX1FM139Elgf7kz6XYWTZIw0-RNbASmaGs1caBTFZbwjKQTcor_BHBA582QxkLL6EcyDmHYm5sn4E2H2P-KXb4COEAvQ/s320/konovalova_vadim2.jpg" width="240" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr6HLy7Fp3Q001qrcs_Bkf6CchqPmc7Cl0zWPOt2_T7JT0bHUXULkZLnwLQdYaXJuOMiWHjyc7xC2zjhnXzsaWrA3n7aHPViScaGAniepeuoI6IeTabCSYpYECpemfWQdqRmcA1QRdAtU/s1600/Konovalova_Vadim3.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr6HLy7Fp3Q001qrcs_Bkf6CchqPmc7Cl0zWPOt2_T7JT0bHUXULkZLnwLQdYaXJuOMiWHjyc7xC2zjhnXzsaWrA3n7aHPViScaGAniepeuoI6IeTabCSYpYECpemfWQdqRmcA1QRdAtU/s320/Konovalova_Vadim3.jpg" width="240" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXgB3RlpkcLCwlQVI6lcWthnk68Gy6jM2pT2pVDVeogDCwwDa7Sei9IWPvdW2fiAwnDt22jmhJ0AEVZatgmxvSrdBxhlv7pWI03GDDFTtLGKS1GxzOg7-aBkr3OvAkVaen4zTFqPMZokI/s1600/Konovalova_Vadim4.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXgB3RlpkcLCwlQVI6lcWthnk68Gy6jM2pT2pVDVeogDCwwDa7Sei9IWPvdW2fiAwnDt22jmhJ0AEVZatgmxvSrdBxhlv7pWI03GDDFTtLGKS1GxzOg7-aBkr3OvAkVaen4zTFqPMZokI/s320/Konovalova_Vadim4.jpg" width="240" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz5zLQcdMGJiA5YsFOsHUabVYIqgNOuKCo7rQFlb91YHJUTX_IEVAkRTsrzPsztNTWce5QhJSomyo1yc9PsjYSECL02fTxMCe6iOsUX1QE-ioocIN8l_Rgn3GNyr2SbE68W6FHDaRcqHs/s1600/Konovalova_Vadim5.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz5zLQcdMGJiA5YsFOsHUabVYIqgNOuKCo7rQFlb91YHJUTX_IEVAkRTsrzPsztNTWce5QhJSomyo1yc9PsjYSECL02fTxMCe6iOsUX1QE-ioocIN8l_Rgn3GNyr2SbE68W6FHDaRcqHs/s320/Konovalova_Vadim5.jpg" width="240" height="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZZhX-Q3X-R4VgQRsiLBOrkQ_4SEF4FOAAgCP3HMI0tvYRknk7Kb2gwgFLLaBv6aww4z6T7Rvb7pJby9GjHiEiEfoLPQl1yCX8Ob_IXrQRhC0xdSlkygrjQvFEVrxkNd-RpCm4eQuhl1A/s1600/Konovalova_Vadim6.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZZhX-Q3X-R4VgQRsiLBOrkQ_4SEF4FOAAgCP3HMI0tvYRknk7Kb2gwgFLLaBv6aww4z6T7Rvb7pJby9GjHiEiEfoLPQl1yCX8Ob_IXrQRhC0xdSlkygrjQvFEVrxkNd-RpCm4eQuhl1A/s320/Konovalova_Vadim6.jpg" width="240" height="320" /></a><br />
Copyright: Ashley Taylor (and many Thanks for the gorgeous pictures!)<br />
<br />
Her sureness yesterday was a work of perfection. Even though I found the orchestra sometimes extremely quick <br />
(especially during the fouettés in the coda). <br />
But she mastered them with such an ease and joy and sense of perfectionism – never falling out of character or giving the impression of being preoccupied with “technicalities”. <br />
A great, unforgettable performance, that I was lucky enough to witness.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtcLIOgs459o7kchSGDwN5JMJcQATQWvfUN0b8JEN4kiSu2Y3fPX9ns9t04LrEi7h-n2grf9NTuhdfgb1j3H7DX6_LCrtNxJFh6yJlEkX4KngknYaWVOonqNNXo6qSZ0vekqVwjyQJRXA/s1600/2016_10_17_Vadim.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtcLIOgs459o7kchSGDwN5JMJcQATQWvfUN0b8JEN4kiSu2Y3fPX9ns9t04LrEi7h-n2grf9NTuhdfgb1j3H7DX6_LCrtNxJFh6yJlEkX4KngknYaWVOonqNNXo6qSZ0vekqVwjyQJRXA/s320/2016_10_17_Vadim.jpg" width="240" height="320" /></a></div>Copyright: Ashley taylor<br />
<br />
Vadim Muntagirov’s entrance was filled with so much enthusiasm that I wanted to applaud. <br />
But this is not costume within Viennese “ballet-goers”… he must have missed it: <br />
especially coming now from Covent Garden where this use of giving back emotion is very normal. <br />
From the moment of his first entrance he dominated the stage – sometimes even when he was not in it. Apart from his technical qualities (his jumps are amazing: the “image” that haunted me until today was of him in the air – as if he would go up and stay there the double of time that a normal dancer does. <br />
I admired much his gifts for partnership. A dancer that gives confidence to everyone. <br />
But not only to his partner, also to the audience. Not for one second I feared that he might not finish his pirouettes or fall out of his tours en l’air or miss his tempo… never. <br />
But – going back to his qualities as a partner: much more that being a strong partner, one could feel his complete dedication to Miss Konovalova. <br />
He was the whole time WITH her – Conrad was in love with Médora and both made the roles so “believable”. <br />
Something that, I must add, nearly the whole cast performing yesterday gave to the audience: this sense of not only watching beautiful dance but also of witnessing a beautiful, very dramatic story.<br />
I love to have stories told to me...<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCkooi3gKJNOq3htbqo95bThN4aO9h2JuPImDLKjb-Apmajsja4dja7EzSCda8AsOgjHdAwGpNWcCbq1UwuU3v4PnRorg7ljwDl2rTVi_XkdnTJJed_7ne18YBjVGM_CB57v__KL1TCb4/s1600/2016_10_17_Corsaire+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCkooi3gKJNOq3htbqo95bThN4aO9h2JuPImDLKjb-Apmajsja4dja7EzSCda8AsOgjHdAwGpNWcCbq1UwuU3v4PnRorg7ljwDl2rTVi_XkdnTJJed_7ne18YBjVGM_CB57v__KL1TCb4/s320/2016_10_17_Corsaire+2.jpg" width="213" height="320" /></a></div>Copyright: Thomas Schulz<br />
<br />
Natascha Mair – one of the most extremely frail-looking, delicate ballerinas I have ever seen. And she combines strength and even mathematical precision to these gifts. <br />
Such an intelligent dancer… <br />
I just feel a slightly worried about a tendency to “over extension” – “une maladie” of our present dancing times that would not suit quite well the precious, quick, clean, ELEGANT technique of Miss Mair. <br />
Especially during the first act, her partnership with Francesco Costa was absolutely amazing: both, Gulnare and Lanquedem, must be in the middle of the first act already “as warm” as many other performers much later on performance. <br />
Bravura very early in a ballet evening may be very demanding - and treachurous! <br />
They gave us impeccable and exciting performances.<br />
<br />
Mr. Costa, a very masculine an strong dancer, was superb – his first lift of Miss Mayr even scared me: <br />
I thought she’d not return “on time” to the floor. <br />
He has been growing up very quickly as a dancer and is in full command of his jumps, pirouettes and tours en l’air <br />
(even though there is a tendency to drop a bit to the left while on air – which makes his “landings” more difficult).<br />
<br />
Alice Firenze , a perfect Zulméa and Davide Dato, a perfect Birbanto filled the stage – and the audience with sense of dynamic that is hard to match. <br />
Fire in the air! <br />
That is the only thing I could think of while watching both. <br />
<br />
These two dancers are marvelous soloists. Ever since I have been following their careers they have been going on, maturing so fast as performers.<br />
<br />
Birbanto’s dance is very praised by the audiences - and wonderful Davide Dato deserves every single applause... such a tallented and dedicated dancer! <br />
<br />
But I have a certain feeling that the viennese audiences do not quite “understand” Zulméa as a role in which quality and “temperament” have nothing to do with dancing on your toes. <br />
This is about not giving the right value, understanding to the dancing they are watching/witnessing. <br />
About a certain lack of knowledge... <br />
But viennese audiences were never known to master a full-comprehension of ballet like english, french (and american) audiences do... <br />
This is sucha shame because this is a beautiful role danced by a marvelous, unique and expressive ballerina.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWApETxRz3Lp8lhTGRmJNevzCOAJ168rydQ6KF10vNpdtidzsm8cd4QTdvwuNYM5g3dRnRyfTQmsYb917Fii2bt8zHzjr_zEQXJofLMqjGbzBmArIWtefVZ_zSjuvRK2l-9D3tWBDN4iA/s1600/2016_10_17_Corsaire+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWApETxRz3Lp8lhTGRmJNevzCOAJ168rydQ6KF10vNpdtidzsm8cd4QTdvwuNYM5g3dRnRyfTQmsYb917Fii2bt8zHzjr_zEQXJofLMqjGbzBmArIWtefVZ_zSjuvRK2l-9D3tWBDN4iA/s320/2016_10_17_Corsaire+3.jpg" width="320" height="213" /></a></div>Copyright: Thomas Schulz<br />
<br />
Last but not least I would like to mention Nina Tonoli, Anita Manolova and Eszter Ledán as the three odalisques: <br />
Miss Tonoli and her clean technique are always a joy to watch (I feel sorry that I have missed her Gulnare during some of the last performances), <br />
Miss Manolova has an exquisite poise and very singular posture. <br />
Both gave very nice, very soft and musical interpretations of ”steps & emotions”. <br />
<br />
But something that I had not understood until now became as clear as crystal as I watched Miss Ledán perform yesterday: <br />
she has that – very rare – "quoi" of an “upper body quality” that, for example, made Margot Fonteyn a “star”. <br />
With Fonteyn it was all about the "royal use" of the upper body (as her technique left very much to wish for). This was her “magic”. <br />
Miss Ledán combines this fact with a very beautiful, clean technique and a special poise (and beauty). <br />
This is her “magic” that so fascinates spectators.<br />
And I like, especially in connection to Miss Ledán, to use the word MAGIC. <br />
A word so needed nowadays in the world of Ballet!<br />
<br />
A wonderful evening. <br />
<br />
An unforgettable one, in fact.<br />
During which, everything came together beautifully.<br />
As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com17tag:blogger.com,1999:blog-7800943014936550001.post-50592538753795799422016-10-16T14:34:00.001+01:002016-11-05T09:42:34.113+00:00Wiener Staatsballet: Three dancers I like... very much...<br />
That's it.<br />
<br />
The images say it all...<br />
no need to add anything!<br />
<br />
Greig Matthews (Scotland), Alexis Forabosco (France) and Dumitru Taran (Moldavia) in "Manon" (2013, copyright Wiener Staatsoper).<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDXWibF2A1fGAUiA-DL8HY0XSVnPTWizIAM2TkGiRtpmNdDA4sQXA_MtJtfXLnnXxqoM26WbAtVMWGmmSyXe0LCkLJhIty7yodwzP621WgIeZ_SjeCRG3G-Hag6FsijP2IT_xDoqVEOIo/s1600/10172645_225084041032116_6072562035583058536_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDXWibF2A1fGAUiA-DL8HY0XSVnPTWizIAM2TkGiRtpmNdDA4sQXA_MtJtfXLnnXxqoM26WbAtVMWGmmSyXe0LCkLJhIty7yodwzP621WgIeZ_SjeCRG3G-Hag6FsijP2IT_xDoqVEOIo/s320/10172645_225084041032116_6072562035583058536_n.jpg" width="320" height="224" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzjL-95SMdQZAj2oi6O7DjwHSzFz4Z0w6IPcefd9XYOOxpo28WX46GPwr22S6pI860YwrD23RGCXF55yYUdHlkxb2xij8pWK1ppTU3rb0atLnUS2MsWlPaAjpdXtn6xUHsq2myk9-d9hc/s1600/1932210_225084077698779_789389768899995417_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzjL-95SMdQZAj2oi6O7DjwHSzFz4Z0w6IPcefd9XYOOxpo28WX46GPwr22S6pI860YwrD23RGCXF55yYUdHlkxb2xij8pWK1ppTU3rb0atLnUS2MsWlPaAjpdXtn6xUHsq2myk9-d9hc/s320/1932210_225084077698779_789389768899995417_n.jpg" width="320" height="224" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghK5n-nle5w-UmrfPLJG0T2ZU6LizcSYTVUgPE9_kn88Idg8B6I6PbY-NWxQkXou13BgE9J5WYycxoXTHOOiLFI1SgpJA1F7rvN7ECe8hA0BQABRmrhldkXbtPcH5SFEsm6TR-cTHNIt0/s1600/1981868_225084057698781_2865171356496791527_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghK5n-nle5w-UmrfPLJG0T2ZU6LizcSYTVUgPE9_kn88Idg8B6I6PbY-NWxQkXou13BgE9J5WYycxoXTHOOiLFI1SgpJA1F7rvN7ECe8hA0BQABRmrhldkXbtPcH5SFEsm6TR-cTHNIt0/s320/1981868_225084057698781_2865171356496791527_n.jpg" width="320" height="224" /></a></div>As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com15tag:blogger.com,1999:blog-7800943014936550001.post-76779656621862309212016-10-09T17:19:00.001+01:002017-04-04T12:59:33.237+01:00Wiener Staatsballet October 8th, 2016: Van Manen / Ekman / Kylián - revisitedOctober 16th, 2016<br />
<br />
I was asked to change this critic because I criticized Miss Rebecca Horn's and Mr.Kaydanowsky's work.<br />
I was in a good mood and I changed it.<br />
<br />
But I still do not understand why I did that. What made me do that...<br />
<br />
I deleted the words but I still feel them.<br />
My opinion has not been changed.<br />
<br />
I shall never change a critic again. Critics are part of the trade. If you're on "Show-Bizz", you must count with it.<br />
<br />
<b>It is a shame that some people do not accept free speech which should belong to us all. <br />
One should be absolutely free to voice (or in this case, write) opinions on subjects of any art form. <br />
Art should speak to a person's emotions and evoke a response. <br />
It is for no one else to decide what that response should or should not be and to censor an unfavourable opinion.</b><br />
<br />
Best regards<br />
Ricardo Leitner<br />
<br />
_________________________________________________________________________________________<br />
<br />
<br />
It is always wonderful to watch performances – not such important ones – during the season… <br />
<br />
New information…<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUvgHV7O3b3NwnxAyMUJU1Gh8P80ODj7-z-vheH4IKOqEDrJOqPVR-bNCkUorb4Rq-pgoQ1JDTzCGR4kr2JJO4ezYngJ6KvSXZ5hpke44rOsiWT5jiib3QoS-LL7PZl2dS5jG79Wx-lz8/s1600/01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUvgHV7O3b3NwnxAyMUJU1Gh8P80ODj7-z-vheH4IKOqEDrJOqPVR-bNCkUorb4Rq-pgoQ1JDTzCGR4kr2JJO4ezYngJ6KvSXZ5hpke44rOsiWT5jiib3QoS-LL7PZl2dS5jG79Wx-lz8/s320/01.jpg" width="226" height="320" /></a></div><br />
ADAGIO HAMMERKLAVIER<br />
<br />
is and will always be a very gloomy kind of ballet – and to be very honest it is NOT one of my favourite van Manen’s pieces. It is beautiful but it is also very boring… and terribly dark.<br />
Lovely performances by Eszter Ledán, Alexandru Tcacenco (having his debut in this role) and Alice Firenze.<br />
<br />
Even if I love and cherish Liudmila Konovalova’s work and stage presence I do not think this role is right for her… It does not frame the canvas of artistry that this beautiful Ballerina possesses. <br />
It is not "enough" for her talents - and I hope you may have seen that I make a pont in writing this substantive in the plural form.<br />
<br />
Mikhail Sosnovschi – looking very thin, long necked and younger than ever – always a pleasure to watch on stage.<br />
<br />
CACTI<br />
<br />
Ekman’s choreography is always fun – so challenging - <br />
Masayu Kimoto gave a new (for me), delightful reading of this role.<br />
<br />
One should mention Alexis Forabosco (a strong dancer), Dumitru Taran and Greig Matthews – full of energy and giving the audience lots of “fun”. <br />
Three dancers you can “rely” on. <br />
I will never forget these three in "Manon". Pure joy!<br />
<br />
BELLA FIGURA<br />
<br />
One of Kylián’s masterpieces… <br />
Ketevan Papava leading the piece in her own special way. Miss Papava is an inspiration to all “everyday ballet goers”. <br />
I have been watching her work quite closely since many years and it is incredible what has been going on within her. <br />
I am not talking about technique. <br />
I am talking about “aura”, stage presence… <br />
A Diva is being born.<br />
<br />
Great performances by Alexis Forabosco (again very strong), Nina Polakova, Kamil Pavelka and Davide Dato – such a natural dancer…<br />
<br />
But, the graetest pleasure was to remember Miss Marie-Claire D’Lyse’s performance some years ago... Unforgettable. <br />
<br />
All in all: a pleasant, “nice” evening. <br />
<br />
Not too special – but also not bad…<br />
<br />
<br />
<br />
As Tertulíashttp://www.blogger.com/profile/07935379048446341610noreply@blogger.com3