tag:blogger.com,1999:blog-74449576047674179472024-03-19T11:49:25.900-07:00InternationalversionballetymasLola Ramirez Escuderohttp://www.blogger.com/profile/01200101663045294862noreply@blogger.comBlogger29125tag:blogger.com,1999:blog-7444957604767417947.post-73922829765725283532019-09-22T08:52:00.001-07:002019-09-22T08:52:48.803-07:00Carmen Mateu Young Artist European Award<br />
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The <a href="https://carmenmateuaward.com/en#edicio"><b>Carmen Mateu Young Artist European Award</b></a>, Opera and Dance, convened by the <b>Castell de Peralada Private Foundation</b>, was created in memory of <b>Carmen Mateu</b>, and celebrates the careers of young artists in the disciplines of Opera and Dance. It also contributes to the development of their careers and promotes both disciplines in the European sphere.</div>
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The Carmen Mateu Young Artist European Award, Opera and Dance, is part of the <b>Festival de Peralada </b>project, the latter being set up by Carmen Mateu thirty three years ago. The Award aims to be a leading cultural reference point that supports creativity in both fields. </div>
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A prize will be awarded in one of the two categories – opera and dance – in alternate years. </div>
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<u><b>Prize </b></u></div>
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The prize will have a total economic value of €30,000. The winner will directly receive €20,000 of this sum (subject to applicable taxation), with the remaining €10,000 going towards the expenses of the winner’s future participation in a future edition of the Castell de Peralada Festival. </div>
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<u>Dates</u></div>
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15th October 2019: End of candidacy period </div>
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October 2019: Meeting of the Specialist Commission, who will select the strongest candidates to present to the panel (a maximum of 12 candidates will be chosen) </div>
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November/December 2019: Convening of the Panel; Deliberation and Verdict </div>
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First quarter of 2020: Presentation Ceremony of the First Edition of the Carmen Mateu Young Artist European Award, Opera and Dance </div>
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As set out in the <a href="https://carmenmateuaward.com/sites/default/files/2019-05/General%20%20Rules%20ENG.pdf">General Rules</a>, the Castell de Peralada Private Foundation is calling the First Edition of the Carmen Mateu Young Artist European Award, Opera and Dance. </div>
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The first edition of the award is aimed at the category of Dance, specifically at the discipline of Classical and Neo-Classical Dancer. This document sets out all the specific aspects relating to this call. </div>
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<b>1. JURY AND CALL </b></div>
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1.1. Jury: As explained in the General Rules, the Jury is comprised of two permanent members (the President, Mrs. <b>Isabel Suqué</b>, who will be the spokesperson and who will not exercise her right to vote, and the Vice-President, Mr <b>Oriol Aguilà</b>) and by four jury members appointed specifically for this call in the discipline of Dancer, who are: </div>
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<b>• Julio Bocca </b></div>
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<b>• Joaquin de Luz </b></div>
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<b>• María Pagés </b></div>
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<b>• Tamara Rojo </b></div>
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The Castell de Peralada Private Foundation reserves the right to amend the composition of the present jury should the circumstances so require. </div>
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1.2. Call The call for the First Edition of the Carmen Mateu Young Artist European Award, Opera and Dance, in the category of Dance and the discipline of Dancer, will be announced on 16 May 2019 at a press conference. On May 22nd 2019, the period for receiving candidacies opens, which will end on 15 October 2019 at 23:59 hours GMT. </div>
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The Castell de Peralada Private Foundation has the collaboration of <a href="http://www.%20opera-europa.org/es">Opera Europa</a> and <a href="https://www.efa-aef.eu/en/home/">European Festivals Association</a> in the dissemination of the Award. </div>
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2. SUBMISSION OF CANDIDACIES AND REQUIREMENTS </div>
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2.1. Requirements for the submission of candidacies in the category of Dance and discipline of Dancer Candidates, who will be the ones to submit their own candidacy, must meet the requirements specified in the <a href="http://www.carmenmateuaward.com/">General Rules</a>: Carmen Mateu Young Artist European Award Opera and Dance www.carmenmateuaward.com | Tel. +34 935 038 646 | info@carmenmateuaward.com Fundació Castell de Peralada | NIF: G 17443011 Convent del Carme, s/n – 17491 Peralada </div>
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For the call for Dance in the discipline of Dancer, candidates must have been born between 1993 and 2003, both inclusive and have been born in a European country, or be developing their career in Europe at the time of submitting their candidacy. </div>
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Candidates submitting their candidacies must provide all of the information/documentation listed in the General Rules using the <a href="https://carmenmateuaward.com/en/registration"><b>form</b></a>, which can be completed on the Award web page. </div>
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Specifically for this first edition, candidates for the Dancer Award must also submit: </div>
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• Letter of endorsement and recommendation from a Theatre or Festival that is part of <a href="http://www.opera-europa.org/es/sobre-nosotros/miembros"><b>Opera Europa</b></a>, or from a festival that is part of the <a href="https://www.efa-aef.eu/en/home/"><b>EFA </b></a>(European Festivals Association) or from any of the dance companies associated with a theatre or festival that is part of Opera Europa and/or the EFA. </div>
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Likewise, the endorsement may be written by any other dance company of proven international recognition. </div>
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• Audiovisual Material </div>
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- A video that shows a classical variation </div>
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- A video that shows an improvisation </div>
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The videos should be sent using the registration form, with a link to an audiovisual play platform (Youtube, Vimeo, etc.). </div>
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The duration of each of the pieces may not exceed 3 minutes and must have a minimum quality of HD. The organisers may contact the candidate to request additional information or material. </div>
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The rest of the information relating to the Carmen Mateu Young Artist European Award, Opera and Dance, can be consulted in the <a href="https://carmenmateuaward.com/sites/default/%20f%20les/2019-05/General%20Rules%20ENG.pdf">General Rules</a>.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-50719542083777954362019-06-19T09:07:00.000-07:002019-06-20T02:40:24.846-07:00The Ballet de Barcelona is born <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvbYDHqGHF3fCLn7jtySQ3LlhsqxC4UWeuAQjAGC9wi6atGd1YIrAkj6kAkfwthbYQLOIn3I6GMoMVpwaMYH2G6qnUJNAsqwBUHA2M5t4XBtoTuf8jIbxdjaV00mGDLeqsMTQEnygN4bw/s1600/dscf4465.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1068" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvbYDHqGHF3fCLn7jtySQ3LlhsqxC4UWeuAQjAGC9wi6atGd1YIrAkj6kAkfwthbYQLOIn3I6GMoMVpwaMYH2G6qnUJNAsqwBUHA2M5t4XBtoTuf8jIbxdjaV00mGDLeqsMTQEnygN4bw/s320/dscf4465.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ballet de Barcelona in Together.<br />
Photo: Aleix Alexandre @aleix_a_m</td></tr>
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Barcelona, one of the most vibrant cities in the world, has since the month of May a new cultural attraction, the «<b>Ballet de Barcelona</b>». If the dance in the Catalan capital has a good representation in contemporary, in classic, after the dissolution of the companies of <b>David Campos</b> and <b>Ángel Corella</b>, there was a void that is now remedied. </div>
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<i><span style="font-size: x-small;">Carolina Masjuan</span></i></div>
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The Ballet de Barcelona is born thanks to the union of a group of eleven dancers, their passion for dance and their courage to undertake something new. Among them we find dancers of many nationalities: Spain, Japan, Belgium, Slovakia, Albania, Italy or USA who together bring decades of experience in companies such as the <b>English National Ballet</b>, the <b>National Ballet of Perú</b>, the <b>National Ballet Company</b> in Portugal, <b>Les Ballets Trockadero of Monte Carlo</b>, <b>Tokyo City Ballet</b>, or <b>Ángel Corella's Barcelona Ballet</b>. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiddByQ_z9EOA79kjcXGKCRzTpZLGERycHnYu_NbM-R0ws0yfwa3bTzXhLxVSUH2snmZoyqJX3-QCea8tQ43MWIwsEwlWGh-p8LAAIVgo5GDQ_7wkoScybiy-Imm-omYca837YH0vZjP6I/s1600/dscf4646.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiddByQ_z9EOA79kjcXGKCRzTpZLGERycHnYu_NbM-R0ws0yfwa3bTzXhLxVSUH2snmZoyqJX3-QCea8tQ43MWIwsEwlWGh-p8LAAIVgo5GDQ_7wkoScybiy-Imm-omYca837YH0vZjP6I/s320/dscf4646.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anna Ishii & Carraig New in Le Corsaire.<br />
Photo: Aleix Alexandre @aleix_a_m</td></tr>
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The first eleven components were joined, after auditions, by three more dancers, who have formed the cast for the presentation program at the <b>Teatre Condal</b> in the Catalan capital on June 14, 15 and 16. </div>
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The artistic direction is assumed by the company dancer, <b>Chase Johnsey</b>. Chase with a long career in Les Ballets de Trockadero of Monte Carlo, First Artist during 2018 in the English National Ballet, has been recognized with the distinctions to "Best Male Dancer" in the <b>National Dance Awards</b> of the United Kingdom and the "Best Male Performance" for his role in <i>Paquita</i>. </div>
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Installed in the bright and spacious facilities of <b>L'Espona </b>dance center, in Rubí, near Barcelona, they define themselves as an artistic organization committed to equality, diversity and individuality. There, they have created an artistic environment in which the perseverance, hard work and discipline, always essential, go hand in hand with respect, companionship, tolerance and transparency. Watching a class or rehearsal is a very enriching and inspiring experience for any dance lover. Thank you for always having the doors open for us to enjoy! </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSwR5biF7bNrrZ9soA4YknhjxDNKYFhBagskyk8Wq-uxXUmL5Cyg3hGJOG4paNqJqlnEM3gQB9xacdAmde9dIwAIm9ZrNClybJyhAjywcNQs04hSgLW7RAYIbqGpOtTqPkLagF0jsgPWU/s1600/DFD52A36-E434-4CA2-8F53-51C83F5F9E2F-16127-00000AFF026CD70F.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1281" data-original-width="1600" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSwR5biF7bNrrZ9soA4YknhjxDNKYFhBagskyk8Wq-uxXUmL5Cyg3hGJOG4paNqJqlnEM3gQB9xacdAmde9dIwAIm9ZrNClybJyhAjywcNQs04hSgLW7RAYIbqGpOtTqPkLagF0jsgPWU/s320/DFD52A36-E434-4CA2-8F53-51C83F5F9E2F-16127-00000AFF026CD70F.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Reo Morikawa and Clara del Cerro. <br />
Photo: Aleix Alexandre @aleix_a_m</td></tr>
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It is the ambition of the company to cover a wide variety of choreographic styles, from classic and neoclassical ballet, to the modern and contemporary repertoire, including new collaborations and avant-garde choreographies. This premiere, which has been possible thanks to the trust and support of <b>Daniel Anglés</b>, Artistic Director of Onyric Teatre Condal, highlights the absolute premiere of <i>Together </i>the choreography by <b>Antonio Carmena</b> (ex-soloist of the <b>New York City Ballet</b>) with <b>Marcus Salazar</b> as co-choreographer. </div>
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The program of the Condal, opens with some emotional words by the Artistic Director: <i>Few will ever be as fortunate as myself to be able to experience what happens within the dance studio. An empty room with a linoleum floor, a mirror, windows, and a few ballet barres, where everyday we start with nothing; we create something; and then we leave it empty again. But, an empty studio isn’t empty to me. We walk in everyday to endless possibilities. Everyday, I am gifted with the results of these possibilities. I get to experience the break throughs, the frustrations, the pain, the freedom, and most importantly, through the dancing, I get to know these individual dancers better everyday. </i></div>
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<i>The curious thing about the life of a dancer is there is rarely any proof of it. No tangible product that can accurately portray the amount of work that goes into it. Even a video can never encompass the electric energy that the body is able to convey in live performance. As professionals, we need to learn to love the risk, to trust our work, and ultimately become friends with my favorite word, perseverance. </i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKhXqmU5xVU3K98syFKaueR8v3QnPj5b-6ZMiltFn4aaw1pO2vocnwpelKZB4pWre1jrwmJxI_b2rM3441ysdQx9zZq_jbWaRg9Lo0s7sAHXhnbuzEr9nZU86Dqcd3Z3Izb8z42T3SHmw/s1600/dscf4533.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKhXqmU5xVU3K98syFKaueR8v3QnPj5b-6ZMiltFn4aaw1pO2vocnwpelKZB4pWre1jrwmJxI_b2rM3441ysdQx9zZq_jbWaRg9Lo0s7sAHXhnbuzEr9nZU86Dqcd3Z3Izb8z42T3SHmw/s320/dscf4533.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chase Johnsey, Dying Swan. Photo: Aleix Alexandre @aleix_a_m</td></tr>
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<i>The career of a dancer is a constant struggle with time. A race to be physically better, emotionally free, and more daring. Always striving for an idea of perfection within human limitations. My mission is to teach these dancers that the true art of dance isn’t about the reflection in the mirror. Creating art is about being in the moment, and generously giving your talent away. As artists, we are always at the mercy of the spectators. </i></div>
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<i>On May 6th, 2019, we began. We began like all dancers, with the simplest exercises that anyone could do.</i> “We had nothing to lose, nothing to gain, nothing we desired anymore, except to make our lives into a work of art” - Lana del Rey. </div>
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<i>With 39 days, 30 rehearsals, 114 hours, 14 dancers, 7 nationalities, and 2 acts, we have created Ballet de Barcelona. </i></div>
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Chase Johnsey </div>
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Artistic Director, Ballet de Barcelona </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKh_33l856iasIlYyw5ljMqg85AwLIP9Ft8C9gYMPbWtaZ_Z6VHagBIKzSQJpJGYWouIb_6Stzu1akRy-2w-6Rsk1GiWOzd7CtfPOD_POzP_O56m4KsxKgoCppfTQTe43B_aGR8gOvvX0/s1600/dscf4638.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKh_33l856iasIlYyw5ljMqg85AwLIP9Ft8C9gYMPbWtaZ_Z6VHagBIKzSQJpJGYWouIb_6Stzu1akRy-2w-6Rsk1GiWOzd7CtfPOD_POzP_O56m4KsxKgoCppfTQTe43B_aGR8gOvvX0/s320/dscf4638.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lisa-Marie Veervort, Jewels. <br />
Photo: Aleix Alexandre @aleix_a_m</td></tr>
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A video summary of these 39 days, made by <b>Albert Renedo</b>, opens the show for attendants to watch the dancers working at l'Espona. </div>
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The first act has been designed with fragments of Repertory Ballets. Two from <i>Sleeping Beauty</i> with a beautiful <i>Princess Florine</i>, <b>Clara del Cerro</b>, and a spectacular <i>Blue Bird</i>, <b>Reo Morikawa</b>, and <i>Jewels</i>, <b>Júlia Roca</b> and <b>Lise-Marie Veervort</b> or <b>Stanislava Pinčeková </b>and <b>Giuliana Restivo</b>, exquisite, with an elegant <b>Anxhelo Baqiqi</b>. Outstanding part that of the Pdd of <i>Le Corsaire</i> by <b>Anna Ishii</b> and <b>Carraig New</b> and final colophon the <i>Dying Swan</i>, that the own Chase interpreted in two of the shows, assuming Stanislava Pincekova the difficult challenge to dance it on Saturday afternoon and in which she got to succeed. </div>
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All the dancers shine in their variations, this is not a company of ranks, it is a company of individualities, where all the artists find a space for their creativity and brilliance while always looking for the quality of the whole show. In this way, talent is discovered that, in another way and in another type of organization, would inevitably be hidden. </div>
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<tr><td class="tr-caption" style="text-align: center;">Chase Johnsey, Dying Swan. <br />
Photo: Aleix Alexandre @aleix_a_m</td></tr>
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Particularly emotional and worthy to be highlighted is Chase solo. Unknown in our country but much admired and loved in his, the United States -a film crew follows him as they are making a documentary about his career- Chase dances a <i>Dying Swan</i> of enormous sensitivity and emotion that leaves everyone breathless and with more than one furtive tear in one's eyes. </div>
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In the way Chase enters the dying swan, something that goes beyond the role is percieved. The dancer dedicates his solo to his beloved "grandfather boss", the grandfather of Carlos Renedo, his husband and Executive Director of the Ballet de Barcelona. The grandfather, recently deceased in the presence of Chase -something that marked him deeply and that relives every time he comes on stage- is his inspiration for this role that he dances with white tights and on pointe. </div>
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This closes the first act, with the audience already surrendered to the evidence that these guys have made history and that they have a management able to take them far, if enough support is achieved. </div>
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The second part is a completely new ballet created by the dancer, teacher, choreographer and friend of Chase, Antonio Carmena, in collaboration with Marcus Salazar. Antonio Carmena, former soloist at the <b>New York City Ballet</b>, explained to <b>Abi Stafford</b> for <b>Pointe Magazine</b> (you can read the full article <b><u><a href="https://www.pointemagazine.com/i-retired-now-what-one-dancers-journey-to-find-a-his-post-performance-career-2638806789.html?fbclid=IwAR3VtPSqStDQyf0wKSdgtrz3u_-g7v3UYv6TeZGXaMl-q_-2hCdaOYLEHsI">here </a></u></b>how he embarked on this adventure, after he stopped dancing in 2017 and re-directed his career). </div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguddo1u-bfap3JZgRVZ1dm4KMEQmH1Iiqo7tXX5KVO9lzHd2cCddKu6qmoCJ38AHUXThSu_qmzV19LVvHCp6wYRfPpDCjV1_FUMGwZrTVO9M8_UfB4xvEh3sWC05r77TPpfZQTqXhyphenhyphen5K8/s1600/dscf4627.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguddo1u-bfap3JZgRVZ1dm4KMEQmH1Iiqo7tXX5KVO9lzHd2cCddKu6qmoCJ38AHUXThSu_qmzV19LVvHCp6wYRfPpDCjV1_FUMGwZrTVO9M8_UfB4xvEh3sWC05r77TPpfZQTqXhyphenhyphen5K8/s320/dscf4627.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Júlia Roca, Jewels. Photo: Aleix Alexandre @aleix_a_m</td></tr>
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« …..He then stuck his toe in choreographic waters, creating a 10-minute piece with a Spanish flamenco flair for <b>CBC</b>. </div>
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On a whim, he sent a video of his ballet to a friend, Chase Johnsey, who was working on the artistic staff of a small dance company in Spain. The two discussed the possibility of Carmena choreographing a ballet for the company, but the collaboration needed to occur at a future date, so he went back to his job search. </div>
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Then Johnsey, a former dancer with Les Ballets de Trockadero, called with some news a few weeks later. He was in the midst of starting his own company, Ballet de Barcelona. He had scheduled performances for June 14-16, and he needed a choreographer now. Before he knew it, Carmena had been commissioned to create a 26-minute ballet. </div>
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While his 10-minute piece for the CBC dancers served as a starting point for his choreographic skills, Carmena had been given three whole months to create it. This time, he only had three weeks to choreograph a ballet over twice as long. What's more, he knew nothing about the Ballet de Barcelona dancers' styles or capabilities. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh14uOLV9inCJMQOkoEI5w7e-H-sBhr0INYeCC0M_WbVGnG7Lxj-wUY_vRMrgFyFr3lGwXlyyql79yn3TYdcluHl5rYDQunWaq1H1U809pnU-NfviR8v58KQdY18QlttlBERGl1EcLdOYM/s1600/dscf4883.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1068" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh14uOLV9inCJMQOkoEI5w7e-H-sBhr0INYeCC0M_WbVGnG7Lxj-wUY_vRMrgFyFr3lGwXlyyql79yn3TYdcluHl5rYDQunWaq1H1U809pnU-NfviR8v58KQdY18QlttlBERGl1EcLdOYM/s320/dscf4883.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ballet de Barcelona in Together. <br />
Photo: Aleix Alexandre @aleix_a_m</td></tr>
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Carmena enlisted the aid of his partner and fellow dancer, Marcus Salazar, and the two rented studios to create a bit of the ballet prior to leaving for Spain. After selecting the music—Carmena landed on <i>Symphony in G </i>by the French composer <b>Étienne Méhul</b>—the pair created about three minutes of choreography. But Carmena stopped there. </div>
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He knew that he didn't want to create a work without its most important component: the actual dancers. Regardless of the stressful time constraints, he wanted a collaborative process, with input from the dancers about how his steps feel on their bodies, particularly the women. (He and Salazar found that choreographing for women in pointe shoes presented a steep challenge. "We can't even try the steps," Carmena says.) </div>
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Before leaving for Barcelona, Carmena admitted that he was nervous about leaping so far outside his comfort zone. But he is not putting too much pressure on himself. As he puts it, "I am not trying to be the next <b>Balanchine </b>here!" He is simply on a new journey and is excited for this next stop on the path. Although his transition from NYCB dancer to "something else" has been a process, Carmena feels grateful for it all. » </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivAZ_iNkcpf64wOuYsTYJ4w9ssl_UV7_PGOKGzjvzVrl3xkDOpgTRwTOBal4Lq6m7fyJlh2QIOUvtAmBKgUcK-hgwnIdiUvcs7lHyB8YWdmR1YI7A5YxkaLYPkz1mX1UHJ8ktrtoNXVmg/s1600/dscf4667.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivAZ_iNkcpf64wOuYsTYJ4w9ssl_UV7_PGOKGzjvzVrl3xkDOpgTRwTOBal4Lq6m7fyJlh2QIOUvtAmBKgUcK-hgwnIdiUvcs7lHyB8YWdmR1YI7A5YxkaLYPkz1mX1UHJ8ktrtoNXVmg/s320/dscf4667.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anna Ishii, Le Corsair. Photo: Aleix Alexandre @aleix_a_m</td></tr>
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We were able to attend some of the rehearsals and we perceived the passion and enthusiasm with which everyone addressed this challenge and, once we saw the result on stage, we can say that it was really brilliant! </div>
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The choreography evidently draws from the sources of the NYCB, above all from Balanchine, with those quick steps and that vibrant musicality, but Antonio has managed to give it his stamp, creating for this young cast, a choral piece for almost all of them, with some alternation in the three performances, including a beautiful Pdd for the main couple, <b>Carraig New</b> and <b>Victoria Aletta</b> on Friday and Sunday and <b>Elizabeth Cohen</b> on Saturday evening. Both Victoria and Elizabeth possess a very good technique, Victoria has an impressive physique and a great stage presence, while Elizabeth gives that typical American style quickness, which is so good with the piece. Carraig is really outstanding, we already saw his amazing Ali and here he again conqueers us completely. Amazing all three! </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD8YrdBEAk3CCLnVUsVGO6I6ot1bdg6Exi9hRcBJQtwiR80Ht9mhMHBXWC2O94wQfBc815eQDQSX_nqaLDVZ3E2ZegPomsTX1-p4e2KGMe8X4a_TXXFbEPyzLrzfLxbrp918FYulLZLx8/s1600/dscf4414.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD8YrdBEAk3CCLnVUsVGO6I6ot1bdg6Exi9hRcBJQtwiR80Ht9mhMHBXWC2O94wQfBc815eQDQSX_nqaLDVZ3E2ZegPomsTX1-p4e2KGMe8X4a_TXXFbEPyzLrzfLxbrp918FYulLZLx8/s320/dscf4414.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carraig New and Elizabeth Cohen. <br />
Photo: Aleix Alexandre @aleix_a_m</td></tr>
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As they all are really amazing in the choral parts, in which some brief solos allow even the apprentices to shine - <b>Paula Losada</b>, fresh out of the <b>Corella Dance Academy school</b>, takes advantage of her moment-. We also find comic fragments in the choreography, that the dancers, in their youth, make their own, interpreting them with great sparkle to audiences's delight. </div>
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Audience that has been growing as the news have spread and word of mouth has been working among the ones thirsty for ballet in Barcelona, who have celebrated this premiere with great applause and cheers. Many theater programmers among the attendees that we trust they'll give this company the opportunity it deserves, for its dancers to show off to as much audience as possible everywere. </div>
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Thank you all for taking this challenge and offering us this gift. </div>
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The Barcelona Ballet launched a campaign to raise funds for the premiere at the Teatre Condal that is still active, since there are many expenses involved and the dancers have been working generously as volunteers. Help them with your generous contribution no matter how small! https://www.gofundme.com/balletdebarcelona/ </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8kZdqX_pEQWRv0uqNJ8b24sTR_3lr8kh_YF-HvHBOGqbJGCCjIo73ydooh5fDyIx3_It8swcXGgSBJwzn0OkWNh270RDPvOEzx9OBkYNUzhG5ZZ1OSX83A9xz4rCprOMx21wBOU8ZpWM/s1600/dscf4816.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8kZdqX_pEQWRv0uqNJ8b24sTR_3lr8kh_YF-HvHBOGqbJGCCjIo73ydooh5fDyIx3_It8swcXGgSBJwzn0OkWNh270RDPvOEzx9OBkYNUzhG5ZZ1OSX83A9xz4rCprOMx21wBOU8ZpWM/s320/dscf4816.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Victoria Aletta and Carraig New in Together. <br />
Photo: Aleix Alexandre @aleix_a_m</td></tr>
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<b><u>Ballet de Barcelona </u></b></div>
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Artistic Director: Chase Johnsey </div>
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Dancers : </div>
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Anxhelo Baqiqi - Durrës, Albania </div>
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Clara del Cerro San Ildefonso - Molina de Segura, Murcia, Spain </div>
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Elizabeth Anne Calder Cohen - Chicago, Illinois, USA </div>
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Anna Ishii - Kanagawa, Japan </div>
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Chase Johnsey - Winter Haven, Florida, USA </div>
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Reo Morikawa - Nagoya, Japan </div>
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Carraig New - Juneau, Alaska, USA </div>
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Stanislava Pinčeková - Pezinok, Slovakia </div>
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Clara Plà Ferrer - Barcelona, Spain </div>
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Giuliana Restivo - Palermo, Italy </div>
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Julia Roca Muxinach- Barcelona, Spain </div>
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Lisa-Marie Vervoort - Anvers, Belgium </div>
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Victoria Aletta - Florence, Italy </div>
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Paula Losada Alié - Barcelona, Spain</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-16935755088757854912019-03-31T08:32:00.000-07:002019-03-31T08:45:15.578-07:00«Picasso's Ballerina» in the making<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuYEHUJQZV4GRGoLBHouOrPN3QnFLYS8aBuXDmQVnWcyp3pfQFDg5zVQWRPvfcvxLMjHv2a9-ARLC2MHSnlUiWbcsq4Rmb-8H3tjz8ZRflzqiDBgfsNFr7GkWuFzkNLhTNl6K7qRDLPI8/s1600/53613625_2249997391690459_5010565433707724800_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="690" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuYEHUJQZV4GRGoLBHouOrPN3QnFLYS8aBuXDmQVnWcyp3pfQFDg5zVQWRPvfcvxLMjHv2a9-ARLC2MHSnlUiWbcsq4Rmb-8H3tjz8ZRflzqiDBgfsNFr7GkWuFzkNLhTNl6K7qRDLPI8/s320/53613625_2249997391690459_5010565433707724800_n.jpg" width="230" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lorenzo Misuri (Picasso) and Rebecca Storani (Olga) <br />
in La Ballarina de Picasso by Remi Wortmeyer for Ballet de Catalunya. <br />
Photo: Josep Guindo</td></tr>
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<span style="text-align: justify;">The pace is hectic these days at the Cultural Center of Terrassa, home of the « Ballet de Catalunya » (BNC). Remi Wortmeyer, Australian choreographer and dancer, currently Principal at the HET National Ballet, has been living in Barcelona for over two months working with this young cast in what will be his first long length ballet, "La Bailarina de Picasso". </span></div>
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<i><span style="font-size: x-small;">Carolina Masjuan </span></i></div>
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«La Ballarina de Picasso» bases her story on Olga, a ballerina of the Ballets Russes and who was Pablo Ruiz-Picasso's first wife, and unique, since she never divorced him. Olga Kokhlova meant a before and after in the life of Picasso, both on a personal and artistic level, she captivated him, inspired him, motivated him, overwhelmed him, despaired him.... Also this new creation, we will not doubt, will be a milestone and a turning point for the Ballet de Catalunya, a company that is consolidating, is becoming known and already has a large audience that continues to be enthusiastic. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb6AHQNcj8NQj3qHZry0IXS1c6HDZ-1iXgNYA-rd27f81RWv0CU4NbCAZmQLlaM6JKYgN99Jk1ezH8GFm4wvwmnpDDVGodoSEPG_XBpAyXlzsFh588wgHHUXFMcakQYuipxgHL1K_dfwc/s1600/thumbnail__86Z0390+%2528Large%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="853" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb6AHQNcj8NQj3qHZry0IXS1c6HDZ-1iXgNYA-rd27f81RWv0CU4NbCAZmQLlaM6JKYgN99Jk1ezH8GFm4wvwmnpDDVGodoSEPG_XBpAyXlzsFh588wgHHUXFMcakQYuipxgHL1K_dfwc/s320/thumbnail__86Z0390+%2528Large%2529.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lorenzo Misuri and Rebecca Storani.<br />
Photo: Josep Guindo</td></tr>
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We had a chat with the main authors of this exciting adventure, who told us in first person about their personal experiences, giving their point of view about this production. </div>
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Elías García, Artistic Director of the « Ballet de Catalunya », explains how the idea of a new creation and complete ballet to be part of the 36th Dance Season of the Cultural Center of Terrassa, was born : «As it is well known, Ballet de Catalunya, started a year and five months ago. Starting a company from scratch is a difficult task, (finding dancers, venues, theater, etc). Despite this short journey, we are focusing our work to produce to the maximum in order to offer a product and above all to find the identity that the Company needs. So far, in these months, the Ballet de Catalunya has produced five programs, two of them complete ballets (Don Quixote and The Nutcracker). With Leo Sorribes, General Director, we decided to raise the bar and bet on a new production of full Ballet, but this time something that was created and designed for the Ballet de Catalunya and from here the idea arose. </div>
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Regarding why Remi Wortmeyer, Elías continues: «Remi Wortmeyer is a young choreographer and a dancer with a very great career, currently a Principal Dancer at the Het National. In the second program presented by Ballet de Catalunya, Tripple Bill, one of the choreographies was signed by Remi, Concierto Mondrian, a choreography who has been a great success. Remi uses a very Nordic-European vocabulary, which attracts me a lot. As an artistic director, I seek in all productions to approach, even with small brush strokes, what is the territory, because I believe that our culture can give the identity that the Company needs, in order to differentiate itself from others. Remi proposed this wonderful story, Olga, Picasso's first wife and mother of his first child. The story intrigued me a lot and when we discovered it, we decided to bet on it and I was convinced by the fact that the protagonist was a genius who comes from our territory». </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwmegUhlJ4pdcRpP0XRpaSePsESAtsfzXMsJiwMOezvkRyuX2oUF0eYjgxDnwewy4YiTWBqjA8W6lQf7xSXnH42wqnKybHQquHnm2feqPbpsN9Bj4B5E7YLAYqdkUalNAY1Ul3RanBTvA/s1600/thumbnail__86Z0365+%2528Large%2529.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwmegUhlJ4pdcRpP0XRpaSePsESAtsfzXMsJiwMOezvkRyuX2oUF0eYjgxDnwewy4YiTWBqjA8W6lQf7xSXnH42wqnKybHQquHnm2feqPbpsN9Bj4B5E7YLAYqdkUalNAY1Ul3RanBTvA/s320/thumbnail__86Z0365+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lise-Marie Vervoort and Remi Wortmeyer.<br />
Photo: Josep Guindo</td></tr>
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And he continues "Like all the choreographers who until now have worked for Ballet de Catalunya, Remi has had complete freedom in regards to the choice of dancers. There is an internal audition and during the creation, Remi has the full freedom to change, if necessary, the cast. In case of doubt of Remi I can intervene, but as artistic director, I try to do the minimum possible, the creator has to feel free to be able to give the maximum. The level of the company is extraordinary, and the alchemy that the choreographer has to achieve with the dancers, arises thanks to the feeling that he finds in his interpreters. Remi has done a great job, not only in conceiving and choreographically capturing a story like Olga's, he has been in charge of designing both costumes and set designs. I have only participated as an assistant» </div>
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As for when the company is now at an artistic level, Elías explains to us "The company is growing exponentially and I am beginning to see a cohesion between the dancers. Do not forget the young age of the cast. At a technical level, the dancers, thanks to the teachers who assiduously work in the Ballet de Catalunya, Angeles Lacalle and Vincent Gros and when time permits, mine, is reaching a high level and thanks to the productions made so far, at the artistic aspect the company is positioning itself at a good point, without losing sight of all the work that we still have to develop. With the Nutcracker and thanks to the Cultural Center of Terrassa where the company has its headquarters, we made a work of awareness to the younger public and I hope that with the new program, La Ballarina de Picasso, we can continue with this important work, reaching the maximum of public of all ages. Hoping that this program will help the Ballet de Catalunya to move forward. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXog1PoNifUhNIkavIWcDLPJx8PWXx3EBnOFoVt4aok8QxaC-ZcdCWJlKgHKcA2iYEBLQhgFsXHwqXwQ33-gk8VcjA4wyrm3RACGDbPh8oliyHK2Ypn3ZdYzm8EBsFGsmXDa_GV1NPhJs/s1600/thumbnail__86Z0471+%2528Large%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1280" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXog1PoNifUhNIkavIWcDLPJx8PWXx3EBnOFoVt4aok8QxaC-ZcdCWJlKgHKcA2iYEBLQhgFsXHwqXwQ33-gk8VcjA4wyrm3RACGDbPh8oliyHK2Ypn3ZdYzm8EBsFGsmXDa_GV1NPhJs/s320/thumbnail__86Z0471+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rebecca Storani and Lorenzo Misuri. Photo: Jposep Guindo</td></tr>
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We also had the opportunity to share a very nice evening with Remi Wortmeyer who gave us his vision. Installed for a long time in Barcelona, a city that he confesses to adore, he must absent himself from time to time to attend some premieres of his ballets. He has a lot of work, right now he has six commissions for new ballets, one of them for the next season of the HET National Ballet, with whom he continues to dance as principal in Amsterdam, but now he is completely immersed in this new adventure, with which he is delighted. </div>
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"It was immediately after the premiere of Mondrian Concerto which I created for the Ballet de Catalunya last season that I was asked to create a complete ballet to premiere next year. They asked me to make the argument fit the culture of the country, something that I totally agreed with. So I undertook a search process and found the perfect story in Olga's life».<br />
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"The story is based on the Russian dancer who conquered Picasso. Once the character was found, everything flowed naturally, the dancer, Olga, the Ballets Russes, the Spanish painter, Picasso, all confirmed to be the perfect script for a ballet, for a company from the country of the genius and for this young company.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghA6SMB6nYCJwoB1jQO64RrH3nQfIX8OPJIunF-7nfxUATrXUjsPzsJbAoRKmmFAIbjUuwUDtJR8w3tUrYWUQW802-0442AsvLsVaiJUESY_7dpXLN6HFTSiGMQcXHfifQ2mOlKBaIkjg/s1600/thumbnail__86Z0527+%2528Large%2529.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1280" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghA6SMB6nYCJwoB1jQO64RrH3nQfIX8OPJIunF-7nfxUATrXUjsPzsJbAoRKmmFAIbjUuwUDtJR8w3tUrYWUQW802-0442AsvLsVaiJUESY_7dpXLN6HFTSiGMQcXHfifQ2mOlKBaIkjg/s320/thumbnail__86Z0527+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stanislava Pincekova (Coco Chanel) and<br />
Reo Morikawa (Jean Cocteau). Photo: Josep Guindo</td></tr>
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My ballet is not 100% true to reality, I have allowed myself some licenses, just as Picasso interpreted reality in his works, I also wanted to give my vision to the story. I used flash-back to situate the mental moments that Olga goes through, the subject of her medication because of the infidelities of Picasso. But its environment and its circumstances are the real ones and the characters are also those who frequented the couple, Jean Cocteau, Diaghilev, Coco Chanel,... as well as the development of the plot is placed chronologically » </div>
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"Once the plot is found, we move on to the selection of music. Stravinsky, a contemporary of Picasso and related to him thanks to Sergei Diaghilev and the Ballets Russes, for whom he composed while Picasso participated in the sets, was the perfect composer for this ballet » </div>
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About sets and the costumes, Remi told us : «Yes, I made the designs of everything, I like to control all the production, and I always had a clear idea of what I wanted. The budget is tight and we have had to move to get the necessary elements in the desired quality, or as close as possible to it for fabrics, reproductions, etc ... I must thank the enormous help that Marina Quera (Executive Director of Ballet de Catalunya) has given me in this sense.</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5gp6zzSpk2qXJqe1hWSsitwtsfM8K3BmAxrfJfP0V8KRHYW2m2TnK_79b-5PYsFPPKVNWr89esM7IqsK3CZ4W3CT6SJplN78etz4e53Ei35WX4tq9jUtCK_tOIjmsV59Fh_8FMd02IJ8/s1600/thumbnail__86Z0194+%2528Large%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="853" data-original-width="1280" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5gp6zzSpk2qXJqe1hWSsitwtsfM8K3BmAxrfJfP0V8KRHYW2m2TnK_79b-5PYsFPPKVNWr89esM7IqsK3CZ4W3CT6SJplN78etz4e53Ei35WX4tq9jUtCK_tOIjmsV59Fh_8FMd02IJ8/s320/thumbnail__86Z0194+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Artists of Ballet de Catalunya rehearsing<br />
La Ballarina de Picasso. Photo: Josep Guindo</td></tr>
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Absolutely everything is inspired by the time, but evidently the costumes have been adapted to facilitate the movement of the dancers. The sets are inspired by paintings of the genius and pretend that the viewer feels like inside the painting. I have not seen the final result yet, but I am confident that everything will be fine!» </div>
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Regarding the cast, Remi explains «I found the company with some changes, which is normal, but in general they form a very powerful cast and it has progressed a lot since I was last with them. I am very happy to see these young artists grow in the way they do. Obviously for them to participate in the creation of a ballet -in this case with me, but it could have been with any other creator- it is very rewarding and they live it with great enthusiasm and intensity. I came with a clear idea of everything, steps, style and interpretation of each character, etc ... Although something has changed in the meantime, basically I continue with my initial scheme. I teach the dancers exactly what I want and I try to stimulate them to give the maximum of themselves, but if at some point you have to make some small concession so that they feel more comfortable or to improve the fuidity of the dance, I am willing to consider it. But I must say that they have done a great job and I am very satisfied with all of them!" </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCduzJej8_V38YiD7ExpjJnUDGBkxxFqfuGkwe86FTSt6iQrgeG7hJ2vDDCbKy3UtXEkWFhcMEOis5ZZWd27mQ5R1w50hyphenhyphenwI28GWCGavXSc1EuFhJ19DBhqax6_cycxZH1FmBErVZCIPk/s1600/thumbnail__86Z0440+%2528Large%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCduzJej8_V38YiD7ExpjJnUDGBkxxFqfuGkwe86FTSt6iQrgeG7hJ2vDDCbKy3UtXEkWFhcMEOis5ZZWd27mQ5R1w50hyphenhyphenwI28GWCGavXSc1EuFhJ19DBhqax6_cycxZH1FmBErVZCIPk/s320/thumbnail__86Z0440+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rebecca Storani and Lorenzo Storani. Photo: Josep Guindo</td></tr>
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We also wanted to know about the experience of the main dancers, the very young but highly talented, Rebecca Storanni (Olga) and Lorenzo Misuri (Picasso): </div>
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Rebecca Storani (Olga): «Remi, besides being a choreographer, is a very complete artist and this shows a lot in his work with us. His care in the details and the way to express an emotion with his body, is incredible. I think this is what I will more keep on me of him and of these creations that we are doing. His way of working is also ideal for me, you have to always be very attentive to every little movement he makes, but at the same time make it yours, personal. He, as I said before, takes great care of the details and the little things, but at the same time leaves you room to see how you can make yours a movement without changing the story. </div>
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Surely I have an opportunity that not everyone can have in life, that a choreographer so important and with so much experience is making a creation on you. It is a luxury and an honor for me, especially because I have such a beautiful role, but at the same time very difficult. I am very happy to have been chosen by him for this wonderful creation that is Olga, the wife of Picasso. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2ulgBRBKW46tiMF1qdx2etxFclnw9mP85uXCAOgHrgN5LN-MT9LyOfCnJ69SlufOHy6uvthm6lpQgciySNm1aXMn7IDdrdLW8g323ZIrvc6UST0Mh7nGUx8GlUlKHVZD-qgBIaMQHsVE/s1600/thumbnail__86Z0427+%2528Large%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1280" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2ulgBRBKW46tiMF1qdx2etxFclnw9mP85uXCAOgHrgN5LN-MT9LyOfCnJ69SlufOHy6uvthm6lpQgciySNm1aXMn7IDdrdLW8g323ZIrvc6UST0Mh7nGUx8GlUlKHVZD-qgBIaMQHsVE/s320/thumbnail__86Z0427+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anna Ishii and Ryo Sasaki. Photo: Josep Guindo</td></tr>
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I must admit that it has been a very difficult process, but at the same time a great one. To internalize the character, I started watching documentaries of Picasso's life, to know his whole life well and to know to what extent he abandoned himself to the love of his inspirational muse and future woman, Olga. After, I read some books, I have even seen one in Russian, that although I have not understood anything, but it has helped me a lot because of its photographs of Olga, of them two together or even designs that he made, to see her poses, her movements, trying to look as much as possible like her, and trying to make her own movements but a little more stylized than in that era she lived. </div>
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Olga is a difficult role, with personality changes throughout the ballet. It begins as a happy woman doing what she likes (dancing) and a pure woman, who knows Picasso and falls in love with him. Little by little, during the show we will see Picasso flirting with other women and it is here that Olga will start to faint in her strong and pure character at the same time. When you realize that the person you love most is not the same he was at the beginning, that he will not always be by your side to help you, this hurts... and this goes through until he meets Marie-Thérèse, his future lover and from there it begins for Olga an internal struggle with herself, not to believe that it is true, until her total abandonment to madness for love. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Bh3HQ901jEm4cCqaKiWSTrt35qVRziJpOBWc9qrne2X4I6xJf5gw-9ydf8JX-di0Soysr6KCh5brYuKttRGaZcGZzNeHMeBbdNJ1QUmjP35Ey5hN40S4f91GPRQx5_EU0VqfyVscwnw/s1600/thumbnail__86Z0186+%2528Large%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1280" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Bh3HQ901jEm4cCqaKiWSTrt35qVRziJpOBWc9qrne2X4I6xJf5gw-9ydf8JX-di0Soysr6KCh5brYuKttRGaZcGZzNeHMeBbdNJ1QUmjP35Ey5hN40S4f91GPRQx5_EU0VqfyVscwnw/s320/thumbnail__86Z0186+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rebecca Storani and Lorenzo Misuri. Photo: Josep Guindo</td></tr>
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There is still a lot of work to be done, but I am already very happy for the comments that I have been told: "you have found Olga". When I dance, I already feel everything as if it was real, I try to imagine the whole story of truth and I feel the pain in my chest, as if this really hurt me ». </div>
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About costumes « I will have enough changes of costumes, more or less four or five and very fast! Some I will have to change in one minute! But it will be very beautiful because in each part of the ballet it will be a dress adapted to the situation. » </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiysSDmW1fdT_89X_knznHtR3COk5R-umZG0i8s7eVDd-khNaJOLTYM4ikN3F-jrtBrqkqeqVv5T5KQm3kt4p5tWQDneIO_9DFar-YCtGdBHO8DRplK6YYH9vijYKCj8bDmJEmvvFPrUXM/s1600/thumbnail__86Z0220+%2528Large%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1280" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiysSDmW1fdT_89X_knznHtR3COk5R-umZG0i8s7eVDd-khNaJOLTYM4ikN3F-jrtBrqkqeqVv5T5KQm3kt4p5tWQDneIO_9DFar-YCtGdBHO8DRplK6YYH9vijYKCj8bDmJEmvvFPrUXM/s320/thumbnail__86Z0220+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rebecca Storani and Carlos Aquino. Photo: Josep Guindo</td></tr>
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And regarding the company « It's been a year and a half since the Ballet de Catalunya started and many things have changed. I feel totally another person. I have been lucky enough to always dance the main roles and that helped me a lot to develop the whole story behind each character. Thanks to the management and the choreographers who have always trusted me and given me these opportunities. » </div>
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«I have also always worked a lot, without resting days and I have always given my best and this has clearly helped me too. I think the growth of the company also has to do with the number of shows we do and this year has already been much better than last year, but it's a pity that you can not make entire productions of ten or fourteen shows like all the companies do. Because with the shows people gain more experience in front of the public, it is customary to control nerves, fatigue, breathing and energy and thus helps one to give a little more in each performance. I really hope that this company grows more and more and that they give us support and help to improve the conditions and maybe one day be the National Ballet Company of Catalonia. » </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCaYUPV2lVpFEUgt64_C2LT6Lbq3eL0TiocfnWW4v4Cz4s8sqpST9l-KSlw1m7J2hCR2jQCjc8qH-HOBdPQ9ioGkjkHXRYn1ieAG8CGO1jk2rBA56WQdiu4GLDjBNd193_t49i_oNlm5c/s1600/thumbnail__86Z0472+%2528Large%2529.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1280" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCaYUPV2lVpFEUgt64_C2LT6Lbq3eL0TiocfnWW4v4Cz4s8sqpST9l-KSlw1m7J2hCR2jQCjc8qH-HOBdPQ9ioGkjkHXRYn1ieAG8CGO1jk2rBA56WQdiu4GLDjBNd193_t49i_oNlm5c/s320/thumbnail__86Z0472+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Remi Wortmeyer and Rebecca Storani. Phoo: Josep Guindo</td></tr>
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Lorenzo Misuri (Picasso): «Every time I am struck by Remi's work, his quality of movement is fluid but at the same time dynamic and precise, for me this is the "style of Remi" and it is an element that I have also found in his choreography created last year for the Ballet de Catalunya (Concerto Mondrian) and in Picasso's Ballerina this year. Moreover, another important aspect that I want to highlight is the great talent that Remi has in explaining and transmitting to us dancers in a clean, precise and clear way, the idea that he has of his choreography in all aspects. </div>
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Remi is a Principal dancer with excellent musicality and a beautiful movement, and succeeds in bringing these two important qualities also in his choreographic works ». </div>
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«When such an important choreographer creates a choreography on you it's already something special. In Picasso's Ballerina the emotion is even stronger because Remi has not created a simple choreography but a whole ballet with a very complex and intense story behind it. Every day being present for this important creation has greatly enriched me as a dancer. Thanks to Remi and his choreography the truest part of myself came out and I was able to rediscover that pleasure of dancing one felt when being a child. Despite the technical difficulties of ballet I feel free when I dance and this is very much thanks to the teachings of Remi. » </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA6KsvSi4Q-zeecEH0ZlRVlre4yfoVWpVehyqow7NU3iCcuTaqGNBc2SQ9mA930_Vrz8tNzntF-2v3ndWP67cx1Ocdbvd1dYXTZorplVykAT0F7MPaV_-EmkNLs9gXuZrDqLizkuIp6T8/s1600/thumbnail__86Z0441+%2528Large%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="853" data-original-width="1280" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA6KsvSi4Q-zeecEH0ZlRVlre4yfoVWpVehyqow7NU3iCcuTaqGNBc2SQ9mA930_Vrz8tNzntF-2v3ndWP67cx1Ocdbvd1dYXTZorplVykAT0F7MPaV_-EmkNLs9gXuZrDqLizkuIp6T8/s320/thumbnail__86Z0441+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rebecca Storani and Lorenzo Misuri. Photo: Josep Guindo</td></tr>
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«The role of Picasso is certainly not simple and being young and not very experienced, at first I admit that I was afraid of not being able to play this character at best. But Remi immediately believed in me and this was very important for the performance of this character. In addition to Remi, I thank Elias Garcia Herrera (artistic director of the ballet de Catalunya) very much, he has also helped me to dig and better understand Picasso and his story, which is fundamental for me. I hope that the audience will be able to see on stage not Picasso but Lorenzo and his soul as Picasso.» </div>
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About the company, Lorenzo told us : «It's only a year and a half that I'm at the ballet de Catalunya, and that the company was born, but for me it seems that much more time has passed. That's certainly because this experience has helped me mature as a person and dancer. The people who work on this project put a lot of passion into it. We are lucky to have excellent teachers and maître de ballet that from the morning lesson spur us on and help us to give the best of ourselves, we have an artistic director who goes beyond the functions of director, he is always present from the first to the last rehearsal, to get the most out of every dancer. In less than 2 years we will be staging a very important production such as "Picasso’s Ballerina". This is the "Ballet de Catalunya" and it taught me that when we put passion, love and believe in a dream or a project, despite problems or difficulties from starting from zero, something as incredible and special as this company is, can arise. » </div>
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Thank you very much everyone for your collaboration and for allowing us to get closer and also live a little bit this creative process whose end will be this beautiful ballet. We are certain that at Ballet de Catalunya, everyone involved, but mainly these great artists, will make us dream and will deeply move us with this amazing history of Olga and Picasso. There are very few tickets left, hurry up to get yours !! </div>
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<b><a href="http://terrassadigital.cat/remi-wortmeyer-ja-prepara-amb-el-ballet-de-catalunya-lestrena-de-la-ballarina-de-picasso/?fbclid=IwAR34J5-CU8pwXPNc7Py2j-ofPhhLqbguHSa_yDy3UGy-90jLsZjZRGAZ-Ec">TV news about this creation</a></b></div>
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<a href="http://catalunyaballet.com/en/the-company/season-company/picasso-ballerina/"><b>Get your tickets</b></a></div>
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<b><u>Cast</u></b></div>
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PRINCIPALS:<br />
Olga Khokhlova: Rebecca
Storani<br />
Picasso: Lorenzo Misuri<br />
Marie-Therese: Sofia
Pagani</div>
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SOLOISTS:<br />
Jean Cocteau: Reo Morikawa<br />
Sergei
Diaghilev: Lucien Vecchierelli<br />
Coco Chanel: Stanislava Pincekova</div>
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SECOND ROLES:<br />
Colombine: Yuzu
Hikosaka<br />
Arlequí: Ryo Sasaki<br />
Pierrot: Clara del
Cerro<br />
Acròbata: Yukari Mizu<br />
“Strong man”: Carlos
Aquino<br />
Director de la Galeria: Ryo Sasaki<br />
Doctor: Carlos Aquino</div>
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<div style="margin-bottom: 0cm;">
CORPS:<br />
Julia
Roca,<br />
Alexandra Urcia<br />
Miho Okamura<br />
Yuzu Hikosaka<br />
Mizuki
Tanoue<br />
Anna Ishii<br />
Clara del Cerro</div>
<div style="margin-bottom: 0cm;">
Yukari Mizu<br />
Monica Gomez<br />
Ryo
Sasaki<br />
Andrea Marselletti<br />
Lisa-Marie Vervoort<br />
Victoria
Aletta<br />
Matilde Ferrari</div>
<div style="margin-bottom: 0cm;">
Elizabeth Cohen<br />
Myrsini
Petroutsou<br />
Olivia Sparling<br />
Giuliana Restivo<br />
Flavia
Carsillo<br />
Lorenzo Di Stasio</div>
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<div style="margin-bottom: 0cm;">
Direcció Artística: Elias
Garcia<br />
Autoria i coreografia: Remi Wörtmeyer<br />
Música: Igor
Stravinsky<br />
Assistents artístics: Elias Garcia, Chase Johnsey,
Vincent Gros, Maria Fernanda Urcia<br />
Producció: Marina
Quera<br />
Direcció tècnica i il·luminació: Ricardo Alegria<br />
Disseny
d’escenografia i vestuari: Remi Wörtmeyer<br />
Confecció de
vestuari: Paula Fecker, Marta Muiños, Gina Nunura, Martina
Montorfani<br />
Escenografia: Albert Torres, Andrés Gavilano, Pepe
Urcia<br />
Fotografia: Josep Guindo</div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-62085057334728902162018-10-22T23:17:00.000-07:002018-10-22T23:17:36.241-07:00Interview to Dmitry Zagrebin<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTekSN6IKieCgdLM1m79QGdZZe493diFMjKFL7i-0pgxb8tUM5DihCVKsPXPvqkXRiIePRFrlHUHgoVW_Ak5D15_fRaAZiL0jAchtK4zQid3JFEYGu3y4VqjpOQhPGomMED5eLj1HWPlw/s1600/guindo+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="853" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTekSN6IKieCgdLM1m79QGdZZe493diFMjKFL7i-0pgxb8tUM5DihCVKsPXPvqkXRiIePRFrlHUHgoVW_Ak5D15_fRaAZiL0jAchtK4zQid3JFEYGu3y4VqjpOQhPGomMED5eLj1HWPlw/s320/guindo+2.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dmitry Zagrebin as Basilio in D.Q. Pas de Deux for Ibstage<br />
Photo: Josep Guindo</td></tr>
</tbody></table>
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During our last trip to Sweden, we had the chance to meet <b>Dmitry Zagrebin</b>, principal dancer of the <b>Royal Swedish Ballet</b>. It was a sunny Sunday in Stockholm when reaching the end of the Summer. It was Dmitry day off so we decided to meet in one of these nice coffees in Sodermalm, not far from the SoFo where he lives. </div>
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Dmitry was born in Moscow and has been involved in the dance world since he was a child. An important reason for that is the fact that his parents and grandparents were professional dancers at <b>Bolshoi Ballet</b>, he studied at the <b>Bolshoi Ballet Academy</b>, where he combined his dance studies with teacher studies of Master of ballet. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1b643cweDSIgiqbMvuaL1oUXwuDYeIJf9J1PsCm6AKdHHIWekxEWzaj9Z3UVqQA4RVY-A7Aj0VE6LrcERfHcsfIBKxcCNZqNGENrkgmstLB1n7pdJ7FnlhBkK0RT-Fw1mo94-knIFBAQ/s1600/IMG_1283.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1b643cweDSIgiqbMvuaL1oUXwuDYeIJf9J1PsCm6AKdHHIWekxEWzaj9Z3UVqQA4RVY-A7Aj0VE6LrcERfHcsfIBKxcCNZqNGENrkgmstLB1n7pdJ7FnlhBkK0RT-Fw1mo94-knIFBAQ/s320/IMG_1283.JPG" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dmitry with Rebecca Storani in D.Q.<br />
Ibstage. Photo: Sila Avvakum</td></tr>
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After he graduated, he joined the Bolshoi Ballet at the age of 18 and he had the change to work with <b>Alexei Ratmansky</b>, who was leading the company at that time. In 2015 he moved to Sweden to join the Royal Swedish Ballet, where he is currently principal dancer. When we met he was performing <b>Marcia Haydee</b>’s <i>Sleeping Beauty</i> in the <b>Kungliga Operan</b>, in the role of <i>Prince Desiree</i>.</div>
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<b>Sylvia Julià</b>: After your experience in Russia and Sweden, which differences de you see between the two countries regarding how they live the Ballet?</div>
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<b>Dmitry Zagrevin</b>: Booth theaters are very old so when you get to dance on stage you feel similar atmosphere, that kind of amazing spirit you never get in concert halls. </div>
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<b>S.J</b>.: Which is your routine as a dancer in Stockholm with the Swedish Ballet?</div>
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<b>D.Z</b>.: Starting from mid August, the schedule is quite tight, specially this season. From next week we will already start rehearsing a <i>Triple Bill</i> with works from <b>Jiří Kylián, Angelin Preljocaj </b>and <b>Lukáš Timulak</b>, while we are performing <i>Sleeping Beauty</i>, and in few weeks we will start rehearsing the <i>Nutcracker</i>. </div>
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Two years ago the company used to tour, but not any more, currently all performances take place in Stockholm Opera house, but when I have free time and permission from work I’m always open to go somewhere else to join interesting projects, on my own.</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDs0608vW6or1jMVcXbRi2yPOMRQ-5MKmiVGQy9Q98OiT6tCmvNi0oPYkEslpm-mEg8aUtjYKlHnfh29gZQ0yCJIuZeys2xMF9WVuuWe4bzNg6ve0PJHEZHwudbFEoz1BdnzcwMAA8ls8/s1600/IMG_1145+%25281%2529.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><b><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDs0608vW6or1jMVcXbRi2yPOMRQ-5MKmiVGQy9Q98OiT6tCmvNi0oPYkEslpm-mEg8aUtjYKlHnfh29gZQ0yCJIuZeys2xMF9WVuuWe4bzNg6ve0PJHEZHwudbFEoz1BdnzcwMAA8ls8/s320/IMG_1145+%25281%2529.JPG" width="213" /></b></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dmitry in Ibstage with D.Q. <br />
Photo: Sila Avvakum</td></tr>
</tbody></table>
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<b>S.J.</b>: During your life you have won several awards, the last one in 2014 and it was the Gold Medal at <b>International Baltic Ballet Competition</b> in Riga. What these achievements have represented in your professional career? </div>
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<b>D.Z.</b>: It’s always an opportunity to challenge yourself technically, physically and artistically, but it’s also very good to meet other colleagues from other territories and see how they dance and how they move, to make connections and meet friends. Even if it’s a competitive environment it is in a good way and I mainly do it for fun.</div>
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<b>S.J.</b>: In your repertory we can find leading roles in very important classical productions but you have also performed Jiri Kylian, Ratmansky and also <b>Bournonville </b>repertory. Which would be your favorite one or the most special one for you?</div>
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<b>D.Z.</b>: With Bolshoi Ballet I had the chance to dance <i>Mercutio </i>in <b>Yuri Grigorovich</b> version of <i>Romeo & Juliet</i> and it was an amazing experience to participate in this production and to share studio with Yuri Grigorovich. In Moscow I also danced Jiri Kylian’s <i>Symphony of Psalms </i>and Ratmansky’s <i>Russian Season</i>, this last one in my second season with Bolshoi. Most leading roles I performed when I arrived to Sweden : <i>Swan Lake, Nutcracker, Sleeping Beauty, Alice in Wonderland</i>, and I will perform Jiri Kylian <i>Wings of wax </i>in November.</div>
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Here in Sweden, about a year ago, I also performed one of the leading roles in Bournonville’s <i>Ponte Molle</i>, renovated by <b>Dinna Bjørn </b>and<b> Frank Andersen</b>. That was an amazing experience but also quite challenging because I had to add some steps to the Bournonville’s piece, just because there were no steps in the original scrip. Frank and Dinna gave me instructions about how it should look like, how it should start and where were the important places of the choreography, for example, they told me this movement has to end up in a knee and I had two eights in the middle to fill with my own steps. This was a responsibility and a personal contribution to the Bournonville piece.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOVkUuK1H8RZMzhXVF3F0Wk9tuFjNn5lx6VeWmeZsI7kwmFzdLqGYkJBSt22dOMWysZLKbLY6ZI_Hk3lE1NHLEpr8WoZBOGj_7elryHe0kr-qkGBkjwkqonjtgZbeKrCdsRx9laRZ0snw/s1600/guindo.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="853" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOVkUuK1H8RZMzhXVF3F0Wk9tuFjNn5lx6VeWmeZsI7kwmFzdLqGYkJBSt22dOMWysZLKbLY6ZI_Hk3lE1NHLEpr8WoZBOGj_7elryHe0kr-qkGBkjwkqonjtgZbeKrCdsRx9laRZ0snw/s320/guindo.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dmitry and Rebecca in D.Q, for Ibstage<br />
Photo: Josep Guindo</td></tr>
</tbody></table>
A very special and super different role I remember it was a small role in <b>Mats Ek</b>’s <i>Juliet and Romeo </i>where I had the chance to dance with <b>Ana Laguna</b> on stage. It was ... I don’t know how to explain it... how honored and how gifted I felt when I’d got to dance on stage with Ana Laguna in this master piece of Mats Ek, it really has a special place in my memory. I’m happy I embraced the opportunity to be involved in Mats Ek production and I would like to work with him again in the future.<br />
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<b>S.J.</b>: How do you prepare a role? Especially those that have quite a lot of acting.</div>
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<b>D.Z.</b>: It really depends which role it is, in my opinion quite often acting roles in the classical ballet are over-rated, because you have a limited amount of music and you have a choreography steps that has to be precisely danced, let's say you have two eights in the music to show that "I will go there" or "I love you" or "I'm leaving" and it has to be exactly in the music, every single gesture, and it will be enough, all the audience will recognize it, they will understand the movements. Of course you need to know choreography, to be physically well prepared and you need to know the ballet you are doing, but sometimes when you think too much, when you over-rate your acting, you can lose the focus on the precision of the movements and music. </div>
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You can take inspiration from other dancers but never copy. In my experience, it won't come up from the first performance, from your premier. I did<i> Sleeping Beauty </i>premier last season and I repeat it now and in main scenes and in certain movements I feel much calmer, I feel that it's much easier for me to do it, it all calm down.</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip-uSllwfk4397IBA-M0h9W1SL7jESL1wj5P2qMihDTOCKtGgtwK7B25_3UUeT2hEgATZQOTLjNNBQ2JATEto9oIcZKJ8kjMbk3XGZl5pua4wU1gnDBRZuGLeu6kybMqEQP3eEdUk7Zjk/s1600/IMG_1399.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip-uSllwfk4397IBA-M0h9W1SL7jESL1wj5P2qMihDTOCKtGgtwK7B25_3UUeT2hEgATZQOTLjNNBQ2JATEto9oIcZKJ8kjMbk3XGZl5pua4wU1gnDBRZuGLeu6kybMqEQP3eEdUk7Zjk/s320/IMG_1399.JPG" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dmitry Zagrebin in D,Q. for Ibstage<br />
Photo: Sila Avvakum</td></tr>
</tbody></table>
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<b>S.J.</b>: You are performing <i>Prince Desirée</i> in Marcia Haydee’s version of <i>Sleeping Beauty</i> with the Swedish Ballet, how was your experience working with her? Marcia is very interested in the acting side of the ballet dancers, what do you think? </div>
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<b>D.Z.</b>: It was an amazing experience to dance with Marcia, I adore her, she is gorgeous. When I was rehearsing <i>Price Desirée </i>she told me "you don't need to do this particular step, you can change it and do it how you feel it, but you have to look beautiful". Regarding the acting part in this ballet, of course in any company many dancers can step in and do 32 fouettés, but to be a true principal dancer it's more than that, so I totally agree with Marcia, but all this technical staff has to be there as well.</div>
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<b>S.J.</b>: As a dancer, you dedicate most of your time to dancing, training, rehearsing, travelling, ... but what other things you like to do when you have some free time?</div>
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<b>D.Z.</b>: Movies, reading,... but no physical exercise. You need to be smart to not to hurt yourself and be in shape. You need to work with your brain all the time and learn from experience, and sometimes don't go for everything and maybe don't over-rate your acting on stage (he smiles). </div>
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<b>S.J.</b>: Where do you see yourself in 10 years? Do you see yourself linked to dance all your life?</div>
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<b>D.Z.</b>: I have a diploma as a Ballet Master, so I could teach in a company. Taking my mother advice, I divided my time between the work at Bolshoi Theater and my graduation as a teacher at Bolshoi Academy. But now I can't say what I will do in the future, only that I will share my dance as long as I can. When I was 12 I played the role of little <b>Mozart </b>, a leading role in the opera production <i>Bastien und Bastienne</i> from Mozart, where I had to dance and I had to talk. I enjoyed a lot and felt very comfortable, so if I have any kind of opportunity related with acting I will definitely go for it, even movies, no idea, but I could do it. </div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8tLgkb5IbT3zjf_j8nXCEC9YSUVw81V0FUTyuxmPaHHn1E8GC63IWbJUIy6JC9iJIuYrZahI0Mw2rHaLjgLCcJG1mGsJThcpMuV62IX1Mr7AHNGC7QD0jNGGpEnfBapIrq0Lv2qghyphenhyphenPU/s1600/guindo+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="853" data-original-width="1280" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8tLgkb5IbT3zjf_j8nXCEC9YSUVw81V0FUTyuxmPaHHn1E8GC63IWbJUIy6JC9iJIuYrZahI0Mw2rHaLjgLCcJG1mGsJThcpMuV62IX1Mr7AHNGC7QD0jNGGpEnfBapIrq0Lv2qghyphenhyphenPU/s320/guindo+3.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dmitry and Rebecca in D.Q. for Ibstage Gala at Gran Teatre del Liceu.<br />
Photo: Josep Guindo</td></tr>
</tbody></table>
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<b>S.J</b>.: We had the chance to see you dancing with <b>Rebecca Storani </b>in the <b>IBStage</b> <b>Gala</b> in Barcelona some weeks ago and I have to say that it was amazing. How was your experience of dancing with her?</div>
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<b>D.Z</b>.: It was one of the best partnership experiences in my life, she is a extremely professional ballerina, very good on eye-contact on stage, when you just trust each other, you know. I have danced <i>Don Q</i>. many times in my life and I felt very comfortable dancing with Rebecca, she was very focused and everything went just amazing. I have to say I was shocked in a very good way. We met the same day in the morning and we went on stage after 10 minutes of checking out. She is amazing and I would love to dance with her again. </div>
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<b>S.J.</b>: We are working to promote ballet in Catalonia and to have artists like you performing there it will help to achieve our goals for sure, so we hope we can see you dancing again in Barcelona or maybe performing with <b>Ballet de Catalunya</b> in Terrassa.</div>
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<b>D.Z</b>.: You have such a beautiful theater in Barcelona and it would be great to see more ballet performances there. Theater is huge and the atmosphere on stage was amazing. I really wish that ballet art can grow in Barcelona, so if I can give any help I would like to do it.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-22176184846451099572018-09-03T04:44:00.002-07:002018-09-06T06:39:55.486-07:00Anastasia Limenko: We try the world to be better by bringing beauty on stage<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjVRi2Rg3F8-C8yNUNNwqFMgcMBHPJ-XTzLEWaEC1e5rFVIUeuRkQeSuD9VyH80EM04gpzPC3-OKwT18KDq65m6eMS1w7cz9G5FtJL8jKryK2qKzLlHGhF4ljJsAWrx5p6MHd2ZfRJ2uQ/s1600/40424403_282011572630479_8103804642678276096_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjVRi2Rg3F8-C8yNUNNwqFMgcMBHPJ-XTzLEWaEC1e5rFVIUeuRkQeSuD9VyH80EM04gpzPC3-OKwT18KDq65m6eMS1w7cz9G5FtJL8jKryK2qKzLlHGhF4ljJsAWrx5p6MHd2ZfRJ2uQ/s320/40424403_282011572630479_8103804642678276096_n.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anastasia Limenko at the Institut del Teatre in Barcelona<br />
Photo: Sila Avvakum</td></tr>
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This is the third time that we have Anastasia Limenko at the Ibstage Galas. She tells us that she is delighted to accept their invitations, she loves Barcelona and the atmosphere that is breathed in this course of the highest level that she defines as unique worldwide and a model to follow. </div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijDhq_8N7czwa_yzkm3xwFADM0LxlK_cq9MJu0cF8Enr4qG7RBQ4H524gmSwjMaHmJyxNscx7o9ZVwB7Bi1AXqrNxCvVxxOdeuRCsjgixeJlhgVYb8zjObFpTSIxg1NmuB9oFbomPOP-Y/s1600/_86Z1902.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijDhq_8N7czwa_yzkm3xwFADM0LxlK_cq9MJu0cF8Enr4qG7RBQ4H524gmSwjMaHmJyxNscx7o9ZVwB7Bi1AXqrNxCvVxxOdeuRCsjgixeJlhgVYb8zjObFpTSIxg1NmuB9oFbomPOP-Y/s320/_86Z1902.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anastasia Limenko in Black Swan. Ibstage Galas.<br />
Photo: Josep Guindo</td></tr>
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We cross her in the hall of the Institut del Teatre, she is the first of the great stars invited that has arrived to Barcelona and after doing a class and taking a small snack, she tells us that this may be a good time for the interview that we are suggesting. We do not miss the opportunity and chat with the very young Principal Dancer of the Stanivlasky Theater in Moscow. </div>
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<b>C</b>arolina<b> M</b>asjuan: Anastasia, I think it is the second time you are dancing here? </div>
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<b>A</b>nastasia<b> L</b>imenko: No, in fact it is my third time! I came twice last year because I came in July when I performed Don Quixote for the Galas at El Liceu and then I came back in September for the Galas at Theatre Grec where I danced with Kimin Kim. So now it is the third time I'm here for Ibstage. </div>
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C.M. : Oh yes, you are right! and how it happened that we are so lucky to have you here? </div>
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A.L. : Well in fact it was through Instagram -Anastasia is very active in this social media- that I received an invitation form Leo Sorribes. He told me that he had seen my video from Don Quixote and that he would be happy if I can join. I was very surprised as I thought that Instagram was to have fun and I was very surprised too because I was so young, only 22 years old, and this was the first invitation for such an important Gala and then when I knew I was going to share the stage with such amazing dancers as Lauren Curtbertson, Kimin Kim and so many famous and talented people I couldn't believe!! For my second time it was my premiere performing Diana and Acteon and it was a special moment for me. I have to thank vey much Xiomara Reyes and Larissa Lezhnina for their help and amazing coach. I was so lucky!! because I also had such an amazing coaches and a partner as Kimin Kim. </div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN2g74Oi73Uw6PNvcDCBZ4ywdJ1O89bpdZT-rt3NxxZP3pmXKt4KsU1TG5JTC1SKE_4cGgFxvnvHeMMogLq7iF-mrSaLKVzxk41mZjoEebaZ5YOhs_Z1zTU1y-J5yMxkDPZvSCHm-Llio/s1600/_86Z1909.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1281" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN2g74Oi73Uw6PNvcDCBZ4ywdJ1O89bpdZT-rt3NxxZP3pmXKt4KsU1TG5JTC1SKE_4cGgFxvnvHeMMogLq7iF-mrSaLKVzxk41mZjoEebaZ5YOhs_Z1zTU1y-J5yMxkDPZvSCHm-Llio/s320/_86Z1909.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anastasia Limenko, Black Swan. Ibstage Galas.<br />
Photo: Josep Guindo</td></tr>
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C.M. : Incredible it was your first time on it!! you both were amazing! And now I think that you are coming from Mexico because you have participated in a Gala there as well, isn't it ? </div>
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A.L. : Yes! I was invited by Isaac Hernández. He is an amazing dancer and it was incredible because he gives something so special not only for audience but also for us the dancers. All the crew felt so happy and this was noticed on stage because everybody gave their best and one has to note that this was for a huge audience, 20.000 people, 10.000 each of the two performances and it has been really wonderful! I got to see also a work of a wonderful choreographer, Sebastian Kloborg, whose works I really like! </div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0SC4kMFVz7PhjX2D_OCHUP3Hml0cCo5_fKgZw_o_UHoYHFKG72vyZHiHwkYvqHZZ6wIpZ2IoeDpsu0DTclaPk-y1UzvpAV7ksSFH6MlnzwNmub-VU9Do2IhvBbZPKwTga-ba5c-NuEEw/s1600/_86Z1965.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0SC4kMFVz7PhjX2D_OCHUP3Hml0cCo5_fKgZw_o_UHoYHFKG72vyZHiHwkYvqHZZ6wIpZ2IoeDpsu0DTclaPk-y1UzvpAV7ksSFH6MlnzwNmub-VU9Do2IhvBbZPKwTga-ba5c-NuEEw/s320/_86Z1965.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anastasia Limenko, Black Swan. Ibstage Galas.<br />
Photo: Josep Guindo</td></tr>
</tbody></table>
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C.M. : We noticed this amazing ambience between all of you on Instagram!! </div>
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A.L. : Yeahhhh because it was a so warm atmosphere. We felt as if we were friends from many years, not just few days ago … wooww I still feel that energy on me! </div>
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C.M. : And how were you involved in dance. When did you decide to become a ballerina ? </div>
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A.L. : It is an interesting story because I never imagined that I would be a dancer. It was a dream from my mother. Before ten years old I never imagined that I would dance as I never had seen ballet. She brought me to a Ballet School and I started to love this art. I'm grateful to her and to my teachers who gave me this passion for this art that now is part of me. I started to take classes in a school in Bielorussia and moved to Moscou at fifteen. I was prize winner in the Moscou ballet competition and was invited at the Boshoi Ballet Academy and it was a huge change for me because to change Minsk which is really a cosy, quite and confident city to Moscou which is always crowded with people in a rush and so on, it was really difficult but of course I adapted and now after nine years I feel this city to be not my home but I feel confortable there. And now I really love dancing there because it is my way, what I chose for me to be my life. </div>
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After graduation I was invited at the Bolshoi but I knew that I had to start at the Corps and maybe spend time there so I decided to join the Stanivlasky because I knew I would get much more opportunities to grow up and because I saw that I would be able to dance many roles quickly so yes this is my first company and I'm very happy, we have a really huge repertoire and I can work to be better and better with many opportunities. </div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhKKkaHs0symrxnHbSuD7Qk6ibnjmZgzssg1dYo65nl1anfKd7Abr53Or6SBEpKTeYNdIf1VCpPCexs77C_mOKdK3t06Jn-o0ayiDEHQaifLMwdt18T9fk7XwMTAHSsRi-05ANpOr8czU/s1600/_86Z1969.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhKKkaHs0symrxnHbSuD7Qk6ibnjmZgzssg1dYo65nl1anfKd7Abr53Or6SBEpKTeYNdIf1VCpPCexs77C_mOKdK3t06Jn-o0ayiDEHQaifLMwdt18T9fk7XwMTAHSsRi-05ANpOr8czU/s320/_86Z1969.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anastasia Limenko, Black Swan Pdd with Igor Svirko.<br />
Ibstage Galas. Photo: Josep Guindo</td></tr>
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C.M. : And with the new Director Laurent Hilaire, did things change much? </div>
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A.L. : Yes they did. Laurent Hilaire has turned the company to be more European, he brings more contemporary pieces and it is really interesting because we dance works of many choreographers as Ekman, Ohan Naharin, Kylian,... so there are many many people coming to our company and it is really interesting because this is also like a challenge for us the dancers because we are a classical company and with them we are able to explore other ways of dancing </div>
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C.M. : But I think once you said that for you classical dance is the one you love most as it is also the most demanding style... </div>
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A.L. : Yes, yes, for me classical is the most important because it is the most dificult for our body and coordination so now I'm focussed to get more roles in classical ballet because I understand that I can do contemporary pieces a little bit later in my career. Of course I want to dance them and I really like to do contemporary pieces because you feel free with your body and you can just enjoy music and choreography but in classical you always have to be on square, feel your corps, be really clean in positions and it is the most demanding in our profession.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU0JHlbAIqw3-leV5_TAM2yDkbX7PLKydooC3as7rL0vxDX3ZF0ZBukBxlOhsZ4HXkZNVQzuJH1xphKm3E66949hZsMjPOmHrjJUvUmjEtttl5k6gKbtt6lXcGLuczWrORobSO8h6L25s/s1600/IMG_9025.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU0JHlbAIqw3-leV5_TAM2yDkbX7PLKydooC3as7rL0vxDX3ZF0ZBukBxlOhsZ4HXkZNVQzuJH1xphKm3E66949hZsMjPOmHrjJUvUmjEtttl5k6gKbtt6lXcGLuczWrORobSO8h6L25s/s320/IMG_9025.JPG" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anastasia in class with Ballet de<br />
Catalunya. Photo: Sila Avvakum</td></tr>
</tbody></table>
I want to enlarge my repertoire now dancing more styles in classical like Petipa, Grigorovich and also more neoclassical as Balanchine to grow up because you never get enough in classical, you always can be better but in contemporary is a bit diffetrent, you can compare different dancers because each one can have their own style in contemporary, In classical it's not, the possitions are what they are and you have to follow the rules... </div>
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C.M. : And in the Stanivlasky do you also have Cracko's, Mc Millan's, etc., in your repertoire ? </div>
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A.L. : Yes, yes, a lot... and for me my favourite choreographer is McMillan because I really like his pieces. Mayerling, Manon, these are pieces that we have in our repertory and also Romeo and Juliet this is «my» repertoire and for me these are stories I like very much... they are my preferred characters... </div>
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C.M. : Maybe because of their dramatic side? </div>
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A.L. : Yes, for me it is really important because I try to do my best with my technique only because this is our language and when you feel free with the language, then you can develop much better your dramatic part. When you do not need to focuss on your turns or in how much you lift your leg, this is a kind of freedom for you body. For me the most meanful thing is to bring stories on stage to share emotions with the audience. </div>
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I think this is the most important in our profession than to show our techique. You can see incredible stuff in circus and gymnastic and sport and they will be better than us, but in the theater we can show emotions and you should understand the meaning of the ballet, what the choreographer wants to tell. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNQXSBerH3zZXqu6YTKuHo9nTR0N_8Bv4aUPpmpuFQV0o76l2zYAPitLq-6FeblKUGgaGpk45uQG_IOv0yJZq06c7ibXvLcReOxLcwc54_UDT2FKOxEdNQKxn94RclbIAuycNVwX5bULY/s1600/IMG_0361.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNQXSBerH3zZXqu6YTKuHo9nTR0N_8Bv4aUPpmpuFQV0o76l2zYAPitLq-6FeblKUGgaGpk45uQG_IOv0yJZq06c7ibXvLcReOxLcwc54_UDT2FKOxEdNQKxn94RclbIAuycNVwX5bULY/s320/IMG_0361.JPG" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anastasia Limenko, Black Swan. Ibstage Galas.<br />
Photo: Sila Avvakum</td></tr>
</tbody></table>
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For me it is my goal to involve more and more the audience to our art so that our art can really bright because we show people that world can also be beautiful when negative things happen. We try the world to be better with the beauty we bring. Of course our stories are about love, true love and happiness but there is also sadness, as it happens in life, and we have to accept that we can be sad but we turn sadness in a positive way, it is a different kind of sadness that can change you. You should accept that we can be sad but this can show you also how to be a better person. So yes this is the way I understand our art and for me this is the most beautiful work I can do. </div>
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C.M. : Wooowww... this is so beautiful what you are saying.... </div>
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A.L. : Well, this is what I really think about our profession and I feel so happy with it! </div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWhhpt_OKBmwQGSya31JHU5XXtWTCrVHWJeo6vnW6Sw-cWTxmSNjBkWj3FkL6iNGZsiZCu-OSd1p9C43CNXgRKUrWDf__kuKyYGH-M9IPuHC7AO_yCHUHiA_TiOFcOeN8D23GC13Uib8w/s1600/IMG_0274.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWhhpt_OKBmwQGSya31JHU5XXtWTCrVHWJeo6vnW6Sw-cWTxmSNjBkWj3FkL6iNGZsiZCu-OSd1p9C43CNXgRKUrWDf__kuKyYGH-M9IPuHC7AO_yCHUHiA_TiOFcOeN8D23GC13Uib8w/s320/IMG_0274.JPG" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anastasia Limenko Black Swan.<br />
Ibstage Galas. Photo: Sila Avvakum</td></tr>
</tbody></table>
C.M. : Does the company tour? </div>
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A.L. : Now not really. Because when our direction changed they decided that we should be more in Moscou. They wanted to change a lot our company and this is impossible if you are touring. But by my own I tour. When I started my vacation, that in fact I haven't had vacations, I began with a tour in South Korea, which also was an amazing experience, then I had these Galas in Mexico and now I'm here. This is a huge treasure for me because I meet wonderful people and each person you meet can be like a teacher for you, they can change your mind and this are experiences that reach you and make you to see other things, so I really like this. </div>
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C.M. : And how do you feel here in Ibstage with all the students and sharing the stage with them ? </div>
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A.L. : I feel really confortable because it is my third year. In September last year we arrived at the same time with Kimin Kim so we spent a lot of time together and many dancers came earlier too but this year I'm the first and I feel a little bit lonely but I really like Spain and I do love Barcelona and everybbody here at Ibstage does their best to make me feel comfortable and I really appreciate the opportunity to perform here beacuse it is also important for me to share my dance with many different people.</div>
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I really want to wish Ibstage a good future and also to the company the Ballet de Catalunya. I understand that the situation is complicated now but I really wish them the best because they are all very nice and high professional people. This is such a really good thing for the ballet world these Ibstage courses and Galas and that a so brilliant new Company has born! </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLW4W1DWa_jUKDzNmpoCvPSbXns68yRttoOC7mGsKhV85bcDqbrypZIg9lno165ziG4P4C2srndhrQhr7dbSsoiYjULtmvRjSxgP1rKBU6sEwTt5zaALY4RycaTKCqJoODzjflmdySsXg/s1600/IMG_8628.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLW4W1DWa_jUKDzNmpoCvPSbXns68yRttoOC7mGsKhV85bcDqbrypZIg9lno165ziG4P4C2srndhrQhr7dbSsoiYjULtmvRjSxgP1rKBU6sEwTt5zaALY4RycaTKCqJoODzjflmdySsXg/s320/IMG_8628.JPG" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anastasia Limenko in class at Institut<br />
del Teatre. Photo: Sila Avvakum</td></tr>
</tbody></table>
C.M. : Have you seen the company rehearsing these days? </div>
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A.L. : Yes I saw them rehearsing with Larissa Lezhnina and I know Rebecca Storani as we met already at the first Gala and we communicated really well, we are like friends and now it is really interesting because they are creating their own version of Don Quixote. And also it is fantastic beacuse they are inviting many people to work for the company because the possibility is really nice. I think they should be at the Theater of the Liceu and that they have more advertising in Catalunya because this is an amazing opportunity for the ballet and for Catalunya. I cross my fingers so that they can develop but I think all be ok because when there is passion on what one is doing then one can only succeed!! I also think that local companies have to be involved in promoting the culture and the art, they have to give funds so that this great reality that the Ballet de Catalunya is now, can continue its amazing work. </div>
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C.M. : And for this year Gala what will you bring on stage ? </div>
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A.L.: Well Igor will arrive on 1st september morning. It will be the premiere for him and for us together with Black Swan and we'll rehearse only the day of the fisrt gala in the morning. But no problem, for me it is ok because when I came the first time to Ibstage it was really difficult as I flew on the night and I had two performances the same day of my arrival and then I had to fly back to Moscou immediately. This has been the hardest stuff I have had to face and I survived and all went well so I'm sure I can afford anything!! And of course we already know each other because Bolshoi and Stanivlasky are very close in Moscou and we all communicate very often, so no problem for us. I hope the audience will enjoy the Galas, I'm very happy to have been invited again. </div>
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Nice, friendly and very cute, Anastasia agrees to be photographed with all those who ask her or she spontaneously poses in front of the professional objective of Sila Avvakum, official photographer of the Mariinsky Theater of Sant Petesburg, who every year comes from Russia to cover Ibstage in Barcelona. The great teacher, very dear to all, Piotr Nardelli sees her and comes quickly to kiss her hand while she offers him a beautiful arabesque.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUkxSyVP1O0tUSwz1CiarqrXmZWato8NHJaiEj86N-lR9OwREz6n2WdgGEj_aWsCPgp7oEJcEpijnvhOl3jbGy0aQ-Z4QFTGBlYb-RryujsFdPWeLC4eSlP0sqEbMmG3ND4R52q1xqdOY/s1600/40402844_287534025182692_6270199536837197824_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUkxSyVP1O0tUSwz1CiarqrXmZWato8NHJaiEj86N-lR9OwREz6n2WdgGEj_aWsCPgp7oEJcEpijnvhOl3jbGy0aQ-Z4QFTGBlYb-RryujsFdPWeLC4eSlP0sqEbMmG3ND4R52q1xqdOY/s320/40402844_287534025182692_6270199536837197824_n.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anastasia Limenko after the interview at the Institut del Teatre.<br />
Photo: Sila Avvakum</td></tr>
</tbody></table>
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Anastasia takes the opportunity to discover Barcelona these days, she walks a lot, from the center to the sea and to the sea to her hotel. Yesterday she walked five hours non stop. She says that these are the few days of vacations she will have but she loves so much her job and she is so passionate with what her life is that no matter. </div>
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We knew the amazing dancer she is and now we have discovered the so warm and nice human being behind. Thank you very much and please come back soon Anastasia! The Catalan audience really loves you !!</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-91479573546148410442018-07-18T08:56:00.002-07:002018-07-18T09:12:14.121-07:00Ibstage 2018 is starting<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7hyWoPLa5ZtMQJDSUiqyN2OZqPBlE1UMtoHX6D5-lEBUeZReysq3vH6BpxpY-tJ0y1JbOit3W88yn_u5FLqDodgFnIMrloSvGEAGXlYX2Ra6ETSAvdaOjdhtT1l-GWykfN1epbg7C5AU/s1600/FOTO+COS+DE+BALL.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="497" data-original-width="960" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7hyWoPLa5ZtMQJDSUiqyN2OZqPBlE1UMtoHX6D5-lEBUeZReysq3vH6BpxpY-tJ0y1JbOit3W88yn_u5FLqDodgFnIMrloSvGEAGXlYX2Ra6ETSAvdaOjdhtT1l-GWykfN1epbg7C5AU/s320/FOTO+COS+DE+BALL.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ibstage 217 Corps de Ballet at Teatre Grec Barcelona<br />
Photo: Josep Guindo</td></tr>
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<b><br />IBSTAGE 2018 STARTS - TENTH EDITION </b></div>
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<b>INSTITUT DEL TEATRE: from the 13th to the 30th of August </b></div>
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<b>GRAN TEATRE DEL LICEU: 1st and 2nd of September </b></div>
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Ibstage at the gates of its 10th Edition. With news, new challenges and a very special show</div>
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<i><span style="font-size: x-small;">Press Release</span></i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin7SmONc_n1nGMaRVow_kYgl944wH0acZQ_Buuojt1nqcZ4EYOCcXRavzHeMe55ZN0r6vV4bETMbvmFT5Tf0LLPuDbdqjRMcv6YnH-J8tEgA94zBgiodsARtGZUGkMuSsL4QHSK1AuvQ0/s1600/fast+av+2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin7SmONc_n1nGMaRVow_kYgl944wH0acZQ_Buuojt1nqcZ4EYOCcXRavzHeMe55ZN0r6vV4bETMbvmFT5Tf0LLPuDbdqjRMcv6YnH-J8tEgA94zBgiodsARtGZUGkMuSsL4QHSK1AuvQ0/s320/fast+av+2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Catalunya Ballet in Fast Avance by Leo Sorribes.<br />
Photo: Josep Guindo</td></tr>
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Ibstage starts this August with an outstanding event, such as celebrating its tenth edition this year. They have not been easy years since it started in Italy and even less, since its landing in Barcelona. Even so, it is indisputable to take a very positive look at everything that has been achieved especially from artistic, cultural and educational points of view. </div>
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Ibstage is not just a more than realistic picture of what classical dance represents internationally speaking, with an exceptional program, as usual, destined for talents around the world and which offers a product of unique qualities that nobody else has achieved yet, but it is also the image of what it wants to be here, with the due recognition inside and outside, with an international and, at the same time, native concept that it intends Barcelona and Catalonia to be home of first rank dance productions and at the same time attracting the talent of everywhere, needed to make these creations come true. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigJCJqBYjeNBlKgbH4Rjp_Sd40OEtgIiWRkbLYzqDO11B7e4ie0nXcxXX9cojwZui0Y_YxI1Bl6IE2naoodGNQozxbh1ZC8B_Xx8mxQCAd5uy3AaD40PK6nnXPjIYBJzOtnIqOQM_EQKY/s1600/IBSTAGE+GALES+2018.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="892" data-original-width="953" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigJCJqBYjeNBlKgbH4Rjp_Sd40OEtgIiWRkbLYzqDO11B7e4ie0nXcxXX9cojwZui0Y_YxI1Bl6IE2naoodGNQozxbh1ZC8B_Xx8mxQCAd5uy3AaD40PK6nnXPjIYBJzOtnIqOQM_EQKY/s320/IBSTAGE+GALES+2018.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ibstage 2017 - Gonzalo García<br />
Photo: Sila Avvakum</td></tr>
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This young association is not only young, experienced and professional but with a great entrepreneurial spirit, risky and with the absolute capacity to break schemes year after year, despite conditions that are more than adverse and in times of great convulsions that not only affect them financially but that also drive them to question their own vision about the true lace here, where the capitalist and competitive mentality of our society and mistreatment of culture forces them to look for niches where nobody thought they could be, apart from encouraging the undoubted existence of a cultural audience, but that it must be nourished and well treated if you do not want to let it die, disenchant, or even worse conform. </div>
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So, Ibstage has started for the sixth year in Barcelona with a history on its shoulders that sometimes many describe as an impossible feat. If something has Ibstage, is that it is not just a constant focus on landmarks that are almost unattainable here, but that it also follows its activity without the minimum conditions and structures allowing to ensure its subsistence which is always subject to results more that optimistics. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC2zGDoUN1d0S7wktV8sCX3J4gEMcz_w2JZbdWn-hs11-J6J_vu_xhX08tY8k_5zKOV43e_U4rAFTXpD9AmR66FXRXmcFnwLRDjDg0nCXsvlpsHJfeHuV5xA2w6yHtsj3ck3IcRWOwiBo/s1600/foto+noi.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC2zGDoUN1d0S7wktV8sCX3J4gEMcz_w2JZbdWn-hs11-J6J_vu_xhX08tY8k_5zKOV43e_U4rAFTXpD9AmR66FXRXmcFnwLRDjDg0nCXsvlpsHJfeHuV5xA2w6yHtsj3ck3IcRWOwiBo/s320/foto+noi.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ibstage students at class</td></tr>
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THE NEW COURSE: </div>
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It is taught at the Institut del Teatre from the 13th to the 30th of August, with the presence of great teachers of a renowned professional careers both in the educational and artistic fields worldwide. An artistic direction shared between the great maestro Elias Garcia, born in Sabadell, but with an international career that has led him to coach leading figures of dance, and Xiomara Reyes, the former ABT principal dancer and director of the Washington Ballet School. Among other great renowned figures, such as Rinat Imaev, Larissa Lezhnina, Piotr Nardelli, Yumiko Takeshima, Maria Luisa Arias, who are among many other masters and repetiteurs of the choreographies that will be presented at the final Gala. </div>
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This year, the course has once again great support of such as that of the Institut del Teatre (Diputació de Barcelona), the Fund of Scholarships of the Banco Sabadell Foundation, which is still committed to the young talents who attend the course, the Generalitat de Catalunya and especially Yumiko, Official Sponsor and renowned international dancewear brand, together with collaborations with companies based in Catalonia that provide logistical support through an improvement in the services offered by Ibstage to its participants with very advantageous conditions. Without all of them Ibstage would not be possible, as well as its growing participation so necessary for the sustainability of the project. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDs509F6QPwioZuIs6kKAn-8FeXyFU6OR5YgTJtBmnTQNDBfKLWgMpMh81Qs6Uv256ze3BU8DT5n7sX33ffQ84mrmUuteAPlQgVD1Uy1Z2j2eu1YCQ5LMVsSR03voT2d2_kguqAWqbVwc/s1600/nenes+grades.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDs509F6QPwioZuIs6kKAn-8FeXyFU6OR5YgTJtBmnTQNDBfKLWgMpMh81Qs6Uv256ze3BU8DT5n7sX33ffQ84mrmUuteAPlQgVD1Uy1Z2j2eu1YCQ5LMVsSR03voT2d2_kguqAWqbVwc/s320/nenes+grades.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Girls enjoying at Ibstage</td></tr>
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THE GALA | TENTH EDITION | NOVELTIES AND NEW CHALLENGES </div>
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Why Ibstage: Ibstage was founded by Leo Sorribes and Elias Garcia in Italy and after 4 editions they moved to Barcelona. Ibstage's great goal has always been to consolidate classical and contemporary dance of quality in Catalonia, which after 6 years has given a first fruit full of hopes and that since very recently has started to create magnificent expectations in this regard. To retain the talent of our country, to capture figures and talent from all over the world, to import the best dance teaching techniques, to create own productions, to train dancers throughout all their career long, are some of the challenges planned to achieve. </div>
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After 3 years preparing a really arid land, the founders of Ibstage have committed themselves in the creation of a company in Catalonia with which it is intended to give a totally different approach to the state classic company lacking the margin of maneuver so indispensable to achieve ambitious artistic milestones: The Ballet of Catalonia.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWroPZllxDUQvotyeGWp9LY2ZC6_dZ9u7jQuk6ct3LLyJcn3PI_eryb8rnPlaSR3pfkls8zUCtwwatQ0ThVHJRKss7glRCiuS2x86BrdZBBdCUgvQTltvbV_u7UNXzivwspRe9WminXYY/s1600/anastasia.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="768" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWroPZllxDUQvotyeGWp9LY2ZC6_dZ9u7jQuk6ct3LLyJcn3PI_eryb8rnPlaSR3pfkls8zUCtwwatQ0ThVHJRKss7glRCiuS2x86BrdZBBdCUgvQTltvbV_u7UNXzivwspRe9WminXYY/s320/anastasia.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anastasia Limenko at the Ibstage 2017 Gala.<br />
Photo: Josep Guindo</td></tr>
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For this, in this tenth edition, the Ibstage Galas will offer at the Gran Teatre del Liceu a triple artistic offer: Young talents from large national and international academies, showing some of the best choreographies in the repertoire presented in the last editions: La Bayadere, El Corsario, Paquita and Sleeping Beauty. Secondly first stars of the dance world will visit us as usual offering a repertoire selected especially for the occasion and with which we will enjoy great classical and contemporary choreographies of excellent interpretation. This year we highlight the presence of Polina Semionova, world star and currently principal dancer of ABT, and others, such as Anastasia Limenko, Miriam Ould-Braham, Semyon Chudin, Tatiana Melnik, the young Catalan dancer Martí Paixà (in the rows of the Stuttgart Ballet ), and until completing an almost overwhelming number of 12 guest dancers. </div>
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Finally, there will be the Ballet de Catalunya offering in a so special commemorative year, a final and special touch, given the exceptional nature of its long-awaited birth. The company will also offer a choreography created by Leo Sorribes, director at the same time of Ibstage and the Ballet de Catalunya: Fast Avance, premiered on last April 28, in Terrassa </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwKsSs4bX5Whyphenhyphen2hr7tb2Be7ZkUDjCZJWBFeODFUtoVy78CUuLkYx2Uk4JoD8oiizE7SDNnZBtIj46MyOW3LG3LULjKTJSz3kNN7E55no_QCVfSQXKszYCs_LRql4kR7eDO6JPFBeeaGXQ/s1600/cos+de+ball.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="540" data-original-width="720" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwKsSs4bX5Whyphenhyphen2hr7tb2Be7ZkUDjCZJWBFeODFUtoVy78CUuLkYx2Uk4JoD8oiizE7SDNnZBtIj46MyOW3LG3LULjKTJSz3kNN7E55no_QCVfSQXKszYCs_LRql4kR7eDO6JPFBeeaGXQ/s320/cos+de+ball.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ibstage 2017 Corps de Ballet </td></tr>
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ACTIVITIES FOR THE CREATION OF PUBLIC AND DIFFUSION OF DANCE </div>
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Ibstage stands out at educational level for its dual educational aspect of both the dance audience and the begginer one. Ibstage is basically defined as a technical-artistic improvement course aimed at students who are training in the profession of dancer, offering a top-level teaching team from prestigious schools and companies. Ibstage in addition, during the 3 weeks of the course, opens its doors to the general public, attracting dance professionals from any field, students, but also people who feel inquisitiveness about a discipline that often conceals erroneous conceptions or prejudices towards its reality, bringing common people closer is an enriching experience that allows them to convey their values and knowledge of cause, as well as to foster the critical spirit of the audience. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFqILJ698yfz8gK3zFtGeA1MStYBGorK_wfMSvttMxe_lLKS2WHJVU70vEcaWecqQ0ZKI9eRheP-s5L3QzQmNoXMJ9Fn54NRw2OquHZVbjwGhoJkz98lYnArxdrNPrN63pnkjxJ65MFh4/s1600/fast+avance+1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFqILJ698yfz8gK3zFtGeA1MStYBGorK_wfMSvttMxe_lLKS2WHJVU70vEcaWecqQ0ZKI9eRheP-s5L3QzQmNoXMJ9Fn54NRw2OquHZVbjwGhoJkz98lYnArxdrNPrN63pnkjxJ65MFh4/s320/fast+avance+1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mathilde Marlin and Leander Rebholz in Fast Avance<br />
by Leo Sorribes. Photo: Josep Guindo</td></tr>
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And finally, within the framework of the Cultural Cycle, started in 2017, a set of theoretical and practical activities are configured around several aspects allowing to understand the peculiarities of the ballet: from workshops where the basic exercises of ballet are experienced, his gesticulation in the repertoire, the photography applied to dance, the roles from the vision of the dancers who have interpreted them, the music, or witnessing the last rehearsals. All of them are taught at the same institute in days and hours that are published at the beginning of the course and to which all interested people can register online </div>
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PRESS & MEDIA </div>
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The press and media are invited to the Institut del Teatre from the 13th to the 30th of August to attend classes, rehearsals, from 10:00 a.m. to 5:00 p.m. It has to be outlined that the Ballet de Catalunya will be present throughout this period. The General Director, Artistic Directors, teachers, dancers and participating students could be interviewed. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbRjZ4EX189kHgs58Ad0a5xB03e3vWe4H12TwsI2__2HaJgS12KRX7q8uOHPbBAUBHfzPFhfqGs8rsLIKOcI4_LpuUe4LNA4ARzbHwbgfQIr9LPzRZLyRqoJK5PlurDWzbaX7Lu5MNhTI/s1600/alumnes+curs.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbRjZ4EX189kHgs58Ad0a5xB03e3vWe4H12TwsI2__2HaJgS12KRX7q8uOHPbBAUBHfzPFhfqGs8rsLIKOcI4_LpuUe4LNA4ARzbHwbgfQIr9LPzRZLyRqoJK5PlurDWzbaX7Lu5MNhTI/s320/alumnes+curs.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Students at Ibstage</td></tr>
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From 31st August to 2th September, dancers and students will be at the Gran Teatre del Liceu. The performances of the Galas will be the day 1 at 8:30 pm and day 2 at 6:00 pm. Press Conference will be convened with the presence of the international guests invited on August 31 and Graphics ?? (leo) During the period from July 16 to August 10, interviews with the Directors (Ibstage and Ballet de Catalunya): press, radio and television, locally, autonomously and nationally. </div>
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Others: Days 30 and 31 of July there are Auditions for the Ballet de Catalunya at the Cultural Terrassa Center with the presence of candidates from all over the world. </div>
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Next premiere of the Ballet de Catalunya: EL QUIXOT, November 10th. </div>
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Tickets for sale at https://ibstage.koobin.com/<br />
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<u>For more information, please contact</u>: </div>
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<b>Marina Quera</b>: Information about Ibstage course and Ballet de Catalunya Tel: 656 846 814 </div>
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<b>Marisol de la Orden</b>: Press conference and interview arrangement. Tel: 639 793 927 </div>
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<b>Carmen Tanaka</b>: Interviews during Ibstage, August 13 to September 2nd Tel: 650 785 445</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-60713586350757123652017-11-24T07:14:00.000-08:002017-11-26T00:05:32.312-08:00The Ballet of Catalunya is now a reality<h3 class="post-title entry-title" itemprop="name" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 22px; font-stretch: normal; font-weight: normal; margin: 0.75em 0px 0px; position: relative;">
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQdf1c-uX0LJ7H0J3L4lGlsfmiqNDjlsoK_Zm1MH3dS4fMkUJkq339K7f1r0G0ho8ofl57iDRXPnh5WQYcD2GW7HqWUqM0_37q1oCVv8k3EcFzJRH7H032hr138qzB-bo67_pbJkbC8gwW/s1600/_86Z2074+%2528Large%2529.jpg" imageanchor="1" style="color: #888888; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQdf1c-uX0LJ7H0J3L4lGlsfmiqNDjlsoK_Zm1MH3dS4fMkUJkq339K7f1r0G0ho8ofl57iDRXPnh5WQYcD2GW7HqWUqM0_37q1oCVv8k3EcFzJRH7H032hr138qzB-bo67_pbJkbC8gwW/s320/_86Z2074+%2528Large%2529.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.0980392) 0px 0px 0px; padding: 0px; position: relative;" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 10.56px;">Mathilde Marlin, Rebecca Storani & Alexandra Urcía in Ensemble,<br />
coreography by Elías García. Photo: Josep Guindo</td></tr>
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The «<b>Ballet de Catalunya</b>» is already underway and after what was seen in the Presentation Gala of the company, we can only hope that this magnificent project is consolidated. They deserve this and we need them.</div>
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<i><span style="font-size: x-small;">Carolina Masjuan</span></i><br />
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"For three years, they have been sowing the seeds, designing a custom-made project for Catalonia with international projection to be enjoyed by our esteemed audience.</div>
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<tr><td class="tr-caption" style="text-align: center;">Alessandro Burini in Paquita<br />Photo: Josep Guindo</td></tr>
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The project was based out of concerns and sensibilities of people and institutions who were searching for a way to bring the best dance here, giving Catalonia the image it deserves. Throughout difficult yet enthusiastic years, people from all over have come together with the original promoters from day one in order to arrive where we find ourselves today.</div>
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Not only will we see 19 incredibly talented dancers but a great amount of courage on display. Effort and enthusiasm can only begin to describe what these dancers bring to the performance. Let them express how they feel through the best way they know, because words would never be enough to express what they want to say.</div>
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The presence of all who are here today is immeasurable and we would like to thank each and everyone of you. And above all, we express our gratitude to the city of Terrassa for welcoming the Catalunya Ballet.</div>
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Thanks to all who have come from near and afar. We hope you feel at home and we will continue to come back in the immediate future"</div>
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This was how the Ballet de Catalunya presented itself to the audience that filled the Terrassa auditorium on the afternoon of November 19, the day of its presentation.</div>
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The dancers of the Ballet de Catalunya (BNC) have been selected from a total of 200 candidates and are in Terrassa betting on this project aware of the difficulties, but delighted with the experience and the prominence that gives them being the first dancers of the BNC. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqiViCcnAxVbr9I5c_A3aoCOI30ivCkFxxaKnBr5xH_4mpMZ_f_3PpFJI6UbgFiLRMyDzswXrEObS5FcaWsg9U4cHM5L_I8Fe8rNN5a6dPeFx7QA4DYQk1UMMW44LZtmKH7jbOWCgQ028/s1600/_86Z2567+%2528Large%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqiViCcnAxVbr9I5c_A3aoCOI30ivCkFxxaKnBr5xH_4mpMZ_f_3PpFJI6UbgFiLRMyDzswXrEObS5FcaWsg9U4cHM5L_I8Fe8rNN5a6dPeFx7QA4DYQk1UMMW44LZtmKH7jbOWCgQ028/s320/_86Z2567+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mathilde Marlin & Lorenzo Misouri in Corpo.<br />
Photo: Josep Guindo</td></tr>
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And for the ballet public, who came quickly to discover them, it is a dream to have our company, to become familiar with them, to follow their evolution, enjoying some more in a certain style, others in another. Surprising ourselves when discovering qualities that we had not detected, respecting them, admiring them, even loving them as close beings, so necessary in our lives. Artists that bring us peace, emotion and joy in times when we need all this so much. In short, living it intensely, much more than any ballet lover from another country, given that we have been denied to have this for so long.</div>
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Exciting to discover among the public, teachers, former directors of companies, choreographers of the country who, generous, support the project and tend ties, as it should be. Feeling that on the other hand this is reciprocal, since from the management team of the Ballet of Catalonia the company is open to anyone interested in contributing and collaborating. Mrs. <b>Mercedes Ribera</b>, who at 103 years old is a tireless follower of <b>Ibstage</b>, could not miss this inauguration Gala, as we also discovered admired the ex-étoile of the <b>Paris Opera Ballet</b>, <b>Hélène Trailine</b> with whom the dancer <b>Elías García</b>, Artistic Director and teacher of the BNC, took some ballet classes while dancing with the <b>Ballets of Montecarlo</b>. </div>
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<tr><td class="tr-caption" style="text-align: center;">Maria Luisa Yoshida & Leander Rebholz<br />
in Corsaire. Photo: Josep Guindo</td></tr>
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It's a project that really thrills, the more you know it more and the more you know its dancers more and the more you see them working in class, rehearsing and now in this first show, even more. A consolidated team, with <b>Leo Sorribes</b> at the front, Elías García and <b>Larissa Lezhnina</b>, she to a lesser extent, in the artistic part, <b>Marina Quera</b> in the administrative and financial part, <b>Gina Nunura </b>and <b>Martina Montorfani</b>, in costumes and the teachers, apart from Elías himself, <b>Ángeles Lacalle, Gloria Gella </b>and <b>Ksenia Korobchanskaya</b>, who also acts as a repetetor, polishing, improving, taking care of style details, as well as <b>Ricardo Alegría</b> as technical manager and lighting design.</div>
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The <b>Cultural Center of Terrassa</b>, which celebrates its 35 years of dance season, being a reference in this art throughout the Spanish state, is hosting its headquarters. So the Company could not be presented any were that there. The Opening Gala showed a very young cast, dancers from Japan, Italy, Russia, Ukraine, Portugal, France, Germany, Spain and, of course, including three young Catalans. They staged a varied program that in its first part showed fragments of classical ballet, neoclassical and more contemporary styles, to demonstrate the repertoire to which the company aspires.</div>
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The second part was devoted to the demanding work of the classical repertoire, <i>Paquita</i>, which was offered to us in the form of a suite for showcasing the soloist and principal dancers of the cast together with the dance corps.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8l-2LElKkVbOL1JSX2vd0KA7-HEV4DRBXTG-pAC8WdR1MPaYkO0WuGImqWI1U25X232I2MGrgtFop95uTnBi2lsi04tFJn4abK6IHNBWEC-RvAbOwULUUwebg3Gg-aMWNZNnjDauKi-A/s1600/_86Z3420+%2528Large%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1350" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8l-2LElKkVbOL1JSX2vd0KA7-HEV4DRBXTG-pAC8WdR1MPaYkO0WuGImqWI1U25X232I2MGrgtFop95uTnBi2lsi04tFJn4abK6IHNBWEC-RvAbOwULUUwebg3Gg-aMWNZNnjDauKi-A/s320/_86Z3420+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Miho Okamura, Alessandro Burini & Alexandra Urcía in Paquita P. de Trois.<br />
Photo: Josep Guindo</td></tr>
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It was a very exciting day, Elías explained that the most important thing in the company are the dancers and their goal is to make this project a reality in order to ensure a decent future in all respects, salaries, equipment, repertoire, training, and projection....</div>
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What we saw at the Gala were enthusiastic, excited and happy young people, full of talent and with great potential, who defended a program worked in just three weeks, in an admirable way. They can get much more, of course, as it is clear that they will achieve it.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSyXniCuRWQ1FpzRhhmEYgJzayHT_kAjoZVC53OK8DgAPpMSD9jVQqwUhiS8h36pKaY6VVhPxYYW9GHVIygklFW26CdUlHHBn_gjj68MEuCu365vGhAe7pPGk2VP3iL7_Dib15_POAyso/s1600/_86Z3460+%2528Large%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1350" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSyXniCuRWQ1FpzRhhmEYgJzayHT_kAjoZVC53OK8DgAPpMSD9jVQqwUhiS8h36pKaY6VVhPxYYW9GHVIygklFW26CdUlHHBn_gjj68MEuCu365vGhAe7pPGk2VP3iL7_Dib15_POAyso/s320/_86Z3460+%2528Large%2529.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Maria Luisa Yoshida in Paquita.<br />
Photo: Josep Guindo</td></tr>
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The first part began with a very beautiful choreography by Elías García, <i>Ensemble</i>, with music by <b>Mozart</b>, in which we were able to enjoy a large part of the cast and to discover the work of some soloists. It followed a <i>Pas de deux</i> of <i>The Corsaire</i>, well danced by <b>María Luisa Castillo Yoshida </b>and <b>Leander Rebholz</b>. The variation of the three odalisques of the same <i>Corsaire</i>, with <b>Madoka Sasaki, Rebecca Storanni </b>and <b>Valeria Kuts</b> was very celebrated, the three were great, each in its variation, the nerves were disappearing and the program was developing in an "in crescendo" that the public was enjoying more and more.</div>
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The most contemporary part of the Gala was the <i>Pas de deux Plenitudo </i>(2002) of Italian choreographer <b>Raphael Bianco</b>, danced by <b>Júlia Roca </b>and <b>Lorenzo Misuri</b>. Júlia, a former dancer of <b>Ángel Corella's Barcelona Ballet </b>and the <b>Companhia de Bailado of Portugal,</b> has decided to return home. What a pleasure to have her between us again. Júlia has always been a classical, elegant dancer with a strong stage presence, which did not prevent her from perfectly integrating this contemporary piece into her repertoire. Lorenzo, on the other hand, was revealed as an important asset of the Ballet de Catalunya, a very expressive and confident dancer who that day celebrated its twentieth anniversary.</div>
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The first part was closed with <i>Corpi </i>(2001), another creation of Raphael Bianco, with music by <b>Rachmaninov</b>, in which the dance corps and soloists participated. The bodies of the dancers in flesh colored maillots are shown in all their splendor, creating figures of great beauty. A work in line of that of creators such as <b>Kylian </b>or <b>Wheeldon</b>, which subjugates and transcends. The dancers were fantastic, <b>Mathilde Marlín</b>, already discovered in <i>Ensemble</i>, is wonderful here. She is the prototype of a ballerina, with stylized lines, a sweetness of movement and a beautiful expression, no matter what the style of the choreography is.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5cO_KHOfYDgnqYKxp2_McYmDbZehu9NGCksOGhAaQHVcUQE42qEEw_RYYTLs4koj7cC2NQhz4X6Wc96FLeBAmTs0KV_HqztyYwEjuZVlCPKS9F5L1Z2va02ISyTV0EvZcvmMaJw7smxo/s1600/_86Z3604+%2528Large%2529.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1350" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5cO_KHOfYDgnqYKxp2_McYmDbZehu9NGCksOGhAaQHVcUQE42qEEw_RYYTLs4koj7cC2NQhz4X6Wc96FLeBAmTs0KV_HqztyYwEjuZVlCPKS9F5L1Z2va02ISyTV0EvZcvmMaJw7smxo/s320/_86Z3604+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rossanna Morelli in Paquita. Photo: Josep Guindo</td></tr>
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In the second part, with <i>Paquita's </i>suite it was where the best potential could be discovered. This demanding work of classical ballet did not disappoint. The dancers have style and despite not being a uniform cast, its directors have been able to place each one where it looks better.</div>
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So, for example, the fantastic dancer, well known to us, <b>Alexandra Urcía</b>, 18 years old and who together with Júlia Roca and <b>Mónica Gómez </b>are the three Catalans in the cast, formed a trio with another small dancer of stature but also plenty of talent, <b>Miho Okamura</b>, 19 years, and both, with the magnificent <b>Alessandro Burini</b>, danced a Pas de trois loved by the audience. Monica, on the other hand, has just finished her training at the <b>Corella Dance Academy</b> and she told us how happy she was to have her first contract as a professional dancer in her own country. Having seen her very often in the year end festivals of the academy, where she always had roles of principal in whose she was always great, we are very happy for her and for us being able to follow her evolution closely.</div>
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The <i>Paquitas</i>, that of the beautiful María Luisa Yoshida, so exquisite in its variation and that of the spectacular Rebecca Storani, already well known and admired by the Catalan public, because of the Ibstage program and Galas and indisputable star of the company, with her spectacular <i>pirouettes </i>and <i>fouetées</i>. The two <i>Lucien d'Hervilly</i>'s, Leander Rebholz and Lorenzo Misuri are surely other two values of the cast. Several variations and the beautiful corps, completed a suite that allowed us to dream of a company that will give us great joys. Thank you very much dancers, all of you, for a very good performance that we enjoyed with great excitement.</div>
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<tr><td class="tr-caption" style="text-align: center;">Rebecca Storani in Corsaire. Photo: Josep Guindo</td></tr>
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This company has to consolidate itself as our ballet company. This time, yes, please. Several ways of collaboration have been established so that it not only depends on public support. Now, despite the great interest shown by the Conseller of Culture, <b>Lluis Puig </b>and his entire department, is not yet signed, given the special circumstances of the Govern of Catalonia.</div>
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Private sponsorship is sought. As in many European cities, the main companies finance the dance companies for identifying themselves with the intrinsic values to the art of ballet. We hope that they can find here brands that recognize and want to take advantage of the prestige that would suppose for them to have such a powerful image.</div>
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<tr><td class="tr-caption" style="text-align: center;">Madoka Sasaki & Lucien Vecchierelli in Corpi.<br />
Photo: Josep Guindo</td></tr>
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Beauty, quality, perfection, or the closest to it, can only be achieved through effort. <b>Porsche </b>for example, sponsors the <b>Stuttgart Ballet</b>. The image of <b>Alicia Amatriain</b>, light, subtle, aerial, ethereal, but at the same time strong, secure with steel tips nailed to the ground in an impossible balance, is extremely convincing and transmits in an unequivocal way the values associated with a high level dancer: Perseverance, tenacity, physical and psychic strength, discipline, ambition, effort, capacity for suffering and overcoming, tolerance, teamwork, ... Values that any brand would surely be proud to transmit, without forgetting the plastic beauty of a good dance image.</div>
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The Ballet de Catalunya is a private institution promoted by the Foundation of the same name. The great challenge of the Foundation is to position Catalonia as a national and international point of reference for the creation, awareness and diffusion of the art of dance. At the same time it is presented as an accessible institution to all those who want to enjoy the dance whatever their nature (public or private).</div>
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The Ballet de Catalunya seeks to be present in the best theaters, but also wants to reach the public by offering services adapted to different formats and proposals of all those who want to incorporate dance into their celebrations, events, institutional events, popular festivals and a long etcetera. They offer interesting tailored proposals, depending on the number of dancers, time and number of performances, with different formats and stagings.</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTrUuYblExyFnYSk0Li6qS7NAu33U7WdWeuGbsHwKsigazDZMzYRLtprTZOVn235c6jqZlFAhbyHjUJSA1ePJHHw2Z0sda5XV7F0bQmCnzwzZ6dDVZR1r_udWZaEDOGum4kA9C0CYQCwo/s1600/_86Z3543+%2528Large%2529.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTrUuYblExyFnYSk0Li6qS7NAu33U7WdWeuGbsHwKsigazDZMzYRLtprTZOVn235c6jqZlFAhbyHjUJSA1ePJHHw2Z0sda5XV7F0bQmCnzwzZ6dDVZR1r_udWZaEDOGum4kA9C0CYQCwo/s320/_86Z3543+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Julia Roca in Paquita. Photo: Josep Guindo</td></tr>
</tbody></table>
<div style="text-align: justify;">
Tailor-made shows are designed according to the needs and desires of the client who has the possibility to visit the company and choose the dancers, if interested please visit <b><a href="http://catalunyaballet.com/la-compania/servicios/?lang=en">here</a></b>.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Likewise, the Ballet of Catalonia is in search of funding and funds from patronage and sponsorship. They offer diverse formulas adapted to any type of proposal, either with contributions to the activity (productions), sponsorship of dancers and Trainnee students and financing or contributions to face the investment of the Headquarters of the BNC.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Collaborating in the search for these needs is also a way of contributing, as well as proposing the project to potential sponsors. They are open to receiving proposals as they comment on their<b> <a href="http://catalunyaballet.com/fundacio-ballet-de-catalunya/dona-ns-suport/">website</a></b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
For our part, we are eagerly awaiting the Nutcracker, which will premiere on January 4 at the Kursaal Theater in Manresa and for which there is already more than half capacity sold. Tickets <a href="https://www.kursaal.cat/programacio/acte/el-trencanous"><b>here</b></a>.</div>
<div style="text-align: justify;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVMi1trvmUMzXdHEomdrCxo2NZ_IwhEfXZmJ9pt7jL5gNwpkVtHlvzZqKedspnAxEmrfR-2nyLfSi0vRZr_3DuXrTiPrrx5638EGuWkExsgQEPJnQMxNVVOhM3PVXhooqIbM-T-qHMZP0/s1600/_86Z4007+%2528Large%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVMi1trvmUMzXdHEomdrCxo2NZ_IwhEfXZmJ9pt7jL5gNwpkVtHlvzZqKedspnAxEmrfR-2nyLfSi0vRZr_3DuXrTiPrrx5638EGuWkExsgQEPJnQMxNVVOhM3PVXhooqIbM-T-qHMZP0/s320/_86Z4007+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Ballet de Catalunya in Paquita. Photo: Josep Guindo</td></tr>
</tbody></table>
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<div style="text-align: justify;">
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-27321213780344806562017-09-29T11:09:00.001-07:002017-09-30T00:58:12.705-07:00Collaboration between the Bolshoi Ballet Academy and the Italian city of Urbino<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSUEsKaeQodKLYvmfzWSM-5JM2g0shpSGjiWVnKD5wkNLGkFRNrpIw2kvZJrG32kMr_XDXpNZxFOp5z89fWYei-AkMxeBQlYnb7-i3HMtR_a3S3MdeuUMiWwgnjb9oVyyl8BaNs9gFerY/s1600/IMG-7200.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSUEsKaeQodKLYvmfzWSM-5JM2g0shpSGjiWVnKD5wkNLGkFRNrpIw2kvZJrG32kMr_XDXpNZxFOp5z89fWYei-AkMxeBQlYnb7-i3HMtR_a3S3MdeuUMiWwgnjb9oVyyl8BaNs9gFerY/s320/IMG-7200.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sila Avaakum taking pics of students of the Bolshoi Ballet Academy<br />
in the beautiful city of Urbino.</td></tr>
</tbody></table>
<div align="justify" class="western">
<br /></div>
<div align="justify" class="western">
The <b>Bolshoi Ballet Academy</b> of
Moscow chose for the second consecutive year the Italian City of
<b>Urbino,</b> World Heritage site of <b>Unesco</b>, to carry out its Summer Course. We learnt about this
collaboration and wanted to know more. We hope our readers will enjoy
this article as much as we did learning and writing about this
interesting initiative.</div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: inherit; text-align: justify;"><br /></span></div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: inherit; text-align: justify;"><span style="font-size: x-small;"><i>Carolina Masjuan</i></span></span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;">Some years ago I met <b>Francesca Bottacin</b>,
Doctor in Art History and Professor at <a href="https://www.facebook.com/pages/Universit%C3%A0-degli-Studi-di-Urbino-Carlo-Bo/638048526213921" target="_blank">Università
degli Studi "Carlo Bo"</a> of Urbino, thanks to the Summer
Course and Galas that <b><u><a href="https://ibstage.com/?lang=en">Ibstage </a></u></b>organizes each August in Barcelona. </span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSaybribpsG-AVZ2t_LoiSTDstj8BIwyNAU-9Qad4jdSxXTdVk4gUcZxi09Bh1dUZncrGsc2Gixx0adGjYC1gfx2flloWtwWNg5W3lNSynW-Pb7OrOGySU5C7oJWHCs1EXoxKdXinAq1s/s1600/20045435_1501473333208506_6225448860001421904_o.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1060" data-original-width="1600" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSaybribpsG-AVZ2t_LoiSTDstj8BIwyNAU-9Qad4jdSxXTdVk4gUcZxi09Bh1dUZncrGsc2Gixx0adGjYC1gfx2flloWtwWNg5W3lNSynW-Pb7OrOGySU5C7oJWHCs1EXoxKdXinAq1s/s320/20045435_1501473333208506_6225448860001421904_o.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Francesca Bottacin, Vilberto Stocchi, Luciana Savignano<br />
Emanuele Burrafato. Photo by Paolo Bianchi</td></tr>
</tbody></table>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;">She was giving lectures to the talented
students following this course that during three weeks gathers the
most relevant dance teachers: <b>Anna Maria Prina, Piotr Nardelli, Elías
García, Xiomara Reyes</b>, … impossible to mention all of them
(please find link <a href="https://ibstage.com/faculty/"><b>here</b></a>),
finishing with two outstanding Galas with ones of the best
dancers in the world such as <b>Daniil Simkin, Marianela Nuñez, Vadim
Muntagirov, Alicia Amatriain, Lucía Lacarra, Anastasia Limenko,
Evgenia Obratzova, Kimin Kim, Gonzalo García, Ashley Bouder,
Tiler Peck</b>, and a never ending list of the very best...</span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;">So, we had the chance with Francesca to
share thoughts and talk about our passion. When she explained me
about the Bolshoi Academy course in Urbino, I immediately felt
interested to know more. And at the end it seemed to me that it would
be worth to write an article and share it in our web Ballet y más.</span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;">For two consecutive years the famous Academy
of Dance of the Bolshoi of Moscow chose the Italian city of Urbino as
the venue for its summer courses. This year they were present in
the city from 17 to 28 July.</span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5-ZXOIpeHpz4PG_VYP2BXk1ni3mUXdp_Q-1Udpl-d8VxTtm29EkPdWA5PqFX6kWvq-Gc1NKiyExleqHIW0oer7R-k9u55ecLZC2mZgtiPgwsAyKenAlavmwrJF52bBdlKfhQuDbvKzik/s1600/IMG-7190.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5-ZXOIpeHpz4PG_VYP2BXk1ni3mUXdp_Q-1Udpl-d8VxTtm29EkPdWA5PqFX6kWvq-Gc1NKiyExleqHIW0oer7R-k9u55ecLZC2mZgtiPgwsAyKenAlavmwrJF52bBdlKfhQuDbvKzik/s320/IMG-7190.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sila Avvakum making a photograph<br />
of a ballerina in Urbino.</td></tr>
</tbody></table>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;">This year, the City of Urbino, together with the
<b>"Carlo Bo" University </b>and its spin off <b>Lingua Ideale,</b>
Italian language center and culture for foreigners, in synergy
with the <b>Russian Ballet International,</b> wanted to enrich this
initiative with further cultural content involving the whole city,
with the aim of enhancing the prestigious presence of the
Academy of Moscow and its pupils from all over the world.</span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;">Monday July 17, in the meeting room of Palazzo
Ducale (formerly the Winter Garden) to inaugurate this second edition
of the Bolshoi summer school and to welcome the dancers, there was an
exceptional guest: the étoile of the<b> Scala</b>,<b> Luciana Savignano</b>, who
also trained at the Bolshoi and who presented her biography
"L'eleganza Interiore" (<b>Gremese Editore</b>, Rome) on the
occasion of this venue. To present the book, together with the
author, was the dancer and historian of dance <b>Emanuele Burrafato</b>.</span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;">The conference was introduced by <b>Irina Pyatkina</b>,
who was étoile of the Bolshoi and currently is a teacher at the
Academy and <b>Honored Artist of the Russian Federation</b>.</span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;">For official greetings, there was present <b>Vilberto
Stocchi</b>, rector of "Carlo Bo", <b>Maurizio Gambini</b>, Mayor of
Urbino, and <b>Vittorio Sgarbi,</b> famous italian Art Critic. The
meeting was coordinated by Francesca Bottacin as scientific director
of project and <b>Dmitry Povolotzky </b>from Bolshoi Ballet Academy and Director of Russian Ballet International.</span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA5U0eNSUt0tL05phBQlLNfgCgIxlySMlTVs0psyVf71EVORi4oAm-7jnPTn7MrZqFYaeZRV9WyvTQD4E4fHPUOVgY0j0b0Z0mLaa4b00CZUiw0uL6OfRc_MBJHuybioXJeNu6abYFIjA/s1600/20413968_1509797055709467_3479814457438043285_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA5U0eNSUt0tL05phBQlLNfgCgIxlySMlTVs0psyVf71EVORi4oAm-7jnPTn7MrZqFYaeZRV9WyvTQD4E4fHPUOVgY0j0b0Z0mLaa4b00CZUiw0uL6OfRc_MBJHuybioXJeNu6abYFIjA/s320/20413968_1509797055709467_3479814457438043285_o.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sila Avvakum shooting inside the theather in Urbino.</td></tr>
</tbody></table>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="western" style="text-align: justify;">
<b>Monica Ruggeri</b>, as responsible for cultural activities and events of Lingua Ideale, also took part in the initiative as it also did Counselor <b>Marianna Vetri</b>, who has believed in this project because of the high cultural value it brings to the city and at the University of Urbino and who followed with enthusiasm its realization.</div>
<div class="western" style="text-align: justify;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_Lk_5kmHqUT1ZEsM9UusHZN-MdhrQiYwMUtw80FkwOlUoIjkdzoFUzyt0oNSTb79sPOLwSPLf_3w0oYwJQtovpo6VGF61sfQRaj3KKOVE7m0ZDqLlivt3_xYztQ2drQXl6P7JCalkzRk/s1600/20157186_1501471946541978_9125558744511913937_o.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1060" data-original-width="1600" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_Lk_5kmHqUT1ZEsM9UusHZN-MdhrQiYwMUtw80FkwOlUoIjkdzoFUzyt0oNSTb79sPOLwSPLf_3w0oYwJQtovpo6VGF61sfQRaj3KKOVE7m0ZDqLlivt3_xYztQ2drQXl6P7JCalkzRk/s320/20157186_1501471946541978_9125558744511913937_o.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Vilberto Stocchi, </span><span style="font-size: 12.8px;">Emanuele Burrafato, </span><span style="font-size: 12.8px;">Luciana Savignano,</span><span style="font-size: 12.8px;"><br /></span><span style="font-size: 12.8px;">Maurizio Gambini, Francesca Bottacin, Irina Pyatkina and </span><br />
<span style="font-size: 12.8px;">Dmitry Povolotsky. Photo by Paolo Bianchi</span></td></tr>
</tbody></table>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;">As presented during the inauguration ceremony,
interesting activities took place in this edition: the presence
in the city of the famous Russian dance photographer </span><b style="font-family: inherit;">Sila
Avvakum</b><span style="font-family: inherit;"> and the new collaboration between Bolshoi Ballet Academy
and </span><b style="font-family: inherit;">FIMA </b><span style="font-family: inherit;">(organizer of the Festival of Ancient Music of Urbino)
carried out with the participation of the </span><b style="font-family: inherit;">National Gallery of the
Marche</b><span style="font-family: inherit;">.</span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;">As far as Sila Avvakum participation is concerned,
it has to be outlined the Dance Photography Exhibition of her work;
Sila being the official photographer of both the <b>Stanislavskij
</b>(before in <b>Mariinsky</b>) and Ibstage. Urbino, the amazing city with
such a great cultural heritage was the perfect environment to
appreciate her shots. Sila herself was truly moved to see her
photographs on those palaces, gardens or theaters, especially in
wonderful painter <b>Rafael </b>birthplace.</span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;"><span lang="es-ES">Please find a
link to a <a href="https://www.youtube.com/watch?time_continue=1063&v=jPdCTxkhg20"><b>video</b></a></span><b> </b><span lang="es-ES">where you can learn more about and watch a bit of
the wonderful spectacle gathering dance and live antique music. A
gem. </span>
</span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;"><span lang="es-ES"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf5StckrN4DbYMRIps_FA0eCW-RYCZOhy86g2Oo0YRtH4t9XiL_M2zQAg51kIlwnLqABlol6j5YdQhGgkd70O7lmhGT_yAIXPe6EXe7ShUGMSjDFZw8FQzebhjP1OUUCcgSKBYl7X8IEg/s1600/20280603_1510520732303766_7987813937013556680_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf5StckrN4DbYMRIps_FA0eCW-RYCZOhy86g2Oo0YRtH4t9XiL_M2zQAg51kIlwnLqABlol6j5YdQhGgkd70O7lmhGT_yAIXPe6EXe7ShUGMSjDFZw8FQzebhjP1OUUCcgSKBYl7X8IEg/s320/20280603_1510520732303766_7987813937013556680_o.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sila Avvakum and students of the Bolshoi Dance Academy<br />
Summer Course inside the house where Rafael was born in Urbino.</td></tr>
</tbody></table>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="western" style="text-align: justify;">
<span style="font-family: inherit;">When a city,
its citizens, are truly interested on Art and the cultural
organizations on it share this passion, then great things can be
accomplished. We congratulate everybody involved on the organization
of such an event and encourage others to follow this example. </span></div>
<div class="western" style="text-align: justify;">
<span lang="es-ES"><span style="font-family: inherit;"><br /></span></span></div>
<div class="western" style="text-align: justify;">
<span lang="es-ES"><span style="font-family: inherit;"><br /></span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-51070939552896047672016-09-06T08:52:00.000-07:002016-09-07T11:20:25.004-07:00Ibstage 2016: The consolidation of a magnificient project<div align="justify">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX2qCDqRFTFkWv55PtdbPIyHrG0l213Emx49mkeyqZ08TxCbFNroBrtS7TtqhDJHXQA-v6lCOuXPVq1GWy5FW_aFihXCxmFpZbNTRAMuPIR1QU15FdXDhVlFTDgpPPjMnxWhOOHIGbmKQ/s1600/IMG-20160903-WA0008.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX2qCDqRFTFkWv55PtdbPIyHrG0l213Emx49mkeyqZ08TxCbFNroBrtS7TtqhDJHXQA-v6lCOuXPVq1GWy5FW_aFihXCxmFpZbNTRAMuPIR1QU15FdXDhVlFTDgpPPjMnxWhOOHIGbmKQ/s320/IMG-20160903-WA0008.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ibstage Students after Paquita Suite at el Liceu.<br />
Foto: Josep Guindo</td></tr>
</tbody></table>
<br />
Another <b>Ibstage </b>edition took place in Barcelona
and again it has been a great success of participation. For three
weeks, around hundred and sixty young students from twenty
nationalities, have followed the classes of some of the best teachers
from the most recognized international schools. At the end, they
danced in two galas with some of the most acclaimed ballet stars, in
a <b>Liceu </b>with almost no seats available.</div>
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<span style="font-size: x-small;"><i><br /></i></span></div>
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<span style="font-size: x-small;"><i>Carolina Masjuan</i></span><br />
<span style="font-size: x-small;"><i><br /></i></span>
<span style="font-size: x-small;"><span style="font-size: small;">As in previous editions, the holiday month par excellence has forced many vacationers to return a few days in Barcelona to enjoy this unparalleled event. Three weeks of classes and open rehearsals with free attendance at the </span><b style="font-size: medium;">Institut del Teatre</b><span style="font-size: small;"> and two Galas of the highest level at the Liceu, have called for ballet-addicts who took advantage of such an opportunity.</span></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia-YPC1CAy30FxxxeOdSaeWDfRH2fbgL9Ud1wl8ESbUkstpx2dxDp4q0Of31X5ardA2MsfoaWT6YfWoLA2GSCtgG52a_uX1Xr3dtfRhxatltTGUuk5wpRNIr-hGTCp-_r0x_V1MoSoNik/s1600/_A2B4474+%2528Large%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia-YPC1CAy30FxxxeOdSaeWDfRH2fbgL9Ud1wl8ESbUkstpx2dxDp4q0Of31X5ardA2MsfoaWT6YfWoLA2GSCtgG52a_uX1Xr3dtfRhxatltTGUuk5wpRNIr-hGTCp-_r0x_V1MoSoNik/s320/_A2B4474+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vadim Muntagirov and Daria Klimentova<br />
Foto: Josep Guindo</td></tr>
</tbody></table>
We spoke with <b>Leo Sorribes,</b> Ibstage director, along
with <b>Xiomara Reyes </b>and<b> Elías García </b>(art directors) and he told us
that Ibstage is consolidating thanks to the increased support they
are receiving and to the interest of prestigious schools such as
<b>Royal Ballet, English National Ballet, JKO</b> in the USA,... who
recommend their students to follow these courses in Barcelona. Many
students also come from Japan and Italy and a still small percentage
of Spaniards, around 35%.</div>
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<br /></div>
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"In addition we can speak of a “IBStage
audience” as tickets were almost sold out. We calculate an
occupancy close to 90%" tells Leo and he keeps on "for next
year my dream is that we can have live orchestra in the Galas."
It also should be noted that dance schools have promotions of 40%
discount for good locations in different areas of the Liceu for
teachers and local students to not have to miss the show for economic
reasons.</div>
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<br /></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilaJKIq1q8Af4ux4h-ZN55lQFFjcvpx5TVic3vYeMo8ERa1tL2oZOK0F2iJTiPZHQfmOFKZrSl25xZZUDwHlr-7Hmetzwd-M_3YeeALEMbtISUwQeNjci0XMDqIQn2QzmvSx2miYebmv8/s1600/_A2B2422+%2528Large%2529.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilaJKIq1q8Af4ux4h-ZN55lQFFjcvpx5TVic3vYeMo8ERa1tL2oZOK0F2iJTiPZHQfmOFKZrSl25xZZUDwHlr-7Hmetzwd-M_3YeeALEMbtISUwQeNjci0XMDqIQn2QzmvSx2miYebmv8/s320/_A2B2422+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Students of Ibstage in Paquita.<br />
Foto: Josep Guindo</td></tr>
</tbody></table>
But Ibstage isn't only about ballet classes taught
by the best teachers of the best schools, it is also a platform for
many of its participants to find contracts with companies such as
<b>Houston Ballet (Samuel Rodriguez), Royal Ballet (Maria Luisa Ishida),
</b>or <b>American Ballet (Paulina Gaski</b>) the three winners of the 2015
Ibstage awards. This year we already can mention the young <b>Jarod
Curley </b>who will join the ranks of the American Ballet.</div>
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<br /></div>
<div align="justify">
In addition to the many scholarships offered
either by the Ibstage itself and by its sponsors, mainly the Banco de
Sabadell, other opportunities are given. <b>Jan Spunda </b>and <b>Kyono Chantal
Morin</b> winners of the Junior OWPD Prize "On Stage With a
Principal Dancer" will dance a pas de deux in the next year
Galas. The main OWPD prize went this year to the Italian young dancer
<b>Gloria Benaglia</b>. She will return next year and will share the stage
at the Liceu with one of the great guest dancers.</div>
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<br /></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFO2uzegSRmf6p2YexmUvlUp5co7Wwa98ITNobh6J4IwtVbRIRldj18351Uo0BcN_bBFqUaqxO5YjJ_2cr4jl365yfA15S6_E0-DFvlTylYueG_xZcvgv-Rark19hXn7-ki86AINebRe4/s1600/_86Z4418+%2528Large%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFO2uzegSRmf6p2YexmUvlUp5co7Wwa98ITNobh6J4IwtVbRIRldj18351Uo0BcN_bBFqUaqxO5YjJ_2cr4jl365yfA15S6_E0-DFvlTylYueG_xZcvgv-Rark19hXn7-ki86AINebRe4/s320/_86Z4418+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Andrey Ermakov and Oksana Skorik.<br />
Foto: Josep Guindo</td></tr>
</tbody></table>
Regarding the Galas, it is absolutely fantastic to
see all these stars sharing the stage with students. Their generosity
and the magnificence of their art are an example and an encouragement
for the new generations that are coming up.
</div>
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<br /></div>
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Meanwhile, the young dancers learn the
choreography with the possibility to dance different fragments in
which everyone can participate. It is very clever and also very
original the way the participation of the guests and the suite of the
classical ballet are structured for the Galas. Also an educational
talk about the ballet "Paquita" which was the one
represented in this edition, was given by Professor of Art History at
the <b>University of Urbino, Francesca Bottacin</b>.<br />
<br />
It has been a plus for
the students who were able to learn of it and also helped them to get
more involved in the role. Five pianists in total, <b>Roberto Infiesta,
Ismael Elberdei, Carlos Silva, Rocio Sevares, Oscar Machancose </b>were
responsible for ensuring the accompanying music during classes.</div>
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<br /></div>
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The young dancers opened the Gala with the usual
<i>Défilé</i>, choreography by Elías García and music by <b>Anatole Liadov</b>.
It's always exciting to see them appear as professionals despite his
youth and all the Liceu getting embroiled by their enthusiasm and
excitement. The climax of the second part arrives with the <b>Paquita
</b>suite, choreography by <b>Marius Petipa</b>, music by <b>Edouard Deldevez </b>and
<b>Ludwig Minkus </b>with adaptation and staging of Elias Garcia, Xiomara
Reyes and <b>Rinat Imaev</b>.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQkS6YBogzRdpAWB0I3SvQWoSoO47-JtzaVcYU9PO5PZ_ZVI0CnsFhfoW_s7Zot9clDfOgKtekFumASfLOXqS9B30oE40mXI65EFes-5Vs1AvNEVJ2PYYCGSkarJKubQIgD8uG8MnbnyE/s1600/_A2B3892+%2528Large%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQkS6YBogzRdpAWB0I3SvQWoSoO47-JtzaVcYU9PO5PZ_ZVI0CnsFhfoW_s7Zot9clDfOgKtekFumASfLOXqS9B30oE40mXI65EFes-5Vs1AvNEVJ2PYYCGSkarJKubQIgD8uG8MnbnyE/s320/_A2B3892+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Steve McRae and Iana Salenko.<br />
Foto: Josep Guindo</td></tr>
</tbody></table>
<br />
The participations of the young dancers were marked
by their technical skills and enthusiasm. The level of the guys was
really great and among the girls we can mention <b>Alexandra Urcia</b> who
leaded the series of <i>fouetés </i>at the <i>Grand Final</i>, alternating simple and double <i>fouetés</i> with other ballerinas joining her up to the
conclusion of the series. The extremely musical and delicate young
Italian, Gloria Benaglia (winner of OSWPD) that captivated us in her
solo in the Adagio and also the charming little dancer, <b>Sarai Omi</b>.
However it is very difficult and unfair to talk about students
because honestly every one deserves a mention. Please find the
complete list at the end of the article of those who performed at the
Gala, as they all should receive our gratitude for these two evenings
of good ballet.</div>
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<br /></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCj6ZYqlcIBlIHYpMR6P69bDSi4LZIyEIqQAr8nmSj0FhAjDZeLcB1fpCBDN2DcWD2YOLkpMoL9f2MDpUfjEQea3R9pT18DsUYg6dXwccWt7SIWbDtDkK_rsfbS01HgzRN0GwvA8lGs8U/s1600/_86Z4855+%2528Large%2529.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCj6ZYqlcIBlIHYpMR6P69bDSi4LZIyEIqQAr8nmSj0FhAjDZeLcB1fpCBDN2DcWD2YOLkpMoL9f2MDpUfjEQea3R9pT18DsUYg6dXwccWt7SIWbDtDkK_rsfbS01HgzRN0GwvA8lGs8U/s320/_86Z4855+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ada González and Xander Parish.<br />
Foto: Josep Guindo</td></tr>
</tbody></table>
And if when talking about ballet "sublime"
is often a word that comes to mind, I can not imagine right now a
better example to represent this than the performance of <b>Ada González
</b>as <i>Giselle</i>. Ada is one of many Catalan dancers forced to emigrate.
After training at the <b>Centre de Dansa de Catalunya</b>, Ada began his
career in the <b>Ballet of Sibiu</b>, Romania, where the following year she
was already Principal, dancing all the leading roles of the classical
repertoire. Now she will join the main company in Romania, the
<b>Bucharest National Opera</b>.</div>
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<br /></div>
<div align="justify">
Ada thrilled the Liceu audience with a wonderful
<i>Giselle </i>in the <i>Pas de deux</i> of the second act, which requires a
mastery of technique while a sensitive and emotional interpretation.
Her partner was the handsome <b>Xander Parish </b>Principal at the <b>Mariinsky
</b>and both achieved that many of us found ourselves with nearly tears
in our eyes while applauding enthusiastically.</div>
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<br /></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8heiGdPgBC4UM8-WteMaHEtAfRTjk8TWNXGuxeRGyGxAUXbBZ9molbK94KEvobgfcMziyWMVq_MDaQDUpy5ObY2Kh6eOYfCbzfOCZROqP2i7vHqbJBCnNR2yN8rUvywyvJP9RNsvVGcg/s1600/_A2B4597+%2528Large%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8heiGdPgBC4UM8-WteMaHEtAfRTjk8TWNXGuxeRGyGxAUXbBZ9molbK94KEvobgfcMziyWMVq_MDaQDUpy5ObY2Kh6eOYfCbzfOCZROqP2i7vHqbJBCnNR2yN8rUvywyvJP9RNsvVGcg/s320/_A2B4597+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Larisa Lezhnina and Juanjo Arqués.<br />
Foto: Josep Guindo </td></tr>
</tbody></table>
The Spaniard <b>Juanjo Arques </b>and Russian<b> Larisa
Lezhnina </b>contributed with the most contemporary piece, the <i>Pas de
deux </i>of <i>Black Cake</i> by <b>Hans van Manen</b>, choreographer they both know
well because of their links with the <b>HET Nacional Ballet</b>. With music
by <b>Stravinsky </b>"Story of a Soldier" it was a delight to know
more about this choreographer that is not often seen here and to be
able to appreciate his work by means of these two great performers.
The response of the audience confirmed the success it was to include
this fragment in the Gala.</div>
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<br /></div>
<div align="justify">
As for the other proposals, we must speak of high
voltage wit the <i>Black Swan</i> of Australian <b>Steve McRae</b>, Principal at
the Royal Ballet and the Russian ballerina, <b>Iana Salenko</b>, currently
principal at <b>Ballet of the Berlin Opera</b>; The <i>Corsair </i>of <b>Oksana Skorik
</b>and <b>Andrei Ermakov</b>, who also danced <i>Scheherazade</i>, choreography by
<b>Agrippina Vaganova</b> and music by <b>Riccardo Drig</b>o, on Sunday and the
<i>D.Q. </i>of <b>Daniil Simkin</b>, principal of ABT and very loved and admired at
the Liceu, where he has danced in several occasions, including last
year Gala of IBStage, and the young Russian ballerina <b>Tatyana Melnik</b>
star at the <b>Hungary Opera Ballet</b>.
</div>
<div align="justify">
<br /></div>
<div align="justify">
Her <i>Kitri </i>variation in the coda surprised to be
different to what we are used to and delighted us. Her entrance with
its liveliness, her balances and <i>fouetés </i>with fan where really
outstanding. Some <i>Pas de Deux </i>we usually see in Galas but each one
bringing its distinction and unanimously celebrated by an audience
completely captivated.</div>
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTN_HrrRhy9TFAataSrXQkbzGlnAHZDkctXla6enIFKJNu-NgKEBSEFHV0GauezEBsYYR1_8ysTMabHKlsvdMy0FO0wMKHTnoTAlfo0Q4-qhWHsYDEhpP8BAvxQ5JmwG19vb47KyaO8rc/s1600/tanya+melnik.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTN_HrrRhy9TFAataSrXQkbzGlnAHZDkctXla6enIFKJNu-NgKEBSEFHV0GauezEBsYYR1_8ysTMabHKlsvdMy0FO0wMKHTnoTAlfo0Q4-qhWHsYDEhpP8BAvxQ5JmwG19vb47KyaO8rc/s320/tanya+melnik.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tatyana Melnik. Foto: Sila Avvakum</td></tr>
</tbody></table>
<br /></div>
<div align="justify">
The masterpiece it is <b>Balanchine's </b><i>Tchaikovsky PDD
</i>amazed us by the musical and charming <b>Lauren Curbhertson</b> Principal at
the Royal Ballet, who on Saturday also offered us the PDD of the third act of
<i>Sleeping Beauty </i>with Xander Paris. <b>Vadim Muntagirov</b>, currently principal of the Royal Ballet, once again delighted us with his high and elegant dance, either as a partner of Laureen in <i>Tchaikovsky PDD</i>, and with <b>Daria Klimentova </b>who was his usual partner at the English National Ballet, in <i>Mashkovsky Waltz.</i></div>
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<br /></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3_Zp-WBHtf3jAsUTYWjLJXoub4BC2wKZoELZXSdlYBoS1nVV14_kJiwDA-cqoILy1gir2Fw1fWuyHQylGZmoCcDrpZQm6HITEOyBZfFj3EcTso_yjHdtA-zc6kc5WdqiweX8p00DdHn0/s1600/_A2B4972+%2528Large%2529.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3_Zp-WBHtf3jAsUTYWjLJXoub4BC2wKZoELZXSdlYBoS1nVV14_kJiwDA-cqoILy1gir2Fw1fWuyHQylGZmoCcDrpZQm6HITEOyBZfFj3EcTso_yjHdtA-zc6kc5WdqiweX8p00DdHn0/s320/_A2B4972+%2528Large%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Steve McRae. Foto: Josep Guindo</td></tr>
</tbody></table>
This piece with choreography by <b>Vasilij Vainonen</b> and music by
<b>Maurice Moszkowski</b>, is a magnificent and unknown work for most of us, with
spectacular jumps and lifts while very musical. It has been very
loved by an audience completely dedicated. Daria, also present in other editions of Ibstage was a Principal at the English National Ballet and she is currently a teacher at the Royal Ballet School.<br />
<div align="justify">
</div>
</div>
<div align="justify">
<br /></div>
<div align="justify">
Two exciting solos completed the participation of
the guest stars: Iana Salenko was wonderful as the <i>Dying Swan.</i>.. what
an arms and what an interpretation! She left us speechless.. and
Steve McRae returned with overflowing energy with his solo of tap
dancing, <i>Something Different</i>, choreographed by himself with Tap
music. Fan of this discipline after having had to learn it because of
the role created for him by <b>Christopher Wheeldon</b> in <i>Alice in
Wonderland</i>, he was spectacular and the Liceu response was truly
passionate.</div>
<div align="justify">
<br /></div>
<div align="justify">
Paulina Waski who won the 2015 OSWPD Prize, could
not enjoy the opportunity to share stage with a Principal Dancer in
Galas, as she had a contract with the ABT and these days the American
company was in Paris, invited by the <b>Paris Opera Ballet,</b> to dance at
the <b>Bastille </b>the <b>Alexei Ratmansky</b>'s <i>Sleeping Beauty</i>, in which she
already has a solo, the <i>Sapphire Fairy</i> variation.</div>
<div align="justify">
<br /></div>
<div align="justify">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg558xSC0eYDLselg8bkccPVvT8bgC6r-UzwLLRha_n3JhAaF3QFSuHAinlq6gy9OsWryqcly9m8HHT2OQJ6vwnmG4lMFLNLEPJ58d-cAr_8eS1RR0F8k9kIMtlD0qDBrVieZQuGTl8Okc/s1600/Sila+Daniil.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg558xSC0eYDLselg8bkccPVvT8bgC6r-UzwLLRha_n3JhAaF3QFSuHAinlq6gy9OsWryqcly9m8HHT2OQJ6vwnmG4lMFLNLEPJ58d-cAr_8eS1RR0F8k9kIMtlD0qDBrVieZQuGTl8Okc/s320/Sila+Daniil.JPG" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Daniil Simkin. Foto: Sila Avvakum</td></tr>
</tbody></table>
And we can not forget to mention the Liceu audience.
The audience of the IBStage Galas was there because they love dance,
an art they respect, they value and because they form a community
very grateful to have such a unique opportunity in Barcelona and
probably all over the word, to enjoy in a single show the dance of
some of the greatest stars worldwide, together with passionate and enthusiastic young talents who are called to be the
stars of the future. Each and every one of the attendees was truly
moved and excited and demonstrated their feelings by a warm
acclaim.</div>
<div align="justify">
<br /></div>
<div align="justify">
Moreover, thanks to the Visual Producer, <b>Carmen
Tanaka</b>, the Galas could be seen live worldwide in streaming with a
total participation of about 12,000 people. From these recordings two
DVD's will be available shortly.</div>
<div align="justify">
<br /></div>
<div align="justify">
A perfect show from start to end for two evenings
to never forget. Ibstage, we are looking forward to seeing you next
year!!!</div>
<div align="justify">
<br />
<br /></div>
<div align="justify">
<u>GENERAL INFO</u></div>
<div align="justify">
<span style="color: navy;"><u><a class="western" href="http://ibstage.com/"><span lang="en-US">http://ibstage.com/</span></a></u></span><span lang="en-US"> </span></div>
<div align="justify">
7 editions from which 4 in Barcelona.</div>
<div align="justify">
1.093 participants in total</div>
<div align="justify">
23 Nationalities</div>
<div align="justify">
94 Teachers</div>
<div align="justify">
<br />
<u>Sponsors 2016</u></div>
<div align="justify">
Fundació Banc de Sabadell. Yumiko. Autocars
Pujol. Hoel Vilamarí. Restaurant THAI Barcelona y Elx.</div>
<div align="justify">
<br /></div>
<div align="justify">
And with the support of : Grand Teatre del
Liceu. Diputació de Barcelona. Institut del Teatre. Generalitat de
Catalunya (Departament de Cultura). Ajuntament de Barcelona.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ0GYIyavdt6uIXKockogBL11plkWw1RqUqLrr0rx5U2GKCxo1u0ed76CPqnRm9G7jtpsPEAkA3jawUEyzxONCg2h1A9Ra3R6UpYTJPL9BMTIb0dcWGE9GJYnMXv8FyxhObMmu4LfjqXQ/s1600/IMG-20160903-WA0006.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ0GYIyavdt6uIXKockogBL11plkWw1RqUqLrr0rx5U2GKCxo1u0ed76CPqnRm9G7jtpsPEAkA3jawUEyzxONCg2h1A9Ra3R6UpYTJPL9BMTIb0dcWGE9GJYnMXv8FyxhObMmu4LfjqXQ/s320/IMG-20160903-WA0006.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ibstage students, Guests Stars and Ibstage Directors <br />
at el Gran Teatre del Liceu after the Gala.<br />
Foto: Josep Guindo</td></tr>
</tbody></table>
..............................................................<br />
<br /></div>
<div align="justify">
<u>Students of the 2016 edition who participated at the Liceu Gala</u></div>
<br />
AIRI FATJó<br />
AKARI SHIBAMOTO<br />
ALBERTO MORALES PéREZ<br />
ALEJANDRO
POLO<br />
ALESSANDRO CAVALLO<br />
ALEXANDRA VERONESE<br />
ALEXANDRA
URCIA NUNURA<br />
ALICIA SEDEñO ALCáNTARA<br />
ANA FABREGAT ARAEZ<br />
ANITA
WOLLEB<br />
ANNA PUJOL<br />
ANNA YEH<br />
AVA QUINN HILZENDEGER<br />
CARLOS
LóPEZ MUñOZ<br />
CATERINA BROWN<br />
CATO WILLIAM BERRY<br />
CELIA
THOUMASSIN<br />
CHIH-YING CHEN<br />
CHRISTINA HENARES<br />
CLàUDIA GIL
CABúS<br />
DáNAE RICO ABAD<br />
DANIELE ARRIVABENE<br />
ELLA
KULICKI<br />
ELOISE HAZLEWOOD<br />
EMILY SAMUEL<br />
EMMA PLESNIKOVA<br />
ESTELA
COLL PORTELL<br />
FEDERICA BERTANI<br />
FLAVIA MORANTE<br />
GABRIELLE LA
MURA<br />
GILLES DELELLIO<br />
GINEVRA ZAMBON<br />
GLORIA BENAGLIA<br />
GRETA
MANZATO<br />
HANNA VOGEL<br />
HéCTOR BOTO<br />
HéCTOR ORTEGA GONZáLEZ<br />
IAN
BULACK<br />
IRENE ESTEVEZ HERNANDEZ<br />
ISABEL VILA AGUIAR<br />
JAN
SPUNDA<br />
JAROD CURLEY<br />
JIACHEN SUN<br />
JOEL SELVA BENITO<br />
JOHN
MURPHY<br />
JúLIA MOLERO GODíNEZ<br />
JúLIA PAGèS<br />
KARLA GIOVANNA
MONTAñO HERNáNDEZ<br />
KYONO-CHANTAL MORIN<br />
LAIA RUIZ<br />
LAURA
TRABALóN<br />
LUCA RIGHI<br />
LUCIE RYSER<br />
LUCINDA STRACHAN<br />
MANAKA
KONO<br />
MAR SOLER ESCAFI<br />
MARíA ISABEL TRABALóN<br />
MARIASOLE
MEGGI<br />
MARIONA MORANTA CAPLLONCH<br />
MARTIN NUDO<br />
MATTEO
GARATTONI<br />
MATTEO VENTURINI<br />
MAX AZARO<br />
MICHELLE LEBOWSKI<br />
MINA
SOPHIA SCHüRER<br />
MIREIA REYES VALENCIANO<br />
MURIEL BERMEJO<br />
NICOLáS
ALCáZAR SANCHEZ<br />
NINA BOTTACIN<br />
OKADA RISAKO<br />
PABLO
GONZáLEZ<br />
PALOMA BERJANO<br />
PAU PUJOL CASTIBLANQUE<br />
PAULA MATEU
BORRAS<br />
RENA TAKAHASHI<br />
REO MORIKAWA<br />
SAKI TANAKA<br />
SARA
BARBIERI<br />
SARA NATIVI<br />
SARAI OMI<br />
SHAY OTTOLENGHI<br />
SOANA
MADSEN<br />
SOFIA ALBERTA BIANCHINI<br />
SOFIA BIRAL<br />
SOFIA VERONESE
MILIN<br />
STEFANO MILIONE<br />
TAKUMA NAKANO<br />
VIRGINIA DELLA
BALDA<br />
VIRGINIA LENSI<br />
WILLIAM JACKSON BECKHAM<br />
ZOE BLISS
MAGNUSSEN<br />
<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-12273807976090057392015-04-26T08:01:00.000-07:002015-04-26T08:07:39.882-07:00Interview to Kazuko Omori<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIcSTIdwMd6ojGPHTpDqQxNfNjWnFmlgFJFBJkmGqxmillC-9_hJyx5nMPo31ASjXHyJrjVbH304m_kBkHCf3tT__h-Q8t3wHu1o-4PWMk64ObylU3-JGXb4dkCz96Wup-vhYGvXJz-2k/s1600/IMG_9268.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIcSTIdwMd6ojGPHTpDqQxNfNjWnFmlgFJFBJkmGqxmillC-9_hJyx5nMPo31ASjXHyJrjVbH304m_kBkHCf3tT__h-Q8t3wHu1o-4PWMk64ObylU3-JGXb4dkCz96Wup-vhYGvXJz-2k/s1600/IMG_9268.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kazuko Omori. Foto: Manuel de los Galanes</td></tr>
</tbody></table>
<div align="justify">
<span style="font-family: inherit;">Kazuko Omori has been an icon in Angel Corella's
company. She was with the troupe from the very beginning and she
remained up to their last performance in January this year. Settled
down in Barcelona, we have had the pleasure of interviewing her and
if as an artist we already admired her so much because of the quality
of her dance, her command of the technique but also and mainly
because of the way she reached the audience; behind the outstanding
artist, we discovered a very nice person, kind, simple and humble but
tenacious, strong and brave who completely captivated us.
</span></div>
<div align="justify">
<span style="font-family: inherit;"><br />
</span></div>
<div align="justify">
<span style="font-family: inherit; font-size: 10pt;"><i>Carolina
Masjuan</i></span></div>
<div align="justify">
<br />
<span style="font-family: inherit;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXlubqkzkb9lewUXPqbCBpy9bjES9NsCVXx39H197xQIpHcakaN2pI6eLhS01R_O_fAY7sjlTQ90oklQ7gy5iw1-ovwAIRUp46hvAUqN_Xb7xKOCIK4BrTr7dxhiZX8koWHWpuybwCGYI/s1600/_A2B1217+(Large).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXlubqkzkb9lewUXPqbCBpy9bjES9NsCVXx39H197xQIpHcakaN2pI6eLhS01R_O_fAY7sjlTQ90oklQ7gy5iw1-ovwAIRUp46hvAUqN_Xb7xKOCIK4BrTr7dxhiZX8koWHWpuybwCGYI/s1600/_A2B1217+(Large).jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kazuko in A+A. Corella Ballet. Foto Josep Guindo</td></tr>
</tbody></table>
</span><b style="font-family: inherit;">How did you become interested in dance</b><b style="font-family: inherit;">? </b><span style="font-family: inherit;">There was a dance school near home and my mother asked </span><span style="font-family: inherit;">me if I wanted to
see how it was, so we went and I liked this very much and said I
wanted to dance. I was four. As a child, I did not like the
discipline but I loved the skirts, the leotards and tutus and so
on... that yes!
I liked it
very
much!! I wanted to get my pointe shoes immediately and I was
disappointed when seeing this was not that way and that I would have
to wait for long </span><i style="font-family: inherit;">he,
he....</i></div>
<div align="justify">
<span style="font-family: inherit;"><i><br /></i></span></div>
<div align="justify">
<span style="font-family: inherit;"><b>Are there many differences in the conception of
dance between Japan and Europe? </b>I
think that in general,
the system and the way of working are similar, but in Japan we have
another culture, there is the Kabuki, the Noh theatre, ... and money
goes to enhance our culture more than to the dance which is not
something typical from our country. Companies do not get subsidies,
only the National Ballet gets aids and dancers have a salary, but
this is an exception.
</span></div>
<div align="justify">
<span style="font-family: inherit;"><br /></span></div>
<div align="justify">
<span style="font-family: inherit;">Take the Tokyo Ballet for instance and in general
all the other companies too, they get funds from their own schools
that use to have a lot of students. The incomes of the schools are
allocated to the company and even generally dancers pay to be able to
dance. Families finance that way the companies that can also have
private sponsors. In many cases, when families are not so wealthy, dancers collaborate in other ways, selling tickets, teaching ballet
or even they have another job as salesperson, waiters, etc... So, you
see, we complain here but in Japan it is much worse. There, being a
dancer is really vocational, because the sacrifice is huge. Although
in many cases, dancers come from wealthy families and for parents it
is a prestige that their children are dancers.
</span></div>
<div align="justify">
<span style="font-family: inherit;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkgklfsVddsI5QKSbcGYoa_NRpuLdDjgBxEm3R6n7cxIGGShnuupxgRCgzDICnKe8SswBY-Svq4eTbqTd6-hxa619dtmyPPTV3hTdspxb4_2NAjSgZS5BrGhiR0s33h7_aRX6bQP4e36k/s1600/IMG_9337.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkgklfsVddsI5QKSbcGYoa_NRpuLdDjgBxEm3R6n7cxIGGShnuupxgRCgzDICnKe8SswBY-Svq4eTbqTd6-hxa619dtmyPPTV3hTdspxb4_2NAjSgZS5BrGhiR0s33h7_aRX6bQP4e36k/s1600/IMG_9337.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kazuko Omori. Foto Manuel <br />
de los Galanes</td></tr>
</tbody></table>
<div align="justify">
<span style="font-family: inherit;"><b>What has been your career path</b><b>? </b>Since
I was four years old up to sixteen I was a student in Japan and when
I decided that I wanted to be a dancer I joined the Flanders Ballet
School.
I stood there for two years and then I joined the company for one
year. In Japan we work a lot, Saturdays, Sundays and bank holidays
and there are less holidays. </span></div>
<div align="justify">
<span style="font-family: inherit;"><br /></span></div>
<div align="justify">
<span style="font-family: inherit;">So I thought that in Europe I could
relax a bit more but it was not. In
Flanders we worked very much: classical dance, repertoire,
contemporary, pas de deux, jazz, character dances, Spanish dances…
furthermore I didn't know the language, we talked in English of
course, but I perceived that I didn't fit there and it was also quite
a hard time too.
</span></div>
<div align="justify">
<span style="font-family: inherit;"><br /></span></div>
<div align="justify">
<span style="font-family: inherit;">When I finished the school, I didn't get hired by
the company immediately and I did many auditions without any positive
result, but in June, when I thought that I would not get any
contract, there was a vacancy in Flanders Ballet and they offered me
to join. </span></div>
<div align="justify">
<span style="font-family: inherit;"><br /></span></div>
<div align="justify">
<span style="font-family: inherit;">But that environment was very closed, we all were from the
school and I didn't feel comfortable enough there so I decided to
leave. Again I started auditioning but again I found nothing and at
the end I left to Hong Kong.</span></div>
<div align="justify">
<span style="font-family: inherit;"><br /></span></div>
<div align="justify">
<span style="font-family: inherit;">I was offered a position at the Hong Kong Ballet
without even seeing me. Only with a video I got the contract, so I
was very happy and furthermore I was closer to Japan. I think it has
been a matter of good luck, my video came at the right moment and in
Hong Kong it is very easy to get a visa so I headed to and I stood
there for three years. But soon I realized that I was used to the
European style and that there it was really, really hard!! Like in
"Mao's Last Dancer" film! you know? It was so similar to a
military academy! (<i>laughs</i>), and in addition nearly all
people were Chinese, except the Manager, Stephen Jeffreys ex
principal dancer at the Royal Ballet and his wife, with whom things
were going on very well but the second manager had a total Chinese
mentality and the exigency both physical and mental, was nearly
inhumane.
</span></div>
<div align="justify">
<span style="font-family: inherit;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2iwSwWiij6xhVWtRKH1Utj-k3UUcyHmTBF_9sRwM_-6iubNDvq9Ae4miEAjr4gqpzfAPOCmL9uu42nqUfyneQw_H2eceiZWlV1xBbwiwFA08-XGOkXhtKwrM0lfAOb_LIhEBTUzMTb5I/s1600/IMG_0100.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2iwSwWiij6xhVWtRKH1Utj-k3UUcyHmTBF_9sRwM_-6iubNDvq9Ae4miEAjr4gqpzfAPOCmL9uu42nqUfyneQw_H2eceiZWlV1xBbwiwFA08-XGOkXhtKwrM0lfAOb_LIhEBTUzMTb5I/s1600/IMG_0100.JPG" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I na rehearsal with Herman Cornejo. <br />
Corella Ballet. Foto Fernando Bufala</td></tr>
</tbody></table>
<div align="justify">
<span style="font-family: inherit;"><br /></span></div>
<div align="justify">
<span style="font-family: inherit;">And as I was not Chinese and had trained in Japan
and Europe, I felt that I was not fully accepted, neither my way of
dancing. I got many injuries because it was about: 100% classes, 150%
rehearsals and 200% stage, non stop, not a single moment of relax, it
was incredibly hard... I coped with it for three years, most
Europeans do not resist a single year, it is too hard that discipline
and rhythm of theirs. But I have to recognize that I learned many
things, to be strong, to be patient, ... </span></div>
<div align="justify">
<span style="font-family: inherit;"><br /></span></div>
<div align="justify">
<span style="font-family: inherit;">At the end I collapsed, I went back home and being
twenty two l was thinking about my future and what to do and even if
I knew I was strong, I decided to take a year off and meditate about
my life, I still could study at the university and try other things. </span></div>
<div align="justify">
<span style="font-family: inherit;"><br /></span></div>
<div align="justify">
<span style="font-family: inherit;"> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghxf_JRBKPx6tKgxEh4PQQ5s1rH_BnvGcDFhlYXJHLSXqoxnLtj5rEcdOEB0J4UDA0aRBkoRme64aYZ7DibQwRKA41KThWk58AxbRopaMsLhtYvk0rJpcc5BpafphwbAnM-NpRYpTyhg4/s1600/51.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghxf_JRBKPx6tKgxEh4PQQ5s1rH_BnvGcDFhlYXJHLSXqoxnLtj5rEcdOEB0J4UDA0aRBkoRme64aYZ7DibQwRKA41KThWk58AxbRopaMsLhtYvk0rJpcc5BpafphwbAnM-NpRYpTyhg4/s1600/51.JPG" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">As <i>Nikiya </i>in a rehearsal with Natalia <br />
Makarova and with Ángel Corella as<br />
<i>Solor</i>. Foto: Rosalie O'Connor</td></tr>
</tbody></table>
</span>But after six months or so I came back to take classes and I was lucky enough to meet my teacher, the <span style="font-family: inherit;">Slovenian Leo
Mujic, ex dancer at Montecarlo Ballet and at the Forsythe Company and
also choreographer for the Berlin Ballet among others, who got to
advice me very well and who I respect very much as he has been a very
important person in my career. I remember the last thing he said
when I already was First Soloist at Corella Ballet: ”Do not
accommodate in your current position!”. I knew he was very happy
for me for all what I had achieved but he always pushes me and
encourages me, even if sometimes he seems to be somewhat harsh, I
know this is part of his esteem to me... so, these are topics that
are part of professional dancers life, one has to assume that there
is only with very hard work, always learning new things each day,
being open minded, that one keeps on making progress.... </span></div>
<div align="justify">
<span style="font-family: inherit;"><br /></span></div>
<div align="justify">
<span style="font-family: inherit;">But back to that time when I was deciding what to
do, he told me that I should prepare myself to go back to auditions.
I did that and I went to Germany as from there I could easily reach
many cities with dance companies, so it was a good place to stay to
try to have good luck. But there was always the same, I spent three
months doing auditions, public, private, and nothing at all. Then I
moved to New Zeeland and then to the USA but the style there was very
different, very fast steps and a rather different way of moving too.
I also made some auditions but at that moment I didn't fit there, so
I came back to Germany and Leo, my teacher in Japan, said: “you
have to decide what is the company you do really want to join””with
this mentality of yours that you have to accept whatever you get
offered, you can't look for a job!!” (<i>she laughs as she remember
this</i>) but it was not that easy, you could have an objective but
it didn't work... and I wanted a job allowing me to live from dancing.</span></div>
<div align="justify">
<span style="font-family: inherit;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH0HfvwbDoZ2ESCEOAGhBqJ0lWsin2WmO7lWiGh5o2IaY0fi3T02XyKmAKjriv7zyJ-FSIixn7tJTy2JfagdElGTGV2tcVmm4Gf88ZTzYJ4IkiZXu1crQ8Bt9JMmhNbZcBR8Fev2vWLDs/s1600/3535533.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH0HfvwbDoZ2ESCEOAGhBqJ0lWsin2WmO7lWiGh5o2IaY0fi3T02XyKmAKjriv7zyJ-FSIixn7tJTy2JfagdElGTGV2tcVmm4Gf88ZTzYJ4IkiZXu1crQ8Bt9JMmhNbZcBR8Fev2vWLDs/s1600/3535533.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Don Quijote with Ángel Corella</td></tr>
</tbody></table>
<div align="justify">
<span style="font-family: inherit;">And again more auditions and again no good luck at
all... but during this second season in Germany I had a friend in
Portugal who said me to go there to take classes and to see a small
company which director was a former dancer at the Gulbenkian Ballet,
César August Monis, who was doing some new works and so. I went
there and danced, even with no contract, in a project with his
company the Kamusua Ballet Company. In Portugal I met many people but
when the project ended I made more auditions but again with no
positive results and I went back to Japan.</span></div>
<div align="justify">
<span style="font-family: inherit;"><br /></span></div>
<div align="justify">
<span style="font-family: inherit;"><b>And how has it been that you came to Spain</b><b>?
</b>Then,
as I wanted to work, I
started in a publicity agency although I kept on taking ballet
classes. I was just starting to work there when a friend told me that
a dancer in Spain was looking for dancers for a project with the
Barcelona Liceu Opera House. He was George Birkadze (who later
on joined Corella Ballet where he met her wife the American dancer
Ashley Ellis, now Principal at Boston Ballet) but I couldn't join
immediately because I had signed a contract with the agency and I
said, maybe in two months or so... and after a certain time I asked
and they said there still was a place for me, so I headed to
Barcelona.</span></div>
<div align="justify">
<span style="font-family: inherit;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRoBtOcYb1NuHhNbRdVDUdX6iW8-l51XxSf3PEJdotX2SBmAGjiSPVQZsl3XjbeQWrFSiyM2DEEY-Rd830ddPZJoq0DHaIb7u12R3nMQFMv2HPbFjCVKpdoe6gVGI-wgbWddLdLmBb3Dg/s1600/IMG_9443.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRoBtOcYb1NuHhNbRdVDUdX6iW8-l51XxSf3PEJdotX2SBmAGjiSPVQZsl3XjbeQWrFSiyM2DEEY-Rd830ddPZJoq0DHaIb7u12R3nMQFMv2HPbFjCVKpdoe6gVGI-wgbWddLdLmBb3Dg/s1600/IMG_9443.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kazuko Omori. Foto: Manuel de los Galanes</td></tr>
</tbody></table>
</span>But when I arrived it was not, there was no job free.. Nevertheless, I stood to visit the city and think about <span style="font-family: inherit;">what should I do, furthermore, George felt a bit concerned because I had
travelled from so far away and he said he would help me to find a job, maybe at the Liceu or with the David Campos Ballet (a small company
in Barcelona). Those were possibilities so I stood... and then at the
Eulalia Blasi ballet school, while doing ballet classes... I happen
to meet Ángel Corella!! I already met him while going to the ballet
school, I introduced myself and we did the class together, he told me
about the tour he was preparing for Spain with some ABT dancers and
that a dancer, I think it was Erika Cornejo, who couldn't join and he offered
me her position.... So I started with the troupe with Ángel and from
there to his Company.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQU9JgKqHWqetjbQKzonNy-pNvOd0lFi6UD5Ll2mDaHV2mTWRU-e-KnFTUmu7yGcl0lFOxMPy-M7efPgX57W3N4vZobzDa2t6CASH4RHO8lw8nIkJtiRzey-Tj2-PQZKuIVwXuyYL8OmY/s1600/IMG_1591.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQU9JgKqHWqetjbQKzonNy-pNvOd0lFi6UD5Ll2mDaHV2mTWRU-e-KnFTUmu7yGcl0lFOxMPy-M7efPgX57W3N4vZobzDa2t6CASH4RHO8lw8nIkJtiRzey-Tj2-PQZKuIVwXuyYL8OmY/s1600/IMG_1591.JPG" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stanton Welch's Clear with Corella Ballet.<br />
Foto: Fernando Bufalá</td></tr>
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</span>In fact, I think there has always been as a kind of predestination with Ángel. When I was a student I happen <span style="font-family: inherit;">to met
him at the airport in Tokyo. I was extremely shy but I made the
decision to ask him for an autograph but as I had no paper I asked
him to shake hands with me instead. He did and I felt that this was a
very special moment, as a kind of sign that in the future we would
meet again and we would dance together. </span><span style="font-family: inherit;">I also think that even if during my stay in
Germany I got nothing, at the end it has been thanks to the people I
met there that I got that opportunity in Barcelona. A city that has
meant a lot in my life.</span></div>
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<span style="font-family: inherit;"><b>What are your memories of the beginning at
Corella's Company</b><b>? </b><b>Even unfortunately short, the
experience has been so exciting, at least for the audience, that you
know, we were absolutely enthusiastic and thankful for that great
adventure to which we participate</b><b>d</b><b> thanks to the
kindness and generosity of the company staff and dancers.. did you
also feel that magic? </b>I felt
that this was a dream, we all felt that project so ours and we saw
the illusion of the audience... it is incredible that such a so huge
achievement was left to disappear... mainly in Barcelona but
also in the entire Spain. One can not understand how, with a so great
talented dancers and a so devoted audience there is for ballet in
this country, this is not taken into account, it is really sad. I
will always be grateful to Ángel Corella to have allowed me to stay
in Spain and to have given me the chance to have those marvellous and
amazing experiences that have made me grow and hugely progress at
both personal and artistic levels.
</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiISzw4U7j0Q_PG1LUo6J5LEXVGFw1vrX1K85LAlL2tEanu6UWIiyGqJC4_nE-PMgKlxlHe7v4ITU6F5g8cX6j8Luc6C_hUyFuNgX1XNKDl7G72-zV-F7n1uIy6JVAWY-ZS5d_8_JQN8uw/s1600/_A2B9647+(Large).jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiISzw4U7j0Q_PG1LUo6J5LEXVGFw1vrX1K85LAlL2tEanu6UWIiyGqJC4_nE-PMgKlxlHe7v4ITU6F5g8cX6j8Luc6C_hUyFuNgX1XNKDl7G72-zV-F7n1uIy6JVAWY-ZS5d_8_JQN8uw/s1600/_A2B9647+(Large).jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A+A with Russell Ducker, Corella Ballet. Foto: Josep Guindo</td></tr>
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<span style="font-family: inherit;"><b>You have been one of the rare dancers that has
remained with the company up to the </b><b>end in</b><b> January this
year, from the very beginning.</b><b> </b><b>Did you </b><b>consider
any time </b><b>about the possibility of leaving</b><b>? </b>No,
never. That was really my place, I felt very well there, I felt full,
I felt great and that made me grow very much as an artist, and in
addition there was the variety of styles we danced: repertoire,
Balanchine, Neoclassical, contemporary, new works created for the
company,... that have meant so much to me, to my training and to
complete me. Now I feel I'm prepared and able to face any new
challenge at any company, in any continent.</span></div>
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<span style="font-family: inherit;"><b>Can we talk about something totally out from
the strictly artistic stuff? It is because there is something that I
have always found both surprising and nice and it is the huge amount
of couples there have been in the Corella Ballet... was the ambience
that good that love appeared everywhere?</b> (<i>Laughs</i>) I think
that at all Companies it is usual that some couples are formed, but
ours one has to think that it was located at La Granja, that very
small town where what can one do? It was so boring... At the
beginning it was ok but after a certain time it was all so
monotonous, Madrid was not that far away but the weather was awful
very cold and snowing, sometimes we even could travel, so it is
normal there wewre so many couples but yes! It is true that most of
them still are together, many even married (<i>Without taking into
account those who joined being already couples, we could count at
least eight new, so quite a good</i> <i>ranking</i>!!)</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvkG0HokxBLkUEuDATKS9GNu95BXF5Xarp2Ru7M25cev_2D02V94nQXplMwQjqIDc7bMMqs9ztWr2QXX0Rscni4oRYgFoCPs5uKX1aICeCqF9_Rgn723qYgmaZZxr5XZ53s4C9t2llK_E/s1600/3.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvkG0HokxBLkUEuDATKS9GNu95BXF5Xarp2Ru7M25cev_2D02V94nQXplMwQjqIDc7bMMqs9ztWr2QXX0Rscni4oRYgFoCPs5uKX1aICeCqF9_Rgn723qYgmaZZxr5XZ53s4C9t2llK_E/s1600/3.JPG" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A<span style="font-size: 12.8000001907349px;">s </span><i style="font-size: 12.8000001907349px;">Nikiya </i><span style="font-size: 12.8000001907349px;">in a rehearsal with Natalia </span><br />
<span style="font-size: 12.8000001907349px;">Makarova and with Ángel Corella as</span><br />
<i style="font-size: 12.8000001907349px;">Solor</i><span style="font-size: 12.8000001907349px;">. Foto: Rosalie O'Connor</span></td></tr>
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<b style="font-family: inherit;">Your case is also a bit special, isn't it? Do
you mind telling us about?</b><b style="font-family: inherit;"> </b><span style="font-family: inherit;">I met Roberto because he rented
me a flat when I just arrived in Barcelona. As I had an open ticket
for three months, instead of staying at a hotel or a hostel I decided
to settle down and this was how we met. Roberto had lived two years
in Japan and although he didn't talk the language when he was there,
he studied it in Barcelona and now he can speak Japanese fluently.
This was how we met and how all started... You see that I have a very
strong conection with this city, Barcelona!!</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF8ONbfeePlxopV7jQCjQ4Qa1RA8qdR3gxYPS8wwIgB7TI7PDBkQEx9vuVc2L4jCkQSd62gEw3i1ZUmvTAd0ltOebdkfJfExIzx8oMRcxi3Esehu__TXMKC6s9TlgF2OR3Q9yuTAE9uy0/s1600/_MG_1686.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF8ONbfeePlxopV7jQCjQ4Qa1RA8qdR3gxYPS8wwIgB7TI7PDBkQEx9vuVc2L4jCkQSd62gEw3i1ZUmvTAd0ltOebdkfJfExIzx8oMRcxi3Esehu__TXMKC6s9TlgF2OR3Q9yuTAE9uy0/s1600/_MG_1686.jpg" height="320" width="242" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Who cares? Balanchine, with Ángel Corella.<br />
Foto: Fernando Bufala</td></tr>
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</b></span><b>Thanks</b><b> Kazuko! </b><b>And back to the company, is there something you would outline from that time? A </b><span style="font-family: inherit;"><b>special moment or memory? </b>To
have had the opportunity to work with Natalia Makarova has been the
best experience I have lived in the dance world. We have been working
with Christopher Wheeldon, Twyla Tarp ballets, Stanton Welch, with
Ángel, with many good teachers, it has all been fantastic, amazing,
but nothing compared with working with Natalia Makarova. To have been
teached by her in private, having her at rehearsals, to share with
her those moments.... it has been something really unique and
extraordinary, something one has hardly access to and that I consider
a great privilege.
</span></div>
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<span style="font-family: inherit;"><b>I think that you take classes, you are dancing
in ma</b><b>n</b><b>y Galas or as guest in ballet companies, you </b><b>also
</b><b>go very often to Japan... what can you tell us about your
current plans and life? </b><b> </b>Yes,
since February 2015, I'm dancing as a free lance. I'm hired for Galas
or as a guest in ballet companies, I also teach ballet classes and at
the same time I take them at the Corella Dance Academy here in
Barcelona. And I go very often to Japan, I dance there in Galas, and
I have many opportunities to dance, I can't complain. Teaching is
something I love very much and what I think is preparing me for the
future.
</span></div>
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<span style="font-family: inherit;">This summer in Japan I'm going to dance Swan Lake
and to teach summer courses together with a teacher from the Paris dance
conservatoire. He gives the first class, then I teach repertoire and
at the end they do gyrokinesis session of master trainer. These are my plans for this summer, I
also will dance with a partenaire I have there in Japan, in fact I have two
with whom I get along very well and when any project arrives, we take
the chance.
</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNrL5QXLSOtdNH6Ed03JSbzkeh6BkYj82Lmc5VbaWIlaznTih6H1Q6utBKM6AlpvYkcW4-wvV4cQEc3TvDEgNE52zjk6dqaM1_7o6DRN6_icN0oF9KOxEPFYK7IIdJZHNnt82fZ0MU2KY/s1600/BA2B2757+(Large).jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNrL5QXLSOtdNH6Ed03JSbzkeh6BkYj82Lmc5VbaWIlaznTih6H1Q6utBKM6AlpvYkcW4-wvV4cQEc3TvDEgNE52zjk6dqaM1_7o6DRN6_icN0oF9KOxEPFYK7IIdJZHNnt82fZ0MU2KY/s1600/BA2B2757+(Large).jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A+A with Russell Ducker. Corella Ballet. Foto: Josep Guindo</td></tr>
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<span style="font-family: inherit;">I'm in a good moment now but, although I'm dancing
as a free lance and do not stop doing things, I would like to dance
in a stable way in a company again. It doesn't matter if it is in
Europe or in the USA, as after this experience of eight years with
Ángel, I can dance any style and any repertoire and adapt well to
any company.
</span></div>
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<span style="font-family: inherit;"><br /></span></div>
<br />
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<span style="font-family: inherit;">We leave wishing Kazuko all the good luck in the
world, she truly deserves it. For sure we will miss her talent and
her beauty on stage, it is always a great source of inspiration to
see this ballerina. The company contracting her will be a very
fortunate one. </span> </div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-72789331024021992402014-03-11T16:06:00.000-07:002014-03-21T03:11:15.169-07:00Alicia AMATRIAIN, invitée de l'Opéra de Paris<br />
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<i><b>Nouvelle série de représentations d'ONEGUINE, signé CRANKO, à l’Opéra national de Paris. </b></i><i><b>Et nouvelle belle surprise avec l’invitation de l’Etoile de Stuttgart, la ballerine d’origine basque, Alicia AMATRIAIN, qui, en quelques pas, a conquis le cœur du public parisien.</b> </i></div>
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<b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Loïc le Duc</span></b></div>
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<b><a href="http://criticasballetymas.blogspot.fr/2014/03/alicia-amatriain-invitada-por-la-opera.html">Version espanola</a></b><br />
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Né en Afrique du Sud, engagé au Sadler’s Wells Ballet par <b>Ninette de Valois</b> qui lui commande ses premières chorégraphies, vite révélé au monde de la danse comme un authentique créateur, J<b>ohn CRANKO</b> prit en 1960 la direction du ballet de Stuttgart dont il fit l’une des compagnies majeures européennes. C’est dans l’avion qui ramenait la compagnie d’une tournée et qui ne put atterrir assez vite à cause du mauvais temps, qu’il mourut d’une crise cardiaque au milieu de ses danseurs. L’essentiel de l’œuvre de Cranko est très significatif du style néo-classique de l’époque et couvre les grands ballets du répertoire académique et bon nombre de ballets anecdotiques comme <b><i>Le</i></b> <b><i>Prince des Pagodes</i></b> sur une partition commandée à Benjamin Britten, <b><i>La Mégère apprivoisée</i></b>, ainsi qu’une <b><i>Belle-Hélène</i></b> que créa en 1955 <b>Yvette Chauviré</b> à l’Opéra et un <b><i>Roméo et Juliette</i></b> entré au répertoire de la compagnie parisienne en 1983. </div>
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Pièce en trois actes, <b>Eugène Onéguine</b> constitue assurément l’une des plus belles réussites du chorégraphe sud-africain ; le livret joue sur les thèmes de la passion tourmentée, de l’honneur et des regrets et n’a pas pris une ride. La production, signée <b>Jürgen ROSE</b>, propose un dispositif de rideaux à l’italienne au charme désuet. Les costumes, à dominante châtaigne et aux nuances pastelles proposent une légèreté dans la gravité de l’œuvre et ôtent un caractère sacré et intimidant à ce drame commun. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : <b><i>Julien Benhamou</i></b> / Opéra national de Paris<br /><b><i>Alicia Amatriain</i></b> (Artiste invitée)</span></td></tr>
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Musicalement, <b>Kurt-Heinz STOLZE</b> a réalisé un ensemble homogène d’extraits des Saisons, de Roméo et Juliette, des Caprices d’Oxane et de Francesca da Rimini, illustratif, sans prétention, accompagnant judicieusement la progression dramatique des principaux protagonistes. </div>
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Quant à l’écriture de Cranko, elle s’affirme d’abord dans des pas de deux redoutables, course de portées plus saisissants les uns que les autres. Régulièrement soulevée dans les airs, la ballerine se retrouve, battant des jambes pendant que son partenaire traverse le plateau en la tenant à bout de bras. Arc-boutée, cambrée à l’extrême, elle se jette en arrière, se fait récupérer in extremis par le danseur qui enchaîne aussi sec une nouvelle figure. Mais la touche Cranko déborde la seule technique. Les rôles principaux exigent simultanément une virtuosité aiguisée et un jeu d’acteur délicat. </div>
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<span class="Apple-style-span"><b>Alicia AMATRIAIN</b> donne une somptueuse leçon de danse et de théâtre. Ici, il y a tout, une technique époustouflante, un sens psychologique accompli, un art théâtral total, dans les moindres nuances. La ballerine rend très justement la <b>Tatiana </b>du poème de Pouchkine, jeune fille rêveuse et imbibée de lectures, puis éperdument amoureuse de cet homme à qui elle ose avouer son amour dans une lettre passionnée. Même immobile, </span><b>Alicia AMATRIAIN</b><span class="Apple-style-span"> exprime tout, comme à la fin de l’acte deux, lorsqu’elle reste figée et regarde avec autant de mépris que de froideur <b>Onéguine</b> qui vient d’assassiner <b>Lenski</b>. Elle ne fait pas un geste, mais on sent qu’une page est définitivement tournée dans sa vie, dans son âme, qu’elle ne sera plus jamais la même. La froideur de son partenaire tranche avec une passion qu’elle ne cherche pas à dissimuler. Puis la Tatiana d'<b>Alicia</b> incarne une femme et épouse, fidèle, de la haute société russe. L'amour que lui propose <b>Onéguine</b> lui est désormais interdit. </span></div>
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<b>Karl PAQUETTE</b> a, certes, le physique romantique de l’emploi mais ses qualités dramatiques capables de donner vie à son personnage sont moindres. Bon partenaire, une certaine froideur bloque l’émotion qui doit se dégager aussi de ce rôle cynique mais vibrant.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : <b><i>Julien Benhamou</i></b> / Opéra national de Paris<br /><b><i>Alicia Amatriain</i></b> (Artiste invitée) et <i><b>Karl Paquette</b></i></span></td></tr>
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Le couple <b>Olga-Lenski</b> rassemble <b>Eve GRINSZTAJN</b> et <b>Fabien REVILLION</b>. La première danseuse campe une charmante Olga, vive et insouciante. Elle croque l'instant présent à pleine dent et accepte l'invitation de danser d'Onéguine sans arrière pensée mais provoquant la fin tragique du poète. La danse de Mademoiselle <b>GRINSZTAJN </b>reflète, dans chaque pas, chaque geste, l'évolution de son personnage, ce jeu des passions et des faiblesses humaines. <b>Fabien REVILLIION</b>, sujet dans le Corps de ballet, compose un Lenski de bon niveau, joliment assorti à sa partenaire. Il danse avec ampleur, musicalité, facilité, beaucoup de sûreté, et offre un personnage qui attire d'emblée la sympathie. </div>
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<b>Christophe DUQUENNE</b> incarne avec crédibilité un prince russe distingué et martial. La pas de deux <b>Tatiana / Grémine</b> du bal chez le Prince est d’une beauté, d’une justesse, d’un romantisme à couper le souffle… Incontestablement, l’instant dansé le plus fort de cette représentation exceptionnelle. </div>
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Les ensembles parfaitement rodés du Corps de ballet sont particulièrement mis en valeur. Chaque danseur qui apparait sur scène sait qu’il porte une part du ballet et s’implique dans la signification de l’ensemble. Parce qu’Onéguine est truffé de courtes scènes qui se déroulent en même temps que l’histoire des personnages principaux et qui viennent l’éclairer et la compléter. Cette harmonie est magnifiée par l’accompagnement musical proposé par l’orchestre de l’Opéra de Paris, placé sous la baguette de <b>James TUGGLE</b>. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : <b><i>Julien Benhamou</i></b> / Opéra national de Paris<br /><b><i>Alicia Amatriain</i></b> (Artiste invitée) et <b><i>Christophe Duquenne</i></b></span></td></tr>
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Vraiment, une très belle soirée… Seule ombre au tableau : aucune mention particulière n'est portée dans le programme sur l’Etoile du ballet de Stuttgart, invitée tardive de cette série... Glisser, dans chaque programme, un feuillet relatant la carrière de <b>Mademoiselle AMATRIAIN </b>ne me semble pas une tâche insurmontable et traduirait le respect que porte l'Opéra Garnier à l'Etoile invitée.<br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><u>Distribution - représentation du 4 mars 2014</u></span><br />
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EUGÈNE ONÉGUINE / Karl Paquette <br />
LENSKI / Fabien Revillion <br />
TATIANA / Alicia Amatriain <br />
OLGA / Eve Grinsztajn <br />
LE PRINCE GRÉMINE / Christophe Duquenne</div>
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Unknownnoreply@blogger.comOpéra Garnier, 8 Rue Scribe, 75009 Paris, France48.8719343 2.331766600000037248.8706288 2.3292451000000374 48.8732398 2.3342881000000371tag:blogger.com,1999:blog-7444957604767417947.post-92054453670240810232013-06-19T12:35:00.002-07:002013-06-23T13:49:48.759-07:00L'Aurore de Mademoiselle Correa<div style="text-align: justify;">
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>Loïc le Duc</i></b></span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i><a href="http://criticasballetymas.blogspot.fr/2013/06/la-aurora-de-yolanda-correa.html">Version espanola</a></i></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Aurore -<b> Yolanda Correa</b> / Prince Désiré - <b>Yoël Carreno</b><br />Photo. : <b>E. Berg</b></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">On pourrait presque parler de prise de rôle pour <b>Mademoiselle Correa</b> à qui la direction de la danse du ballet de l’opéra d’Oslo confie pas moins de quatre représentations, sur les dix prévues, de cette série de <b><i>La Belle</i></b>, signée <b>Cynthia Harvey</b>. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">C’est à la Havane, dans la chorégraphie d’<b>Alicia Alonso</b>, et pour une unique représentation, que <b>Yolanda Correa</b> a étrenné le rôle d’<b><i>Aurore</i></b>. Rôle qui marquait pour la Ballerine un retour sur les planches du « Gran Teatro » après une blessure qui l’a tenu éloignée, de nombreuses semaines durant, du public cubain et l’a empêchée de se produire lors du XXIème Festival International de Ballet. Rôle qui lui a ouvert la voie à la consécration suprême puisque quelques semaines après sa « première » <b><i>Aurore</i></b>, <b>Mademoiselle Correa</b> était nommée « Primera Bailarina » du ballet national de Cuba, l’équivalent du titre d’Étoile à l’opéra de Paris. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Yolanda Correa</b><br />Photo. : <b>E. Berg</b></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Faut-il souligner que <b>Mademoiselle Correa</b> possède toutes les qualités pour s'affirmer comme une Aurore de référence en nous gratifiant de très beaux moments techniques voulus par l'immense crescendo de la musique ? Elle domine avec la plus grande légèreté et une extraordinaire musicalité les tours de force accumulés sous ses pointes dans le triple domaine de l'arabesque, de la batterie et du jeté et y ajoute, non sans coquetterie, un port de bras ravissant. <b>Yolanda Correa</b> a une admirable manière de coordonner ses mouvements de tête, de bras et de mains, donnant l'impression qu'ils accompagnent et complètent, presque à l'improviste, ce que fait le reste du corps ; que le mouvement est intériorisé, digéré, étudié de la pointe du pied au bout des doigts. Son Adage à la rose est d'ailleurs l'un des grands moments de la soirée. La Ballerine, toute de juvénilité, de rigueur, de grâce, d'élégance, de pureté stylistique, surmonte avec sa technique imparable les écueils de ce redoutable morceau de bravoure. Et, sublime de charme, nous offre de beaux équilibres qui répondent au climat émotionnel de la musique. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Aurore - <b>Yolanda Correa</b> / Prince Désiré - <b>Yoël Carreno</b><br />Photo. : <b>E. Berg</b></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Dès son entrée en scène, <b>Yolanda </b>a d'emblée une classe, une présence et un éclat extraordinaire qui donnent à son personnage une vraie dimension théâtrale et magique, qui s'affirmera tout au long du ballet. Adolescente pleine de charme sans aucune minauderie mièvre au début, elle apparaît en femme épanouie au pas-de-deux final, comme le veut l'évolution psychologique du conte, parcours initiatique de l'enfance à l'âge adulte. Dans le troisième acte, où on célèbre les noces de <b><i>la Belle au Bois dormant</i></b>, l'harmonie musicale se fait allégorie. Son épanouissement glorieux coïncide avec l'union du Prince et de la Princesse, le baiser de l'un et l'éveil de l'autre sont le symbole de ce qu'implique la maturité. Non seulement l'harmonie vis à vis de soi-même mais également l'harmonie vis à vis de l'autre. C'est le triomphe de cet équilibre que célèbre la chorégraphie de Marius Petipa. L'adage du dernier acte entre <b><i>Aurore</i></b> et le <b><i>Prince Désiré</i></b> dévoile, pas à pas, la structure de ce prodigieux ballet et affirme un optimisme inépuisable par un enchainement de figures éblouissantes, magnifié par l'interprétation des cubains du ballet de Norvège. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Carabosse - <b>Ingrid Lorentzen</b> - Photo : <b>E. Berg</b></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">La personnalité de <b>Yoël Carreño</b> fait merveille dans le rôle du Prince et lui confère ce don rare et précieux : la présence. Son prince est de noble race, non seulement d'un beau danseur mais aussi d'un grand artiste. Sa technique se conjugue, ici, au superlatif. Chapeau bas ! </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Mais la Belle c'est aussi le corps de ballet et de multiples solistes. <b>Gakuro Matsui</b> et <b>Emma Lloyd</b> défendent le délicat pas de deux de <b><i>l'Oiseau bleu</i></b> avec une belle conviction et une excellente technique. Lui, idéal de légèreté, de vivacité et de poésie. Elle, lumineuse, pétillante, superbe de dynamisme et de virtuosité. L’élégante <b>Hedda Staver Cooke</b> interprète une <b><i>fée Lilas</i></b> délicate et sobre, peut être un peu trop par rapport aux exigences du rôle. <b><i>Ingrid Lorentzen</i></b> nous propose une <b><i>Carabosse</i></b> effroyable de méchanceté, incarnation parfaite des forces du Mal. Le corps de ballet est totalement investi dans cette production, preuve de la bonne santé de la compagnie. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Une mention spéciale doit être adressée à l’orchestre de l’opéra d’Oslo qui, placée sous la baguette de <b>Boris Gruzin</b>, exécute savamment et subtilement la partition de Tchaïkovski.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Représentation du 14 juin 2013 - Opéra d'Oslo</span></div>
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Unknownnoreply@blogger.com0Oslo, Norvège59.9138688 10.75224539999999359.658993300000006 10.106798399999992 60.1687443 11.397692399999993tag:blogger.com,1999:blog-7444957604767417947.post-77226544205649373802013-06-09T15:04:00.000-07:002013-06-16T14:48:19.417-07:00Une pluie d'Etoiles au Palais des Congrès - Paris<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>Loïc le Duc</i></b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://criticasballetymas.blogspot.fr/2013/06/lluvia-de-estrellas-en-el-palacio-de.html"><i>Version espanola</i></a></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>Manon</i></b><br /><b>Tamara Rojo</b> / <b>Federico Bonelli</b><br />Crédit DR D&D Art Prod.</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A Athènes, en septembre dernier (gala "<a href="http://criticasballetymas.blogspot.fr/2012/09/loic-le-duc-traduccion-carolina-masjuan.html">Meet the Stars</a>"), <b>Denis Austier</b> et <b>David Makhateli </b>nous dévoilaient leur ambition d'organiser, à Paris, un gala de danse. C'est désormais chose faite puisque D&D Art Production a présenté "<b><i>Noureev and Friends</i></b>" afin de célébrer le 75ème anniversaire de la naissance de <b>Rudolf Noureev</b>. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>La Sylphide</i></b> - <b>Iana Salenko</b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Crédit</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> DR D&D Art Prod.</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">L'empreinte D&D a permis, une fois encore, de montrer combien ce type d'évènement, rare à Paris, acquiert ses lettres de noblesse lorsqu'il est intelligemment organisé. La direction artistique a été assurée conjointement par <b>Charles Jude</b>, directeur du ballet de l'Opéra de Bordeaux et <b>David Makhateli</b>, ancien Principal au Royal Ballet. Dans la fosse, l'orchestre Pasdeloup est placé sous la baguette de <b>Valery Ovsianikov</b>, chef d'orchestre invité du théâtre Mariinsky. Et la scénographie, confiée à Gilles Papain, habite l'immense plateau, pourtant réputé sans âme, du Palais des Congrés, lieu que <b>Noureev</b> a maintes fois honoré de sa présence en tant que danseur et directeur de la danse du ballet de l'Opéra national de Paris. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Tous les ingrédients sont réunis pour que revive magistralement l'esprit des "Noureev and Friends", organisés par le Tatare qui invitait ceux qu'il estimait, à partager l'affiche des spectacles qu'il remplissait sur son nom. Il y avait <b>Isabelle Guérin</b>, <b>Sylvie Guillem</b>, <b>Florence Clerc</b>, <b>Charles Jude</b>, <b>Laurent Hilaire</b>, <b>Manuel Legris</b>… Pour <b>Noureev</b>, c'était le moyen de continuer à se donner en spectacle aux quatre coins du monde, alors qu'il n'était plus capable de danser les grands classiques in-extenso. Parce qu'il a consacré sa vie à regarder, admirer et disséquer attentivement les ballets du français <b>Marius Petipa</b> avant de les danser avec ferveur. Ces oeuvres coulaient dans les veines du Tatare, ces princes tourmentés en quête d'amour impossible étaient sa vie. Prince de la danse romantique, <b>Noureev</b> était aussi un homme de son temps, qui voulait savoir danser son époque. Ce qu'il fit avec <b>Martha Graham</b>, <b>Rudi Van Dantzig</b> ou encore <b>Paul Taylor</b>. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">La soirée-hommage balaie ce vaste répertoire et permet que soit réuni, sur scène, un grand nombre d'artistes issues des meilleures compagnies de ballet dont une pléiade de russes, qu'ils soient rattachés à Berlin, Londres, Moscou ou Saint-Pétersbourg. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Tamara Rojo</b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Crédit</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> DR D&D Art Prod.</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Mais l'honneur d'ouvrir les festivités revient aux danseurs du ballet de l'Opéra de Bordeaux. Sur scène, six hommes, six femmes, six fleurets. Le climat mystérieux voire mystique de "<b><i>Petite mort</i></b>" , du chorégraphe <b>Jiri Kylian</b>, conserve une grande originalité. Teintée de l'indicible mélancolie induite par les extraits choisis de l'adagio du concerto pour piano n°23 puis l'andante du n°21 de Mozart, les mouvements des corps des danseurs évoquent un amour tendre et sensuel, langoureux puis sauvage, jusqu'à l'orgasme. Travail plutôt soigné, avec une mention spéciale pour la lumineuse <b>Yumi Aizawa</b>. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>James - </i>Marian Walter</b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Crédit</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> D&D Art Prod.</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Avec <b>Iana Salenko</b>, <b><i>La</i></b> <b><i>Sylphide</i></b> prend son envol. Sur fond de scène où est projetée une très belle vue de lac avec cascade et forêt, la ballerine du ballet de l'Opéra de Berlin, est cet être immatériel, impalpable et féérique, que James cherche vainement à séduire. Aucun effort apparent ne vient rompre cette aura qui l'isole du monde des humains. Ses poses, la ligne de ses arabesques, ses ports de bras font revivre, sous nos yeux, les lithographies qui immortalisèrent l'art de la <b>Taglioni</b>. <b>Marian Walter</b> est un James tendre, sensible : la noblesse de sa danse, l'ampleur et la légèreté de ses sauts se parent d'une batterie brillante. Il joue avec <i><b>la Sylphide</b></i> comme s'il était sous l'emprise d'une hallucination. Magistral. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Evgenia Obratzova</b> séduit, quant à elle, par son charme, sa fraîcheur et de brillantes qualités techniques. Impériale, la ballerine du théâtre du Bolchoï domine avec la plus grande légèreté les tours de force accumulés dans le pas de deux final de cette Belle (version <b>Petipa</b>/<b>Grigorovitch</b>), que ce soit dans le domaine de l'arabesque, de la batterie ou du jeté. Et y ajoute des ports de bras ravissants. <b>Dimitri Gudanov</b>, son prince Désiré, n'est pas en reste dans cette démonstration de technique et de virtuosité. Avec son beau ballon, ce danseur noble nous présente une variation enthousiasmante et sans tricherie. Et le partenariat entre ces deux-là fonctionne à merveille. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Dommage que la Nikya d'<b>Evgenia</b> n'offre pas le panache de son Aurore malgré toute l'attention que lui porte <b>Evgeni Ivanchenko</b>, Solor aux allures plus princières que guerrières. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>La Belle au Bois Dormant</i><br />Evgenia Obratzova</b> / <b>Dmitry Gudanov</b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Crédit</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> D&D Art Prod.</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">On retrouve l'Etoile du théâtre Mariinsky au côté de <b>Daria Vasnetsova</b> qui nous proposent l'Adage de l'acte blanc du <b><i>Lac des cygnes</i></b>, si terriblement soigné qu'il perd un peu de son âme. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>Two pieces for Het</i></b><br /><b>Maïa Makhateli</b> / <b>Remi Wörtmeyer</b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Crédit</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> D&D Art Prod.</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Maïa Makhateli</b> et <b>Remi Wörtmeyer</b> défendent avec force et brio les "<b><i>Two pièces for Het</i></b>", signées <b>Hans Van Manen</b>. A l'esthétisme glacé, énervé, rapide et tranchant qui répond à la musique de <b>Tüür</b> s'oppose une épure élégante, plus respirée de laquelle naît malicieusement une émotion vraie, au rythme du tempo d'<b>Arvo Pärt</b>. L'écriture chorégraphique met en lumière le tempérament bien trempé des deux interprètes, à la plastique irréprochable et aux lignes affûtées. Pièces singulières au cours de ce gala, "<b><i>Two pièces for Het</i></b>" a reçu un accueil chaleureux et mérité du public. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Difficile de ne pas évoquer, au cours de cette soirée, les 17 années de partenariat et les 700 spectacles données au quatre coins du monde pendant lesquels <b>Margot Fonteyn</b> et <b>Rudolf Noureev</b> se sont sublimement aimés en scène. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A commencer par cette "évocation poétique" sur une sonate pour piano de Franz Liszt, chorégraphiée par <b>Frederick Ashton</b> pour le couple de légende. Dans le Paris chic des années 1840, <b><i>Marguerite</i></b>, avant de mourir de phtisie, voit <b><i>Armand</i></b> et se remémore leur rencontre lors d'un bal, puis leurs amours à la campagne, la fureur du père d'Armand qui la prie de quitter son fils, leur dispute et l'humiliation faite à Marguerite lorsqu'Armand lui jette une liasse de billets en pleine soirée mondaine. Ils se séparent mais Armand revient juste à temps pour que Marguerite meure dans ses bras. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Il faut tout le talent de <b>Tamara Rojo</b> et <b>Rupert Pennefather</b> pour imposer l'intensité dramatique de ces amours à la campagne. Dans une danse voluptueuse, <b>Marguerite/Tamara</b> s'abandonne suavement dans les bras de <b>Armand/Rupert</b> pour ensuite se jeter courageusement dans le partenariat qui symbolise leur amour impossible. Bouleversants,<b> Rojo</b> et <b>Pennefather</b> interprètent ce pas de deux fougueux avec intelligence et brio. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>Armand</i></b> - <b>Rupert Pennefather</b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Crédit</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> DR D&D Art Prod.</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">La même aura solaire se retrouve chez "<b>La Rojo</b>" lorsqu'elle danse <b><i>Manon</i></b>. Le pas-de-deux qui nous est proposé prend place dans la chambre du Chevalier Des Grieux et nous fait entrer dans l'intimité des deux amants pour un pur moment de bonheur partagé. L'écriture de <b>Mc Millan</b> traduit le sentiment de liberté émotionnelle et le bonheur décomplexé des amants par une envolée chorégraphique pleine d'audace, où l'arabesque et le volte en l'air sont déclinés dans une recherche esthétique, ponctuée d'étreintes passionnées. Leur empathie rend leur histoire d'amour profonde et sincère. Doté d'un physique d'une rare séduction, <b>Federico Bonelli</b> est paré d'un style d'une grande pureté. A chaque geste, à chaque pas, l'Etoile du Royal Ballet déclare sa passion brûlante pour Manon. <b>Tamara Rojo</b> donne vie à la courtisane avec une maîtrise parfaite de la technique alliée à une sensibilité musicale renversante. Quel magnifique travail du regard, du glissement tout en contre-poids entre elle et Des Grieux. Ce regard qui fait que la danse n'est jamais redondante sur la musique, qui anticipe le mouvement et crée un effet de surprise qui tient en haleine le public du Palais des Congrés. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>La Bayadère </i></b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Evgenia Obratzova </b>/ <b>Evgeni Ivanchenko</b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Crédit</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> D&D Art Prod.</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Noureev </b>chorégraphe sera sublimé par l'interprétation donnée par <b>Mathias Heymann</b> de <b><i>Manfred</i></b>. Adapté du poème lyrique de <b>Byron</b>, Manfred est un héros torturé, solitaire, accablé de remords pour avoir détruit tous ceux qui l'entourent, préfère mourir et en appelle à Astarté, un esprit censé calmer la grande culpabilité qui l'assaille. Créé en 1979, <b>Noureev</b>, blessé, ne pourra interpréter le ballet qu'il s'est écrit. <b>Mathias Heymann </b>est souverain, dans tous les sens du terme, ultra-romantique dans son jabot blanc, une présence dévorante, du panache à revendre dans les sauts et des tours en l'air aux réceptions parfaites, dans l'exécution des pas multiples et incessants. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Crédit</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> DR D&D Art Prod.</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Son Jean de Brienne confirme cette prestance, son honnêteté du geste. Ses <b><i>Raymonda</i></b> (successivement <b>Aurélie Dupont</b> et <b>Myriam Ould-Braham</b>) semblent devoir se livrer à un exercice de style qui ne soulève pas l'enthousiasme, même si peu de reproches peuvent être formulés. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">La soirée se conclut par un époustouflant pas-de-deux, interprété par <b>Aleksandra Timofeeva</b> qui se lance, rayonnante dans son tutu court, à la conquête de son <b><i>Corsaire</i></b>, <b>Vadim Muntagirov</b>, récent lauréat du prix <b>Benois de la Danse</b>. Nul doute que chez <b>Muntagirov</b>, ça saute, haut, ça tourne, toujours merveilleusement, avec beaucoup de panache et de précision. Son partenariat avec la ballerine du ballet du Kremlin fonctionne à merveille. Elle nous offre une série de fouettés simples et doubles de haute tenue, sous les applaudissements chaleureux d'un public enthousiaste. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Crédit</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> D&D Art Prod.</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Le gala a été filmé le 31 mai dernier et devrait être diffusé en haute définition dans 2.500 salles dans le monde. Un DVD-Blu-Ray de cette soirée-hommage devrait être produit à l'automne 2013.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Programme du Gala</b> (31 mai 2013 et 1er Juin 2013)</span></div>
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /><b>Ballet de l'Opéra de Bordeaux </b></span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>Petite Mort</i></b>, chorégraphie Jiri Kylian<br /><br /><b>Iana Salenko</b> et <b>Marian Walter</b> (Ballet de l'Opéra de Berlin)<br /><b><i> La Sylphide</i></b>, pas de deux, chorégraphie d'Auguste Bournonville <br /><br /><b>Evgenia Obraztsova</b> et <b>Evgeny Ivanchenko</b> (Ballet du Mariinsky)<br /><b><i> La Bayadère</i></b>, pas de deux de l'acte des Ombres, chorégraphie de Marius Petipa <br /><br /><b>Tamara Rojo</b> (directrice de l'English National Ballet, Étoile internationale) et <b>Federico Bonelli</b> (Royal Ballet de Londres)<br /><b><i> L'Histoire de Manon</i></b>, pas de deux, chorégraphie de Kenneth McMillian <br /><br /><b>Maïa Makhateli</b> et <b>Remi Wörtmeyer</b> (Het Nationale Ballet)<br /><b><i> Two pieces for Het</i></b>, chorégraphie de Hans Van Manen <br /><br /><b>Aurélie Dupont</b> (le 31 mai), <b>Myriam Ould-Braham</b> (le 1er juin) et <b>Mathias Heymann</b> (Ballet de l'Opéra de Paris)<br /><b><i> Raymonda</i></b>, pas de deux, chorégraphie de Rudolf Noureev d'après Marius Petipa <br /><br /><b>Evgenia Obraztzova</b> et <b>Dmitry Gudanov </b>(Ballet du Bolshoï)<br /><b><i> La Belle au bois dormant</i></b>, pas de deux du troisième acte, chorégraphie de Yuri Grigorovich d'après Marius Petipa <br /><br /><b>Mathias Heymann</b> (Ballet de l'Opéra de Paris)<br /><b><i> Manfred</i></b>, solo, chorégraphie de Rudolf Noureev <br /><br /><b>Tamara Rojo</b> (directrice de l'English National Ballet, Étoile internationale) et <b>Rupert Pennefather</b> (Royal Ballet de Londres)<br /><b><i> Marguerite et Armand</i></b>, pas de deux, chorégraphie de Frederick Ashton <br /><br /><b>Daria Vasnetsova</b> et <b>Evgeny Ivanchenko</b> (Ballet du Mariinsky)<br /><b><i> Le Lac des Cygnes</i></b>, pas de deux du Cygne Blanc, chorégraphie de Marius Petipa et Lev Ivanov <br /><br /><b>Alexandra Timofeeva</b> (Ballet du Kremlin) et <b>Vadim Muntagirov</b> (English National Ballet)<br /><b><i> Le Corsaire</i></b>, pas de deux, chorégraphie de Marius Petipa</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-9421419277111934922013-05-26T05:14:00.000-07:002013-05-29T12:21:58.420-07:00Yoël Carreño, Corsaire invité du Ballet du Capitole<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><strong><em>Loïc le Duc</em></strong></span><br />
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<tr><td class="tr-caption"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Yoël Carreño</b><br />Crédit DR Ballet du Capitole</span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://criticasballetymas.blogspot.fr/2013/05/yoel-carreno-corsario-invitado-en-el.html"><strong>Version espa</strong><strong>ñ</strong><strong>ola</strong></a></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">A l’issue de la représentation du 18 mai dernier, sur la scène du <strong>théâtre du Capitole</strong>, <strong>Kader Belarbi</strong> a chaleureusement félicité <strong>Yoël Carreño</strong>… félicitations qui prolongeaient la joie d’un public enthousiaste, nullement pressé de quitter les magnifiques interprètes de ce <em><strong>Corsaire</strong></em> revu et corrigé par le directeur du Ballet du Capitole.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><b>Kateryna Shalkina / Yoël Carreño</b><br />
Crédit DR Ballet du Capitole</td></tr>
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Et pourtant, en quatre jours, <strong>Yoël Carreño</strong> a dû apprendre le rôle du Corsaire, qu'il n'avait jamais interprété auparavant ! Et a relevé, avec brio, le défi. Il a mis le feu aux planches du Capitole et conquis le cœur du public toulousain. Danseur noble, avec une technique à toute épreuve, le danseur Étoile du Ballet national de Norvège s'est imposé comme un Corsaire de référence. Quel ballon ! Et que dire de ses tours à la seconde qui n’en finissent pas et pendant lesquels <strong>Yoël Carreño</strong> s'offre le luxe d'attraper le pied gauche dans sa main gauche tout en continuant à tourner ? Un 'Ooooh !" d’admiration se soulève du public suivi de longs applaudissements. Tout est parfaitement exécuté, sans effort apparent, avec la précision la plus absolue. Le cubain fait de la broderie avec ses jambes et fait montre d'un travail d'acteur fantastique. Mais le plus attachant chez lui est cette générosité envers le public, cette envie de briller, sans concession, sans abandonner la rigueur. </span><br />
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<br />Partenaire idéal, il met en lumière la ravissante <strong>Kateryna Shalkina</strong>. La soliste du Béjart Ballet Lausanne est une merveille de subtilité, d'esprit, de bonne humeur, jambes et bras d'une finesse exceptionnelle, mains voletant comme des papillons, toujours brillante, et enjouée en particulier dans les variations qui requièrent un parfum orientaliste avec lequel elle flirte.</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span><br />
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<tr><td class="tr-caption"><b>Kateryna Shalkina</b> / <b>Pascale Saurel</b><br />
Crédit DR Ballet du Capitole</td></tr>
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<br />Parce que ce <strong><em>Corsaire</em></strong> exhale de belles senteurs et nous enchante à chaque tableau. <strong>Kader Belarbi</strong> s’est éloigné de l’argument de <strong>Byron</strong>, repris par <strong>Mazilier</strong> pour <strong><em>Le Corsaire</em></strong> créé à l’Opéra de Paris en 1856, pour centrer la narration sur les amours contrariés du Corsaire et de la Belle Esclave. Achetée par le Sultan </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">(<strong>Valerio Mangianti</strong>)</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> sur la place du marché, la Belle Esclave s’avère être une menace pour la Favorite (<strong>Pascale Saurel</strong>). Coiffée d’un chapeau cornu, elle tire les ficelles de l’intrigue, jetant le Corsaire sur les pas de la Belle Esclave pour éviter qu’elle ne devienne Favorite à la place de la Favorite. Et attise les foudres du Sultan. Après de nombreuses péripéties, le Sultan abandonne en mer les deux amants, condamnés à mourir dans la tempête.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br />Par un savant dosage de justesse dans l’écriture chorégraphique, de richesse iconographique, d’authenticité du geste, de fidélité à une grammaire élégante teintée du lyrisme du travail des bras et du haut du corps,<strong> Kader Belarbi</strong> propose un ballet aux allures classiques, entièrement façonné dans la poésie de l’Orient, de l’émotion et du mouvement, tout en prenant soin d’enchaîner les tableaux avec une souplesse cinématographique.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><b><span class="Apple-style-span" style="font-weight: normal;"><b>Kateryna Shalkina / Yoël Carreño</b></span></b><br />
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<br />Almées, odalisques, péris, derviches, corsaires et autres janissaires se croisent, se toisent, se poursuivent ou se séduisent, magnifiés dans les somptueux costumes, colorés et fluides, d’<b>Olivier Bériot</b>. Et chacun d’évoluer entre arcades, ciel et mer savamment utilisés pour suggérer, sans jamais encombrer. Le regard se focalise alors sur l’écriture chorégraphique : esbroufe et grands sauts pour le Corsaire, variations fougueuses et sauvages pour le Sultan, fruit d’une étonnante danse-fusion entre style classique, folklore russo-arabe et balancements contemporains, cambrés, corps sinueux et souplesse des poignées pour la Belle Esclave aux allures de Nikya. Le corps de ballet, de très bonne tenue, participe à l’action avec intelligence : almées aux lignes élégantes, courbes et langueurs soumises pour les odalisques… Le tout savamment orchestré par <strong>David Coleman</strong> qui a découpé, étoffé, remanié la partition <strong>d’Adolphe Adam</strong>, lui incorporant des pièces de <strong>Massenet </strong>ou <strong>Lalo</strong>. Belle initiative, notamment lorsque les femmes corsaires exécutent une époustouflante « <em>Danse du tambourin</em> » sur la <em>Marche orientale</em> de <b>Sibélius</b>.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Quel enchantement ! Quelle belle compagnie ! Un vrai bonheur ! Croisons les doigts pour que <b>Yoël Carreño</b> soit à nouveau de la fête, ici, au Capitole, ou à Garnier…. A bon entendeur…</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><b><span class="Apple-style-span" style="font-weight: normal;"><b>Kateryna Shalkina / Valerio Mangianti</b></span></b><br />
Crédit DR Ballet du Capitole</td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;"><strong>Représentation du 18 mai 2013 – Théâtre du Capitole</strong><br /><u>Distribution</u></span></div>
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<span style="font-family: Arial;">Le Sultan : Valerio Mangianti</span></div>
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<span style="font-family: Arial;">Le Corsaire : Yoël Carreño</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Le Compère : Shizen Kazama</span></div>
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<span style="font-family: Arial;">La Belle Esclave : Kateryna Shalkina</span></div>
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<span style="font-family: Arial;">Les Deux Esclaves : Isabelle Brusson et Gaëlla Pujol</span></div>
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<span style="font-family: Arial;">La Favorite : Pascale Saurel</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Musique : Adolphe Adam, Massenet, Anton Arenski, Edouard Lalo, Jean Sibelius, David Coleman Chorégraphie : Kader Belarbi <br />Collaboratrice artistique : Martine Kahane <br />Décors : Sylvie Olivé <br />Assistant aux décors : Camille Ansquer <br />Costumes : Olivier Bériot <br />Lumières : Marion Hewlett</span></div>
Unknownnoreply@blogger.com0Toulouse, France43.604652 1.444209000000000743.420672 1.1214855000000008 43.788632 1.7669325000000007tag:blogger.com,1999:blog-7444957604767417947.post-40354334055663992162013-05-19T13:18:00.000-07:002013-05-23T13:08:41.637-07:00La Gioconda - La Danse des Heures / Opéra National de Paris <div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>Loïc le Duc</i></b></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Angel Corella</b><br />en la Danza de las horas de la opera <b>la Gioconda</b>, <br />representada en el <b>Gran Teatre del Liceu</b> de <b>Barcelona</b>, temporada 2005-2006<br />Foto : <b>Antoni Bofill</b></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">13 mai 2013 : d</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">e nombreuses personnalités du monde politique et du show business se bousculent devant les portes d’entrée de l’opéra Bastille, pour assister à la représentation de la <b><i>Gioconda</i></b>, seul des onze opéras de l’italien <b>Almicare Ponchielli</b> à être resté à l’affiche jusqu’à nos jours. A cette foule déjà fort nombreuse, s’ajoutent les milliers de spectateurs qui vont suivre, en direct, cette performance diffusée dans près de 300 salles de cinéma en Europe.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">L’entrée au répertoire de l’Opéra de Paris de cette <b><i>Gioconda</i></b> est une première dans tous les sens du terme : jamais encore l’œuvre n’avait connu les honneurs d’une scène parisienne, quelques cent trente sept ans après sa création. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Opéra National de Paris - <b>La Gioconda</b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : <b>Andrea Messana</b></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Et pourtant, cette <b><i>Gioconda</i></b> a déjà perdu sa virginité… sur les scènes italiennes et espagnoles. La production mise en scène par Pier Luigi Pizzi a été donnée en 2005 aux arènes de Vérone, puis reprise et enregistrée au Gran Teatre del Liceu, à Barcelone, avant de sortir l’année suivante en DVD, sans parler des tribulations madrilènes ou romaines. La mise en scène rend hommage à la tortuosité désuète du livret… en trois heures de temps, rien n’est épargné au spectateur : vengeance, poisons, déclarations d’amour, trahisons et poignards. La chanteuse de rues, <b>Gioconda</b>, fille d’une pauvre aveugle, <b>La Cieca</b>, est follement éprise d’<b>Enzo</b> qui aime à la folie <b>Laura</b>, l’épouse d’<b>Alvise Badoero</b>, grand conseiller de l’Inquisition et mari jaloux dont l’espion, l’ignoble <b>Barnaba</b>, est lui-même amoureux de la <b>Gioconda</b>… Quand la passion adultérine est révélée et que tombe la sentence de mort, la <b>Gioconda</b> étouffe sa propre douleur, sauve sa rivale et choisit de mourir pour que les amants puissent vivre.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Opéra National de Paris - </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Andrea Messana</b></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b> </b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">La Danse des heures</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Letizia Giuliani </b>/ <b>Angel Corella</b></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Pier Luigi Pizzi</b> transpose l’action dans la Venise du XVIII<span class="Apple-style-span" style="font-size: x-small;">ème</span> siècle, au temps du carnaval, et signe une scénographie élégante et évocatrice d’une lagune grise noyée dans une brume suffocante, jouant de l’ombre et du contre-jour. Les décors, d’une grande sobriété réussissent par quelques ponts, par une gondole, à évoquer la Sérénissime en évitant de sombrer dans le cliché. Au centre de la scène, seul élément du décor stable tout au long de la représentation, un autel anthracite aura différentes fonctions, tantôt meuble liturgique, tantôt couche des amants ou table du sacrifice. Les scènes de foule sont joliment traitées, avec modération et sans ajout de détails inutiles. A l’exception des costumes de la « Danse des heures », le gris, le noir, le blanc et le rouge sont les seules couleurs que l’on verra sur scène, en constante opposition, au milieu desquels tranche le bleu de la robe de <b>Gioconda</b>. Ajouté au travail très soigné des lumières, le spectacle s’avère d’une grande beauté.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Opéra National de Paris - </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>La Gioconda</b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Andrea Messana</b></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">D’autant que <b>Violeta Urmana</b>, intensément concernée par son personnage, assure dans les duos et le légendaire air « <b><i>Suicido</i></b> ». A ses côtés, <b>Luciana d’Intinio</b> étonne en Laura. <b>Maria</b> <b>José Monteil</b> est une Cieca touchante, à la voix chaude et profonde. <b>Marcelo Alvarez</b> brûle les planches, faisant d’<b>Enzo Grimaldo</b> un être de chair et de sang. <b>Claudio Sgura</b> et <b>Orlin Anastasov</b> déçoivent en <b>Barnaba</b> et <b>Badoero</b>. <b>Daniel Oren</b>, à la tête de l’Orchestre et des chœurs de l’Opéra impose une direction souple, dynamique et sensuelle qui servira les raffinements et beautés orchestrales de cette partition dont le fameux ballet « La Danse des heures » du troisième acte, superbement chorégraphié par <b>Gheorghe Iancu</b>.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Pour illustrer le bal organisé dans le Palais, une débauche de couleurs fait son appartition. Douze ballerines vont servir d'écrin pour mettre en valeur les sensuels et athlétiques <b>Letizia Giuliani</b> et <b>Angel Corella</b>, sérieusement dénudés. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Opéra National de Paris - Photo : <b>Andrea Messana</b>La Danse des heures<br /><b>Letizia Giuliani</b> / <b>Angel Corella</b></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Parfaite, la Prima ballerina du <b>Maggio Danza</b> entre en scène et assure, sans faute, arabesques pointées, déboulés, grands jetés tout en y apportant son emprunte. Ce n'est ni le bleu ni le rose que l'on attend habituellement d'une ballerine, mais un ton coquille d'oeuf très rare, subtil et distingué. Dès son apparition, <b>Angel Corella</b> éblouit. Il exécute une variation à couper le souffle, avec des sauts complexes mais incroyablement bien exécutés. Doté d'un talent spécifique inégalable, l'ex-danseur Etoile de l'<b>American Ballet Theatre</b> est inclassable. Personne comme lui ne danse tel un chat, avec des élans, des ralentis, des pas rapides et étincelants, des mouvements faits comme des éclairs. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">La sympathie dont il rayonne quand il danse, sa façon d'attraper le public, d'avoir l'air de dire "<i>Allez ! vous êtes avec moi et on va vivre ça ensemble</i>" sont uniques. </span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ebouriffants, <b>Letizia Giuliani</b> et <b>Angel Corella</b> nous offrent une prestation virtuose et millimétrée d'un niveau technique exceptionnel et remportent un triomphe mérité et châleureux. En fin de soirée, les commentaires élogieux revenaient sur toutes les lèvres des spectateurs de l'opéra Bastille : "<i>Ces deux danseurs sont extraordinaires</i> !", "<i>Ils sont merveilleux</i> !"...</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><u>Représentation du 13 mai 2013</u>.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>La Gioconda</b>, drame en quatre actes (1876) - </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Amilcare Ponchielli </b>(1834-1886) </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Entrée au répertoire de l’Opéra de Paris </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Livret d’Arrigo Boïto d’après Angelo, tyran de Padoue de Victor Hugo </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Maîtrise des Hauts-de-Seine/Chœur d’enfants de l’Opéra national de Paris </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Chœur et Orchestre de l’Opéra national de Paris </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Direction : Daniel Oren </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Mise en scène, décors et costumes : Pier Luigi Pizzi </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Eclairages : Sergio Rossi </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Chorégraphie : Gheorghe Iancu </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Solistes de la Danse des heures : </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Letizia Giuliani, Angel Corella</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Avec : </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Violeta Urmana (La Gioconda), Luciana D’Intino (Laura Adorno), Orlin Anastassov (Alvise Badoero), María José Montiel (La Cieca), Marcelo Alvarez (Enzo Grimaldo), Claudio Sgura (Barnaba)</span></div>
Unknownnoreply@blogger.com0Opéra Bastille, 75012 Paris, France48.8519444 2.370555599999988827.367819400000002 -38.938038400000011 70.3360694 43.679149599999988tag:blogger.com,1999:blog-7444957604767417947.post-72135914773083745132013-05-13T04:19:00.000-07:002013-05-13T04:03:17.621-07:00L'Ecole de Danse de l'Opéra National de Paris fête son tricentenaire<div class="MsoNormal" style="background-repeat: initial initial; line-height: 15.75pt; margin-bottom: 16.2pt;">
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<span style="font-size: small;"><b><span lang="FR" style="color: #444444; font-family: Trebuchet MS, sans-serif;">S'offrir un spectacle de danse au Palais Garnier, siège de l’Opéra National
de Paris (ONP), est un plaisir que tout le monde devrait pouvoir se concéder au
moins une fois dans la vie. Au Palais Garnier il a eu lieu en Avril, le
tricentenaire de l'Ecole Française de Danse (EFD), l'école qui forme les
danseurs aspirant à intégrer le Ballet de l’ONP. La commémoration de ces trois
siècles d'enseignement privilégié nous a offert plusieurs performances par les
meilleurs étudiants de L'Ecole. Merci à la gentillesse de l’équipe de l’ONP,
Ballet y mas a pu assister à une de ces performances.</span></b></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN3bhC451qGMm_ZBuEQ0gMKf-1x-BF9bSOgn0t4OK8TBiKv9_eLfNdmKFGk7x7b8bA_qK0axeDBvLPdl9zKvam_dyB3YgeVxaPJdq-DQPjjlaplV3nu3xsOcM6GGinnwuS85YHX-vFgbM/s1600/La+nuit+de+Walpurgis+Chor%C3%A9graphie+Claude+Bessy+d%27apr%C3%A8s+L.Staats+-+photo+Francette+Levieux+Mention+obligatoire-2006.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN3bhC451qGMm_ZBuEQ0gMKf-1x-BF9bSOgn0t4OK8TBiKv9_eLfNdmKFGk7x7b8bA_qK0axeDBvLPdl9zKvam_dyB3YgeVxaPJdq-DQPjjlaplV3nu3xsOcM6GGinnwuS85YHX-vFgbM/s400/La+nuit+de+Walpurgis+Chor%C3%A9graphie+Claude+Bessy+d%27apr%C3%A8s+L.Staats+-+photo+Francette+Levieux+Mention+obligatoire-2006.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">La nuit des Walpurgies (Photo: Francette Levieux)</td></tr>
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<span style="font-size: x-small;"><i><b><span lang="FR" style="color: #444444; font-family: Trebuchet MS, sans-serif;">Lola Ramírez</span></b></i></span></div>
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<span lang="FR" style="color: #444444; font-family: Trebuchet MS, sans-serif; font-size: small;"><b>L'Ecole Française de Danse</b> est née en 1713 à l'initiative de <b>Louis XIV.</b> Le
monarque français, accablé par les différents problèmes qui avaient fini par effondrer<b> l’Académie
Royale de la Musique</b>, a décidé d'élaborer des statuts dont notamment la
création d'un conservatoire de danse. Dans un premier temps, à ces classes, qui
étaient gratuites, seuls les danseurs professionnels y ont participé et bien
que certains enfants des artistes les aient également fréquentés, les classes
n'étaient pas conçues pour des enfants. Soixante-dix ans plus tard, un décret
de Louis XVI encourage la création d'une école spécifique pour les enfants de
moins de douze ans. Ils recrutaient des enfants très jeunes et vierges de toute
formation, donc dépourvus de défauts à corriger. Actuellement, les enfants qui
aspirent à entrer dans l'Ecole Française de Danse, doivent être âgés d’entre 8
et 13 ans au 1er Septembre de l'année d'inscription. Ils doivent également
passer un test rigoureux et s’ils le surpassent ils devront étudier la danse en régime d’internat<b> </b>jusqu'à
18 ans. Les classes de l'EFD sont gratuites, mais pas l’internat.</span></div>
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<span lang="FR" style="color: #444444; font-family: Trebuchet MS, sans-serif; font-size: small;">Le 18 Avril, merci a la gentillesse de <b>l'Opéra National de Paris</b>, j'ai pu
assister à l'une des représentations de L'Ecole Française de Danse qu'entre les
15 et 20 de ce mois a commémoré les trois siècles de vie de cette institution
emblématique. Comme l'a déclaré <b>Lily Safra</b>, grand mécène du tricentenaire de
l'EFD, "les célébrations du tricentenaire de l'Opéra de Paris sont un
hommage à l'art de la danse et du ballet. Pour les enfants qui font leurs
premiers pas de danse, pour les Etoiles qui brillent sur la scène,
pour tous ceux qui admirons la beauté, je suis convaincue que la célébration de
cette année restera à jamais dans notre mémoire".</span></div>
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<span lang="FR" style="color: #444444; font-family: Trebuchet MS, sans-serif; font-size: small;">Sur la mienne, bien sûr. Assise au deuxième rang du parterre, à quelques
pas de la fosse d'orchestre, jouissant de tout le luxe de ce magnifique
théâtre-palais conçu par <b>Charles Garnier</b> et inauguré en 1861, 14 ans plus tard,
je me sentais comme une princesse de la cour de <b>Napoléon III</b>. Au gout
particulier du monarque a été construit ce colisée<b> </b>de l'opéra et de
la danse, ou du moins c'est ce que Garnier a répondu à la femme de l'empereur
quand déjà commencés les travaux de construction, elle lui a demandé si il s'agissait
du style grec ou romain: «Dans le style Napoléon III, Madame."</span></div>
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<span lang="FR" style="color: #444444; font-family: Trebuchet MS, sans-serif; font-size: small;">J'avoue que je me sentais absolument émue. Le <b>Palais Garnier </b>était complet,
les hommes et les femmes impeccablement habillés, les parents avec leurs
enfants heureux de vivre un événement avec tant de glamour portant leurs plus
beaux habits et voyant danser peut-être une sœur, un cousin, ou un ami, dans la
scène d'un théâtre avec tellement d'ans d'histoire et pour lequel ont passé
quelques-unes des figures les plus remarquables de la danse. Le Palais Garnier
est un théâtre très baroque, très romantique, possédant un luxe exquis. Le
lustre<b> </b>de lumière de la salle principale pèse plus de six tonnes.
Mieux ne pas embrouiller<b> </b>cette journée passionnante à penser
à ce qui arriverait si le lourd bijou tombait sur le public. Devant moi, deux
petites filles anglaises n'arrêtaient un moment. Peut-être qu'un jour elles
aussi essayeront de passer les preuves pour entrer à l'Ecole et devenir des
danseuses de l'Opéra National de Paris.</span></div>
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<span lang="FR" style="color: #444444; font-family: Trebuchet MS, sans-serif; font-size: small;">Les lumières s'éteignent et <b>L'Orchestre des Lauréats du Conservatoire </b>sous
la direction de <b>Marius Stieghorst</b> commence les premiers accords de <i>D'ores et déjà</i>,
chorégraphie de <b>Béatrice</b> <b>Massin</b> et <b>Nicolas Paul</b> créé pour l'École et dansé
uniquement par des garçons. Aucun d'entre eux ne dépasse 18 ans, limite d'âge
pour rester à l'école et moment où les plus talentueux peuvent opter<b> </b>à
une place dans le corps de ballet de la compagnie de l'ONP. Dans ce cas, les
seize danseurs qui dansent la chorégraphie de Massin et Paul, font partie des
trois divisions supérieures de l'école, à savoir, les étudiants âgés d'entre 18
et 16 ans. Je les observe et reconnais en eux les qualités de le style
français: l’élégance, le naturel et cette allure<b> </b>aristocratique.
Parfois, un léger tremblement est filtré dans un équilibre difficile, c'est le
prix de l'inexpérience.</span></div>
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<span lang="FR" style="color: #2f2f2f; font-family: Trebuchet MS, sans-serif; font-size: small;">La deuxième pièce est un ballet purement féminin. <i>La nuit de Walpurgis</i>, un
des tableaux de l'acte V de <i><b>Faust</b></i>, il a été représenté pour la première fois en
1859 au <b>Théâtre Lyrique</b> et dix ans plus tard au Palais Garnier. Ballet baroque
et purement romantique, auquel, suivant les directives de l'École, <b>Claude
Bessy</b>, qui a joué jadis le rôle principal, retourne à l'école pour transmettre sa
connaissance aux étudiantes d'aujourd'hui. Il y a de très belles danseuses dans
ce ballet et très virtuoses<b> </b>malgré son jeune âge. Intérieurement je
joue à deviner laquelle d'entre elles rentrera l'année prochaine dans le corps
de ballet de l'ONP.</span></div>
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<span lang="FR" style="color: #2f2f2f; font-family: Trebuchet MS, sans-serif; font-size: small;"><i>Aunis</i>, le troisième ballet de cette
représentation, est une chorégraphie de <b>Jacques Garnier</b>. Une curieuse représentation
jouée par trois danseurs accompagnés par des musiciens avec l'accordéon
diatonique. La danse a des touches folkloriques et contemporaines. Avec cette
interprétation, qui dure 12 minutes, nous sommes arrivés à l'entracte. Une
belle promenade à travers le hall du Palais Garnier, en buvant du champagne
français produit dans les caves de l'un des patrons du Ballet de l'Opéra
National de Paris. <i>À votre Santé, monsieur!</i></span></div>
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<span style="color: #2f2f2f;">Le spectacle se termine avec </span><i style="color: #2f2f2f;">Péchés de
Jeunesse</i><span style="color: #2f2f2f;">, une belle chorégraphie de </span><i style="color: #2f2f2f;">Jean Guillaume Bart</i><span style="color: #2f2f2f;">, créé en 2000 à
l'Ecole. Le ballet est dansé par des élèves de la première et deuxième division,
appelés à devenir bientôt des danseurs professionnels. «Il me semblait
important, -affirme Bart- d'aider ces jeunes à découvrir en eux-mêmes de
nouvelles possibilités, comme d'apprendre à regarder l'autre, de s'approprier</span><b style="color: #2f2f2f;"> </b><span style="color: #2f2f2f;">du
protocole du ballet classique, de créer une atmosphère, de rendre visible la
comédie musicale. Pour moi, la rigueur ne doit pas être synonyme de rigidité,
ou un frein pour l'expression".</span></div>
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<span lang="FR" style="color: #444444; font-family: Trebuchet MS, sans-serif; font-size: small;">Les représentations de l'Ecole de Danse sont toujours un grand événement à
l'Opéra. Chaque année, les étudiants en dernière année, certains d'eux des
futurs membres du corps de ballet de l'Opéra National de Paris, se préparent à
ces représentations qui sont en quelque sorte ses débuts en tant que danseurs.
L'excitation, les nerfs, même la peur du principat, se reflexe à la
plupart d'entre eux, dans un léger tremblement presque imperceptible. On
remarque clairement le talent, la virtuosité, l'exécution d'une pirouette
parfaite effectué par une jeune femme brune, membre du corps de ballet, et un
jeune danseur oriental qui danse avec la sécurité et la précision d'un
professionnel. Fait à remarquer, aucun d'eux n'a rôle de danseur principal,
peut être que ça arrivera bientôt un jour.</span></div>
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<span lang="FR" style="color: #444444; font-family: Trebuchet MS, sans-serif; font-size: small;">Les lumières du Palais Garnier s'éteignent, les applaudissements continuent
et le souvenir, comme l'a dit Lily Safra, restera à jamais dans notre mémoire.</span></div>
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<span lang="FR" style="color: #444444; font-size: small;"><i><b><span style="font-family: Trebuchet MS, sans-serif; font-size: x-small;">Traduction: Carolina Masjuán </span></b></i></span></div>
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Lola Ramirez Escuderohttp://www.blogger.com/profile/01200101663045294862noreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-4292232118546039922013-05-12T11:13:00.000-07:002013-05-14T13:36:54.822-07:00Different Shores, Jiří Kylián, Ballet National de Norvège<i><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Loïc le Duc</span></b></i><br />
<i><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></b></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://criticasballetymas.blogspot.com.es/2013/05/different-shores-jiri-kylian-ballet_13.html"><b>Version espanola</b></a></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFX475ENk6XeZdRUrzv7fSwo0n4-Z4ZNqiPpa6a_oUHz3RWr5IzTNLxK3bNYlJE1hDrO6Anc7ft5349_6xRMCIKQMaK96CBDQmw1mJ-P88oAO2kJ0aEq9cwIVmP2hx06uFMCA_zH2faQV2/s1600/stepping+stones+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFX475ENk6XeZdRUrzv7fSwo0n4-Z4ZNqiPpa6a_oUHz3RWr5IzTNLxK3bNYlJE1hDrO6Anc7ft5349_6xRMCIKQMaK96CBDQmw1mJ-P88oAO2kJ0aEq9cwIVmP2hx06uFMCA_zH2faQV2/s400/stepping+stones+.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : <b>Erik Berg</b> - Stepping Stones<br /><b>Yolanda Correa</b> / <b>Yoël Carreno</b></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Le chorégraphe <b>Jiří Kylián</b> est un invité régulier de l'opéra d'Oslo. Après "<b><i><a href="http://criticasballetymas.blogspot.fr/2011/05/wild-flowers-cuatro-obras-de-kylian-por.html">Wild Flowers</a></i></b>" présenté au cours de la saison 2011, "<b><i>Different Shores</i></b>" est la quatrième soirée de ballet consacrée à l'univers du chorégraphe tchèque.<br /> </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Rien d'étonnant à cela puisqu'il compte parmi les plus importants chorégraphes actuels, ses ballets faisant l'unanimité. Son humanisme, l'universalisme des thèmes qui traversent ses créations (le rapport homme-femme, individu-groupe, la mort, l'illusion…), sa grande musicalité et son savoir-faire scénographique font de lui le chorégraphe consensuel par excellence. D'autant plus que l'absence de style affirmé, revendiqué comme une griffe, lui laisse une certaine liberté, chaque pièce étant différente de l'autre, le plus souvent inspirée par la musique, son univers et sa structure.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Pas moins de trois pièces font leur entrée dans le répertoire du ballet national de Norvège : alors que le puissant "<b><i>Soldiers' Mass</i></b>" (1980) est interprété par 12 danseurs sur l'oeuvre musicale de Bohuslav Martinu, le fascinant "<b><i>Stepping Stones</i></b>" (1991) est une des rares pièces dans laquelle </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Kylián</b></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> utilise la technique des pointes. La musique de <b>John Cage</b> et <b>Anton Webern</b> accompagne la partition chorégraphique. La plus récente des trois chorégraphies, "<b><i>Gods and Dogs</i></b>" (2008) - centième opus du chorégraphe pour le Nederlands Dans Theater - explore la frontière, fragile, entre la normalité et la folie. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Un bonheur total que l'on doit à <b>Ingrid Lorentzen</b>, directrice de la danse de l'Opéra national de Norvège, qui, par cette programmation, nous propose une soirée totalement grisante.</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>STEPPING STONES</b> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgauH1LR8jkIeRvr7fB144ewuhRStUU6OBeCKqmaDw9DAIx_T3UVN0gJ4ia07bd_HvI1R3wv5mBacErXGbf89_vCODEBhffFkvshRINovzKcWa2mcRyL1A0vay18_BJ5grFfM7Ep6JGTic3/s1600/stepping+stones+2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgauH1LR8jkIeRvr7fB144ewuhRStUU6OBeCKqmaDw9DAIx_T3UVN0gJ4ia07bd_HvI1R3wv5mBacErXGbf89_vCODEBhffFkvshRINovzKcWa2mcRyL1A0vay18_BJ5grFfM7Ep6JGTic3/s400/stepping+stones+2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : <b>Erik Berg</b> - Stepping Stones<br /><b>Kaloyan Boyadjev</b> / <b>Cristiane Sa</b></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>Stepping Stones</i></b> convoque des pièces pour piano préparé de <b>John Cage</b> et les "Six bagatelles" pour quatuor à cordes d'<b>Anton Webern</b>. Peu importe que ces Stones soient les pierres d'un gué ou d'un chemin initiatique. L'insolite du décor avec ses trois chats égyptiens et les petites reproductions de statues que véhiculent les huit danseurs à bout de bras ou entre leurs jambes, tout comme leurs maillots de corps restent anecdotiques devant la constante invention d'une chorégraphie à la fois virtuose et athlétique. </span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Des déhanchements savamment dosés sur les syncopes de la musique, un travail constant de rotation des bras, une coordination périlleuse avec le minimalisme de Cage et de Webern semblent un travail d'horloger suisse auquel se plient, avec beaucoup d'enthousiasme, les solistes <b>Yoël Carreno</b>, à la présence impressionnante, <b>Kaloyan Boyadjiev</b>, <b>Philip Currell</b> et <b>Christine Thomassen</b>, et les danseurs du corps de ballet <b>Stine Ostvold</b>, <b>Ole Willy Falkhaugen</b> et <b>Cristiane Sa</b>. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Quant à l'interprétation de <b>Mademoiselle Correa</b>, elle est tout simplement, remarquable : d'une grande fluidité, son corps est une ondulation gracieuse qui épouse merveilleusement le contour sonore de l'ouvrage. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>GODS AND DOGS</b> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLwkyvPVvpZi_oK-ptg6tmC-Gk_ESGTBkcwPAbO0uYjmF0YX_XaFFMJ37NSGQn6LDegZfVMQBOj3A7c_1fUyBpRGl6J-5Qw21YnU4_4dF695p_P_HsWexcacj0Uk48hEWM1SVF-nMAe-w0/s1600/gods+&+dogs+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLwkyvPVvpZi_oK-ptg6tmC-Gk_ESGTBkcwPAbO0uYjmF0YX_XaFFMJ37NSGQn6LDegZfVMQBOj3A7c_1fUyBpRGl6J-5Qw21YnU4_4dF695p_P_HsWexcacj0Uk48hEWM1SVF-nMAe-w0/s400/gods+&+dogs+1.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : <b>Erik Berg</b> - Gods and Dogs<br /><b>Yolanda Correa</b> / <b>Gakuro Matsui</b></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>Gods and Dogs</i></b> est une interrogation, magistrale, sur la frontière, fragile, qui sépare la normalité de la folie. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Magistrale parce que subtile et habitée, sans pathos didactique : jeux sur les frontières de la scène, métaphore de l'être humain, sorties de scène impromptues… D'une beauté indicible, <b><i>Gods and Dogs</i></b> jouit de jeux de lumières qui magnifient le rideau de fond de scène, composé de chaînes métalliques qui participent au mouvement de la chorégraphie. Cet univers hallucinant et fascinant, évolue au rythme de la musique de <b>Dirk Haubrich</b>, inspirée d'un quatuor de <b>Beethoven</b>, qui déchire l'espace et installe sa pulsation ; elle ne cessera plus. L'esthétique glacée, énervée, désarticulée et rapide de la pièce repose sur les mêmes fondements que les recherches des postmodernes comme <b>Trisha Brown</b> ou <b>Lucinda Child</b>. Même si <b>Kylián</b> utilise le vocabulaire académique dont il exaspère, ici, les principes, il démontre le basculement vers la folie à travers l'éclatement de la structure de la danse. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkraM0HOnVsXt6pS-hE6eP5JDgpWFCTjjoeCLfKpw17ItC5tEOkjoZWCO_vetu6L6TqIDe_xDiHWraya9KcTY7P9l0y3k62uVU6xQrplaiDtD-UqnsgesvX-0ajv3Ig_KVDv1YlLWdJLJo/s1600/gods+&+dogs+2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkraM0HOnVsXt6pS-hE6eP5JDgpWFCTjjoeCLfKpw17ItC5tEOkjoZWCO_vetu6L6TqIDe_xDiHWraya9KcTY7P9l0y3k62uVU6xQrplaiDtD-UqnsgesvX-0ajv3Ig_KVDv1YlLWdJLJo/s400/gods+&+dogs+2.jpg" width="341" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : <b>Erik Berg</b> - Gods and Dogs<br /><b>Stine Ostvold</b> / <b>Gakuro Matsui</b> </span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Et la gestuelle requise pour interpréter <b><i>Gods and Dogs</i></b> est magnifiquement servie par les danseurs du ballet national de Norvège qui font feu, avec une précision déconcertante, de toutes les combinaisons de corps, de tous les rythmes, de tous les muscles du corps, y compris ceux du visage. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">On soulignera l'interprétation de <b>Yolanda Correa</b> qui, ici aussi, met ses aptitudes physiques et sa technique au service du style <b>Kylián</b> avec une concentration intérieure si intense, qu'elle lui permet d'habiter chaque mouvement et de fournir un travail remarquable sur la circulation de l'énergie où l'équilibre instable est un art. <b>Emma Lloyd</b>, lumineuse, techniquement impeccable, se révèle à son meilleur niveau. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Chez les messieurs, <b>Gakuro Matsui</b> que le public remercie avec effusion à la fin du spectacle, est à la hauteur des exigences d'une partition chorégraphique violente et inquiète, qui en fait la victime possédée de spasmes qu'il ne maîtrise pas. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEB3PR5ks2KgSO-CHvjPkySAFrGu852Gstz1hPVm4rsFAzssCfFgO3SSQ7aZeFx5PAS4uhSh_18Apt0xjwMMLWZQPY8itfAvwbRQfUh_HV9R_YfacohDKkMMPwujB7Qkmvukqk1cJ0PimD/s1600/gods+&+dogs+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEB3PR5ks2KgSO-CHvjPkySAFrGu852Gstz1hPVm4rsFAzssCfFgO3SSQ7aZeFx5PAS4uhSh_18Apt0xjwMMLWZQPY8itfAvwbRQfUh_HV9R_YfacohDKkMMPwujB7Qkmvukqk1cJ0PimD/s400/gods+&+dogs+3.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : <b>Erik Berg - </b>Gods and Dogs<br /><b>Gakuro Matsui</b> </span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>SOLDIERS'MASS</b> </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">En dernière partie de soirée de ces "<b><i>Different Shores</i></b>" figure "<b><i>Soldiers' Mass</i></b>". La chorégraphie de <b>Jiří Kylián</b> se donne pour ambition de recréer les émotions de la musique de <b>Bohuslav Martinu</b>. Cet opus pour choeur, cuivres, piano et percussions, a été écrite en 1939, à partir d'un texte de </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Jiří</b></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b> Mucha</b> dédié à la mémoire d'un bataillon de jeunes recrues tchèques tuées le lendemain de leur arrivée au front, au cours de la Première Guerre mondiale. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidJ5k6BqoXR4sM_rVu63go2B77gic5RhT36d5v2ez8MOboKJijxEUlAAe4Wr7G-tNx1BjqgiYUG9pbILD4pbxssTlUXkF-ek51UCeZsZfbY2BveGIeVdMxE1pmQUZgyrMTtjUf_9EqXvqs/s1600/soldiers'mass.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidJ5k6BqoXR4sM_rVu63go2B77gic5RhT36d5v2ez8MOboKJijxEUlAAe4Wr7G-tNx1BjqgiYUG9pbILD4pbxssTlUXkF-ek51UCeZsZfbY2BveGIeVdMxE1pmQUZgyrMTtjUf_9EqXvqs/s400/soldiers'mass.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : <b>Erik Berg </b>- Soldiers' Mass</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Douze danseurs, vêtus de tenues kaki stylisées, tournent le dos au public, dans une pose typique de <b>Kylián</b>. Ils dansent contre une ligne d'horizon courbe et n'auront de cesse de danser à l'unisson, eu égard aux habitudes régimentaires. Et lorsque l'un des interprètes - <b>Aarne Kristian Ruutu</b> - rompt cet effet de masse pour interpréter un solo endiablé, c'est l'image de la jeunesse perdue qui s'incarne dans cette énergie du désespoir affichée. Parce que si l'écriture chorégraphique joue avec cette masse anonyme de douze hommes, l'oeil ingénieux de <b>Kylián</b> pour le détail met en exergue la destinée tragique de chaque protagoniste. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">D'autant que la veine théâtrale de <b><i>Soldiers' Mass</i></b> dénonce, avec force et tragédie, la stupidité de la guerre. Et nous offre des tableaux particulièrement poignants : à un instant donné, les danseurs s'arrêtent, face au public, et avec un air de défi, chantent, comme le condamné, avec le choeur. Puis tous, en quinconce, arrachent leur chemise, et torse nu, les bras en croix, se tournent vers le public qu'ils défient une dernière fois avant de s'écrouler, les uns après les autres, comme frappé d'une balle en plein coeur. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : <b>Erik Berg</b> - Soldiers' Mass</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Excellente distribution qui assurait cette ultime représentation de <b><i>Soldiers' Mass</i></b> avec une mention spéciale à <b>Martin Dauchez</b> qui rayonne à chacune de ses apparitions sur la scène de l'opéra d'Oslo.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Oslo -<b> </b>Représentation du 3 mai 2013</span><br />
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<b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Stepping Stones</span></b><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Chorégraphie : </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jiří Kylián</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Musique : John Cage - Anton Webern</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Scénographie : Michael Simon</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Danseurs : </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kaloyan Boyadjen,</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Yoël Carreno, </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Yolanda Correa, Philip Currell, </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ole Willy Falkhaugen, </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Stine Ostvold,</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Cristiane Sa, </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Christine Thomassen </span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Gods and Dogs</b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Chorégraphie : </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jiří Kylián</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Musique : Dirk Haubrich - Ludwig van Beethoven</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Scénographie : </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jiří Kylián</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Danseurs : Yolanda Correa, Martin Dauchez, Emma Lloyd, Gakuro Matsui, Stine Ostvold, Aarne Kristian Ruutu, Garrett Smith, Christine Thomassen </span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Chorégraphie : </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jiří Kylián</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Scénographie : </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jiří Kylián</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Danseurs : Kaloyan </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Boyadjen, Fernando Carrion, Philip Currell, Martin Dauchez, Ole </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Willy Falkhaugen, Andreas Heise, Samantha Lynch, </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Gakuro Matsui, Tomoaki Nakanome, </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Aarne Kristian Ruutu, Kristian Stovind, Dirk Weyershausen</span></div>
Unknownnoreply@blogger.com0Oslo, Norvège59.9138688 10.75224539999999359.6589943 10.106798399999992 60.1687433 11.397692399999993tag:blogger.com,1999:blog-7444957604767417947.post-38950655657265194652012-12-31T13:57:00.000-08:002013-01-03T15:22:09.911-08:00La Pepa - Sara Baras Ballet Flamenco<div class="separator" style="clear: both; text-align: center;">
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<b><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Loïc le Duc</span></i></b><br />
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>Sara Baras</i></b> </span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Personne ne sait très bien où, quand et comment naît l'histoire du flamenco. Ses premières racines ont dû pousser quelque part dans l'Inde du Nord, avant d'être soudainement (mais on ignore pourquoi) chassés de leur terre. Les graines de cette plante folle ont alors voyagé un peu partout en Europe, sous les roues des carrioles nomades qui emportaient l'exil d'un peuple, d'une langue et de ses farandoles. Cette plante coriace, dure au vent et à la misère, a su se transformer au gré de ses pérégrinations, se réfugiant dans la plainte d'un violon tzigane en Europe de l'Est, s'infiltrant, in fine, sur les terres arides et rocailleuses de l'Andalousie espagnole. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>Sara Baras</i></b> </span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Foto : Carmen Romero</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Le flamenco est né d'une persécution ; ses parents gitans relégués dans les forges et les caves d'une Espagne inquisitoriale ; peuple de l'ombre, forcément maléfique, secret, que l'iconographie aura représenté sous une sempiternelle cape. Enveloppé de nuit, le flamenco a su dialoguer avec les étoiles, c'est là sa ruse ; et rire sous cape, c'est là son insolence. Ah, cette ruse de la cape, que l'on retrouve aujourd'hui encore dans les volutes malicieuses des jupes de la danseuse flamenca. Le flamenco est poésie. Les mots d'en bas, ceux de tous les jours et de toutes les nuits, glissent en funambule sur la corde d'une guitare, s'accrochent à une voix rauque ou jaillissent dans l'étincelle d'un "zapateado". </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>Sara Baras</i></b> - Foto : Santana de Yepes</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">De tradition séculaire, le flamenco a, aujourd'hui, retrouvé son éternelle jeunesse, rebelle et utopique. D'entre la nouvelle génération flamenca, <b>Sara Baras</b>. Née à Cadix, elle fut interprète dans des compagnies prestigieuses comme celle de <b>El Guito</b> et s'inscrit, avec une élégance déterminée, dans les traces d'<b>Antonio Gadès</b> et de <b>Cristina Hoyos</b>, ou de personnalités comme <b>Antonio Canales</b>. Fine et élégante, <b>Sara Baras</b> possède une cambrure ravageuse, un "braceo" particulièrement gracieux. Et met en évidence de savantes arabesques, d'élégants jeux de poignets et de petits haussements d'épaules aussi coquins que ses déhanchements sont sensuels. Sous ses mains, son châle se métamorphose en cape, voile, éventail et les pas s'enchaînent à un rythme aussi prodigieux qu'entraînant. Femme et diablesse, la danseuse passe capricieusement des ondulations alanguies aux coups secs et crépitants, et exécute un zapateado d'une exceptionnelle variété de rythmes, de nuances et de couleur. Et lorsqu'elle relève un défi chorégraphique, <b>Sara Baras</b> le fait savoir comme il se doit : coup de poing sur la poitrine et menton en avant. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Armée de son talent et de son art, <b>Sara Baras</b> nous fait sentir, goûter et revivre cette Cadix des "tertulias" qui, de 1810 à 1812 a résisté aux troupes françaises placées sous commandement de Napoléon. Huit tableaux se succèdent pour décrire l'horreur de la guerre, l'amour de la terre, la volonté et le combat pour un monde libre, l'espérance dans un futur meilleur… Cet épisode historique est magistralement mis en relief par un flamenco puissant et la présence du corps de ballet, élégant et racé, que souligne, inlassablement, le raffinement des éclairages. Point d'orgue de cette danse fascinante, toute de noblesse et de violence contenue : les duos au cours desquels <b>Sara Baras</b> et <b>José Serrano</b> se défient et rivalisent de virtuosité. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>La Pepa</i></b> - <b style="font-style: italic;">Sara Baras Ballet Flamenco</b><br />Foto : Carmen Romero</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Spectacle enchanteur et jouissif, <b>Sara Baras</b> incarne, à la perfection, la "Pepa", <i>cette voix du peuple qui aspire à la liberté</i>...</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>La Pepa</i></b> (création 2012)<br />Théâtre des Champs Elysées - Paris</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />Sara Baras : livret et direction artistique<br />Sara Baras, avec la collaboration de José Serrano : chorégraphie<br />Ras Artesanos, Sara Baras : scénographie <br />Torres-Cosano : costumes<br />Oscar Marchena, José Luis Alegre, Sara Baras : lumières<br /><br /><b>Sara Baras</b> : <b>La Pepa</b><br /><b>José Serrano</b> : danseur invité<br /><br /><b>Sara Baras Grupo Flamenco</b><br />Keko Baldomero : directeur musical<br />Keko Baldomero, Miguel Iglesias : guitares<br />Antonio Suarez, Manuel Muñoz « Pájaro » : percussions<br />Saul Quiros, Emilio Florido, Miguel Rosendo : chanteurs<br /><br /><u>Danseurs</u></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Carmen Camacho, Charo Pedraja,Cristina Aldon, Isabel Ramirez, Macarena Rodriguez, Maria Jesus Garcia, Natalia Lopez, Tamara Macias, Alejandro Rodriguez, Daniel Saltares, David Martin, Manuel Ramirez, Raul Fernandez</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-81000867920745470072012-11-11T11:32:00.000-08:002013-01-02T14:46:34.472-08:00Marie-Agnès Gillot / Merce Cunningham<div class="separator" style="clear: both; text-align: center;">
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<b><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Loïc le Duc</span></i></b><br />
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<b><a href="http://criticasballetymas.blogspot.fr/2012/11/marie-agnes-gillot-merce-cunningham.html">Version espanola</a></b><br />
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Sous apparences</b> - <b>Marie-Agnès Gillot</b><br />Photo : Julien Benhamou / Opéra National de Paris</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Le Maître <b>Cunningham</b> et l’apprentie chorégraphe <b>Gillot</b>. La double-bill à l’affiche de l’opéra de Paris pourrait agréablement surprendre. Elle déçoit. <b>Brigitte Lefèvre</b>, directrice de la danse, a voulu associer à la reprise d’ « <i><b>Un jour ou deux</b></i> », la création de la danseuse-étoile <b>Marie-Agnès Gillot</b> qui conçoit là sa première chorégraphie pour le Ballet de l’opéra de Paris.</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Marie-Agnès Gillot</b> s'est appropriée le processus de création du chorégraphe américain en associant des artistes de toutes disciplines. <b>Laurence Equilbey</b>, chef d'orchestre et directrice musicale du chœur Accentus, a conçu une dramaturgie musicale constituée du Kyrie et de l’Agnus Dei de la Messe n°2 en si mineur de Bruckner, d’une pièce pour clavecin de Ligeti et d’extraits de la Rothko Chapel de Morton Feldman. <b>Olivier Mosset</b> transpose ses peintures abstraites en un décor original où cour et jardin se croisent et s'inversent. <b>Walter Van Beirendock</b>, créateur d'une mode anticonformiste, a conçu les étranges et provocants costumes : sapins de tulle, guêpes géantes et roquettes roses peuplent cet univers mystérieux et chimérique. Et sur un sol noir, lisse et ultra brillant, la danseuse étoile - chorégraphe lance, filles et garçons, chaussés de pointes, dans de longues glissades. Des choix qui restreignent forcément le vocabulaire chorégraphique qui se limite à des ports de bras, des épaulements, des portées statiques. Et parce que « <b><i>Sous apparences</i></b> » se veut une réflexion sur la pointe, la danseuse-étoile chorégraphe tente, en vain, de trouver un langage masculin avec cet objet sacré. Mais là ou <b>Edouard Lock</b> (« <i><b>Amjad</b></i> ») excelle, <b>Marie-Agnès Gillot</b> échoue : il y a un manque flagrant de fluidité sur le plateau, une prise de risque qui tombe trop souvent à l'eau. En raison d’une volonté, soulignée et répétée, de désexualiser, à outrance, certains codes ? Ou parce que la chorégraphe et ses interprètes ne sont pas allés au bout de cette prise de risque, ô combien revendiquée, et n'ont pas exploité l'art de la chute ? Dommage, parce que l’investissement des interprètes est évident… et <b>Vincent Chaillet</b>, parfait.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Un jour ou deux </b>- <b>Merce Cunningham</b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : Julien Benhamou / Opéra national de Paris</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">« <b><i>Un jour ou deux</i></b> », qui suit, est d’un calibre bien différent. Commande de 1973 de l’Opéra à <b>Merce Cunningham</b> et à son compagnon, <b>John Cage</b>, cette pièce désarçonna le public…. Et bouleversa les habitudes de la Grande Maison : tandis que <b>Cunningham</b> tente de faire traverser aux danseurs des expériences qui leur sont totalement étrangères, l'orchestre s'émeut d'avoir à manipuler des boites de carton, s'offusque d'une liberté qui lui est laissée de circuler entre trois groupes d'exécutants, et menace de refuser d'interpréter la partition de <b>Cage</b>. Le décor et les costumes minimalistes de Jasper Johns, autre représentant de l’avant-garde artistique outre-Atlantique, ajoute à l’étonnement du public. Aujourd’hui, plus que jamais, « <b><i>Un jour ou deux</i></b> » s'impose comme une œuvre lisible, accessible et sophistiquée.Eclosion de vitesses, division des parties du corps. Coordination virtuose du jeu des jambes, de mouvements inédits du dos et des bras. Variations de directions et de rythme. Il faut souligner, dans la gamme des mouvements proposés, la richesse de la technique élaborée par <b>Cunningham</b> qui donne à toutes les parties du corps une importance égale dans le geste. Ce qui ne va pas sans une maîtrise tout à fait virtuose de la part des danseurs du ballet de l’opéra de Paris, même s’ils ont un peu trop tendance à arrondir les angles, à enjoliver les portés. <b>Simon Valastro</b> est éblouissant, <b>Florent Magnenet</b> surprenant. On imagine l'ampleur et la complexité du travail des interprètes, dans cet espace déstabilisé, sans recours à une référence émotionnelle ou figurative. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Un jour ou deux </b>- <b>Merce Cunningham</b><br />Photo : Julien Benhamou / Opéra national de Paris</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Autant de conditions qui requièrent du spectateur une autre façon de voir. Il se trouve confronté à une danse souvent nouvelle, une danse non narrative, sans lien apparent avec la musique ; de multiples évènements simultanés et différents sont présentés sur le plateau, sans communauté rythmique ni formelle, et sans que rien n'indique une hiérarchie entre eux. Le spectateur de Garnier doit apprendre à choisir ce qu’il regarde, ou à regarder plusieurs choses en même temps sans que, en l'absence d'un fil conducteur musical ou dramatique, il puisse, au premier abord, identifier une logique ou une cohérence. Soixante minutes de pureté, de bonheur. "<b><i>Un jour ou deux</i></b>" est incontestablement un joyau du répertoire contemporain.</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>Sous apparence</i></b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Laetitia Pujol</b>, <b>Alice Renavand</b>, <b>Vincent Chaillet</b> et le corps de ballet de l'Opéra national de Paris</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Chorégraphie : Marie-Agnès Gillot</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Décor : Olivier Mosset</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Costumes : Walter Van Beirendonck</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">ARS NOVA Ensemble Instrumental</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Choeur Accentus</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Direction musicale : Laurence Equilbey</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i>Un jour ou deux</i></b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Stéphanie Romberg</b>, <b>Florian Magnenet</b>, <b>Fabien Révillion</b> et le corps de ballet de l'Opéra national de Paris</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Chorégraphie : Merce Cunningham</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Musique originale : John Cage</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Décors et costumes d'après Jasper Johns.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-51035281481343983892012-10-21T10:39:00.000-07:002013-01-02T14:45:40.791-08:00"Multiplicity, Forms of Silence and emptiness"by<b style="font-style: italic;"> Loïc le Duc</b><br />
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<b>Traduction : <i>Carolina Masjuan</i></b><br />
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : Erik Berg</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Oslo Opera House</b> season opening with the entry at the National Ballet repertoire of "<b><i>Multiplicity, Forms of Silence and emptiness</i></b>" by <b>Nacho Duato</b>. After "<b><i>Por vos muero</i></b>", "<b><i>White Darkness</i></b>" and "<b><i>Arcangelo</i></b>", "<b><i>Multiplicity, Forms of Silence and emptiness</i></b>" is the fourth piece that the Spanish choreographer gives to the Norwegian company.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Native of Valencia, <b>Nacho Duato</b> has trained at the <b>Rambert</b> School in London, then at Béjart and with <b>Alvin Ailey</b> where he was the only white dancer in the company. He joined the <b>Ek’s</b> company before meeting <b>Kylian</b> at the Nederlands Dans Theater. Powerful dancer, complex and sexy, yet he is as a choreographer that he will definitely be known. His aura allowed him to be appointed as artistic director of the <b>National Compañia de Danza in Madrid</b> (1990) and at the <b>Mikhaïlowski Theatre in St. Petersburg </b>(2011).</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : Erik Berg</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">"<b><i>Multiplicity, Forms of Silence and emptiness</i></b>", created for the city of Weimar (1999), is a tribute to the music of Bach, with a splendid art structures, lots of humour at times, and alternating perfectly ordered meditation and agitation. The dancers of the National Ballet of Norway are amazing of diversity, virtuosity and theatricality: rigor of form, constant energy, vivacity that permanently launches body and limbs in a thousand directions at once, with an almost rubbery flexibility or athletic strength seeming to alter their morphology. Strength and relaxation of the basin allow freedom of the bust, arms and legs. The movement is continuous, smoothly underlined by the classical vocabulary used ... We can only welcome the incredible arms calligraphy, which sometimes seems to precede the rest of the body. And throughout his writing, choreographer sows and other small discrete spins thrown in reducing an excessive virtuosity. There, the dancers glide, leg sweeping the stage to finish with a roll: they are as worn by music. Nothing revolutionary, certainly. Just work carved in the air of time. The staging is conceived to be simple and effective, reduced to a few stools desks, a screen and a metallic structure in the background, a representation of a blank musical score.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : Erik Berg</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">"<b><i>Multiplicity, Forms of Silence and emptiness</i></b>" is certainly the most sophisticated <b>Nacho Duato</b>'s ballet. Divided into two parts, "Multiplicity", reflects dance images inspired by the music of the brilliant composer. Extroverted, sometimes comical, this first part is characterized by choreographic variety and diversity that correspond to the various musical excerpts assembled here. The prelude of the Suite No. 1, highlighted by <b>Emma Lloyd</b> cello which is in the hands of <b>Ole Willy Falkhaugen</b> (JS Bach) Brandenburg concertos written for Anna Magdalena, the "allegro" away everything in its path. Of these two men dragonflies (<b>Philip Currell</b> and <b>Andreas Heise</b>) who flutter around Bach ... inventive shadows (<b>Yolanda Correa</b>, <b>Leyna Magbutay</b>,<b> Chihiro Nomura</b>), everything is rapture. Sets group may be less convincing. All the zeal of the Norway National Ballet must be there to raise the level. Costumes are inventive, moving with the body, or giving forms involved in this fun and outgoing atmosphere.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : Erik Berg</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">"<b><i>Forms of Silence and emptiness</i></b>" is darker, more architectural. The tone is more introspective, mystical, spiritual. It refers to the theme of death, so present in the writing of the German composer who can not help instructing its partitions with sore chromatic figurations: the child of nine years which saw in a rapid succession how his mother died first and then his father too, the accomplished man hit hard by the sudden death of his wife, ten children died in infancy, the one of his adult son, the task of making cantor sing motets and choral funeral canticles at mortuary homes ... Bach's life was marked with the seal of death. "<b><i>Forms of Silence and emptiness</i></b>" is based mainly on the Art of Fugue, composed by Bach at the end of his life. The final duo of the piece that sees the confrontation between Bach and "death" is masterfully interpreted by <b>Ole Willy Falkhaugen</b> and <b>Eugenie Skilnand</b>.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Then, one by one, dressed in black, the dancers return to the levels of the scaffolding, they align and pose, like musical notes crying their mourning for the Leipzig genius passing away.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo : Erik Berg</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Norwegian National Ballet</b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Performance on 4th october 2012</b></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-59009906641117626482012-07-09T01:57:00.002-07:002012-07-09T23:48:08.328-07:00Farewell, Angel Corella<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Ángel Corella as Sigfried.<br />
<i>Photo by Rosalie O`Connor</i></td></tr>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b> </b> by</span><b style="font-family: Arial, Helvetica, sans-serif;"> </b></span><i><b>Kazumi Imasaki</b></i><br />
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;"><span lang="EN-US">For the past 17 years–come spring–Angel Corella has been an iconic figure at the Metropolitan Opera House in New York. It was here that he began his career with American Ballet Theatre, first as Soloist in 1995, then moving up quickly to Principal in 1996. </span></span><br />
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<span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;">Early in his career,
technical excellence set Mr. Corella apart. That, and his boyish charm
and seemingly unending exuberance. Later, maturity brought passion and
artistry into more dramatic ballets like <i>Romeo and Juliet</i>, <i>Manon, La Bayadere, Swan Lake
</i>and <i>Giselle. </i>Depth and dimension helped to mold characters
that were believable and real, bringing tears of sorrow, joy or whatever the
scene called for, to the eyes of those fortunate enough to watch him in the
audience.</span><span lang="EN-GB"></span></div>
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<span lang="EN-US">Some notable roles to
showcase Mr. Corella’s dramatic side were from a couple of <b>Kenneth MacMillan
</b>ballets: <i>Manon </i>and <i>Romeo and Juliet. </i>As Degrieux (<i>Manon</i>)<i>
</i>and Romeo (<i>Romeo and Juliet</i>), Mr. Corella took on a dichotomy of
expressions—as Degrieux, elation followed by the excruciating pain of his loved
one’s death in his arms, and as Romeo, genuine joy and excitement in the famous
balcony scene pas de deux, followed by inconsolable sorrow at the end.
Another memorable scene from <i>Romeo and Juliet</i> is the duel with
Tybalt. During the sword-fight, Mr. Corella fought with such intensity
that he would inevitably end up with a broken sword, or at the very least, a
bent one. Props are evidently not made to withstand such emotional
outbursts!</span><span lang="EN-GB"></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span lang="EN-US">Thus, for seventeen years,
Mr. Corella has brought excitement, joy and drama to the Met. He was a
dancer and artist who had the gift of sharing his joy and passion with those
who saw him, often times bringing a smile to their faces. </span><span lang="EN-GB"></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRLOzeeaBylYEIvb_729qQweY1QEMeDebmK6ZxklmJpwj8paF0j2vTC90aYIjqlXqpKP3ALPRInz6nB01a9k7BG5udEqvq1vJK1haHDQSj62oXHOjxo3sItFePr2lWru45SzxtmzSEj0A/s1600/slcorellabows1ro.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRLOzeeaBylYEIvb_729qQweY1QEMeDebmK6ZxklmJpwj8paF0j2vTC90aYIjqlXqpKP3ALPRInz6nB01a9k7BG5udEqvq1vJK1haHDQSj62oXHOjxo3sItFePr2lWru45SzxtmzSEj0A/s400/slcorellabows1ro.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US">When the confetti had settled, Mr. Corella gave us one final pirouette by which
to remember him.</span><br />
<span lang="EN-US"><i>Photo by Rosalie O`Connor</i>. </span></td></tr>
</tbody></table>
<span lang="EN-US">Sadly for many, that came
to an end on June 28 when Mr. Corella took his final bow at the Met, in front
of a full house, amid much fanfare. His last role was Prince Siegfried in
<i>Swan</i><i> Lake</i><i>—</i>a role he has become
well known for since the release of a DVD in which he starred. </span><span lang="EN-GB"></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span lang="EN-US">On his final evening with
ABT, Mr. Corella brought with him his boyish charm, his effervescent smile, his
soaring jumps and whirlwind pirouettes. Youthful, spritely and energetic,
it was difficult to believe that this beloved dancer was hanging up his tights
and walking away from full-length ballets. He danced so well, in fact,
that this appeared to be just another day at the Met for him—no weariness or
weathered look that one might expect from a dancer who had made the decision to
bow out. Instead, Mr. Corella left on a high note, saying farewell his
way, and on his time. </span><span lang="EN-GB"></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span lang="EN-US">The audience responded by
showering him with thunderous applause every opportunity he gave them.
The illumined look on the other dancers' faces also indicated that this was
indeed a special performance. Mr. Corella, for the most part, appeared
unfazed. Perhaps that came from the knowledge that his next career was
firmly in place—for four years, he has been juggling his career at <b>American
Ballet Theatre</b> with the dual role of Artistic Director and Principal Dancer at
Corella Ballet (now <b>Barcelona Ballet</b>) in his home country of Spain. In
fact, there were several dancers on stage this night that had danced with
Corella Ballet/Barcelona Ballet at one time or another. </span><span lang="EN-GB"></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span lang="EN-US">For starters, there was
<b>Paloma Herrera</b>, who was not only Mr. Corella’s leading lady on his final
evening with ABT, but also his leading lady at Corella Ballet's inaugural
performance in Madrid four years ago when she danced Nikiya opposite Mr.
Corella’s Solor in <i>La
Bayadere</i>. She is also the ballerina that Mr.
Corella has probably danced opposite the most during his years with ABT.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span lang="EN-US">Then, there was <b>Sarah Lane.</b> Ms. Lane had danced
Odette/Odile to Mr. Corella's Prince Siegfried when Corella Ballet re-emerged
as Barcelona Ballet this past February at the <b>Liceu Theater</b> in Barcelona. On Mr. Corella's final
evening with ABT, Ms. Lane
danced the role of the Spanish Princess who almost catches Prince Siegfried's
eye in Act III. </span><span lang="EN-GB"></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span lang="EN-US">There was also <b>Alexandra
Basmagy</b>, who had spent three years with Corella Ballet before earning a spot in
the Corps de Ballet at ABT last fall. Born in <b>New
Jersey</b> and trained at the <b>Jaqueline Kennedy
Onassis School</b>
at ABT, Ms. Basmagy has returned to dance in her home country, much like Mr.
Corella has returned to his.</span><span lang="EN-GB"></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUsjL0J5wifbxdJoh4qLQ0Eakbu19TIVoDB4zeaKrC_0otcIjn8gBao_m8Pv1yNrvPNUF3Hdrakp24LvK8TmINZAP0aKiOfaNhS8wbOfn-JnmKjn-GZuVwkgPvo40GrhdDVd3ljOYvPHU/s1600/slcorellabows2rob.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUsjL0J5wifbxdJoh4qLQ0Eakbu19TIVoDB4zeaKrC_0otcIjn8gBao_m8Pv1yNrvPNUF3Hdrakp24LvK8TmINZAP0aKiOfaNhS8wbOfn-JnmKjn-GZuVwkgPvo40GrhdDVd3ljOYvPHU/s320/slcorellabows2rob.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US">Corella
received the send-off that so many had wanted for him. </span><br />
<i>Photo by Rosalie O`Connor</i></td></tr>
</tbody></table>
<span lang="EN-US">After the performance, Mr.
Corella's colleagues from ABT joined him on stage. One by one, they
entered with bouquets in their arms. There was no denying now that this
was a farewell after all. Mr. Corella received each person with a hug and
a smile. It wasn’t until Mr. Corella's sister <b>Carmen</b>–formerly a Soloist
with ABT and now a Principal dancer at Barcelona Ballet–entered and gave her
brother a long embrace that Mr. Corella’s countenance finally broke, though but
briefly. As they loosened their hold on each other, he pinched his eyes
to keep any wayward tears from falling. </span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span lang="EN-US">In the end, Mr. Corella
received the send-off that so many had wanted for him. The hugs, the
kisses, the mound of flowers and swirl of confetti took care of that.
When the confetti had settled, Mr. Corella gave us one final pirouette by which
to remember him. </span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span lang="EN-US">Now that he has his retired
from ABT, Mr. Corella will have one less hat to wear, giving him time to focus
his energies in Spain,
where Barcelona Ballet is expected to start a community school this fall.
They are also holding summer intensive courses, the first of which began only a
few days after Mr. Corella's return to Barcelona.
If Mr. Corella can pass on his most endearing quality to the next generation of
dancers, the world will be blessed with dancers who dance from the heart.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span lang="EN-US">So, although Mr. Corella
has officially retired from ABT, he will not be sipping piña coladas on the
beach any time soon (or ever, for that matter as Mr. Corella does not consume
alcohol).</span><span lang="EN-GB"></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span lang="EN-US">Barcelona</span><span lang="EN-US">, Angel Corella is all yours now. Take
good care of him.</span><br />
<br />
<br />
<a href="http://www.youtube.com/watch?v=rE353rAzFhg&feature=share%20"><b><span style="color: #76a5af;">Vídeo </span></b></a><br />
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<br /></div>
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<br /></div>
</div>Lola Ramirez Escuderohttp://www.blogger.com/profile/01200101663045294862noreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-85373279067904854412012-05-28T01:20:00.002-07:002012-07-09T10:20:23.146-07:00Angel Corella, "I've mortgaged to the teeth"<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj60fh1dOSmbVBoCTjcqtW08BZlsyMXIEMY0pHDeeSysBf-9yQDQH4Htj2-GttpxET-QX0Snvoa2DsUiLO9rSs0Z4PgleBeiKnjicYCUunw0PM5aMh4E0oRHk88-MAwuCm2OoqmJHQIq7E/s1600/Angelversion+english.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj60fh1dOSmbVBoCTjcqtW08BZlsyMXIEMY0pHDeeSysBf-9yQDQH4Htj2-GttpxET-QX0Snvoa2DsUiLO9rSs0Z4PgleBeiKnjicYCUunw0PM5aMh4E0oRHk88-MAwuCm2OoqmJHQIq7E/s320/Angelversion+english.jpg" width="277" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ángel Corella in Perelada'Festival last summer<br />
(Photo: José Luis F. Liz)</td></tr>
</tbody></table>
<div class="MsoNormal">
<span lang="EN-US" style="background-attachment: scroll; background-clip: initial; background-color: whitesmoke; background-image: none; background-origin: initial; background-position: 0% 0%; background-repeat: repeat repeat; color: #333333; font-family: Arial, sans-serif;"><b><br /></b></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="background-attachment: scroll; background-clip: initial; background-color: whitesmoke; background-image: none; background-origin: initial; background-position: 0% 0%; background-repeat: repeat repeat; color: #333333; font-family: Arial, sans-serif;"><b>Broken promises,
corrupt mediators and the tiring administrative song "please come back
tomorrow", have led Angel Corella to ask for an ERE to be able to afford
his dancers wages. We had a long
interview with him.</b><br />
<br />
<span style="font-size: x-small;"><i><b> </b></i></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="background-attachment: scroll; background-clip: initial; background-color: whitesmoke; background-image: none; background-origin: initial; background-position: 0% 0%; background-repeat: repeat repeat; color: #333333; font-family: Arial, sans-serif;"><span style="font-size: x-small;"><i><b>Lola Ramírez</b></i></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="background-attachment: scroll; background-clip: initial; background-color: whitesmoke; background-image: none; background-origin: initial; background-position: 0% 0%; background-repeat: repeat repeat; color: #333333; font-family: Arial, sans-serif;">
<br />
<b>Angel, how are you feeling?</b></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="background-attachment: scroll; background-clip: initial; background-color: whitesmoke; background-image: none; background-origin: initial; background-position: 0% 0%; background-repeat: repeat repeat; color: #333333; font-family: Arial, sans-serif;">With a lot of
stress and hard work<br />
<br />
<b>I read this morning in El Pais that the Barcelona Ballet was practically
bankrupt.</b></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="background-attachment: scroll; background-clip: initial; background-color: whitesmoke; background-image: none; background-origin: initial; background-position: 0% 0%; background-repeat: repeat repeat; color: #333333; font-family: Arial, sans-serif;">I think they've
exaggerated a bit. We had to take
the company to an ERE because the promised aid never came. In principle, the Barcelona City
Council told us they couldn’t give us money but that they will find a place for
us to rehearse. As this was
getting too long, we made a big investment in the studio we opened in the
Hortigosa street in the city center. For
its part, the County said they would give the company the amount needed, but
that was getting shortened, they drag their feed, they did not answer our calls
or e-mails and, finally, we learned that one of the intermediaries had been arrested because
of corruption. There came a time
when we were truly desperate. We
talked to them and we told them that if they didn’t give that grant we would
have to cancel the American tour and that this would lead to a major
international scandal. To not have
to face such a situation, they promised to speed up the first delivery of
money. We trusted it would be
like this and, well, I have mortgaged to the teeth, I have invested over half a
million euros in the company. Finally
we went on tour without having received this income and thinking that while we
were there, we were going to receive the money that would allow us to pay the salaries
to the dancers and to pay all that had been spent so far.<br />
<br /><b>
And you are still waiting</b><br />
Well. They said the issue
had not entered into the plenary yet and that it’s foreseen for the 31st of June
session. We were also told that
the amount would be much smaller and that they were not sure yet if it was
going to enter or not and if it was, they could not guarantee neither if it was
going to be approved. Then I had
to talk to the company and present an ERE to continue with the activity. We have many contracts, both in Spain
and abroad, but if we lack the financial support we will not be able to deal
with them.<br />
<br /><b>
How have the dancers reacted?</b><br />
This has caught us all, but, well, there have been two months since we could
not pay the dancers and, somehow, they imagined that something like this could
happen. The truth is that I have
sold my soul to the devil, I have personally been in a suit and tie to submit
letters to the County Council, the Generalitat and the City Council, so that they
put a stamp on and I could urgently present them. We are waiting for the council to
answer us and to make the first deposit so that we can pay the two months debt and
then we will have to change a bit the context of the company. Till now we have tried to do all
things in a large scale for both the public and the institutions to see that it
was possible without an astronomical amount but, of course, having a little
support. With no support, we will
redirect the company and make it a smaller company where the money generated,
comes most from the school and the company’s activity.<br />
<br /><b>
Is the plan of the International School of Dance still going on?</b><br />
Yes and even a couple of days ago we announced the opening of a school here in
Barcelona too. In addition of the International School of Dance in Figueras,
which still stands as the mayor of the city is moving a lot as he has taken this project as it was his own,
there will be a school for all ages here in Barcelona.<br />
<br /><b>
Castilla and Leon still owe part of a grant isn’t it?</b><br />
No. In theory, Castilla y Leon has given everything they signed. What happens is that we were promised
the same amount as last year and they lowered it. Then we were told there will be a
round of € 150,000 that they would pay in a different way, through “Siglo”
Foundation. And although this was
not in the contract, they assured us we were going to receive this, we have
many mails to prove it. They
accomplished what was signed, but they did not the same with what we had
been promised verbally.<br />
<br /><b>
You know words are gone with the wind. Well,
and how are you?</b><br />
Very sad and very disappointed. And
above all, with some disbelief that both, the government and the public
institutions, can wash hands off, this way. I
understand that we are in a strong crisis situation with cuts everywhere, but
what I do not understand is this situation of continual promises that are never
materialized. I’m just retiring
this year from the American Ballet Theatre to devote all my time to the
company, and to stop being an ABT dance star to be in the unemployment in Spain
is very sad and incomprehensible. Anywhere
in the world they treat their artists in a very special way, even in America I
was offered many times to be a director of many companies without having to do
anything and the truth is it's very sad that in your own country you are treated this way.<br />
<br /><b>
Are you planning about a change of scene?</b><br />
Not now, I’m keeping on with my company and I'm fighting for my dancers who
have reacted in a very positive way and are all rehearsing as if nothing had
happened at all. The truth is
that artistic expectations are very good regarding performances, it is in the
economic issue where we have to rethink the financing of the company.<br />
<br /><b>
What is happening to you is also happening
to half of Spain. Some will say,
hey, but if some people do not even have what to eat ...</b><br />
Of course, but what is unacceptable is that you get false promises and you are
there waiting for them to be fulfilled and, moreover, the dancers also eat. Many people have a misconception about
the world of dance. They think
that dancers do not eat and do not work but we simply do something we like. Health and Education cuts is terrible,
but so is cutting in Arts, we must also understand that dancers are
professionals who lose their jobs. In
addition, we are not talking about a cut, we're talking about classical dance to
disappear.<br />
<br /><b>
Do you have hope that this is sorted out?</b><br />
I hope so, by now they have not told us no. On
the contrary, they said yes, this is why we went to the ERE, because we
have never received a negative but the opposite. Both Trias and Mas told us they wanted
this project here in Catalonia by all means. So
we're waiting for the answer on the 31<sup>st</sup>… will see what happens.<br />
<br /><b>
So ... Lots of luck!</b><br />
Thank you very much. We need it
because the creative part we develop it by all means. In the United States shows had a huge success
and we have a return engagement for several countries.<br />
<br /><b>
This also means a boost for the company.</b><br />
Sure, but if you can not cover the wages which is the most immediate ... And
that is what is at risk and what we have asked the Catalan government for, to
at least receive a minimum amount to cover the salaries of the dancers and the rest it is us who will deal with,
but if we do not get this subsidy then we have to go to the ERE because there
is a moment where there is no more money left and you can’t cover all the
expenses. People are not aware of
the large amount of money a Company needs. </span></div>
<div class="MsoNormal">
<span lang="EN-US" style="background-attachment: scroll; background-clip: initial; background-color: whitesmoke; background-image: none; background-origin: initial; background-position: 0% 0%; background-repeat: repeat repeat; color: #333333; font-family: Arial, sans-serif;">At the end, the
dancers will be contracted every time there is a performance, right?<br />
Sure, that's the ERE. The dancers
are paid by the government unemployment and then you hire them when you do a
show.<br />
<br /><b>
What say the dancers?</b><br />
All, for now, will stay with us and understand the situation, they know it's
only for six months, it is not an indefinite situation. The ERE has a duration of six months
and then they would all again join the company at the same rhythm.<br />
<br /><b>
Well, Angel, from Ballet y mas we wish you all the luck in the world.</b><br />
Thank you very much.</span></div>
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<span lang="EN-US" style="background-attachment: scroll; background-clip: initial; background-color: whitesmoke; background-image: none; background-origin: initial; background-position: 0% 0%; background-repeat: repeat repeat; color: #333333; font-family: Arial, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: x-small;"><i><b><span lang="EN-US" style="background-attachment: scroll; background-clip: initial; background-color: whitesmoke; background-image: none; background-origin: initial; background-position: 0% 0%; background-repeat: repeat repeat; color: #333333; font-family: Arial, sans-serif;">English translation by Carolina Masjuan</span></b></i></span></div>Lola Ramirez Escuderohttp://www.blogger.com/profile/01200101663045294862noreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-1462497783875014662011-12-18T11:01:00.000-08:002012-10-01T11:35:58.379-07:00Aurélie Dupont et Evan McKie brûlent les planches de Garnier<br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><b><i>Remplaçant au pied levé Nicolas Leriche blessé, Evan McKie, étoile du ballet de Stuttgart incarne un Eugène Onéguine d'une grande richesse, au côté d'Aurélie Dupont, qui nous offre une Tatiana époustouflante… grâce à la chorégraphie de John Cranko, conçue d'une main de maître.</i></b></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzcE7EzS6xXYYQpom_3I3VvnW6qzUnTWeA95ruzmtx-aQHxcaTkx88Gm74eR7XOeojS6ufYRa_BPqBNnSTrmeRveIyoONLpAW0e3_WSeUVqQY9ZpidsOSx2E2YbCQnQ1J5FRhtUglRYUgD/s1600/Le-romantisme-d-Oneguine-au-Palais-Garnier_article_main.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzcE7EzS6xXYYQpom_3I3VvnW6qzUnTWeA95ruzmtx-aQHxcaTkx88Gm74eR7XOeojS6ufYRa_BPqBNnSTrmeRveIyoONLpAW0e3_WSeUVqQY9ZpidsOSx2E2YbCQnQ1J5FRhtUglRYUgD/s400/Le-romantisme-d-Oneguine-au-Palais-Garnier_article_main.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Aurélie Dupont / Evan McKie - Photo : M. Lidvac</span></td></tr>
</tbody></table>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sud-africain, </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>John Cranko</b></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> s'est fait remarquer en Grande-Bretagne. Elève du Sadler's Wells Theatre de Londres (aujourd'hui Royal Ballet), il en devient le chorégraphe résident grâce à la bienveillante vigilance de dame </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Ninette de Valois</b></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">. Puis sa popularité dépasse l'insulaire Angleterre : le New York City ballet lui passe commande en 1950 (The Witch), l'Opéra de Paris en 1955 (La Belle Hélène) et la Scala de Milan en 1958 (Roméo et Juliette). En 1960, il est invité à monter son Prince des pagodes pour le ballet de Stuttgart. Tout s'y passe si bien qu'il est sollicité pour prendre la tête de ce qui a été une grande compagnie. En quelques années, sachant s'entourer d'une équipe dynamique, il fait du ballet de Stuttgart une troupe au rayonnement international, créant pour elle trois à cinq oeuvres par an. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Aurélie Dupont / Karl Paquette - Photo : M. Lidvac</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Avec une grande finesse, sans forcer les effets, mais sans reculer devant le pathos nécessaire, <b>John Cranko</b> a adapté scrupuleusement le poème d'<b>Alexandre</b> <b>Pouchkine</b>. Au premier acte, toute la maison de Larina se prépare pour l'anniversaire de Tatiana. Lenski, le fiancé d'Olga, soeur de Tatiana, revient de la chasse avec Onéguine, un ami venu de la ville. Tatiana en tombe amoureuse. Elle lui écrit une lettre, mais il ne la prend pas du tout au sérieux. Pendant la fête du deuxième acte, Onéguine, pour se distraire, fait la cour à Olga. Lenski s'en offusque, provoque Onéguine. Lors d'un duel, il tue son ami. Le troisième acte a lieu une dizaine d'années plus tard. Onéguine se rend chez le prince de Grémine et découvre que la princesse n'est autre que... Tatiana. Troublé, il écrit à la jeune femme pour lui avouer ses sentiments. Mais bien que toujours amoureuse d'Onéguine, la princesse tait sa passion et le repousse. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">En<b> </b>centrant son propos sur les personnages principaux du poème, <b>Cranko </b>met l'accent sur le tragique d'un amour inachevé, porteur de sa propre destruction. Un choix d'air d'opéras et pièces pour piano de Tchaikovski, orchestrés par Kurt-Heinz Stolze, ainsi que les décors et costumes de Jürgen Rose, offrent un écrin évocateur à cette passion tourmentée. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Bien qu'académique, l'écriture chorégraphique dégage une profonde émotion. Il faut dire que le couple "surprise" de cette distribution éblouit. Sans théâtralisation excessive ni lourde pantomime, <b>Aurélie Dupont</b> et <b>Evan McKie</b> ont su rendre, précisément et avec intensité les caractères, les hésitations des sentiments, la nostalgie du temps qui est passé. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">L'étoile de l'Opéra est époustouflante de par sa technique, son sens théâtral et son engagement psychologique dans le rôle de Tatiana. Elle sait être la jeune fille romantique nourrie de littérature sentimentale au premier acte, qui s'imagine dans les bras de cet homme, ténébreux et indifférent, auquel elle va, en vain, avouer son amour dans une lettre passionnée. Au troisième acte, princesse Grémine, <b>Aurélie Dupont </b>incarne une femme et épouse de la haute société russe, consciente de son rang mais désormais interdite. Outre cette évolution traduite dans chaque geste, dans chaque pas, ce qui frappe surtout, c'est le travail du regard qui est livré par la ballerine tout au long de la chorégraphie.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Enfin, l'ultime pas de deux, construit en écho et contrepoint à celui qui clôt l'acte 1, tout en étant incroyablement technique et physique, est d'une sensualité vibrante. <b>Eugène Onéguine/Evan McKie</b> et la <b>princesse Grémine/Aurélie Dupont</b> s'abandonnent aux émotions de leur personnage sans retenue… ce porté où Aurélie Dupont glisse sur le torse de son partenaire est d'une beauté incommensurable. Dans les bras de l'étoile du ballet de Stuttgart, Aurélie Dupont réussit à se surpasser et faire oublier cette froideur qui, habituellement, caractérise ses personnages. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Evan McKie - Photo : M. Lidvac</td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Son partenaire, danseur noble et élégant, à la musicalité exemplaire et fin connaisseur du personnage, sait parfaitement incarner ce dandy désargenté et las des mondanités pétersbourgeoises. Tout au long de l'oeuvre, il s'impose comme le personnage clé de ce chassé-croisé tragique entre les quatre jeunes gens. Bref, le partenariat entre Aurélie Dupont et Evan McKie fonctionne à merveille. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Le couple Olga - Lenski (<b>Myriam Ould Braham</b> et <b>Josua Hoffalt</b>) répondent, au deuxième acte, de manière très juste au couple principal. Mais leur premier acte est moins convaincant, dans le jeu et la danse. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Agréable surprise que cet Onéguine qui permet de découvrir les talents du danseur étoile de Stuttgart et d'apprécier une <b>Aurélie Dupont</b>, éblouissante dans les bras d'<b>Evan McKie</b>.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><b>Opéra national de Paris - Palais Garnier - Représentation du 11 décembre 2011</b> </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>(20ème représentation)</i></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Livret de John Cranko d'après le roman "Eugène Onéguine" d'A. Pouchkine</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Chorégraphie : John Cranko</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Musique : Tchaïkovski, arrangée par Kurt-Heinz Stolze</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Décors et costumes : Jürgen Rose</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Eclairages : Steen Bjarke</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><u>Distribution</u> :</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Eugène ONEGUINE : Evan McKie (artiste invité)</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Tatiana : Aurélie Dupont</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Lenski, ami d'Onéguine : Josua Hoffalt</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Olga, soeur de Tatiana : Myriam Ould Braham</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">et le Corps de ballet de l’Opéra national de Paris.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Orchestre Colonne - Direction : James Tuggle.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-63931695253100085222011-12-11T11:13:00.000-08:002012-10-06T02:37:14.646-07:00Impressing the Czar par le Ballet Royal de Flandres<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>Première « rencontre » entre le directeur de la Forsythe Company et le Ballet Royal de Flandre, Impressing the Czar, ballet en trois actes et cinq tableaux,</i></span></span><span class="Apple-style-span" style="font-family: Helvetica;"><span style="font: normal normal normal 12px/normal Helvetica;"><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-size: 12px;"> </span></span></span></i></span></span><span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>originellement créé en 1988 par le Ballet de Francfort, connaît une seconde vie grâce à Kathryn Bennetts, autrefois complice du chorégraphe, qui le remonta en 2005 à Anvers. </i></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="font: 11.5px Helvetica;"><b><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Impressing the Czar : </span></i></b></span><b><i>une histoire comme une bande dessinée grand écran. </i></b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Une scène noire, ouverte comme un cinémascope, où l'or brille partout. Des tentures de couleur bronze deviennent d'étranges costumes baroques, rococo, d'esprit Renaissance sur des femmes grimaçantes, colériques. Des danseurs ont le corps moulé dans des académiques vieux ors mats. A droite, la salle du trône, représentée par un large praticable de bois précieux. Sa pente, légèrement inclinée, décorée comme un échiquier imaginaire, sert de plancher de danse à un groupe de figures d'une autre époque, dans une ambiance décadente, cruellement caricaturée, comme si l'Alice de Lewis Caroll avait pu être transportée avec la Dame de coeur, au travers du miroir, par une machine à explorer le temps.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Mais à la place d'Alice nous découvrons deux jeunes filles de la télévision et M. Pnut (<span style="font: 12.0px Helvetica;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Mikel Jauregui</span></b></span>), pauvre niais qui possède tous les canaux télévisés. C'est ce que déclare de façon insistante Agnès (<span style="font: 12.0px Helvetica;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Helen Pickett</span></b></span>), jeune fille en tenue d'écolière, à Rodger (<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="font: 12.0px Helvetica;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Craig Davidson</span></b></span>)</span>, l'homme robot des médias.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Photo : Sébastien Geiger</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Dans la première partie d'<span style="font: 12.0px Helvetica;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Impressing the Czar</span></b></span>, sous-titrée la <span style="font: 12.0px Helvetica;"><b><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Signature de Potemkine</span></i></b></span>, l'histoire de l'art et de la danse prennent vie pendant une heure et se trouvent convoquées dans un pot pourri de trouvailles. Un homme indique à l'aide d'un trident, des fragments de peintures célèbres et des constructions architecturales, sur un mur d'exposition. Un des frères Grimm (<span style="font: 12.0px Helvetica;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Sébastien Tassin et David Jonathan</span></b></span>), tente, par des contorsions très comiques, de prendre, allongé ou debout, la position d'une Vénus de Milo dorée. D'ailleurs, tous les accessoires (boules dorées, grappes de raisins, petits chapeaux comiques de clowns…) réapparaissent d'une manière ou d'une autre au cours des différents actes. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Cette imposante première partie étourdit. <span style="font: 12.0px Helvetica;"><b>Forsythe</b></span> réussit avec brio la transition entre le premier et le second acte : les neuf danseurs et danseuses, vêtus d'un collant une pièce vert métallisé, vont se regrouper à la fin de la première partie avec les figures chargées de la représentation historique. A cet instant, une paire de cerises s'élève dans les airs qui, ainsi suspendue, formera l'unique décor du second acte. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="font: 12.0px Helvetica;"><b><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">In the middle, somewhat elevated</span></i></b></span>, est une confrontation "de maître" entre <span style="font: 12.0px Helvetica;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Aki Saito</span></b></span> et <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="font: 12.0px Helvetica;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Courtney Richardson</span></b></span>. <span style="font: 12.0px Helvetica;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Kahtryn Bennetts</span></b></span>,</span> directrice artistique de la compagnie belge, obtient d'eux une autre qualité dansée que celle observée chez ceux de l'opéra de Paris. Si ces derniers séduisent par une virtuosité classique agrémentée d'une pointe d'érotisme, les danseurs du <span style="font: 12.0px Helvetica;"><b>ballet royal de Flandres</b></span>, grâce à la mobilité de leurs corps, font de chaque mouvement comme une attaque, une sorte d'accent tonique à la fluidité du matériau classique. La pièce commence par un choc. La musique de Thom Willems déchire l'espace et installe sa pulsation. Elle ne cessera plus. Les interprètes arrivent, se campent, testent une difficulté, ressortent. Sans un regard pour le public. Une noria ininterrompue de virtuosité sèche et coupante. Un duo, un trio, on ressort. Les bras et les jambes s'étirent, se cassent, se décalent, les pas s'enchaînent à une vitesse éprouvante. Ce marathon d'une demi-heure de danse exquise a, dans <span style="font: 12.0px Helvetica;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Impressing the Csar</span></b></span>, la fonction de l'acte blanc dans le ballet classique mais ici, il est démystifié, sans clair de lune ni tutus. Concentration de danse pure qui laisse les nerfs à vifs et le sentiment angoissant d'un monde sans pitié. Très belle ovation rendue par le public de Chaillot, bluffé par tant de virtuosité.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Suit une digression sous forme de comédie : <span style="font: 12.0px Helvetica;"><b><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">La maison de Mezzo-Prezzo</span></i></b><i>,</i></span> une curieuse vente aux enchères, menée avec brio par <span style="font: 12.0px Helvetica;"><b>Helen Pickett</b></span>. Un groupe d'hommes en costumes dorés, porteurs d'accessoires supposés chargés de symboles, fait monter les enchères. <span style="font: 12.0px Helvetica;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Helen Pickett</span></b></span> pose, indéfiniment, la question clé de toute la soirée : que peut bien signifier tout cela ? une métaphore ? un rituel ? Ou tout simplement l'agonie de M. Pnut, ce tendre imbécile qui sera finalement victime d'un sombre rituel et finira, inanimé, au sol, alors que les commissaires priseurs plantaient des flèches dorées sur la table à la façon des sorcières plantant des aiguilles dans une poupée ?</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Photo : Sébastien Geiger</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">M. Pnut est au centre d'une danse totémique menée par une horde de collégiennes formée d'une trentaine de danseurs, hommes et femmes, tous vêtus de chemisettes, chaussettes blanches, et jupettes plissées bleu marine, coiffés de perruques coupées au carré au niveau du menton. Ils marchent frénétiquement, les jambes folles, sur les rythmes suggestifs de Tom Willems, la tête rentrée dans des épaules très mobiles. <span style="font: 12.0px Helvetica;"><b><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Bongo Bongo Nageela</span></i></b></span> rend une puissance agressive et donne des frissons. Ces écoliers sur scène apparaissent au fur et à mesure de plus en plus monstrueux. La violence des images de Bongo se dissout dans une scène de rêve, lorsque M. Pnut ressuscite dans une faible lumière : <span style="font: 12.0px Helvetica;"><b><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">M. Pnut goes to the big shop</span></i></b></span>. Il souffle sur le visage d'une des filles, sans un bruit, à l'aide d'une sarbacane de papier jaune. Il reste ainsi comme un pauvre personnage un peu stupide. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Le public de Chaillot trépigne tant il est enthousiasmé par les plaisanteries subtiles et cruelles de la chorégraphie, par ces images composées de façon surréalistes. Par le vocabulaire de la danse qui va, dans cette pièce, du frétillement délibérément exagéré au néo-classicisme épuré, en passant par la parodie d'un rituel de danse tribale. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Mais incontestablement, le succès de la soirée revient aux danseurs du Ba<span style="font: 12.0px Helvetica;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">llet royal de Flandre</span></b></span>, époustouflants.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>Pièce pour 34 danseurs - </i></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Représentation du 9 décembre 2012 - Festival d'automne à Paris / théâtre national de Chaillot</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Chorégraphie : William Forsythe</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Musique : Thom Willems, Leslie Stuck, Eva Crossman-Hecht, Ludwig van Beethoven</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Décor : Michael Simon</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Son : Bernhard Klein</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Avec les danseurs du Ballet Royal de Flandre et Helen Pickett (artiste invitée)</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7444957604767417947.post-10067376734894761682011-10-08T11:45:00.000-07:002012-10-08T16:15:44.541-07:00Quatre pièces de Trisha Brown <div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Trisha Brown</b> est un phénomène. Du berceau de l'avant-garde à la Judson Church de New York jusqu'à aujourd'hui, c'est, parmi les postmodernes américains, l'une des créatrices de danse les plus originales. Elle a fécondé l'art avec intelligence, joie du risque, humour, et avec le talent de dominer la pesanteur en s'envolant presque. Son "travelling" durant près de cinquante ans d'histoire de la danse, l'attire toujours sur le terrain de la découverte. Par de remarquables solos et de superbes ensembles, elle continue d'apporter à la danse abstraite de nouvelles sources de mouvement, à dilater les frontières corporelles et spatiales, à ouvrir des dimensions spirituelles, à sensibiliser la perception. Et ceci, non seulement dans le mouvement, l'espace, le temps, mais aussi entre les êtres qui, dans sa compagnie, l'inspirent. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Née en 1936 à Aberdeen, dans l'état de Washington, Trisha Brown a rejoint le foyer artistique new-yorkais après avoir suivi un atelier d'improvisation de plusieurs semaines auprès d'Ann Halprin, en Californie. Dégaine de garçonne délurée, mâtinée de puritanisme anglo-saxon, Trisha Brown qui fut dans sa jeunesse passionnée d'athlétisme, de basket ou même de football, a conservé toujours en elle cette décontraction franche, très campus américain, que l'on retrouve au plus intime de sa danse. A la <b>Judson Church </b>l'idée même de spectacle faisait figure d'hérésie et parce qu'on ne pouvait alors raisonner qu'en termes de performances, à peine échappée des studios, celle qui a étudié la danse chez Graham, Limon et Cunningham, investira les lieux les plus insolites, c'est à dire les plus improbables. Elle fera marcher ses danseurs sur des murs, à l'horizontale, galoper sur les toits de New York ou léviter sur des pièces d'eau. Dépouillement, recherche de l'inexploré, ou mieux, de l'inaccessible, répétitivité, accumulation du geste comme du verbe, réflexion sur la nature profonde du mouvement, sont alors les maîtres mots de la démarche de Trisha Brown. Ses chorégraphies ont la force jubilatoire d'un précis de liberté. Son oeuvre ne saurait se résumer à une technique ou un vocabulaire. D'une folle musicalité, sa danse est un flot insaisissable de courses suspendues, de chutes inattendues, d'élans joueurs, de prises de risques esquivées. Le mouvement y est en en activité constante, dans une extrême et mobile fluidité de toutes les parties du corps. Une onde de vie traverse en tous sens la danse de Trisha Brown. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Quatre pièces, dont une première européenne et une création mondiale, pour nous le rappeler. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Avec <b><i>Watermotor</i></b>, interprété par <b>Neal Beasley</b>, la chorégraphe américaine prend conscience "du pouvoir visuel de la danse". Sans renoncer à la liberté qui fonde son mouvement, elle a su ne pas s'enfermer dans l'austérité d'un avant-gardisme trop radical, en veillant à rendre sa danse plus lisible. Physique, mais tout en "release", le phrasé chorégraphique glisse, imprévisible mais dense et articulé autour de gestes quotidiens. Superbe. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Neal Beasley</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Après le succès de son interprétation de "<b><i>Pygmalion</i></b>" (2010), opéra en un acte de Rameau, Trisha Brown a adapté les sections dansées de cette oeuvre complète pour les présenter en tournée aux Etats-Unis et à l'internationale. Cette suite de danses s'intitule <b><i>Les Yeux et l'âme</i></b>, variante des paroles prononcées par la statue à Pygmalion quand elle renaît : "Je vois dans vos yeux ce que je ressens dans mon âme". Ce titre reflète les dimensions physiques et spirituelles de la chorégraphie de Trisha Brown. La pièce débute sur deux femmes, harnachées, qui volent au dessus du plateau, illustration du rêve d'apesanteur qui sous-tend les créations de Brown. Musicale.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Etonnante collaboration avec l'artiste japonaise <b>Fujiko Nakaya</b> qui travaille le brouillard, cette pièce mystérieuse est conçue pour quatre danseurs plongés sous un jet de brouillard. <b><i>Opal Loop/Cloud</i></b> installation marque un changement important dans la conception de la chorégraphie. Le mouvement reflète l'équilibre délicat de l'air qui entoure les danseurs, dérivant et changeant constamment de forme. Mais surtout, la chorégraphe avait décidé de laisser une plus grande liberté de mouvement à ses interprètes habitués jusque là à reproduire sa propre gestuelle ou à exécuter des consignes précises. Il en résulte un travail tout en décalages donnant à l'ensemble un caractère dispersé et légèrement flottant d'où se dégage la personnalité des danseurs. Déroutant autant que captivant. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPGogkXeD0QwNjx6sTXXEybdqy2NiufrU88iRNvXRCpIu_VhvFycReUH-f4sOYPO3gTsYldUNNhLa2HCSxRT5w2z99Z-6bHnsDBO1_HPJjmg9j3Ymog_2P7Z2AKi4egi00ugyRnU3EhnFU/s1600/310599_291148080900979_126841707331618_1416077_456077619_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPGogkXeD0QwNjx6sTXXEybdqy2NiufrU88iRNvXRCpIu_VhvFycReUH-f4sOYPO3gTsYldUNNhLa2HCSxRT5w2z99Z-6bHnsDBO1_HPJjmg9j3Ymog_2P7Z2AKi4egi00ugyRnU3EhnFU/s400/310599_291148080900979_126841707331618_1416077_456077619_n.jpg" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Collaborant pour la scénographie et le concept sonore avec <b>Burt Barr</b>, la dernière pièce de cette soirée, création mondiale intitulée <b><i>I'm going to toss my arms - if you catch them they're tours</i></b>, oppose une installation de ventilateurs, illustration de notre ère industrielle, à l'humanité des huit danseurs. Débutant au son émis par les seules machines avant d'être rejoint par la musique d'<b>Alvin Curran</b> qui adoucit cette atmosphère, la pièce développe une langue dansée d'une richesse inouïe. Les danseurs manipulent une personne passive pour lui donner la forme d'un "noeud" et déplacent cette masse sculpturale ailleurs. Mais toujours le mouvement y est comme suspendu dans l'espace, toujours fugitif et volé aux regards, toujours exécuté par des corps étrangement élastiques, où les muscles se bandent comme par enchantement avant de se relâcher avec une indicible souplesse. Ils entretiennent avec le sol une relation familière et distanciée, quasiment désinvolte, qui demeure la griffe reconnaissable entre toutes de Trisha Brown. Etonnant de modernité.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Fête permanente de l'instant et de la durée, jeu infini des corps libres, collision musicale de la forme et de l'abstraction, la danse de Trisha Brown est l'une des plus réjouissantes manifestations de vie, d'intelligence et de malice. Qui nous est donnée de voir à Chaillot. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Des personnalités de la danse comme Wilfrid Piollet, Jean Guizérix ou encore le danseur Cédric Andrieux (ballet de l'opéra de Lyon), ont acclamé les danseurs de la compagnie américaine.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Théâtre national de Chaillot</b><br />Représentation du jeudi 6 octobre 2011.<br /><br />Watermotor (1978)<br />Les Yeux et l'âme (2011 - Première européenne)<br />Opal Loop/Cloud installation = 72503 (1980)<br />I'm going to toss my arms - if you catch them they're yours (Création mondiale au théâtre national de Chaillot)</span>Unknownnoreply@blogger.com0