”What I admire about New York City Ballet dancers is their rhythmic complexity. You can see all shades of rhythm in their bodies. With Russians, what you see is a melodic thread in their dancing, an upper-body expressiveness that brings out another side of the work. In ABT, the dancers have a bit of both. It’s good. I can play with that. - Alexei Ratmansky
Alexei Ratmansky with Diana Vishneva © Gene Schiavone
“Ce que j’admire dans les danseurs du New York City Ballet, c’est leur complexité rythmique. Vous pouvez voir toutes les nuances de rythme dans leurs corps. Avec les Russes, ce que vous voyez est un fil mélodique dans leur danse, une expressivité du haut du corps qui fait ressortir un autre côté du travail En ABT, les danseurs ont un peu des deux. C’est bon. Je peux jouer avec cela.” - Alexei Ratmansky
© New York City Ballet
via Biennale de la Danse
The Government of Lyon, has promoted the 15th Biennial of Dance – 13-30 last September, one of the largest dance festivals in the region. This major event involved a large share of the population (over 98,000 participants), so the streets and squares were packed.
The event promoted dance in the town, and also offered free dance classes to the public. In addition, there was a tribute made to the musical theatre productions showing films from various productions such as Grease, Hair, among others. Discussions and debates between directors, choreographers and dancers on dance films also took place.
With an extremely assorted program, the biennial included workshops on hip hop, African dance, Irish dance, photo contests, shows on new choreographic works, contemporary dance performances and the dissemination of various projects. Well, a feast of possibilities.
For dance professionals and enthusiasts, the biennial is an excellent platform for the expansion of the artistic activity. Of course, many talents will be discovered and many projects will be developed in the future.
For people, this is an excellent opportunity to discover the magic of dance, engage themselves, develop body awareness, or simply have fun.
Ah, how good it would be if all governments promoted events like this. What a pleasure it would be if our dancers’ fate did not depend on politicians’ goodwill who promote dance only when art serves to meet their personal and political interests.
The dance is contagious, is interactive, realises dreams, generates income and employment, increases tourism promotion … Is there anyone who still doubt the transformative power of dance?
“Classical technique is the basis, the foundation, for all our work at Paris Opera. Through this foundation they go beyond and show that dance is not some dusty old art form but relates to today. I see the art of the dance today.”- Brigitte Lefrèvre
Qbuz
Having taken over from Patrick Dupont in 1995, Paris Opera dance director Brigitte Lefèvre announces her retirement in 2014. Now it’s official! The succession period is open and the name new director will be announced in March by the Opera director Nicolas Joel. The 2014/2015 season programme is already in place and it is expected that the transition process will run smoothly and without great impact on the dancers’ lives.
There are rumors that Laurent Hilaire, shaped up by Nureyev, may be one of favourite candidates. However, the charismatic Nicolas Le Riche may also be considered for the role.William Forsythe and Alexei Ratmansky have already been mentioned by the media. Although they have created works for the Company, many find that the appointment of these choreographers will be unlikely.
Although Lefrèvre’s directorship included works created by great choreographers ranging from Serge Lifar to Wayne McGregor, Nureyev’s legacy still survives immortalised in his major productions such as Romeo and Juliet, Raymonda, Cinderella and of course the famous staging of La Bayadère.
In times of recession, whoever the new director will be, he or she will have great challenges ahead such as renewing the casting, filling in the auditoriums, reviewing the Company’s repertoire and investing in new talents, since ballet is responsible for generating a great share of the Opera revenue.
© Will Davidson
© Will Davidson
© Will Davidson
Source: The Australian
“Going home to a Milan which now seems as fake as reality tv. The one thing missing to complete my journey is to get back into my world and dance for Africa” - Roberto Bolle
Photo: Roberto Bolle and Alessandra Ferri via Oberon
By Juliana Araújo
For those who are unaware, Roberto Bolle is not just a pretty face stamped on Italian fashion magazines. In addition, the étoile dancer of the American Ballet Theatre and Alla Scala of Milan, was nominated goodwill ambassador for UNICEF in 1999 during a gala evening at the Teatro dell’Opera in Rome.
By Juliana Araújo
I have discovered CTRL+ALT+DANÇA during my searches on dance on the Internet. So, I have started following their publications which make me think deeply about dance in Brazil.
Following the contemporary line, the site brings us news on events, reviews and essays that give rise to thoughts on the role that dance plays in that country.
I am constantly amazed by their publications, which only proves that I have a lot to learn. Therefore, I have decided to share my new finding with you. Enjoy it!
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Foto: Isabelle Guérin and Laurent Hilaire via Baletissimo
“Ballo” is a very classical ballet at high speed. Virtuosic steps at full throttle; it’s a very joyful happy, uplifting ballet. The music is so full of energy, it gives you oxygen. It’s a wonderful example of Balanchine being more neoclassical and expanding his dance vocabulary.” - Merrill Ashley
Photo: Merrill Ashley in the HK Ballet studios © Conrad Dy-Liacco
By Juliana Araújo
As part of the May/June`s double bill, Ballo della Regina was performed this season, along with La Sylphide by the Royal Ballet of London.
On 12 June last, the dancers did a flawless show. This ballet is a masterpiece, and showed us Balanchine`s technique translated into fast steps, focus on the upper body and arabesques performed with dancers facing the public. With breathtaking extensions, the dancers did their steps with an impressive speed, as if their feet were blades striking the floor. Read more here
“Hailed as ‘the greatest theatre producer who ever lived’ and the champion of all things beautiful, Sergei Diaghilev transformed not only ballet but all the arts in the 20th century.” - The Guardian
Sergei Diaghilev via Obsessionistas
