Cojocaru in Copenhagen
Posted 08 February 2010 - 07:34 AM
Posted 08 February 2010 - 08:11 AM
I am very happy for her!she deserves it!she's been through many injuries in her career....I think she will be good. The ballet,if i am not wrong,is the one in which they wear grey and very tight lattex costumes and....it requires a very strong male principal dancer(for the complicated sequence of lifts and passages of partnership) and a female principal with gymnast gifts. On youtube you can watch Zakharova and Tsiskaridze performing the pdd. I am sure Cojocaru will be great too!I love her!she is definately my favourite dancer nowadays!:-)
Posted 12 March 2010 - 12:51 PM
Royal Danish Ballet; ‘A Midsummer Night's Dream’
I'd like to add that right before the paragraph quoted above, Jane has a list of bullet points for people who are new to the ballet -- an idea I'm sure dance critics will greedily, happily, steal!
Posted 26 March 2010 - 08:49 AM
Posted 31 March 2010 - 01:37 PM
Posted 31 March 2010 - 10:41 PM
Was he unscheduled to dance Puck? I’m surprised: he was absolutely excellent!
I hope that this second substitution doesn’t come from another injury, but for sure a Puck-Oberon (Lendorf and Kish) double change of cast that led to a much more rewarding performance than the very weak one I’ve seen previously with Rickert and Blangstrup.
Posted 01 April 2010 - 01:05 AM
Posted 01 April 2010 - 06:46 AM
Another pleasant surprise was Gregory Dean as Lysander. I have until now only seen him in abstract ballets where he has always caught my eye as a quite elegant dancer, and I was happy to see that he can act too. His Lysander was very boyish with a youthful eagerness in both his earnest love for Hermia and his more savage desire for Helena. And I like his ample way of moving which is light and grounded at the same time. His Hermia was Amy Watson, and they suited each other perfectly, both in character and way of dancing. Their pas de deux in the 1st act was one of the highlights of the evening.
The sensation of the evening was of course Alina Cojocaru, who danced for the last time that night. She is really petite but she is able to strech her lines and bend her body in such beautiful arabesques that she never looks short, even with a tall partner like Nehemiah Kish. And she was equally convincing as a girlish and uncertain Hippolyta in the prologue, as an icy Titania of the 1st act and as a mature woman and duchess in the 2nd act. Especially the scene, where Theseus wakes her up in the morning and she is still a bit bewildert after her dream until the love breaks through in an extremely beautiful pas de deux, was very moving. That is Neumeier when he is best! He really can tell what is going on inside a human being by the way he or she moves and dances. Cojocaru fitted in perfectly with the company which is not quite the case with Nehemiah Kish who is a really brilliant and beautiful dancer but who keeps look like a stranger.
It was a night with a lot of beautiful dancing and everybody doing well in their parts. My reservations are merely about the ballet itself. I saw it long ago in the eighties in Hamburg while still a very young girl, and I remember being in total awe, and therefore I was looking very much forward to seeing it again. But I must admit that I was rather disappointed. To me the different elements of the ballet never really integrate, the elves and their music (Ligeti) stay strangely remote from the rest, represented by the warm realms of Mendelssohn’s music, throughout the ballet. Of course the human beings never become aware of the elves but they are certainly under their influence, and therefore it would make sense if the two worlds would contaminate with each other to some degree. The only time that happens is right at the end, where Oberon wakes up Titania and they finally show their love for each other. They do that to Mendelssohn’s music - maybe they too learned something this summer night.
I had some difficulties with the elves, too. To me they look more like pale sea anemones, or like marsians, being very mechanical in their way of moving, making a lot of noise with the pointe shoes, sometimes as an intentional effect, but most of the time not, which is very disturbing when the music is so non-human and silence-like. I know this is a problem in most white acts, but somehow it disturbs me less in the old ballets, maybe because you can’t think the choerography away from these shoes.
Furthermore I think the elf-scenes are much too long, time dragging terribly while the dancers keep doing the same or similar (and mostly off-putting) steps over and over again. The trees on the stage are also too small for the elves to hide in. It has an unintentional comic effect when Oberon tries to hoist himself onto a branch of one of the trees, while observing the loving couples, and he almost fills out the whole tree.
The group of workmen is another problem: they are just not funny enough! And I’m sure most of the audience doesn’t have the faintest idea of what is going on or what the play about Pyramus and Thisbe is all about. Even knowing Shakespeare’s play was not any great help. Consequently the workmen pulled very few laughs from the audience. Only Thomas Lund made the audience laugh heartily when he made his appearance on pointe shoes, but then they would have laughed anyway. Neumeier who is normally a brilliant storyteller completetly misses his goal here, or maybe something has gone missing during the many years where the ballet hasn’t been played.
But apart from that the forrest-scene is the most succesful and original part of the ballet, and it contains some absolutely delightful and poetic choreography for the two young couples – and some really amusing situations too, with that touch of real pain and bewilderment which gives depths to the fun. The final wedding scene has some beautiful dancing in it too, but I think it is strange to have this kind of conventional dance-finale after all the modernities in the previous act. It’s like watching the end of Sleeping Beauty patched onto the ballet. But I admit it was beautiful to look at, though a bit thin.
A last comment is for the orchestra: The Royal Orchestra played wonderfully under the direction of Graham Bond, but it was highly disturbing to see them walk in and out of the pit everytime Ligeti was on, or even leaving the pit few minutes before the end of the ballet as did the brass section (not counting the many times this group left while the rest of the orchestra played on). Everytime you could see the light from the room outside the pit when the door opened. Maybe they thought they were invisible because of the gauze that was covering the pit. Well, they were not!
Posted 01 April 2010 - 09:05 AM
No, he danced also on the 29th, with Kloborg and Bojesen in the main roles, giving the same excellent performance. As you wrote, Puck role is a tour de force and he did it wonderfully in two consecutive nights.
I don't know if Kish fit in RDB or not, but in my opinion he was the best of the three Theseus-Oberon I saw (I enjoyed also Kloborg).
Posted 01 April 2010 - 09:48 AM
I too think that Kish made a really good performance on the 30th, it was a true pleasure to watch him and I like the elegance and style of his dancing. I think he has real class. I just wonder what it is that makes him so different from the rest of the company. Maybe he is too stylish, I don't know.
In the prologue the worksmen bumped into Cojocaru with their barrel organ quite heavily, and it looked as if it hurt her and she left the scene immediately after that. I wondered if it was part of the story or if was an accident. Can you, annamicro, or anyone who has seen some of the other performances tell?
Posted 01 April 2010 - 01:18 PM
It was an accident. Another merit of Lendorf-Philostratus was to make it seems part of the story "telling" immediately to the man with the barrel organ what I would have loved to tell him in that moment!
I'm copying what I've written in another place
"She was literally run over by the barrel-organ, entering on stage at full speed behind her back. She run out of stage for few seconds (if I remember well, she was not supposed to do that much in those moments), probably just to regain her composure (and it happened very quickly). It was clear by her dancing that she didn’t suffer an injury and at the end she said to have not had any problem “but the shock”. Probably she was hit just by the big front wheel, as its iron support could have caused some problems.
It was likely she was in a wrong position in that moment and she confirmed it, nevertheless I’d expect that when entering on stage running with such a big thing, the ”driver” looks where he is going (“he said he didn’t see me”).
Anyway, the incident was closed with a lot of laughing. "
Posted 03 April 2010 - 06:58 AM
Posted 03 April 2010 - 07:54 AM
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