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Tuesday, July 29


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#1 dirac

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Posted 30 July 2014 - 07:40 AM

Reviews of the Mariinsky Ballet in "Romeo and Juliet."

 

The Guardian

The Russians have every reason to cherish their seminal production of Romeo and Juliet. Choreographed by Leonid Lavrovsky in 1940, the scale and intensity of its storytelling influenced a generation of dancers and choreographers when it was first shown in the west. Yet as it opens the Mariinsky's season, this Romeo and Juliet looks not so much a classic as a very dated relic.

 

 

The Evening Standard

For Londoners used to Kenneth MacMillan’s masterful version for the Royal Ballet, this Romeo and Juliet seems flabbier and hammier — especially smugly arrogant Tybalt (Yuri Smekalov), seemingly modelled on Prince Charming from Shrek, and Vladimir Ponomarev’s theatrical Lord Capulet (even his eyebrows are up to something dastardly).

 

 

The Independent

It’s

It’s easy to see why Vishneva is an international star. With her dark eyes, flowing line and a vivid sense of drama, she makes an innocently eager Juliet. Lavrovsky gives Juliet a signature low arabesque position: with Vishneva, the step shines out, clear and lyrical. Her footwork is gleamingly quick and sure.

 

 

 



#2 dirac

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Posted 30 July 2014 - 08:00 AM

More:

 

The Financial Times

 

There are undeniable longueurs owed to the score’s expansiveness (Kenneth MacMillan’s scissors were skilled), and the profusion of particoloured tights among the Verona citizenry is Bad News. But as the Mariinsky reveals, with Diana Vishneva a lustrous Juliet and Vladimir Shklyarov her blazing Romeo, this original staging is not merely a fascinating survivor. It also shows us a vital moment in Russian ballet – as Stalinist artistic doctrine began to fade, and as cataclysmic war was to besiege Leningrad for 900 days. The indomitable grandeur of the city’s dance and its dancers; that nobility of means and unerring grace of manner which distinguish every step that the Mariinsky Ballet takes, were a key to Romeo then, as they are six decades later. 

 

The Telegraph

 

It is, if one is honest, hard not to find fault with the Russian rendering. Its pas de deux have neither the subtlety, erotic charge nor reckless abandon of MacMillan’s, the fight scenes lack his venom, and the closing scene has an inappropriate dash of optimism. Pyotr William’s designs – elegant as they are – suffer by comparison with Nicholas Georgiadis’s sumptuous creations, and on Monday night the Mariinsky’s orchestra took a primary-coloured and often hasty approach to Prokofiev’s masterpiece of a score that tended to favour the more abrasive passages.

 



#3 dirac

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Posted 30 July 2014 - 08:04 AM

An essay on "Jewels" by Marina Harss in The Vail Daily.

 

After this mad romp, the melancholy grandeur of “Diamonds” becomes all the more stirring. The ballet opens with a lilting, leisurely waltz and ends with a magnificent finale in which the stage is flooded with glistening lines of spinning, kicking, parading dancers. (Lincoln Kirstein described this finale as “one of the prime examples of Balanchine’s applause machine.”) And in the middle, an extraordinary pas de deux. The ballerina is an enigma: remote but gentle, majestic and yet vulnerable. The role was created for Suzanne Farrell, a dancer who possessed all these qualities. She is pulled between two poles: On the one hand, the blind devotion of her noble cavalier; on the other, an unseen force that calls out to her from beyond the edges of the stage. 

 



#4 dirac

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Posted 31 July 2014 - 05:29 AM

A Ukrainian-American group stages a protest outside the Bolshoi Ballet's performances in Saratoga.

 

The Ahrbergs witnessed 30 to 40 children and adults protesting what they described as Russian President Vladimir Putin's "de facto war on its peaceful neighbor." Since a revolution ousted Ukraine's president, Viktor Yanukovych, in February, the former Soviet state has been besieged by violence fueled by Russia in its support of a separatist movement.

 

 

 



#5 dirac

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Posted 31 July 2014 - 05:39 AM

A review of the Mariinsky Ballet by Jann Parry for DanceTabs.

 

The Mariinsky company has dared to present its 1940 (more or less) production again at the start of its three-week summer season, in spite of the tepid reaction it received in 2009. This time, the first-night Juliet, Diana Vishneva, brought her understanding of MacMillan’s ballet, which she has danced with American Ballet Theatre, to Lavrovsky’s older version. Of course it’s dated, just as John Cranko’s 1962 account of Romeo and Juliet has dated. We forget how radically MacMillan broke ballet’s theatrical conventions in 1965, benefiting choreographers who followed later.

 

 

 

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#6 dirac

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Posted 31 July 2014 - 05:48 AM

Q&A with Marcello Angelini.

 

GTR: What do you enjoy as Tulsa Ballet’s artistic director?

MA: This company is unique. There is no other ballet company in our budget range that is good enough, and approved, to dance the works of the top choreographers in the world. It’s a challenge to keep our artistic and technical level up there with the big guys; our dancers need to be just as good and two times as versatile. We do with 30 dancers what other companies do with 50 or 60...........There is no other ballet company in the country able to consistently maintain high artistic standards so that it can acquire the works of the top 10 to 20 choreographers in the world. I like that we are the exception, I love the reputation we have built around the world, and I love to be able to bring to Tulsa, which is now the place I call home, the same works by the same choreographers that people are enjoying in Paris, London, New York, Moscow or Sydney.

 

 



#7 dirac

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Posted 03 August 2014 - 10:41 PM

A review of the Stuttgart Ballet by Ilona Landgraf in her blog, "Landgraf on Dance."

 

Stuttgart Ballet closed its season with a set of performances of John Cranko's “Romeo and Juliet”. Five different couples danced the star-crossed lovers. A remarkable number of these renditions were first rate. Again, the Stuttgart company upheld its high standard. For one of the lead pairs, more precisely for one Romeo, Shakespeare's tragedy was a special event. Filip Barankiewicz bid his farewell to the stage last Saturday.

 

 

 



#8 dirac

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Posted 04 August 2014 - 10:21 AM

Q&A with Xander Parish.

 

RBTH: What is it like to train at a place like the Mariinsky?

X.P.: The old-fashion-ness of this place is what I love dearly and that makes it so special. They are going to close the old Mariinsky in a year or two for renovation, and it brings a tear to my eye to think of it. I know it needs doing and upgrading, but at the same time it’s so special and so unique – I don’t want them to change a dot. I love the fact that the stone steps are worn down: dancers for many generations have worked and danced there, and checked in the mirrors, used the studio and been on the same floor... The history is poignant, you can feel it in the atmosphere.

 

 




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