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miliosr

2018-19 Season

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It's that time again. New season to be announced soon!

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Here it is

*Martha Graham Dance Company 
Cave of the heart/Ekstasis(Virginie Mécène after Martha Graham)/Lamentation variation(Nicolas Paul after Martha Graham)/the rite of spring
Appalachian spring/Ekstasis(Virginie Mécène after Martha Graham)/Lamentation variation (Nicolas Paul after Martha Graham)/the rite of spring

*Ohad Naharin : Decadance 

*Hommage à Jerome Robbins
Afternoon of a faun/A Suite of dances/Fancy free/Glass Pieces

*Rudolf Nureyev : Cendrillon 

*John Neumeier : La Dame aux camélias 

*Rudolf Nureyev : Le Lac des cygnes 

*Goecke / Lidberg / Cherkaoui 
Marco Goecke : - (création)
Pontus Lidberg : Les noces (création)
Sidi Larbi Cherkaoui : Faun

*Rosas 
Six Concerto Brandbourgeois

*Spectacle de l’École de danse
Beatrice Massin/Nicolas Paul : D’ores et déjà
Bournonville : Conservatoire 
Haveline : Les deux pigeons

*Leon-Lightfoot / Van Manen 
Sol Leon/Paul Lightfoot : Sleight of Hand/Speak for Yourself
Hans Van Mannen : Trois gnossiennes

*Iolanta / Casse-Noisette (Cherkaoui/Lock/Pita)

*Mats Ek 
Another place (création)
Boléro (création)

*Wayne McGregor : Tree of Codes
 

Edited by silvermash
additionnal choreographers for Martha Graham programme

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Additionally, two other programmes are announced  for I guess the season 2019-2020 (but are in the 2018-2019 brochure)

In September 2019
Hiroshi Sugimoto/William Forsythe
Alessio Silvestrin : At the Hawk’s Well
William Forsythe : Blake Works I

In October 2019
Crystal Pite
Creation 

 

Edited by silvermash

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12 hours ago, silvermash said:

Here it is

*Martha Graham Dance Company 
Cave of the heart/Ekstasis(Virginie Mécène after Martha Graham)/Lamentation variation(Nicolas Paul after Martha Graham)/the rite of spring
Appalachian spring/Ekstasis(Virginie Mécène after Martha Graham)/Lamentation variation (Nicolas Paul after Martha Graham)/the rite of spring

*Ohad Naharin : Decadance 

*Hommage à Jerome Robbins
Afternoon of a faun/A Suite of dances/Fancy free/Glass Pieces

*Rudolf Nureyev : Cendrillon 

*John Neumeier : La Dame aux camélias 

*Rudolf Nureyev : Le Lac des cygnes 

*Goecke / Lidberg / Cherkaoui 
Marco Goecke : - (création)
Pontus Lidberg : Les noces (création)
Sidi Larbi Cherkaoui : Faun

*Rosas 
Six Concerto Brandbourgeois

*Spectacle de l’École de danse
Beatrice Massin/Nicolas Paul : D’ores et déjà
Bournonville : Conservatoire 
Haveline : Les deux pigeons

*Leon-Lightfoot / Van Manen 
Sol Leon/Paul Lightfoot : Sleight of Hand/Speak for Yourself
Hans Van Mannen : Trois gnossiennes

*Iolanta / Casse-Noisette (Cherkaoui/Lock/Pita)

*Mats Ek 
Another place (création)
Boléro (création)

*Wayne McGregor : Tree of Codes
 

No Giselle. None of the Pierre Lacotte reconstructions. Nothing by Serge Lifar, Roland Petit and Maurice Bejart. Nothing by a young(ish) French classical choreographer like Jean-Guillaume Bart.

Why a Pontus Lidberg production of Les Noces when the Bronislava Nijinska version is still viable? Why hire Mats Ek to create a new Bolero when the classic Bejart version is programmed this season and Brigitte Lefevre's commission of Sidi Larbi Cherkaoui's version premiered in 2013??

Iolanta/Casse-Noisette is returning to repertory even though the production(s) didn't exactly receive thundering reviews during Benjamin Millepied's tenure.

Is Fancy Free a premiere for the company? A dance about American sailors on shore leave seems like a strange choice.

And as for Wayne McGregor -- talk about being actively hostile to a classical dancer's technique!

If I were living in Paris, I would try to score a ticket for Karl Paquette's farewell in Cendrillon and then plan on La Dame aux camellias and Le Lac des cygnes (subject to casting). Everything else -- no.

Edited by miliosr

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Yes Fancy free is new to the repertoire... and is far from the culture of POB dancers but most of the new pieces on the list are...

Well, why new choreography of Les Noces or Bolero? Because the music is available perhaps... Mats Ek likes to revisit classics so it's no news... 

 

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Paquette's farewell is the only reason I'd go see Cendrillon. I presume this is the "classique" we get in December?

Shame we couldn't see him in SL, he made a very great impression on me last time.

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34 minutes ago, ballet_n00b said:

Paquette's farewell is the only reason I'd go see Cendrillon. I presume this is the "classique" we get in December?

Shame we couldn't see him in SL, he made a very great impression on me last time.

"SHAME" unfortunately is the right word. This is a complete betrayal of the troupe. The leanest years in the postwar history of ballet at Grand Opéra are to continue. After Lefèvre and her faithful disciple Dupont, united in their despicable grudge against la danse classique, will there be any decent classical dancers left in Paris at all? This is very far from certain. Who is going to rescue ballet in France this time? Shall we need to go to London, to Petersbourg, to Moscow, to see it, and to send our children there for them to learn it?

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10 hours ago, miliosr said:

If I were living in Paris, I would try to score a ticket for Karl Paquette's farewell in Cendrillon and then plan on La Dame aux camellias and Le Lac des cygnes (subject to casting). Everything else -- no.

Expect the Lac casting done according to the principle "the least suitable Odettes will be dancing it, even eight times, if necessary." In fact, there are currently no real Odettes left anymore in Paris. Pagliero is an exquisite ballerina, the only world class danseuse in the company at the moment, no Odette by physique, still by far the best interpreter of all who I saw the previous December (and I saw all, multiple times). The only interesting young female dancer in recent years with a chance to develop into grande artiste, Héloïse Bourdon, while not being supported either by Lefèvre or Millepied, not being coached by any étoile, not speaking about any ballet legend, like all those great artists of previous generations, yet Lefèvre and Millepied understood that Bourdon was the classical dancer par excellence, a profound artist with a soul, and they were accordingly giving her those great classical roles that their étoiles were not suited for. Under Dupont, Bourdon literally disappeared into nonexistence. Completely (I know about her injury last season, but that has nothing to do with the fact that she was sent to the back rows of corps de ballet by Dupont from the very beginning).

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1 hour ago, Laurent said:

"SHAME" unfortunately is the right word. This is a complete betrayal of the troupe. The leanest years in the postwar history of ballet at Grand Opéra are to continue. After Lefèvre and her faithful disciple Dupont, united in their despicable grudge against la danse classique, will there be any decent classical dancers left in Paris at all? This is very far from certain. Who is going to rescue ballet in France this time? Shall we need to go to London, to Petersbourg, to Moscow, to see it, and to send our children there for them to learn it?

It does indeed seem like we'll have to go abroad in order to see Giselle, Sylvia, Coppélia etc ! All the heritage of the company.

Héloïse Bourdon has been stuck at Sujet for a long time now. Interesting that she was already at this level when Baulac was still a coryphée. One wonders how long she'll patiently wait for opportunities before taking a congé to dance elsewhere.

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1 hour ago, ballet_n00b said:

It does indeed seem like we'll have to go abroad in order to see Giselle, Sylvia, Coppélia etc ! All the heritage of the company.

I was really hoping POB would give me a good excuse for a trip to Paris in 2019. Very disappointed! I have been hoping to see their versions of La Sylphide and Giselle. Maybe next season!

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20 hours ago, California said:

I was really hoping POB would give me a good excuse for a trip to Paris in 2019. Very disappointed! I have been hoping to see their versions of La Sylphide and Giselle. Maybe next season!

Well we had La Syphide last summer so not sure when we'll see that again. i really hope to see Giselle too. 

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6 hours ago, Gnossie said:

Given the deplorable state of ballet in Saint Petersburg and Moscow, where classicism has been erased and changed for CIRCUS and vulgarity, I would suggest the future generation must be sent to London, we will always have the Royal Ballet.... 

Covent Garden is more like a House of McGregor-Wheeldon-Scarlett nowadays.

 

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Other than Cinderella and La Dame aux Camellias, this season looks like a Saddler's Wells one.

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At least I'll save money on ballet tickets next season. The opera lineup looks better but there I'm scared of their revolting productions. 

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Agree about the opera, quite a few temptations, not least Harteros who we don't see in London.

If you consider Parisian opera productions 'revolting', never come to London as the RO's would give you apoplexy.

 

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Those who have keen interest in the fates of ballet in Paris may want to be informed about a petition Pour la défense du répertoire et de la tradition à l'Opéra de Paris,

https://www.mesopinions.com/petition/art-culture/defense-repertoire-tradition-opera-paris/38922

I am posting this exclusively for information, I am not one of the initiators of the petition, even though I endorse its goals, I would even express them more strongly, to save ballet in Paris from destruction.

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On 30/01/2018 at 3:17 PM, Mashinka said:

Agree about the opera, quite a few temptations, not least Harteros who we don't see in London.

If you consider Parisian opera productions 'revolting', never come to London as the RO's would give you apoplexy.

 

Well maybe 'revolting' is too harsh, although the word I'd choose in French 'ignoble' is probably much the same. I can tolerate the more "minimalist" productions but I have a big problem with things like La Bohème in Space, which I refused to see. I saw Carmen last year, and it was painful. Given the ballet season we have here, I'm tempted to venture over the Channel at some point where at least I can some classical dance, but I guess I'll avoid the opera.

 

11 hours ago, Laurent said:

Those who have keen interest in the fates of ballet in Paris may want to be informed about a petition Pour la défense du répertoire et de la tradition à l'Opéra de Paris,

https://www.mesopinions.com/petition/art-culture/defense-repertoire-tradition-opera-paris/38922

I am posting this exclusively for information, I am not one of the initiators of the petition, even though I endorse its goals, I would even express them more strongly, to save ballet in Paris from destruction.

I signed this already. I'm not sure it will achieve anything or that la directrice will even notice it, however.

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13 hours ago, Laurent said:

Those who have keen interest in the fates of ballet in Paris may want to be informed about a petition Pour la défense du répertoire et de la tradition à l'Opéra de Paris,

https://www.mesopinions.com/petition/art-culture/defense-repertoire-tradition-opera-paris/38922

I am posting this exclusively for information, I am not one of the initiators of the petition, even though I endorse its goals, I would even express them more strongly, to save ballet in Paris from destruction.

Thank you for posting. I found the content of this coming season’s repertory almost programmatic in its nearly complete indifference to classical or even neo-classical ballet...As if deliberately trying to say “We are just fine being the ‘greatest contemporary dance company in the world’”...

Edited by Drew

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Here are some of the specific points (charges?) made in the petition:

  • Only three classically-rooted narrative ballets over a span of 18 months,
  • No tribute to Marius Petipa on the occasion of the 200th anniversary of his birth,
  • All-Jerome Robbins program is welcome but the choice of Fancy Free is an odd choice for French dancers,
  • A floodtide of contemporary works, specifically calling out the contemporary Nutcracker from several seasons ago and Wayne McGregor's Tree of Codes, and
  • The absence of Lifar/Petit/Bejart as well as the great French works from history: Giselle, Coppelia, Le Corsaire, Paquita, Sylvia, La Sylphide.
Edited by miliosr

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Very surprised Petipa is being ignored, is that because his most productive years were in Russia rather than France?

Off topic, but I'm disgusted the Royal Ballet has no tribute to Rudolf Nureyev this year as it is the 80th anniversary of his birth and the 25th anniversary of his death.

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Perhaps it just feels like it, but with the exception of the MacMillan cash cows,Kevin seems to need to have significant anniversaries to justify reviving major works by dead twentieth century choreographers connected with the company. As far as commemorating Robbins and Nureyev are concerned he does arguably have the beginning of the 2018-19 season in which to redeem himself. He may feel it politic to do so simply because staging a new production of Swan Lake with less of the original choreography than we have become used to seeing, and very little of the Ashton choreography as an alternative text may prove to be something which does not achieve the success he mus be hoping for. I shall wait until the next RB season is announced before I start to complain about these lapses.

Mussel I don't think that the ROH has yet become the House of McGregor-Wheeldon -Scarlett. I believe that "pleasure" awaits us in the 2020 season. Wheeldon and Scarlett do at least continue to create works which use classical dance vocabulary, indeed Scarlett has said on more than one occasion that he considers the movement which McGregor creates to be dangerous for dancers. 

Going back to the original topic the choice of repertory at POB for the coming season. I had imagined that at the very least the company would have decided to revive a couple of Nureyev's stagings of Petipa's ballets and some of the nineteenth century works with which Nureyev was associated as a dancer such as Giselle. I imagine that the repertory selected represents the sort of works that Dupont liked appearing in and the sort of works she would have liked to have danced. Now up to a point a director is permitted to stage works by choreographers they admire but if in doing so they abandon their company's heritage and ignore the need to provide development opportunities for the dancers for whom they are responsible they are guilty of dereliction of duty. As others have said it raises the question of exactly what sort of company Dupont wants the POB to be. May I ask is a petition likely to have any effect ?

Edited by Ashton Fan

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12 hours ago, Gnossie said:

And if there's something I want is to see Nureyev's works exterminated from POB, one of the biggest tumors of the company is still being attached to that man's disgusting work instead of recovering its true heritage, get rid off it already! I can only feel happy for the UK audience for not having to suffer his "work". 

 

I'm not the biggest fan of some of Nureyev's re-workings myself but in theory the only piece by him in the RB rep is the third act of Raymonda and it is superb, I think it is highly unlikely to be revived this year as I've some insider knowledge of this autumn's programmes, but his London productions were all good, particularly Bayadere act III, with a beautiful alternative final tableau. 

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5 hours ago, Mashinka said:

I'm not the biggest fan of some of Nureyev's re-workings myself but in theory the only piece by him in the RB rep is the third act of Raymonda and it is superb, I think it is highly unlikely to be revived this year as I've some insider knowledge of this autumn's programmes, but his London productions were all good, particularly Bayadere act III, with a beautiful alternative final tableau. 

I think what Nureyev brought from what he learnt from his time at Kirov is just fine, it's his own additions and reworked of choreographical aspects which are debatable... The third act of Raymonda is indeed beautiful, Bayadère as well and it's his most achieved ballet IMO... Swan Lake has some issues, Romeo and Juliet and Cinderella, well.... Staging is often questioned but the choreography is really unrealistic...

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