Viviane

Alexandra, Ofcourse I'm curious ! Just the pain of getting to Antwerp is a big put-off...

Next week Trisha Brown is performing 'Foray Forêt', 'How long...' and 'I love my robots' in Antwerp. It has been ages I saw the company...and since I'm a ballet-adept, I wondered if I should take some of my precious time to go and see... Advice, anyone ? Thanks !

This month's "Dance Europe" features an interview by Jason Beechey with the new Directors of the Royal Ballet of Flanders : not to be missed !

Thank you Alexandra, WOW that was quick !

I know Ben is a former NYCB-soloist (and from my village ) but I lost track of him. I'm sure someone can help me and knows what he's doing now ? thanks !

Please add : "DANCE FOR LIFE" Sunday 22 January 2006, Brussels 4th edition -if I'm not mistaken- and if the casting is as overwhelming as this year : AN ABSOLUTE MUST A matinee in 'Het Koninklijk circus'. More info nearer the time or check yourself : www.theloft.be.

They are a minority, Cathy ! And, overlooked most of the time. It's the region around Eupen.

Leigh, for that you should stay longer than 2 days !!! I wonder why I connect you with lace.... ? To make it more complicated we also have a 'general' government and one for Brussels !

Hi Cathy ! Here is a Belgian balletomane with a weak spot for Dutch National Not that I have seen them often, but they've surely impressed me. I know this place is quiet now, but there are some others around like Marc and Herman who know a lot about the company !

Bart, please take the statement about the 'real' ballet of Flanders with a wink ! It's very uncommon that the Antwerp-based balletcompany opens it's season in Ghent We have a splendid, little operahouse overhere and I prefer it far above the cool and dated Stadsschouwburg in Antwerp or their house-stage. Although carrying the name 'flanders' they mostly perform in Antwerp with some exceptions for other towns. The reason we can find mainly in lack of good accommodation, but since Bruges has the perfect venue for ballet....I wonder why they aren't appearing their ?! The linguistic differences are also felt in dance I'm afraid...not on the level of dance-quality or talent ofcourse but it's all about the money ! Our Royal ballet of Flanders is subsidised by the Flemish government and performs in Flemish towns... Le Ballet de la Wallonie doesn't exist anymore, but the task of major-dance company in the French speaking part has been taken up by the contemporary comp. "Charleroi Danse". There is not a kind of company representing the entire country. The situation in Brussels is different. It was the direction of the "De Munt"theatre in Brussels that invited Béjart and gave him all the chances to develop his artistry. Béjart got so wellknown overhere ànd worldwide, that he became the symbol of dance in our country. When he left (after a row with Gérard Mortier, the new Munt-director at that time and now Director of the Paris Opéra) there was the need to fill the 'gap' and Mortier invited Morris. Currently Anna Teresa de Keersmaecker's company "PARTS" is the 'company in residence' at the Munt...although some would like to hear it, I wouldn't call 'Parts' the company who represents Belgium !

Thanks Alexandra, it's simply too hot outside....so I was a bit wandering around on the Net and ofcourse I'm very curious to follow the developments of our only ballet-troupe ! So, don't worry I'll keep you all updated and I'm sure Marc will made more in-depth comments :rolleyes: I agree with Bennetts on her point about the 'gap'. At certain levels and in certain 'environments' there is a huge gap between ballet and contemporary dance. Among the general public I would say it's due to not-knowing and/or lack of interest in what's happening in the whole dance-world. On companies and dancers-level I have felt sometimes a lack of respect ! Yes I know, how bad to say that A lot of the companies are heavy subsidised and how tighter the official budget becomes, the harder the competition. And if I say that the ballet got most of the money for years it explains a lot. Since a lot of contemporary companies are widely reknown and admired (Parts, les Ballets C de la B, Ultima Vez, to name but a few) the pression on the only remained balletcompany in the country is very high. Some politicians even asked themselves in public the reason of existence of a balletcompany ! Overhere you see ballet OR contemporary : that's the vision of the largest part of the audience. Maybe the different age-groupes that attend performances are also an indication for the problem ? That the Royal Ballet of Flanders has a broad neo-classical and contemporary repertoire is something that's hardly known outside the "ballet-walls" Filling the gap is impossible and not at the order I think, but I'm interested to see how Bennetts will build bridges between parties !

Kathryn Bennetts sees a big gap between classical and contemporary dance overhere. She reckon this gap is not as wide in other countries. The fact that the company is called "ballet" gives a too one-sided picture to the public. The company can cope with many different styles and she finds that audiences that only saw contemporary dance in this country have missed out on an important part of the evolution in the balletworld. She will try to make the answer to this.

Marc, there was an interesting interview with Kathryn Bennetts in the weekly "Knack", beginning this month. Under the title "Dans is iets intuïtiefs", the interviewer -Paul Demets- tries to discover the new wind that's going through the company. Bennetts talks about the one-sided view that the public overhere has about ballet and the big gap between classical and contemporary dance. She has been talking with Anna Teresa De Keersmaeker about an eventual cooperation...(oh dear ! :rolleyes: ) It's not a secret that the company will loose some of the dancers, as is common with the installment of a new director and she will wait a while to fill-in Aysem Sunal's place. The good news is -as you already told us : the orchestra will return !!! In the new season this will be for the Balanchine & Robbins opening-programme (Perfect gems) and 'Sleeping Beauty'. Irine Russo, an Antwerp pianist, will perform Chopin. We will get introductions to some of the performances and guided tours, while young dancers (from 16y on) will be able to attend workshops with Jan Nuyts (the co-director). Bennetts will also take the company more abroad (I guess further away than The Netherlands ???) and the international competition "Uncontainable" for young choreographers will give another input to the dancers and helps to provide a lifely structure to the company. And... they'll become -at last- a REAL "Flanders" ballet : the season opens in Ghent ! WOW !

Natalia, many thanks for the effort you take to keep us updated ! It's highly appreciated ! Since I'm eagerly waiting for news...it's great to find 'instant-reviews' here

I agree Mashinka. Unfortunately I couldn't attend the performance myself, but I heard enthusiastic reviews from friends who were there and don't have biased views on dancers. Clement Crisp's article is only an aproval of what I've heard. As for Mathieu Ganio and Dorothée Gilbert I prefer that one gave them the TIME to grow and become even more intriguing dancers...and by doing so maybe they can skip all the rubbish that's announced in next year's programme !

Allow me to shed a more balanced light on Thibault's performance and read Clement Crisps comments : http://news.ft.com/servlet/ContentServer?p...p=1016625900929

Herman, so sorry to read about the complete mess ! I doubt you would be more enthusiastic about Sunal in recent years. So far I haven't seen Aki Saito in much classical, but she's a welcome alternative for Sunal to me. And it's hard to believe she was dancing risk-avoiding...I have seen her in better days, that's clear. I will try to see her somewhere in this role though to make up my own point of view and will report They rarely perform with an orchestra and I agree : that's killing !

Marc, I'm thrilled with the news :jump: A special ballerina who excells in classical AND neo-classical roles. She deserves the promotion indeed ! Many, many warm congratulations to Dasha !

Marjolein, I'm joining the band :cool2: Ofcourse you should go and see it ! For once we have a classic that's not totally ruined. Keep in mind that you have more chance in a fairly good seat and MUCH more affordable than anywhere else ! Herman, is Rietstap from another planet ?

Ah ! I was thinking I was on the wrong thread :grinning: No, honnest, I find that DNB has really fine dancers. Must say I was surprised to see Sofiane Sylve in the broadcasted 'Sleeping Beauty' though ! Herman, I'm eager to hear you about our Bayadère

I'm afraid overhere one confuses having 'international appreciation' with quality ! Even the authorities are constant repeating the need to have a classical company with international radiation. They do perform abroad but the 'critics' are not satisfied because they are not invited to the 'hot'-places !? Well, they have been in New-York and recently in London... Don't think it's necessary to make all that fuzz around travelling...as long as they can't make up a decent travelscheme in their own country. For instance, the current 'La Bayadère'-production will not be shown in Ghent until the end of the year ! (Ghent being the heart of Flanders...eh, they do think different about this in Antwerp :grinning: ) And Herman, you made a good point with your example of DNB...you only can bring something abroad if you distinct yourself with originality ! 'If' you are travelling to Antwerp to see this production I would advise to see them at the Opera instead of 'het Eilandje' and try to book for Aki Saito's Nikiya . Alexandra, I don't think Rudi Van Dantzig's book (In het spoor van een komeet) on working with Nureyev is translated and that's a real pity ! I consider it as one of my favourites among the 'Nureyev'-books and very moving. It was great to learn that Nureyev himself choose the DNB, their new work intrigued him that much...and Van Dantzig was flabbergasted at that very moment. You were indeed *very* lucky to have seen them ! oops...Marc, I hadn't seen your post Yes, ofcourse that must be the main-reason for 'sparse'-sets. Although this time I don't think that was the major problem with the production. They were quite inventive in turning atmospheres and create other spaces with the basics they had. But ofcourse it didn't had the quality of some of the Van Schayck designs I adore Maybe I can add the following re-travelling in their own country : I've always heard this is a necessity because the public in Belgium don't make'big' moves For the Americans : 'big' is 40-50 km. :yawn: Another ambiguous train of thought ? In the 7ties whole of Belgium was travelling by coaches to Brussels to see Béjart :grinning: (sorry Marc, I know I keep repeating this !)

I went searching for some reviews on "La Bayadère" and found a disapointing review by Elke Van Campenhout in 'De Standaard' (200204). Another example of poor, unfundamental criticising, if you can call it that way. I also found a more alarming article (190204) in the same newspaper by Guy Gypens (Director of Rosas). Interesting to notice that a 'quality' paper (sic) lends itself as a mouthpiece for a money-seeking director !? The think-path of our Flemish Minister of Culture, Paul Van Grembergen, to make the Royal Ballet of Flanders part of the cherished club of 'important cultural institutions' (like there are the Opera, de Singel and some orchestra's) seems pretty much received as offensive - seen from the contemporary (avantgarde ????) danceworld's (*) point of view ofcourse. Mr.Gypens proposes a cooperation between the Netherlands, Belgium and part of Germany for keeping 1, travelling dancecompany who brings the Romantic repertory. That could be a solution to get more money for the current comtemporary companies. "The whole world envy's us for having Anne Teresa De Keersmaeker, Wim Vandekeybus, Alain Platel, Jan Fabre and Meg Stuart". As long as one don't confuses the whole world with the "critical avantgarde" (spot-on, Alexandra !) I think we can have an interesting debate (*) = Rosas, Ultima Vez, les Ballets C.de la B.

Inga, I'm amazed to read that a great dancer as Alexandrova is dancing the Lilac Fairy ! In a lot of companies around us here this is unthinkable. Seems they have too much talent at the Bolshoi

Marc, this is exactly the reason why I don't read newspapers anymore :angry: Overhere dance is -to say the least- criticised WITHOUT any base of knowledge ! And this can makes me SOOOOOOOOOO ANGRY ! (All : our newspapers never heard about Haegeman overhere) Sadly these so-called 'critics' are capable to create an atmosphere that even alerts the money-providing authorities ! Sigh....we know where our company is heading for :green: (eh....I'm trying all the smilies :cool2: ) Oh...and now I see I've past post nr.100

I was at the première on Wednesday evening. Nikiya : Aysem Sunal Solor : Priit Kripson Gamzatti : Olga Voloboueva Brahman : Giuseppe Nocera Must say I was really looking forward to this and after the "Swan Lake"-disaster it was rather a reassurance that Anna-Marie Holmes was responsable for the choreography. All things didn't turned out to a success I'm afraid, we got a performance with very mixed qualities. The changings in the choreography are -maybe insignificant, if not unneccesary- but if you drop the processions (and the elephant !) you somehow touches the atmosphere of the ballet... what a task to tackle a huge quality piece like 'La Bayadère' ! :sweating: And I don't understand why Solor has to kill himself at the end ?! I don't feel it adds to the drama. As 'finale' Nikiya led solor into the Kingdom of the Shades. Well, I start to miss a collapsing temple ! Costumes and lighting were disappointing : the costumes were 'minimalistic' in terms of Indian clothing not exactly enchanting the atmosphere of wealth at a palace of a Rahdja. A lot of the dancers struggled with their lack of mime- and actingskills. Sunal and Kripson were totally 'blank' - to my taste anyway ! But what bothered me the most was the lack of 'being in a role' of some of the corpsmembers. Afterwards - when looking at the program-book- I saw it's even noticable in some of the pictures Maybe I should go again in a couple of weeks to see how the company is coping with it by then ? Although, if I only had seen the Third Act, I would have been more enthusiastic ! This one made it up for the evening, it was obvious that a lot of training went into this and it showed The small stage tooks away a lot of the magic of the Shades-act, but we have to live with this ! Overall we got a good performance (no more and no less) from Olga Voloboueva who's Gamzatti literally overclassed Nikiya. Their fight was a real dangerous, dramatic one ! My absolute favourite was Wim Van Lessen as the Golden Idol ! He was fantastic, full of energy, a real surprise. Oh...and a little 'faits-divers' : the parrots were the best I've ever seen, with their flapping wings they didn't seem to be simple 'stuffed' birds :rolleyes: