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Naoko S

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Everything posted by Naoko S

  1. Cygneblanc, this is a very interesting development. But is POB in the scope as well? If you have seen a newspaper article or two on the topic recently on the net, I'd be so grateful if you could give links to them... I very much hope the troupe would not be in a position where one has loads of catching-up to do by the time the new boss arrives. Next season will see a lot of reprises of 21st century neo-classical masterpieces which is not a bad thing at all. But only one 19th century gland classics - it'd be easy to forget how to do classics in a proper manner
  2. Yes, that's what I meant - the TOTAL subsidy for both theatres, ROH and NNT. (I didn't compare oranges to apples...) However there's one thing I should have mentioned on a special (or rather peculiar) arrangement at NNT. There, opera and ballet have to share the pie with one more contender, 'play/drama' section (although it appears they almost always use medium/small theatres within the complex). Ah well perhaps I've taken it wrong for so long; NTT may not be seen as a 'lyric theatre', in strict sense... naomikage, I agree with your views that in Japan arts in general don't attract
  3. What a fascinating, thought-provoking discussion! (Thanks also from me Natalia for having started the thread, and naomikage and ruteyo for the insight!) Being away from home for a long while and losing touch with Japanese ballet scene, I myself couldn't give any material, 'insider's views' ..... but thought perhaps I could contribute a bit too, sharing some objective info. - hard facts dept. Ah no, not everything is private - far from it! In fact, New National Ballet Theatre (NNBT) for instance is one of high-profile government-subsidised institutions. But precisely how much is being
  4. Well well... My Oxford Dance Dictionary says her birthday is 15th November 1944! Let's just hope this is a genuinely accurate, truthful info. (and rejoice!)
  5. 'nonchalance' - that's exactly the word to describe Filin at the scene, Ostrich! The memo. I wrote after the performance reads: Filin held Alexandrova in the air with a single-hand lift for so long - longer than any body else I saw in years (and certainly much much longer than Matvienko from the previous evening). Particularly, second time he went for so long it's as if Alexandrova could suspend in the air forever! The audience went wild and cheered at them midway...
  6. ami, it was Sergei Filin who did it! He was amazing - after the hard work of doing the most of the first nights in the space of nearly three weeks the guy still maintained the stamina and strength to do that! (Wow!) I remember having cheered wildly at them, like a madwoman!! Thanks also from me to all of you for bringing me back the 'fond' memory of the 'great' summer of '06...
  7. Hi Leigh - I obtained approx. running times info. from ROH today. It appears there's going to be an intermission indeed after mere 34 mins. Prologue! *Evening Performance for The Sleeping Beauty when starting at 7:30pm* Prologue 7:30 (34 mins.) 1st Interval 8:04 (20 mins.) ACT I 8:24 (32 mins.) 2nd Interval 8:56 (20 mins.) ACTS II & III 9:16 (1hr 8 mins.) Curtain Down 10:24 Good luck!!
  8. Thanks hockeyfan228 for clarifications about the policy. ....but I'm not too certain about a rationality of the links I inserted in my recent posts - all Japanese-only websites. In these cases, should brief translations be accompanied??
  9. Wow - at last! Thanks for the info., cygneblanc and Sophia. Actually, having recently acquired a copied dvd of the televised version (that went on-air in Japan in early March - presumably the same version as the commercial dvd), I've been deprived of my sleep - just can't stop watching it over and over again! The more I see it, the more I love it.... The three leads are Dupont/Ganio/Hurel. If my memory serves, all three made "debut in the role" when this was shot? Amazing, just amazing.... Oh and someone kindly sent me this - Mathieu Ganio is featured in the current issue of a Japane
  10. Dear Natalia, As far as I'm aware, you're one of the craziest, most fantastic balletomane! Thanks for your enthusiastic, affectionate, and insightful reports from St. P - can't imagine how I could have managed the last 10 days without them! BRAVO!!
  11. It appears the two gentlemen like it *very* hot! Yet again, right in the midst of tropical summer, Legris and Ganio will be visiting Japan to dance in Tokyo Ballet's Sleeping Beauty. The dates and venue are: -16, 18 August 2005: Manuel Legris/Ryoko Koide (Solo Artist, Tokyo Ballet) -17, 19 August 2005: Mathieu Ganio/Mizuka Ueno (Principal, Tokyo Ballet) *All dates at Tokyo Bunka Kaikan http://www.nbs.or.jp/stages/0508_sleep/index.html Ganio guested with the company as recent as in February, dancing James in La Sylphide. As for Legris, who has a huge fan base in Japan, danced with t
  12. Perhaps it's because I myself didn't expect a radical, overnight change in POB's programming policies, I can appreciate certain differences from the current season, albeit small and barely discernible. (Maintaining the status quo is far better than moving forward towards advancements - in this case deteriorations.) Less classics, yes, but to me among them two "Petipa"-Nureyev works included is a good thing (current: just one) - and they are ballet blanc (current: none). As to contemporary works - I may be wrong but the line-up for the coming season looks less experimental; e.g. a new
  13. Ladies - cheer up! A year ago, at the announcement of the current season's repertoire, we all thought things couldn't get any worse - and thank goodness certainly the new season's outlook, in my views, gives us the impressions we were not wrong? Surely they could have used a bit more of imaginations, and I share Estelle's dissappointments at the lack of Lifar and certain neo-classical works (particularly Balanchine!), but at least I can take a pleasure out of the fact that not a great deal of money seems to go to new commissions for ambiguous contemporary works.... I'm afraid you cannot av
  14. Thanks cygneblanc for the info.! The line-up looks f-aaaa-r better than the current season - don't you think? I'm particularly pleased to see a couple of ballets are featured in which Laurent Hilaire could appear; Le Parc and Mandarin (and hopefully Bella Figura). (Though I'm saddened by the absence of Raymonda for another season - we can't have everything....) And I spotted in French language forums that their visit to Sadlers Wells this autumn (with Le Parc) was now official? Hooooray!
  15. Thanks cygneblanc for the alert - I could secure a pretty nice place in the parterre on line. Three cheers for M. Legris's website!
  16. About POB's visit to SW this autumn - after having read the snippet of the info. I enquired with the theatre for a confirmation, in January. At the time they apparently were not in a position to discuss Autumn/Winter Season, which was still being finalised - yet they didn't deny the possibility either. A full season announcement is likely to be released around May. If they ever stage Le Parc in London - I can't think of anyone other than Hilaire who could do justice to the role..... after all it's his role, and Guérin's - together they created the roles for POB back in 1994. In the repri
  17. No doubt Mlle Maurin's adieu performance will be the highest point of 04/05 season.... the question is: How can I secure a ticket for the special event? You can rarely access casting info. well in advance, and it's not unusual tickets are completely sold out by the time the official distribution is out...... Another question is whether or not Hilaire will dance Tybolt in the ballet with Maurin and Legris - if that happens it will surely be a very special performance for all......
  18. Thanks Estelle for the news. I'd like to congratulate M. Hilaire for getting the appointment for an important and prestigeous role at POB and wish him all the best in the new endeavours. It hasn't come as a big surprise, actually .... over the last few years in a number of interviews he constantly made it very clear that the time was right for him to shift his energies and time more to coaching younger generations; it appeared he found it truly appealing and worthwhile job, coaching. His determinations to convey the spirit of Nureyev seemed rock-solid, and often it was very moving to hear s
  19. OK here's the search result....... First of all, please note Nagoya is a major Japanese city of over 2 million population..... so I'd say you'll be in a better position to find ballet DVDs/videos, in general, than in smallish/provincial towns. Yet some local residents have recommended that your best bet might be the shop called Chacott, a country's leading ballet-goods retailer. There seems to be two branches in downtown Nagoya, both are located in a convenient position from Aichi Geijutsu Gekijo, which I'd presume will be the venue for the competition you're taking part. They have the web
  20. Sorry Estelle you are right - I DID mention what roles Mathieu danced in back then but not on some reactions from Japanese ballet-goers. I guess somewhat I hesitated to comment as I can't speak for others.... Hi Daniil - no it's not off topic at all! I did search some DVD vendors' websites (Amazon UK & France included) but have been unable to get even a hint of a possible release date..... let's hope they'll release it before long. As for a hunting ground for DVD in Japan - well it really depends on where you are heading to. All big towns have numerous retail shops which sell DVDs
  21. No, unfortunately not - I'm in London and won't be able to see Mathieu in this performance with Tokyo Ballet. As for the appearance last summer - Mathieu danced in the following roles: * Esmeralda PdD with Dupont * Who Cares? with Abbagnato (in the 1st PdD) * Sleeping Beauty PdD with Ould-Braham * Allez Waltz As I wrote back then in the thread: Legris gala in Tokyo, he did struggle, apparently exhausted from the sudden increases in workload immediately before the Tokyo gala. That caused open scepticism about his rapid asension to an etoile-dom among certain Japanese ballet-goers, who h
  22. Mathieu is currently guesting with Tokyo Ballet, dancing James in La Sylphide (choreography: Lacotte). His partners are Tokyo Ballet's very own, Yukari Saito and Mika Yoshioka. Manuel Legris is also there to support Ganio (and perhaps restaging the ballet too) - it's said that his name is credited in the programme as the coach. I've read some favourable reviews in Japanese ballet-fans' sites. A good thing as Ganio's debut appearance in the country last summer didn't earn much credit for him! http://www.nbs.or.jp/stages/sylphide/index.html
  23. Leigh wrote: >>NYCB promotes like that all the time; the dancers who aren't the top principals, but buttress the company all the same. It helps morale at all levels when done correctly. Now this is a revelation to me.... but come to think of it, it doesn't sound too unreasonable, as different companies with different repertoire can have different policies for promotions. It's just that I myself cannot remember witnessing this type of promotions "to show a gratefulness from a company" at major ballet companies with classical repertoire at their core - e.g. POB or RB or Kirov - at leas
  24. Cygneblanc, >>Gerard Mortier went the POB ballet school to speaking to the pupils about the production and invited them to a performance. From what she told me and what I read in newspapers, it is looking rather "trash", they're giving condoms to the audience! It seems to me the idea of taking ballet kids to Opera performances itself is great. A pity your goddaughter didn't enjoy the production very much - she's certainly not among those who returned their impressions to M. Mortier, currently viewable on-line on l'Opera's website (under "À LIRE AUJOURD'HUI")! But giving away condoms?
  25. Estelle, the only occasion I saw Romoli in a lead role of grand classiques was in La Bayadere, some years ago at Bastille. In my diminishing memories he wasn't too convincing a Solor.... didn't seem to fit the bill. But really it's not the point; I guess you understand how I meant - it's not only looks or technique that makes a dancer, let alone an etoile - but they do count. Professional dancers themselves are a group of highly talented individuals, for sure, yet to be on the top of the company like POB, that's just one of many prerequisites I think. What distingues a path for one dancer
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