TATSU

Hi, Nadezhda You can see her bio & pictures on following: http://www.aha.ru/~vladmo/natalia.html Ledovskaya is a very lovely dancer with smart tecunique. I love her Kitri

There 4 documentary titles about Sylvie Guillem available in Japan. I haven't seen all of them but the contents are following: - "Evidentia" Including excerpts from "SMOKE"(MATS EK), "BLUE YELLOW"(JONATHAN BURROWS), a solo (WILLIAM FORSYTHE), etc. http://www.warnerclassics.com/nvcarts/pr/d...ce/evidenti.htm - "Sylvie Guillem" (1993) [PILC-1161, Pioneer] Including excerpts from "Swan Lake", "Manon", "In the Middle Somewhat Elevated" (FORSYTHE), "Wet Woman" (EK), etc. - "Sylvie Guillem au travail" (1987) [PHVG-4004, Nippon Phonogram] A documentary about SG in her POB days. Including rehearsal scenes of "In the Middle Somewhat Elevated", "Raymonda", "Cinderella" and so on. - "Sylvie Guillem", (2001), [TDVT-0005, TDK Core] -- maybe available only in Japan Including rehearsal scenes of "Giselle" (her own production for Finnish Ballet), "R&J", "Don Quixote."

I know there are two videos of Trocks. Vol 1 contains Swan Lake, Raymonda, etc. Vol 2 contains Le Sylph, Dying Swan, Paqhita, etc. They are VHS, from TDK Core Inc. Unfortunatelly, they are sold only in Japan. If you read Japanese, you can buy from Amazon.co.jp or TDK Core's Web site (http://www.core.tdk.co.jp/cjbal01/index.htm.) You can contact with TDK Core Inc. in following: 104-0032 1-9-6 Haccho-bori Chuohku Tokyo JAPAN TDK Core Inc. Tel:03-3555-1132@Fax:03-3555-0029

Hi, v. oh. Asian Pacific IBC is held by Japan Ballet Association every other year. The last one was in 2001 in which ZHANG JUN from Singapore won a prize. The 9th Asian Pacific IBC is to 2003 8/13-17 in Tokyo. Contact with Japan Ballet Association: TEL 03-3499-5524 FAX 03-3498-7001

The competition is held every three years. The next will be in 2005. Most of works for the modern dance division are danced without pointe shoes, though I can't classify which work is modern and which one is not. The official Web site says, "the theme and form of the dance to be performed is without restriction," so contemporary ballet with pointe shoes will be accepted. May be the only difference between the classical and modern divisions is whether the works are originated for the competition or not.

And the final result for the classic ballet division: Gold Medal: - MENG Ning Ning, CHINA - JIAO Yang, CHINA Silver Medal: - Priscilla YOKOI, BRAZIL - Jean-Sebastien COLAURANCE, FRANCE Bronze Award: - Asta BAZEVICIUTE, LITHUANIA - Tomonori OCHI, JAPAN - YU Bo, CHINA Special Jury Award: - Maiko UEMURA, JAPAN - Serhat GUDUL, TURKEY Special Choreograghy Award: - E.Wesolowski "BROTHER", POLAND Junior Recognition Award: - Polina SEMIONOVA, RUSSIA - Carlos CABALLERO HOPUY, CUBA An award ceremony/awards gala will be held on 17 Feb in Aichi Prefectural Art Theater. Congratulations for all of prizewinners! [ February 19, 2002: Message edited by: TATSU ]

Prior to the classic division, the final result for the modern dance division: GoldMedal: - Seok Hun RYU & Yun Kyung LEE (KOREA); "Romeo and Juliet II" (chore. Seok Hun RYU/ Yun Kyung LEE) Silver Medal: - Eun Sung PARK & Sung Yong KIM (KOREA); "WHERE IS MY MOON?" (chore. Kwan Jung SON) Bronze Medal: - Edward CLUG (ROMANIA) & Valentina TURCU (SLOVENIA); "FIRST LETTER" (chore. Edward CLUG) Special Jury Award - Adriana MORTELLITI (ITALY) & Corneliu GANEA (ROMANIA); "80% Polyester 20% Elastan" (chore. A. Mortelliti/C. Ganea) Special Choreograghy Award - Seok Hun RYU & Yun Kyung LEE (KOREA); "Romeo and Juliet II" (chore. Seok Hun RYU/ Yun Kyung LEE) [ February 19, 2002: Message edited by: TATSU ]

The dancers passed Round I were following (* - finalists): Name -- Sex -- Nationality -- Company Olimpia Cristina CHETA F -- ROMANIA -- Oleg Danovsky Ballet Company-Constantza Zhanat ATYMTAYEV -- M -- KAZAKHSTAN -- Swansea Ballet Russe Marcin KUPINSKI -- M -- POLAND -- National Ballet School In Gdansk Izabela SOKOLOWSKA -- F -- POLAND -- National Ballet School in Gdansk *Keigo FUKUDA -- M -- JAPAN -- K Ballet Studio *Yudai FUKUOKA -- M -- JAPAN -- K Ballet Studio Shino ONISHI -- F -- JAPAN -- Kitayama･Onishi Ballet Company *Satomi SOI -- F -- JAPAN -- Tanaka Chikako Junior Ballet *Akira EYA -- M -- JAPAN -- Akamatau Masaru Ballet Company Joseph PHILLIPS -- M -- U.S.A -- North Carolina School of the Arts Viktorija IZOTOVA -- F -- LATVIA -- Latvian National Opera *Polina SEMIONOVA -- F -- RUSSIA -- The Bolshoi Ballet School Sergey VASYUCHENKO -- M -- RUSSIA -- The Kremlin Ballet *Takuma OSHIBA -- M -- JAPAN -- Miyagi Noboru Ballet Studio *Tomonori OCHI -- M -- JAPAN -- Ballet International de Ochi Eri MORI -- F -- JAPAN -- Ballet International de Ochi *Isa MORI -- F -- JAPAN -- Wakui Ballet Company *Priscilla YOKOI -- F -- BRAZIL -- Especial Grupo de Dancas Classicas Rene SALAZAR DAVID -- M -- BRAZIL -- Especial Grupo de Dancas Classicas *Maiko UEMURA -- F -- JAPAN -- Tsukamoto Yoko Ballet Studio･Nagoya･Teatre･de･Ballet *Serhat GUDUL -- M -- TURKEY -- Ankara State Opera and Ballet Kenta SHIMIZU -- M -- JAPAN -- Soda Ballet School KIM Joon-Bum -- M -- KOREA -- The Korea National Ballet HONG Jung-Min -- F -- KOREA -- The Korea National Ballet SHIN Hyun-Gi -- M -- KOREA -- The Korea National Ballet *Jean-Sebastien COLAU -- M -- FRANCE -- Ballet de l'Opera de Paris Nanae MARUYAMA -- F -- JAPAN -- International Performing Arts/Ishii kiyoko Ballet Institute *Carlos CABALLERO HOPUY -- M -- CUBA -- Escuela Nacioanal de Ballet *Asta BAZEVICIUTE -- F -- LITHUANIA -- The Lithuanian National Opera and Ballet *FANG Zhong-Jing -- F -- CHINA -- Shanghai Teachers University Arts College *MENG Ning Ning -- F -- CHINA -- The National Ballet of China *YU Bo -- M -- CHINA -- The National Ballet of China Ilke KODAL -- F -- TURKEY -- Istanbul State Opera and Ballet *LU Meng -- M -- CHINA -- Liaoning Ballet XING Dongting -- F -- CHINA -- Liaoning Ballet *JIAO Yang -- M -- CHINA -- Liaoning Ballet ZHAO Yuan -- F -- CHINA -- Liaoning Ballet As you can see, most of participants are Asian. I can't forecast who will win a prize because I'm not there. I just know the result from the competition's Web site. I've only seen some Japanese dancers. Among them Mr. Akira EYA seems to be close to a prize, IMO. He is short but has smart technique. Mr. Yudai FUKUOKA is also a promising young dancer. He has received many prizes in internal competitions but I'm not sure he is ready to win in such an IBC. I heard Ms. MENG NingNing and Ms. FANG Zhong-Jing both from China are good dancers. The results for Final will be announced on 16 Feb. [ February 14, 2002: Message edited by: TATSU ]

Nagoya International Ballet & Modern Dance Competition -- Classical Ballet Devision Round I Results: http://www.tokai-tv.com/event/calender/mai...t/e12kekka.html

Stuttgart Ballet came to Japan after its eight years absence. The company performed John Cranko's Romeo and Juliet and Taming of Shrew, and I saw both in Tokyo. As far as I can see, Sue Jin Kan won the biggest praise among other dancers in these performances. In R&J, Sue Jin Kan/Robert Tewsley and Yseult Lendvai/Vladimir Malakhov were casted in Juliet/Romeo. Kan was beautiful, delicate, and really passionate Juliet. I adored her exceptional expression. The pairing of Kan and Tewsley was fine. The passion and dynamism they showed in the balcony scene were far beyond the other pair Lendvai/Malakhov. Marcia Haydee performed Lady Capulet was a big present for Japanese ballet goers. Sue Jin Kan was fine as Kate in Shrew, too. She completely changed from a lovely young girl to a rough, crabby shrew. Philip Balanchievich (sp?) was really handsome Petrouchio. His strong techniques excited the audience. The dancers were generally well trained. I've never seen a company such that all dancers had so beautiful legs! I hope the company returns again soon with Cranko's another masterpiece, Onegin. [ February 12, 2002: Message edited by: TATSU ]

I believe the reason why the dancers, especially Japanese, are eager to participate in IBC is they don’t have good environment to dance in their own country. For example, the first national ballet company in Japan was founded in 1997 (just four years ago!) Although there are many private companies in Tokyo, they generally don’t pay enough salary to their dancers. It’s natural for talented young dancers to seek their job in Europe or USA. IBC is good chance for them to advertise themselves.

She moved to Royal Danish Ballet several years ago, and she has already retired . [ January 31, 2002: Message edited by: TATSU ]

I've seen Peter Write's, Vladimir Vashiliev's, and Constantin Sergeyev's. I like Write's production best, because it's the most logical and dramatic, IMO. It clearly shows the difference in social status between peasants and aristocrats in Act I (for example, Giselle never look at Bathilde directly until knowing she is Albrecht's fiance), so I can straightly understand why Giselle despaired so much when she knew Albrecht was an aristocrat. [ 04-24-2001: Message edited by: TATSU ]

XinXin, Ifm little bit pity you donft enjoy it. I, however, totally agree to your negative impressions of UENO Mizuka. She has much more reputation than she deserves. Audiences say WOOOW when she kicks her leg sky-high, but the admiration is only to her physical ability not her artistic talent. I donft know why the company cast her in big roles. Her Odette I saw last year was just awful...

I'm not sure the historical ratio of men and women in audiences for Japanese traditional performances (such as Noh and Kabuki). I can say, however, the audiences for those perfomances today are predominantly female. I think the tendency, more or less, has been kept from hundreds years ago. I wrote in the previous post, "there is no tradition of escorting their wives." It means, most of Japanese don't think that husbands should bring their wives to the party, theater, or other public occasion. And it doesn't mean HUSBANDS won't take their wives out: sometimes (or often?) WIVES won't take their husbands out. When going to the theater, wives generally choose their friends as companions, not their husbands. Maybe they want to devote themselves to dreamy performances rather than take care for their ordinary husbands -- well, it's just my imagination .

Thanks for all of your reply. The Scherzo is the hardest part of all for a leading ballerina as well as four ensemble girls because they have to jump and jump and jump through the movement. I'm sure it seems more confusing than other movements, but still it's pity Balanchine cut it off. It's worth to see if danced well.

Alexandra, it isn't an exaggeration. At least 90% of ballet audiences in Japan are female, and I'm female, too. I think there are mainly three reasons for overwhelming of female audiences. First, the public tendency to think ballet is for women and children or high society -- the biggest but ridiculous reason, IMO. Second, there is no tradition of escorting their wives to a theater. Third, most of ballet performances start too early; it starts from 18:30 on weekday. It's hard to go after finishing office work at 17:30 or 18:00 (indeed, I'm always struggling.) It's pity that so many people get away from ballet without trying. However, conditions have been changing since Tetsuya Kumakawa, ex-principal of Royal Ballet, returned to Japan with his company. Yet I'm not his fan, I admit his contribution to spreading ballet fans to young and old, men and women. [This message has been edited by TATSU (edited March 07, 2001).]

On March 2 and 4, the Tokyo Ballet Association comprised of 4 Tokyo-based ballet companies - Asami Maki Ballet, the Tokyo Ballet, Tokyo City ballet, and Star Dancers Ballet -- provided joint performance. It's an event irregularly held, and the last one was in 1997. It's a good chance for our audiences to see different companies on the same stage at one night. There were 2 programs. I saw the program A which composed of four classical and neo-classical masterpieces (though I doubt the value of one of them ...) The first piece was "Suit en Blance" (Lifar/Lalo) by the Tokyo Ballet. The Tokyo Ballet, I think, is the best known Japanese company in Japan and abroad; because it energetically tour around Japan as well as Europe. It's good at Bejart's works such as the Firebird, Bolero, and Le Sacre du Printemps but this time it chose Lifar's neo-classical ballet. The opening was welcomed with admiration. When curtains up, the audience breathed a sigh for beautiful composition by dancers in white tutus and tunics. The dancers generally did a good job. The most impressive was Ms. Yuko Arai danced the variation La Flute. She had brilliant charm as well as strong technique. Her perfectly controlled turns and developee were amazing. In coda she showed single- double combination fouette to the last, and that was perfect again. Among male dancers, one of the principals Mr. Kazuo Kimura was outstanding. He danced elegant and majestic Mazurka The second one was "Chabrier Dance" (Petit/Chabrier) by Asami Maki Ballet. Asami Maki Ballet has had friendship with Roland Petit from 1997, and got several pieces in its repertory, such as Le Jeune Homme et la Mort, Notre-Dam de Paris, and L'arlesoenne. The relationship will lead to a brand new full-length ballet gDuke Ellington Ballet" in August. Well, let's back to the performance. "Chabrier Dance" was a leotard ballet Petit choreographed to Sadlers Wells Ballet in 1950. I thought it was pretty but not much more. The leading role was one of the youngest principals in the company Ms. Mizuka Ueno. Petit picked up her among the corps when the company premiered "Chabrier Dance" in 1999. This young leggy ballerina has extraordinary extension like Guillem and the ability was appealed enough in some contortioned pauses - but, to tell the truth, I don't care for her showy performance. Mr. Naoya Kojima as a second male principal showed special virtuosity and favorable humor in every moment. He is a principal with double nationality in Asami Maki Ballet and the New National Theater of Tokyo. Someone might have heard his name because he danced in ABT as a soloist about five years ago (though just for a season). Although I have regarded him as a boring technician for a long time, he seems to be quite well in these days. After 20 minutes intermission, Tokyo City Ballet performed "Coppelia" Act 3. Tokyo City Ballet, I think, is the youngest (33 years old) but most orthodox company. Most of its repertory is popular classics revised by in-house ballet masters/mistresses. Honestly, the level of dancers is slightly lower than other three companies, but I still favor their sincerity and warm atmosphere. Ms. Ikue Shiga as Swanilda was very charming. She wasn't a type of strong characteristics, but I adored her cheerful and beautifully controlled movements. The evening ended with "Western Symphony" (Balanchine/Kay) by Star Dancers Ballet -- my favorites Star Dancers Ballet has wide repertories from classic to modern, and its peculiar repertory is American ballet such as Balanchine, Robbins, and Tudor. "Western" coached by Melissa Hayden is one of the most applauded repertory. The leading couple in the first movement, a short dynamo-ballerina Ms. Hiroko Kohira and a guest artist Mr. Ben Huys, was really excellent. I'd already known Ms. Kohira's strong technique and musicality, but I struck once more. Her jump was surprising -- she seemed never falling to stage! Ms. Aya Atsugi and Mr. Tomohiro Nitta in the third movement were fine, too. It was a debut for Ms. Atsugi in a principal role (she joined the company three years ago) and she proved she deserved it. This tall, beautiful ballerina hopped around vigorously as if she never got tired. Her continuous entrechat was far better than those some poor male dancers did in the evening. It was pity that the second and forth movement were a little bit weaker than above two, but I totally enjoyed this gorgeous entertaining ballet. I hope the Tokyo Ballet Association will continue the joint stage in the future. I would be happy if I could see "Symphony in C" starring four principal couples from four companies. How it'd be nice! [This message has been edited by TATSU (edited March 06, 2001).]

I saw "Western Symphony" performed by Japanese ballet company Star Dancers Ballet last weekend. It had all of four movement. I enjoyed the cheerful 3rd movement and I wondered why NYCB now doesn't perform it (it was omitted when I saw "Western Symphony" at the New York State Theater in 1999.) When, why, and by whom was it omitted? By Balanchine? I want to know ...

Some companies in the Far East, Japan, have Ashtonfs in their repertory. Maki Asami Ballet has La Fille and the Birthday Offerings (Ifve only seen the former and it was nice); Kobayashi Noriko Theater has Les Patineurs as one of its strongest pieces; and The New National Theater Ballet in Tokyo will revive Ashtonfs Cinderella in February, and itfll come back again in December (the fact proves how much the ballet welcomed in its premier in e99.) I believe Ashtonfs ballets are suited for Japanese, both dancers and audiences. His choreography fits well to their compact bodies and accurate techniques particular to Japanese dancers. And his neo-classical style match to tastes of Japanese audiences. I hope to see Ashtonfs work much more in Japan!

Undoubtedly Lopatkina got the highest praise, and Zelensky got the second. Indeed, Lopatkina was a sensation. Even though I wasn't impressed enough, I could understand why the audience got wildly excited. And I want to mention Diana Vishneva as Princess Aurora in 12/6. She was really breathtaking. She dominated the theater with her brilliant presence. Her superb technique, beautiful posture, and perfect musicality astonished the audience. Korsakov danced the variation from Blue Bird PDD very well and got great applause, but I thought he should polish up his partnering technique much more. XinXin wrote: The pity is we could not see Jewels this time, I don't know why they did not do this wonderful piece in Japan. I think the promoter of the Japan tour doubted the popularity of the piece, because still the Japanese audience love the Putipa's classical narrative full-length ballets, such as Swan Lake, Nutcracker, and Sleeping Beauty. Most of them are less interested in modern plotless ballets like Balanchine. Indeed, there were a lot of vacant seats in Balanchine Gala. Though I eagerly want to see it! Kevin, have you mailed to me about your question? I'm afraid I don't get it for some reason...