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Anne

Senior Member
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    286
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About Anne

  • Rank
    Bronze Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    amateur ballettraining as a child and a youth and now an enthusiastic balletgoer
  • City**
    Aarhus
  • State (US only)**, Country (Outside US only)**
    Denmark

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  1. The Royal Dansih Theatre has just opened to the public a highly interesting database with pictures of costumes used for ballets, operas and dramas performed at the theatre during the last three centuries: Costume database. The pictures are of an astonishing high quality. You can almost see every stitch in the costume, some of them made with an exquisite craftmanship and with lots of details, which you might not be able to see from a distance but which adds to the depth of the visual texture. The tailors of the Royal Theatre are famous for their craftmanship and creative power. Because of
  2. It certainly looked more radiant and the colours were more shimmering when you sat in the theatre. But after having seen the ballet on KGL Xtra in its full length, I'm afraid I am no longer so sure of the deeper meaning of the lighting. The shafts of white light are coming down in a kind of geometrical pattern, which I couldn't see from my place in the theatre, and they might as well just be part of the décor and not necessarily serve any dramatic purpose of the kind I suggested. The timing also speaks a bit against it: Why should it start just before the finale of the divertissements, where
  3. The choreography is actually very well preserved, mainly due to the fact, that it has never left the repertoire since it was created. It has been performed in the RDB more than 800 times, and the roles were handed over from one dancer to the next. Moreover, until the 1960's a dancer almost literally "owned" a role until his or her retirement, which means that actually relatively few dancers have made their personal mark on the choreography since Bournonville died in 1875. But the style, when not the actual steps, has changed a lot since Bournonville's days: the dancers are taller and stronger
  4. Nikolaj Hübbe’s new production of Bournonville’s La Sylphide (actually his third with the Royal Danish Ballet) was premiered a month ago. It has been treated fairly well in the reviews, very much indebted, I believe, to the feeling of relief that we finally got rid of his lifeless black and white production from 2014. Three stagings of the same ballet in a relatively short span of only 17 years, is clearly a luxury only a residing ballet master can bestow on himself. And it is indeed a luxury in times where the repertory due to cutbacks only allows very few new productions each year. Nev
  5. Like so many other companies the RDB has chosen to present a long row of their ballet production on video during the Corona-period. That means that a lot of goodies are now available online, some of which you would otherwise never have come near. You find them all here: https://kglteater.dk/xtra/forestillinger/?section=31873. They are not all meant for public display, and are therefore not perfectly filmed, but this way you get to see performances which would else have been kept an inhouse secret. Recommendable is above all a splendid "Romeo and Juliet" with Andreas Kaas and Ida Praetoriu
  6. Yes, you could translate it that way, only I'm not sure whether "mixed-up" includes the slightly chaotic note of "durcheinander".
  7. Yesterdays performance of John Neumeier's Nutcracker was full of wonderful surprises - and of a completely unexpected nature! Not until we got the printed programme did we get a hint of something unusual coming up: For every main roles, 3 or 4 dancers were listed, and among the names for the Marie's role was that of Alina Cojocaru, who is a favorite of mine. First I thought it was a mistake but the programmeselling lady said (with a slightly mischievious smile) that it was not and that we should wait and see. Before the performance started John Neumeier himself appeared and addressed th
  8. Yes, the reviews were indeed very good, and of course it is some kind of event, when a wellknown choreographer creates a full-length ballet especially for our company. I saw it and was impressed but never moved by it. I liked the inventiveness of Liam Scarlett's choreography, though he couldn't keep up the steem all the time, especially the last scene where Hermann goes mad seemed to go on endlessly. I was surprised, that Scarlett in many ways was so conventional, especially in his pas de deux's: Very much of "man lifting and supporting woman". Most convincing actually was his ensem
  9. I have followed this thread from the sideline, not sure whether I could add anything new after having read the interviews with and the articles by Alexander Meinertz. I think his views are absolutely to the point regarding the state of the RDB under Hübbe's reign, and especially Hübbe's handling of the Bournonville heritage. Meinertz' statement at the end of his article "Hübbe's Company" could have been mine, only better worded: I went to only one performance during the festival and I had chosen the "Bornonvilleana" which was the second night of the festival. The festival program
  10. Eva Kistrup has some more news on this appointment in on her blog: "Breaking News! Andreas Kaas made principal dancer". And earlier this spring Kistrup had an interesting interview with Andreas Kaas, just after he returned from a guest stay with the Marinsky ballet : Interview "In all, Andreas Kaas is having a fabulous season. He is practically dancing all the male leads in the RDB season. Following a Kylian programme, he has the leading male role in “Raymonda” + the role of Beranger, “The Nutcracker”, ”Swan Lake” and “Tchaikovsky Pas de Deux”. He is currently learning the leading male rol
  11. After his performance as Hermann in Liam Scarletts Queen of Spades last night Andreas Kaas was promoted to solo dancer, the highest rank in the RDB. The announcement was made on stage by Nikolaj Hubbe to standing ovations from a cheering audience. Congratulations, Andreas!
  12. New York Times had an obituary yesterday: https://www.nytimes.com/2018/02/21/obituaries/nini-theilade-dancer-in-reinhardts-dream-dies-at-102.html?emc=edit_th_180222&nl=todaysheadlines&nlid=60038520
  13. In the Danish newspaper "Jyllands-Posten" an obituary was brought today. Unfortunately you cannot read the obituary if you are not a subscriber, but i link to it anyway, as you can see an absolutely lovely picture of the grand old lady with one of her colleagues at the school "Oure Sport & Performing Art", where she taught till she was 98: Obituary of Nini Theilade
  14. Nini Theilade, a Danish dancer, born in Indonesia in 1915 by a Danish father and a mother of German, French, Polish and Indian origin, has died peacefully on February 13, 102 years old. The family returned from Indonesia to Denmark when she was still a child, as her mother, herself a dancer, wished to develop Nini's obvious dance talent. However, Nini was rejected by the Royal Danish School of Ballet, but her ambitious mother didn't give up and brought her to Paris where she came to study with Lubov Egorova. Nini's natural talent and slightly exotic beauty made the way for her to the stag
  15. On her blog, Eva Kistrup has just posted an interesting interview with dancer Emma Riis-Kofoed, the last apprentice having joined the company: Interview
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