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About Effy

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  1. Hi a few comments on Hübbes Giselle. Hübbe version is not that close to the Kronstam version, but Kronstams versions was to much a patch on Bruhns in major areas, like the Bathilde/Myrtha doubling. In comparison Hübbe's is a much more original work, though staying within the limits of tradition. Yao Wei and Ulrik Birkkjær did dance as well as could be expected and acted with substantiaily less conviction, but what can you expects from a dancer who had never had a dramatic role? I will write another review for Danceviewtimes, where I will discus the dilemma of creating the best performances
  2. Probably just the two, but you must remember that the conservatorie is a reconstruction and it therefore is very likely that this jockey is a paraphase of the other. The other is also reconstructed but is based on the 1890ties Elfelt films
  3. I have seen it danced once before by women, Eva Kloborg and Linda Hindberg. If my memorie is correct they were not as charming as Bojesen and Lindstrøm in the piece. They tried a more masculin approach
  4. Dear autodidicte, When I review Caroline Cavallo as the sylph I view her on the basic of having seen allmost all interpreters of the parts since 1978. and a few earlier Sylphs on video, It is natural that my response will differ from a viewer, who do not have the same experience. Your German balletomane may rightly feel that Cavallo is better than Bojesen or the other Sylphs he has seen. I am certain that I did not write that Cavallo is a bad Sylph. What I write is that I wish that she would try a more definitive interpretation rather than staying in the middle of the spectre and that she c
  5. According to the press office the Volkava dedication happened in May
  6. So far Volkovas has only been mentioned once or twice when suurering the rDB story. I will check today with the press office
  7. the royal theatre has done what tey usually do, ask a wellknown modern painter to design a poster and as usully it ends up neither being art nor being a good marketing tool that can draw people in. I have seen so often that I am almost going blind to the whole issue
  8. In Natalia and several other reviews Thomas Lund is rightly praised and the reviewers assume that he is the dominent male dancer in RDB. This is I have to say far from the truth. Save the Bournonville repetoire, Thomas Lund is underutilised in the repetoire. Save Bournonville this year has seen him in the second s casts of In the Night and Fancy Free and the not very advanced Nutcracker (for the fourth year running). Next year will show a predominately modern reportoire, with the big ballets being the two Neumeier ballet Mermaid and Romeo& Juliet and Manon, in which he has a small role.
  9. It is the Carey back in use, but ohh those costumes
  10. The changes of Riggins include new modern coreography for the circus troupe, not including a clown, the jester is gone. The lead slowanka dancers does his functions. There is one nobleman less in the fighting scene, the monks are gone from last scene and the black diva has lost her color. The housekeeper has been glorified as Vermers girl with the pearl earring
  11. As promised by Lloyd Riggins at the introduction matinee, his take on The Kermesse in Brugge has passed through the John Neumeier grinder for updating a balllet. And indeed the first act especially was full of Neumeierisque effect like turning the slovanka dancers into a band of jesters, but still using a verfremdung technique - we re all dancers in modern time, eg the women keeping their modern haistyles. As preparation Riggins has spend time in Brugge trying to capture the feeling of the ciy to bring into his version, but apperantly no one had explained to him, that Bounonville had no relati
  12. Seeing the Greves in this work it was difficult to imagine anyone else, but someone had to do it and it became Susanne Grinder and Mads Blangstrups lot to dances parts that were so tailormade ffor someone else. Blangstrup is actually quite good in the part. Grinder almost a debut is in much deeper water. She is not really suited to the part - but definately to other lead roles - she dances the steps but you see the mechanics in them, whereas MP Greve conveyed the feeling and wonder. In the last scene the decoration did not come down and the mermaid and HC Andersen lost the starry light for the
  13. Izabela Sokolowska is born in 1984 and educated in her nativ Gdansk. You can read biografies with pictures in Danish on www.kgl-teater.dk click ballet click cvs, Here you can choose solodansere (principal) karakterdanser (mimes), soloists, Korps damer (corps ladies) Corps Herrer (corps men) aspirants
  14. Isabella Sokolowska has been with the company for a nuber of years. Hailed originally as a great talent and a great beauty in The Lesson (doubling Bojesen), but have been away much, premumed injured. This season she has gotten a number of roles, mainly Bournonville, including the dominant farming girl and Eliza in La Conservatorie and one of the girls in Fancy Free. I myself is not too impressed, she seems to have gone a bit stale and she did not look like ballerina material as eliza. You could not tell the soloist apar from the corps. Maybe it is a similar case to dancers like Niels Balle and
  15. The Little Mermaid is not the worst ballet John Neumeier has made - nor is it his masterpiece. It has the distinct characteristics of being a commisioned work rather than a labour of love and commitment. But cut down approx. 30 minutes and you would have a ballet with some lasting qualities. John Neumeier based the ballet on the now famous "gay" interpretation of the fairytale by Danish literate Johan de Mylius,which sees the story as an allergy of Andersen unrequitted love for Edward Collin, the son of his benefactor, but Neumeiers nevertheless managed some original touches, especially at the
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