dirac Posted March 24 Share Posted March 24 An interview with Alessandra Ferri by Deborah Weiss for Bachtrack. Quote In June, Ferri will hang up her own shoes for good, appearing in a role created for her in 2015, in the New York premiere of Wayne McGregor’s Woolf Works with American Ballet Theatre. I ask her what it will be like to revisit it with another company. She explains, “After The Royal Ballet, I did it with La Scala, so it won’t be the first time. It’s very interesting when you’re doing a familiar piece. You have different energy, dynamics, style and it does reflect on the way you approach the role. Your relationship to your partner or whoever you interact with, is fresh. It’s great because you don’t fall into the trap of doing it the same as before. It’s stimulating and forces me to get in deeper. Link to comment
dirac Posted March 24 Author Share Posted March 24 La Scala Ballet visits Shanghai. Quote The star dancers for the leading roles, Nicoletta Manni and Timofej Andrijashenko, said on March 20 that the two of them began to dance together in Giselle, and the production accompanied their growth. The couple will be dancing Giselle together for the first time in Shanghai, after they got married last August. Link to comment
dirac Posted March 24 Author Share Posted March 24 Reviews of the Royal Ballet in a MacMillan mixed bill. The Sunday Times Quote The evening ends with Requiem (1976), MacMillan’s tribute to his friend and fellow choreographer John Cranko, who had died three years earlier at the age of 45. The music is Fauré’s Requiem, transcendentally rich and deeply moving (all kudos to the conductor Koen Kessels, the soprano Isabela Díaz and the baritone Josef Jeongmeen Ahn). Yolanda Sonnabend’s luminous designs offer a serene environment in which the choreography’s haunting poetic imagery and uplifting spiritual quest are free to soar. Everyone in the cast wore its mourning and remembrance with honour, but none more so than Matthew Ball, absolutely stunning in the lead male role. The Stage Quote In this narrative ballet, MacMillan’s flair for character and psychology shines through. By turns tender with her common-law husband Woyzeck, and vigorously lustful in a scissoring pas de deux with Francisco Serrano, Francesca Hayward is sublime. Sambé is equally brilliant, perfectly capturing Woyzeck’s spiralling sanity in the hunched looseness of his gorgeous dancing. But in truth, every member of the company deserves praise for this deeply affecting work. The Daily Telegraph Quote From a playful abstract sketch to a harrowing narrative work and a divinely inspired requiem, the Royal Ballet displays the astonishing creative range of its former artistic director, Kenneth Macmillan, in this trio of one-act pieces. Unexpectedly, several cast changes due to illness also illustrate the depth of talent in the ranks as dancers such as first soloist Isabella Gasparini step confidently into the spotlight. Link to comment
dirac Posted March 25 Author Share Posted March 25 A review of the RB by Teresa Guerreiro for CultureWhisper. Quote Spanning three decades, the Royal Ballet’s MacMillan triple bill consists of works radically different from each other in mood and movement, yet all bearing the hallmark of a choreographer who left an indelible imprint on the company. Link to comment
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