Artiklar från 2008 – till idag

Artiklar från 2008 – till idag

Tamara Rojo and Akram Khan in Dust by Akram Khan. Pkoto ASH

Tamara Rojo and Akram Khan in Dust by Akram Khan. Pkoto ASH

War Remembrance Contrasts with Ballet Fantasy

LONDON: English National Ballet has moved to new territory both choreographically and physically by commissioning two established contemporary choreographers and presenting their World War One centenary programme, Lest We Forget, at the Barbican Theatre, a venue that is usually home to cutting edge Tanztheater.

The horror of modern warfare is not an easy subject for ballet, a medium more used to depicting grace and beauty although Kenneth Macmillan’s Gloria must be the exception here.

Coinciding with the centenary, many stories from those who lived through the horrors have been retold. And although dance has the potential to tap into the emotional core, these new dance works struggled to match the poignancy of the era.

Alina Cojocaru and Junor Souza i Second Breath. Photo ASH

Alina Cojocaru and Junor Souza i Second Breath. Photo ASH

The contemporary pieces, by Russell Maliphant and Akram Khan, opted to focus on universal themes of suffering and loss although in both works the scores introduced specific WW1 themes.

In Maliphant’s Second Breath, voices in many languages, recited a litany of numbers of dead and in Khan’s Dust Jocelyn Pook’s score included the insistent repetition of the song ‘We’re here because we’re here because we’re here …’ a perfect reflection of the mindless stupidity that led millions like cattle to the slaughter.

Dust was an exceptional piece of choreography.

From the opening clap of hands that released a shower of dust - a reminder of mortality – to the ensemble linked in a snake of writhing arms, his concepts and his brilliant translation of these concepts into dance was unfailing, culminating in a formidable pas de deux danced by Khan himself, with director Tamara Rojo at the premiere and later by Fernanda Oliveira and James Streeter.

But it was all too epic and removed from this 'war to end all wars'.

Second Breath, opens strongly, the ensemble in block formation swaying in unison buffeted by invisible, uncontrollable forces before moving into familiar Maliphant territory: a duet of love and loss from Alina Cojocaru, (few can interpret sorrow like this waif-like ballerina) and Junor Souza dancing in Michael Hulls’ dappled light.

Tamara Rojo and Esteban Berlanga in No Mans Land by Liam Scarlett. Photo ASH

Tamara Rojo and Esteban Berlanga in No Mans Land by Liam Scarlett. Photo ASH

Only Liam Scarlett’s No Man’s Land, a finely structured piece of meaningful choreography, realised the time and place. The setting by Jon Bausor, conflates munitions factory and battlefield, contrasting the greyness of civilian life with the blood red of the slaughter on the front line: the woman in the factories fill the shells with explosives while the men on the front experience their deadly blast.

In the opening ensemble Scarlett sets the theme of meetings and departures, dreams and nightmares as the women cling to their men’s bodies like army backpacks. A passion-driven pas de deux danced by Oliveira with Max Westwell touched the nerve endings, interpreting the screaming pain of loss in soaring lifts.

Doe-eyed Angela Wood and Fabian Reimair in a more sombre duet portray the reality of a repressed generation who buttoned down their deep emotions and never spoke of the hell.

Inexplicably George Williamson’s Firebird was squeezed into the programme, the only virtue being another chance to see Ksenia Ovsyanick, who created the eponymous role, continuing her rise to ballerina status and wearing one of the most exquisite costumes ever.

Jenna Roberts and William Bracewell in The Prince of the Pagodas. Photo: Bill Cooper

Jenna Roberts and William Bracewell in The Prince of the Pagodas. Photo: Bill Cooper

Birmingham Royal Ballet at the Coliseum
Birmingham Royal Ballet paid a visit to London with David Bintley’s The Prince of the Pagodas. The plot is complicated; fusing adolescent rites of passage and the revelation of a Prince disguised in the shape of a slimy Salamander.

Benjamin Britten’s score is also considered problematic: too long and too complicated. However the recent Royal Ballet revival of the Macmillan version, to a suitably edited score, proved otherwise.

Bintley’s version was created in 2011 for the National Ballet of Japan where he is co-director in addition to his duties as director of BRB so it was not surprising that he chose to set his version in Japan. The production is a triumph for designer Rae Smith.

The costumes are simply gorgeous and the story is backgrounded by a series of magnificent sets but sadly, the choreography is, for the most part, rather ordinary. The company is not short on talent but the dancers, particularly the soloists and coryphée, were given little opportunity to show their true worth.

'Her Majesty of the Night' in LAC. Photo Angela Sterling

'Her Majesty of the Night' in LAC. Photo Angela Sterling

Jenna Roberts, the saintly Princess Belle Sakura, escaping the court, embarks on a journey where she meets enough comic and fantasy creatures to make you think the pantomime season has started. However she is rewarded in the last act with an inspired solo of intricately weaving legs and fluid torso movements.

Samara Downs as her evil stepmother, Empress Épine stood out as truly rotten and an absolute joy. Appearing in many guises she brought drama to each entrance and revived many a turgid moment.

As the Salamander Prince, William Bracewell offered a first rate performance, the weirdness of the character inspiring Bintley to more expressive choreography. The final pas de deux brings the ballet to a suitably rousing finale.

Bracewell, who is rapidly rising through the ranks, danced like a true Prince, although the brother and sister reunion offers a different flavour to the relationship missing the frisson that comes from a celebration of true love. Despite the flaws the three acts filled with good, conventional dancing and the magnificence of the designs will no doubt ensure its popularity with audiences both here and in Japan.

Prince Siegfried and Odette in LAC by Jean Christophe Maillot. Photo Alice Nlangero

Prince Siegfried and Odette in LAC by Jean Christophe Maillot. Photo Alice Nlangero

A Cotroversial Swan Lake
Les Ballets de Monte Carlo arrived in London to present Jean-Christophe Maillot’s controversial LAC (after Swan Lake). The warning comes in the title – purists beware. Maillot has cherry picked from Tchaikovsky’s score, brought in additional music from Bertrand Maillot, and stripped the tale down to a black and white Manichean concept; but the result is a gripping piece of theatre.

The swans, the image of aesthetic beauty in the traditional, have morphed into a fierce flock of athletic, sinewy birds. Maillot has fast forwarded them to the twenty-first century in choreography that is bracing, a little wild but always engaging.

This flock are hunters rather than hunted, the feathery extensions to their arms divorcing them even further from any womanly emotion.

Maillot’s choreography favours the vigorous, and in the opening scene the pace is unrelenting as a testosterone fuelled party showcases the strength of the male ensemble. In this production it is the forces of darkness that claim the best moments.

Her Majesty of the Night, danced with evil relish by April Ball and her two Archangel acolytes, are constantly on hand to create havoc, at times merging into a monstrous triple headed beast.

Not the usual timid swans. Photo Angela Sterling

Not the usual timid swans. Photo Angela Sterling

The King, an excellent performance from Gabriele Corrado, is an intriguing figure with a murky background suggesting former liaisons with HM Night.

Together with his Queen, Mi Deng, in a gold dress that beautifully enhanced her lines, they were a dominant if ultimately ineffectual force.

The White Swan, a poignant Anjara Ballesteros, is no longer at the centre of the ballet but flutters helpless on the periphery.

Her Prince, Lucien Postlewaite, is also something of a lost soul. Their one pas de deux that contrasts aesthetic beauty with gauche simplicity made me long for more.

Black Swan danced by Noelani Pantastico gets a better deal choreographically and her genuinely effective disguise doesn’t leave the Prince looking like a colour blind halfwit.

The plot is complicated but the extensive and confusing programme notes were unnecessary as it develops quite lucidly. The very stylish and effective costumes, by Philippe Guillotel, offer further definition as do the minimal sets.

But it is the innate theatricality of the work that triumphs, ending in a true coup de théâtre as a swirl of black silk envelopes the stage leaving the battle unresolved and the fight to continue another day.

Maggie Foyer
27 April, 2014

  • Auguste Marmus
    Auguste Marmus förverkligar sin dröm i St Petersburg
    Uppvuxen i Majorna i Göteborg och tidigare elev vid Svenska Balettskolan i Göteborg gör Auguste Marmus just nu sitt APL-år vid Vaganova-skolan i St Petersburg. Att han getts denna möjlighet handlar om...

  • God Jul & Gott Nytt År 🎄 Merry Christmas & Happy New Year
    A Holiday Greeting from Dansportalen!

  • Jekyll & Hyde
    Världspremiären av baletten Dr. Jekyll and Mr. Hyde vid Nationalbaletten med glänsande manlig energi och dans
    Höstens andra balettpremiär i Operahuset i Helsingfors hann ha sin premiär och dansas av alla tre rollbesättningarna före dörrarna åter stängdes på grund av pandemin. Tre föreställningar skulle ha åte...

  • Laura Persson SVB
    Kulturstipendium till ung talang vid Svenska Balettskolan
    Laura Persson, 15 år, har tilldelats ett stipendium ur Västsvenska Kulturfonden. Stipendiet skulle hon få mottaga vid en festlig ceremoni den 28 november.

  • Transit SDT Carl Thorborg
    Nya verket Transit är en ursinnigt utförd ritual, en kamp för överlevnad och förändring
    Jag fick tillfälle att se premiären av Skånes Dansteaters Transit på Malmö Operan den 17 oktober. I en lokal som rymmer ca 1500 åskådare var det tillåtit att endast ha en publik på högst 50 personer.F...

  • Dansmuseet
    Ballets Suédois 1920–1925 på Dansmuseet
    Dansmuseet i Stockholm uppmärksammar hundraårsdagen av Svenska balettens i Paris premiärföreställning den 25 oktober 1920 med en jubileumsutställning under mottot ”OM NI INTE GILLAR DET KAN NI DRA ÅT ...

  • Saluts démos 2015
    Everything is in our bodies, says Madame Elisabeth Platel, director for Paris Opera Ballet School
    Leaving the plane at Charles de Gaulle-airport you are met by large photos of dancers, musicians and other cultural motives along the walls in the airport. A fantastic way to welcome visitors.My goal ...

  • Ekman Operan sep 2020
    Det var som om man blev ännu mer passionerad av att vara dansare bara för att man inte kunde ge föreställningar
    Dansportalen träffade dansarna Hampus Gauffin och Gabriel Barrenengoa vid Kungliga Baletten i ett samtal om pandemins konsekvenser och om det nya programmet på Operan av koreografen Alexander Ekman.De...

  • Agneta S
    Agneta Stjernlöf-Valcu: Du ska förmedla dansnotationen till dansare så att det blir en föreställning.
    Dansnotationens syfte är inte bara att bevara något som passerat utan först och främst att ge möjlighet till återskapande. En videofilmning är alltid en tolkning av ett koreografiskt verk.Oavsett om a...

  • COW1
    Nationaloperans säsongöppning med en mycket fräsch COW av Alexander Ekman.
    Höstens första danspremiär vid Nationaloperan i Helsingfors hälsades mycket välkommen av premiärpubliken på lördag kväll. Alexander Ekmans COW visade sig vara den energiska laddning som behövs just nu...

    Höststart på Kungliga Operan – urpremiär av Alexander Ekman
    Den 26 september slår Kungliga Operan åter upp dörrarna för en ny säsong med två premiärer, först ut är Alexander Ekmans SHIFT | CACTI. Därmed flyttas säsongsstarten fram vilket innebär att premiären ...

  • Oscar Salomonsson
    Oscar Salomonsson, premiärdansare – Det udda och uttrycksfullas mästare
    Oscar är utbildad vid Kungliga Svenska Balettskolan och anställdes vid baletten 1997. Mellan 2004 och 2007 dansade han i Madrid, Spanien.Han återvände till Stockholm och fick utmärkelsen Årets dansare...

  • SigridYAGP
    Om finalen som ställdes in och Sigrids drivkraft, engagemang och hårda arbete
    Sigrid Åberg är 13 år och går Alhanko Academy of Ballet i Stockholm. I höstas var hon i Cattolica, Italien och tävlade i Youth American Grand Prix.I vår skulle hon egentligen åkt till New York för att...

  • LesBalletSuedois
    There is no lack of creativity in the house. We just work in different ways.”
    Nicolas Le Riche – Ballet director of Royal Swedish Ballet – gives Dansportalen an update on the current situation of the company and informs about the plans for the future.Upon arrival of Covid-19 Ro...

  • Paul Marque Le Louvre
    Scènes de la vie confinée de Paul Marque
    A Paris, le confinement règne depuis le mois de mars. Pour les Français il est interdit de passer plus d’une heure dehors ou s'éloigner au-delà d’un kilomètre de sa maison, sinon on écope d’une amende...

  • Paul Marque Louvre
    Meet Paul Marque and a Soloist Dancers Life Today in Paris
    In Paris, social distancing rules have been in place since March. French people are forbidden to spend more than an hour outside or travelling more than one kilometre from their home. If they do eithe...

  • Carmen Helsinki
    En magisk föreställning av Carmen
    En helaftonsbalett i tre akter till musik av Georges Bizet hade premiär på Nationaloperan i Helsingfors i vår. Produktionen var norsk och koreografen var denna gång Liam Scarlett.Alla föreställningar ...

  • GöteborgsOperan
    Vad händer på våra operahus när världen stängs ner på grund av Covid-19? Katrín Hall, GöteborgsOperans Danskompanis konstnärliga chef om situationen i Göteborg
    Dansportalen har talat med Göteborgsoperans Danskompanis konstnärliga chef, Katrín Hall. Hon berättar att man i dessa dagar får använda all sin kreativitet för att hitta och nå publiken och att vara f...

  • Beyond GO mars 2020
    "Allt som man gör i en uppsättning, vare sig det är teater, dans eller något annat rör det sig om en relation med åskådarna"
    GöteborgsOperans Danskompani backar inte för utmaningar. Efter Sidi Larbi Cherkaouis ”Icon”, med 3,5 ton lera på scenen, och Damien Jalets ”Skid”, där golvet hade en lutning på 34˚, tar de sig nu an ä...

  • Balettpedagogtävlingen
    Många talanger i den nationella balettävlingen
    Den nationella balettävlingen hålls vartannat år av Balettpedagogernas förening i Helsingfors . Den alternerar med tävlingen Ung energi som också anordnas av föreningen. Skolornas intresse stort och ko...

  • Kuckel Foto Mats Bäcker
    Alexander Ekman, highly topical choreographer
    Well renowned choreographer Alexander Ekman , 36, has a voluminous luggage of successes in his baggage. When you open the case, they fly out of it. Eskapist which opened in the spring 2019 at the Stock...

  • Mats Eks "överbord", en del av dansprogrammet Kylián/Ek/Naharin med Kungliga Baletten. På bilden: Dmitry Zagrebinoch Daria Ivanova. Foto: Carl Thorborg
    I det vardagliga livet finns inga rörelser som ser ut som de Mats Ek skapar, men i rätt sammanhang, som på scenen ser det helt naturligt ut.
    Tre av världens främsta koreografer Jiří Kylián, Mats Ek och Ohad Naharin – för första gången tillsammans på Kungliga Operan – varav Mats Eks överbord (Woman with water) är en urpremiär.I en danssal h...

  • MarcoMasiariPDL2020
    I think it’s great to show contrasting sides of youth at Prix de Lausanne, to compete with different ways of dancing and the creative process
    Created in 1973 the Prix de Lausanne is an annual international competition for young dancers age 15-18. Its goal is to discover, promote and support the finest talents. More than 70 of the world's mo...

  • aska 2 Oskar
    Jag hade ingen aning om vad dansyrket var – trodde att det var ett ”gig” på Melodifestivalen
    Henrietta Wallberg, Oskar Landström och Philip Berlin är alla utbildade vid Kungliga Svenska Balettskolans gymnasielinje i modern nutida dans.Tre dansare som efter avslutad utbildning varit verksamma ...

  • Mattheus Bäckström 1
    In the school your main focus is on the training. In the company your focus is on what you are doing on stage.
    Mattheus Bäckström started his ballet training at the Swedish National Ballet School in Gothenburg in 2011. Now on the brink of launching his professional career, he talks to Dansportalen about life a...





Grundad 1995. Est. 1995

Powered by