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lavotha · 6 years

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The art of contemporary dance in two acts

The Lavender Follies – Souvenirs of cabarets

The evening’s double program on Thursday, July 26, 2018, at the Salle Garnier, marked the premiere of The Lavender Follies by American choreographer Joseph Hernandez, who had been a dancer with the Ballets de Monte-Carlo, created this piece especially for the company.

In The Lavender Follies, Hernandez uses theater as a playing field, where the choreographer displays his souvenirs of musicals he would watch growing up, in a blend of dance and cabaret performance. He uses the past to create a contemporary piece. The thrilling spectacle takes place under the scrutinizing eyes of journalist Sylvia von Harden, who is incarnated by male dancer Asier Edeso, appearing on stage like the living portrait made of her by Otto Dix.

In the famous painting, Otto Dix portrayed the new woman emerging in Germany in the 1920’s. A woman who left behind all previous conventions, as this new uninhibited woman smoked, drank, was career oriented, and did not specially cared about bringing up a family, she appears almost mannish, with a slumped posture not trying to be beautiful.

Dix demonstrates societal shifts happening at that time. It became as the picture of the new Germany in the post world war one era.

Incredible characters parade, through different scenes, in front of the journalist’s eyes and the audience, in a weird fascinating but rather incomprehensible spectacle, that pleased some and inconvenienced others in the audience.

Dancer Asier Edeso portraying journalist Sylvia von Harden in The Lavender Follies by Joseph Hernandez @Alice Blangero

Souvenirs of cabaret, The Lavender Follies by Joseph Hernandez @Alice Blangero,dsc2299

The Lavender Follies by Alice Blangero

The Lavender Follies by Joseph Hernandez, Salle Garnier 2018 @Alice Blangero

Memories of musicals, The Lavender Follies by Joseph Hernandez @Alice Blangero

Choreography: Joseph Hernandez Scenography and Costumes : Yannick Cosso & Jordan Pallages Music : Johannes Till Lighting: Samuel Thery Creation for Les Ballets de Monte-Carlo Premiered July 26, 2018, Salle Garnier de l’Opéra de Monte-Carlo Production Les Ballets de Monte-Carlo

White Darkness by Nacho Duato – An untimely death

White Darkness choreographed and staged by Juan Ignacio Duato Barcia, aka Nacho Duato, a Spanish modern ballet dancer and choreographer born in Valencia in 1957, world premiered in Madrid in 2001.

Nacho Duato composed the one-act ballet, White Darkness, as a eulogy for the untimely loss of a sister that resulted in a tour de force in modern art. The audience was really moved to the chore by the protagonist, who seeking to run away from sentimental suffering, chooses to bury her pain in drugs, bringing her additional unwanted anxiety, followed by deep sorrow, estrangement and total solitude. The choreographer’s shows the torment of someone addicted to drugs, and their efforts to stop using them. It is not because they lack moral principles or willpower because addiction is a chronic disease where drug seeking becomes compulsive and difficult to control, despite the terrible consequences. Drugs change the brain in ways that make quitting hard and interferes with their ability to resist, with relapse a continuous struggle.

In the case of Duato’s sister it became a lost battle, as in the end of this passionate and dramatic ballet, a lonely woman sinks under a continuous stream of powder, a powerful metaphor of desperation and helplessness symbolizing drug addiction.

Nacho Duato was quoted saying: “I am deeply struck by how sad it is when young people allow drugs to ruin their lives and slip into a dark world, a world so dark, in fact that there is no escape from it.”

White Darkness by Nacho Duato @Alice Blangero _dsc3565

White Darkness by Nacho Duato @Alice Blangero dsc3224

White Darkness by Nacho Duato @Alice Blangero _dsc3560

White Darkness by Nacho Duato @Alice Blangero _dsc3384

Final scene of White Darkness by Nacho Duato @Alice Blangero _dsc3408

Choreography: Nacho Duato Music: Karl Jenkins (Adiemus Variations, String Quartet nº 2) Scenography: Jaffar Chalabi Costumes: Nacho Duato Lighting: Joop Caboort Staging: Thomas Klein Organization and Production: Carlos Iturrioz-Mediart Producciones SL (Spain). Costumes and Scenography production: Opéra National de Paris

World premiered by Compañía Nacional de Danza at Teatro de la Zarzuela in Madrid, November 16, 2001. Premiered by Les Ballets de Monte-Carlo on July 26, 2018, Salle Garnier Opéra de Monte-Carlo, July 16-29, 2018

Monaco Info video on the two ballets

Today’s Quote

“Dance is the timeless interpretation of life.” Shah Asad Rizvi

The Ballets de Monte-Carlo performed two modern masterpieces by dancers turned choreographers The art of contemporary dance in two acts The Lavender Follies – Souvenirs of cabarets The evening’s double program on Thursday, July 26, 2018, at the Salle Garnier, marked the premiere of…

#contemporary dance #Joseph Hernandez #Les Ballets de Monte-Carlo #Monaco #Nacho Duato #Otto Dix #Salle Garnier Opera of Monte-Carlo #Sylvia von Harden #The Lavender Follies by Joseph Hernandez #White Darkness by Nacho Duato

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ballerinaoftheopera · 7 years

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Staatsballett Berlin dancers in Nacho Duato Blue Bird pas de deux, Sleeping Beauty

#staatsballett berlin #sleeping beauty #nacho duato #europe ballet #blue bird pas de deux #germany #ballet #pdd #dancers #on stage #tchaikovsky #ballerina #tutu #ballerino

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desbricoles · 6 years

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Mikhailovsky Ballet, Nacho Duato’s “Prelude” | Photo: Nikolay Krusser

#Mikhailovsky Ballet #Nacho Duato #Dance

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choreographique · 6 years

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ARENAL (fragment) COMPANIA NACIONAL DE DANZA

Artistic Director & Choreographer NACHO DUATO

Music MARIA DEL MAR BONET

DANCERS Emmanuelle Broncin Ruth Maroto Africa Guzman Christina Hortiguela Kim McCarthy Luis Martin Oya Ivano Rossetti Livio Panieri Karen Waldie Nicolo Fonte

#arenal #nacho duato #maria del mar bonet #compania nacional de danza #dance

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gramilano · 5 years

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George Balanchine’s The Nutcracker®, Act 1 snow scene, photo by Brescia e Amisano, Teatro alla Scala 2018

Balanchine’s The Nutcracker is new to La Scala, in fact, new to Italy. And how the Scala regulars were relishing in the opportunity to grumble and mutter “humbug” during the interval. It’s certainly different from the Nureyev production which was seen in Milan for many years, and light-years away from the strange version by Nacho Duato that the theatre endured four years ago but which has already been consigned to La Scala’s extensive bin in the sky.

Balanchine’s version is danced less than Nureyev’s in the first act, and it has a less original storyline than Peter Wright’s versions for The Royal Ballet and the Birmingham Royal Ballet, but if you accept that it starts with lots of mime, and group ‘walking’ dances, and slowly moves its way toward the pas de deux finale — the dancing only kicking in with the snowflakes — it is a beautifully crafted piece of theatre. And if the acting scenes are handled as well as they were at La Scala, with charming and not vomit-inducing children, with realistic interactions among the guests, and subtle background stories being played out, it is an absolute joy to witness.

George Balanchine’s The Nutcracker®, Valerio Lunadei as the Soldier, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Paola Giovenzana and Vittoria Valerio as Harlequin and Columbine, photo by Brescia e Amisano, Teatro alla Scala 2018

There are, of course, two dancing spots in the first scene when Drosselmeier – here sporting a bizarre Harpo Marx wig — brings Harlequin and Columbine, and the Soldier, out from their boxes. Tempi throughout were often slower that at the New York City Ballet, and that took the wind out of the sails of the Harlequin and Columbine number, but Valerio Lunadei was exciting as the Soldier as was Mattia Semperboni in a second cast.

Designer Margherita Palli has largely followed the spirit of the NYCB production in the first scene with some ravishing costumes for the guests, especially for the little boys in a dark palette of velvet knickerbocker suits; her snow scene is dazzlingly bright and crisp; but her land of the sweets was disappointingly flat. Where her designs in the programme show a shopfront inspired by Vienna’s Apotheke zum weissen Engel (here called “La Gourmandise”), which I imagine was to fade in transparency to reveal the shop behind as the gauze was raised, we were immediately in the shop as the curtain opened. And while her shop design was full of predominantly pink and green goodies — blancmanges, cupcakes, gateaux, bowls of fruit — all in enticing detail, there was a wall of pink. The elements were all there, and La Scala has some excellent scene painters, so I suspect the look may have been down to overenthusiastic lighting by Marco Filibeck which didn’t let the designs speak for themselves. Oddly — though maybe someone knows an historical reason for this — the ‘throne’ for Marie (not Clara in this version) and her Prince to sit on was a scallop shell decorated with a starfish a conch shell with two pearls as seats… in the land of the sweets?

George Balanchine’s The Nutcracker®, Act 2, photo by Brescia e Amisano, Teatro alla Scala 2018

Palli’s elegant colouring of the first act costumes was thrown to the wind in this act which sees groups of costumes for hot chocolate, tea, marzipan, candy canes and so on go from stylised (marzipan) to feebly commonplace (tea) with colours ranging from almost fluorescent to subtly shaded pastels, so that when they all shared the stage it looked a real muddle.

George Balanchine’s The Nutcracker®, Nicoletta Manni as the Sugarplum Fairy, photo by Brescia e Amisano, Teatro alla Scala 2018 01

George Balanchine’s The Nutcracker®, Nicoletta Manni as the Sugarplum Fairy, photo by Brescia e Amisano, Teatro alla Scala 2018

The first night Sugarplum was Nicoletta Manni, who was as calm and assured as ever, notwithstanding the difficulty of the role. Timofej Andrijashenko, poised as her Cavalier, doesn’t get much chance to shine but was dashing and dignified. Beatrice Carbone was radiant as the mother, Frau Stahlbaum, possessing a face that easily projects to the whole house. Andrea Crescenzi as Tea was magnificent with each grand jeté à la seconde seeming ever-higher and easier, Nicola Del Freo was confident with his hoop as Candy Cane, Vittoria Valerio made Marzipan’s steps seem effortless, and Samuele Berbenni hit just the right tone as Mother Ginger in Palli’s glorious, mouth-watering costume.

George Balanchine’s The Nutcracker®, Samuele Berbenni as Mother Ginger, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Nicola Del Freo as Sugar Cane, photo by Brescia e Amisano, Teatro alla Scala 2018 01

George Balanchine’s The Nutcracker®, Andrea Crescenzi as Tea, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Maria Celeste Losa as Coffee, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Vittoria Valerio as the Marzipan Shepherdess, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Nicola Del Freo as Sugar Cane, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Francesca Podini and Massimo Garon as Hot Chocolate, photo by Brescia e Amisano, Teatro alla Scala 2018

It was Martina Arduino, though, who stole the show as Dewdrop, being the only one to really capture the Balanchine style. Her off-balances were daring, her epaulement and stretched-back neck opened up her dancing to the gods, and her port de bras was ample and extreme without being excessive. She’s either been doing secret classes in New York, shrewdly studying videos of the great Balanchine ballerinas, or has stumbled on a technique she just happens to be perfect for.

George Balanchine’s The Nutcracker®, Martina Arduino as Dewdrop, photo by Brescia e Amisano, Teatro alla Scala 2018

Less than 24 hours later, Arduino found herself as the Sugarplum Fairy and showed off brisk turns before a deep and pliable cambré during the final pas de deux, with little head movements keeping the upper body free and supple. She also has great charm and has become a firm audience favourite. Her Cavalier was Del Freo whose pirouette sequence was musical and exuberant.

George Balanchine’s The Nutcracker®, Martina Arduino as Dewdrop, photo by Brescia e Amisano, Teatro alla Scala 2018 02

George Balanchine’s The Nutcracker®, Martina Arduino as the Sugarplum Fairy, photo by Brescia e Amisano, Teatro alla Scala 2018

This second cast found Crescenzi this time as Candy Cane and he caught the spirit of the solo perfectly with the cute wiggle when jumping through his Hula Hoop, and he was literally bent double in his leaps through the hoop for the ballet’s finale. Riccardo Massimi as Dr Stahlbaum maintained his period elegance during his good-humoured play with the children and Gaia Andreanò made a convincing debut as Dewdrop.

Company Director Frédéric Olivieri’s approach to casting seems to use the occasional reduced price performances as an opportunity to test out new talent. It worked marvellously well with Don Quixote before the summer last year, and he got it right again with the third cast which debuted in the first performance of this year.

George Balanchine’s The Nutcracker®, Act 1, photo by Brescia e Amisano, Teatro alla Scala 2018 01

George Balanchine’s The Nutcracker®, Act 1, photo by Brescia e Amisano, Teatro alla Scala 2018 02

George Balanchine’s The Nutcracker®, Act 1, photo by Brescia e Amisano, Teatro alla Scala 2018 03

Caterina Bianchi and Mattia Semperboni took the two main roles. Both have had notable successes during 2018 — Bianchi as the Queen of the Dryads in Don Quixote and Semperboni as Alì the slave in Le Corsaire. They appeared wonderfully confident and glided through the technical difficulties without a hitch. She is a musical-box ballerina with perfect proportions and must be a joy to partner; he has grace combined with impressive pyrotechnic thrills. La Scala has a new pair of leading dancers.

Massimi and Emanuela Montanari were delicious as Hot Chocolate in their dreadful costumes — good on paper, horrendous on stage — Crescenzi repeated his crowd-pleasing Tea, Andreanò was a near-perfect marzipan shepherdess and we’ll surely see much more of her in coming seasons. Regrettably, Lunadei came into trouble with his hoop a few times and it remained trapped under his feet for the final pose, but as they say in Italian, “Non tutte le ciambelle riescono col buco”, literally, “Not all doughnuts come out with a hole” or rather… things don’t always turn out as planned.

As with all good meals I’ve left the coffee until last. All three casts offered supple, graceful dancers as Coffee. Maria Celeste Losa and Francesca Podini were both superb, but the first cast’s Paola Giovenzana was sensuous as well as sinuous and she’s another name to note.

The best Marie/Prince pairing — the children Chiara Ferraioli and Edoardo Russo — were whisked off into the sky in a giant gingerbread sleigh with, unfortunately, all its supporting cables clearly illuminated, as was the rope pulling up the Christmas tree transformation in the first act. Come on La Scala, nowadays the magic can seem real.

George Balanchine’s The Nutcracker®, Nicoletta Manni and Timofej Andrijashenko, photo by Brescia e Amisano, Teatro alla Scala 2018 01

George Balanchine’s The Nutcracker®, Nicoletta Manni and Timofej Andrijashenko, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Act 1 snowscene, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Act 1 snowscene, photo by Brescia e Amisano, Teatro alla Scala 2018 02

In Balanchine’s Nutcracker at La Scala the magic is almost real – three casts reviewed Balanchine’s The Nutcracker is new to La Scala, in fact, new to Italy. And how the Scala regulars were relishing in the opportunity to grumble and mutter “humbug” during the interval.

#Frédéric Olivieri #La Scala #Martina Arduino #Mattia Semperboni #Nacho Duato #Nicola Del Freo #Nicoletta Manni #Timofej Andrijashenko #Vittoria Valerio

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jara80 · 4 years

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El forastero (2002) by Federico García Hurtado

#nacho duato #el forastero #animated gif #Federico García Hurtado #spanish bizarro #bizarre #neus asensi #carlos sobera

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lamilanomagazine · 1 year

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Milano, iniziati i preparativi per i Balletti alla Scala

Milano, iniziati i preparativi per i Balletti alla Scala. Ferve l’attività in sala ballo per gli artisti scaligeri impegnati nelle produzioni con cui si aprirà la programmazione di Balletti alla Scala. A partire dal 15 dicembre, con l’Anteprima giovani andata esaurita in pochi minuti, la serata inaugurale del 17 dicembre e fino all’11 gennaio, torna il balletto che più si identifica con il periodo di festività, e uno dei titoli che più si lega alla storia del balletto alla Scala: Lo schiaccianoci di Rudolf Nureyev, che, a sedici dalle precedenti rappresentazioni, avvenute nel 2006, sarà una nuova vetrina per gli artisti della Compagnia: in 11 recite, cinque cast si alterneranno nei ruoli principali, tutti da scoprire: Nicoletta Manni e Timofej Andrijashenko protagonisti dell’ Anteprima Giovani (15 dicembre), della recita di apertura il 17 dicembre e dello spettacolo del 18 dicembre (ore 14.30) ; Agnese Di Clemente e Claudio Coviello, in scena il 21 e poi il 28 dicembre; Alice Mariani e Navrin Turnbull il 30 dicembre e il 3 gennaio; Martina Arduino e Jacopo Tissi che saluteranno il 2022 nella recita di fine anno, il 31 dicembre (ore 18), poi di nuovo in scena il 4 e il 7 gennaio; Virna Toppi e Nicola Del Freo a cui è affidata la recita del 5 gennaio e la serata conclusiva dell’11 gennaio . Ma in sala ballo si alternano in questo periodo anche le prove dei quattro titoli, altrettanto nuovi per la attuale Compagnia, che compongono il programma atteso per sette rappresentazioni dal 3 al 9 febbraio, Dawson/Duato/Kratz/Kylián, un "mixed bill" imperdibile, una ricca serata che riunisce con quattro firme di grande originalità diverse generazioni e universi creativi: in prima assoluta la creazione di Philippe Kratz Solitude Sometimes, in debutto nazionale Anima Animus di David Dawson¸ creato nel 2018 per il San Francisco Ballet su musica di Ezio Bosso; Bella Figura, gioiello del 1995, che ritorna in scena in omaggio a Jiří Kylián e , mai visto alla Scala Remanso, trio maschile che vedrà protagonista Roberto Bolle, creato da Nacho Duato nel 1997 per l’American Ballet Theatre. La Campagna abbonamenti è ancora in corso e sono già in vendita anche i biglietti per il programma di febbraio.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

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