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Bewertungen Und Brochuren 2009 06 No. 130, Dance Europe

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Bewertungen Und Brochuren 2009 06 No. 130, Dance Europe 6 Bewertungen und Brochuren 2009 06 no. 130, Dance Europe, Semperoper Ballet, World according to us, David Dawson, Meggie Foyer Kritik „Tucked between are three little gems of solos for the men giving Jon Vallejo, Istvan Simon and Maximilian Genov the chance to dance about as fast and furiously as they are able” 2012 01 no. 158, Dance Europe, Semperoper Ballet, The Nutcracker Aaron Watkin and Jason Beechey, Meggie Foyer, Kritik “Anna Merkulova and Istvan Simon brought an unforced joy to the roles. making something very special of what can often be rather cardboard characters.” 2014 10 03, The New York Times, Roslin Sulcas Kritik - Paris, Thetre de la Ville Steptext – Forsythe “Courtney Richardson, partnered by Michael Tucker, Istvan Simon and Fabien Voranger (all wonderful), took the movement to its fullest extremes without exaggeration and with a moving delicacy and grace.” 2019 12 No. 245 Dance Europe, kritika, The Great Gatsby, Slovenien National Ballet Alison Kent "Simon has a very lyrical quality with a strong, solid technique and excellent ballon and in his main duets with Kmetec, filled with energetic lifts and romantic poses, develops a trusting rapport that comes across as absolutely genuine." 2020 03 13, Dawn Pakistan, Winterreise, Jamal Shahid Kirtik “Istvan Simon’s dancing was spontaneous and strong, with heightened sensibility and imagination." 8 rid ;, " ,._,;,-~ ~ • n I" MAGGIE FOYER mulls over 4 Farben Rot in Dresden resden SemperOper's mixed bill included David Dawson's latest creation and his last as resident house_choreographer . The World According to Us 1s a very personal journey for him and his dancers as they explore the nature of art. D narrative ballet, Dawson has recently written an explicitly Giselle, but even his abstract works have a conceptual base. In this work he bridges abstract and narrative, using a variety of music and pinning sections onto works of fine art with Kate Strong providing a linking text. And at its heart is some of the most sumptuously beautiful choreography Dawson has yet created. It is an immensely complex work, packed with ideas, yet the dance flows like a stream of consciousness as Dawson creates very special moments for this very special company. The consumerism of the art world is visualised in Natalia Sologub as the serenely smiling Mona Lisa, on offer to the highest bidder. She is passed from one man to the next, each move revealing her artistic worth and culminating in a wonderful swirling pirouette. For sheer loveliness the series of pas de deux based on Monet's Waterlilies, led by Elena Vostrotina and Raphael Coumes-Marquet, were matchless. Bert Dalhuysen's lighting creates a soft green ambiance and Yumiko Takeshima's wispy costumes give the finishing touch. The text at this point was particularly eloquent - 'if Max1m1tlan Genow in The World According to Us. Photo. Cos tin Radu they could say it, we wouldn't need to dance it.' Thankfully, we had the dance. need several viewings to take in. Dawson admitted that the work Tucked between are three little gems of solos for the men giving was about dancers doing what they do best and not about structure Jon Vallejo, Istvan Simon and Maximilian Genov the chance to or form and yes, the work is sprawling. However the wealth of dance about as fast and furiously as they are able, while Coumes­ creativity and sheer beauty more than compensate. Marquet and Takeshima had a gentle lyrical duet and several The opening ballet, Balanchine's killer Tarantella, was impressive solos. She has just returned after an emergency performed by J6n Vallejo, who amazingly had energy to spare, and appendix operation and looked well on form. Claudio Cangialosi as Katherina Markowskaya, who was struggling a little although she the angelfigure is a constant and unifying force. Bathed in violet was deliciously flirty and flaunted a neat pair of feet. Rubies was hue, his movements are fluid as a cat's and his positions textbook stylishly danced. I particularly liked Britt Juleen's expansive warmth, pertection. while Sologub and Jiti Bubenicek made a classy, and classically Venus is parodied in a series of poses culled from a hundred strong pairing. paintings, and the three leggy Muses dazzle in skimpy purple The other new work, Self-Portrait by Franr;ois Chirpaz and chiffon while Strong's voice intones, 'if she had earned 15 cents for Kristen Cere, was a high energy work with a lot of specialeffects . every arabesque she had created so far, she would have 65 million The dance was constantly interrupted by strong lighting or curtains in the bank!' But the value placed on fine art and on dance bear no suddenly lowered, but in the brief intervals when the choreography comparison; consider the prices paid for Damien Hirst's work, here asserted itself there were good moments and strong doubl e work. referenced as ·unicorn in formaldehyde; price €40.1m '. There are But the underlying concept, the individual's role within the group, many things that take your breath away in this ballet. was not sufficiently well articulated lo give cohesion and a lot of The breadth of the concept and the depth of the aesthetic form energy was spent for little lasting effect. DANCE EUROPE June 2009 31 10 arons. Watk1n's new production of The Nuccracker heralds t ht> s:art o f the festive season. This Nuccracker ,s hrmly established on home ground the opening scene set in the Dresden Chrostmas market t hat coincided with the real market that opened that day In the streets outside. and the Kingdom of the Sw eets Is aptly in the Dresden-Baroque style of t he Acity's famous Zwinger. Roberta Guidi di Bagno h as created one o f the most b eautiful productions ever; from the elegant salon to the spellbinding hl1gree of ice and snow and the super sophistic:.1ted play of pastels in the second act . Family p leasure comes from the dozens of stud ents from Palucca High School for Dance, and 1f the proportion MAGGIE FOYER of students to company m embers threatened to lower the professional balance 1n the opening scenes, this was redressed in the second act when both the performance savours a level and the choreography provided a surfeit of dazzling dance that sent t he audience potpourri of home happy. As is htting delights in a traditional ballet, t he grand pas de deux was the highlight, with Yumlko Takeshlma and Jili Bubenicek perform ing with the ease and delight of consummate professionals. 01 Bagno chose to accent the plum rather than the sugar and the deep puce shade of the principals' costumes resonated with the choreo graphy - traditional with an added flamboyance, epitomised by Takeshima's daring leap into the fish dive. Her solo, like a bag of bonbons, was shaken up so steps like the gargouillades are still there but ,n new places and the whole as light and fluffy as a meringue. Bubenicek added his expert partnering, a powerful j ump and turns timed to the nanosecond. The storyline has the added interest o f a second pairing of Marie ( Clara in the English versions) and her Nutcracker Prince, who is the son of t he Sugar Plum Fairy, wh,ch explains Takesh1ma's matriarchal entrance, descending from the flies In a p ink peign oir. The pair have a sensitive duet in the snow scene, exploring their new relationship, and ,n the Waltz of the Flo w ers they create a strong focal point , enhancing the choreography and giving t hese two exceptional dancers a chance to shine Anna Merkulova and Istvan Simon brought an unforced joy to the roles. making something very special of what can often be rather cardboard characters. The students of the Palucca School, from the graduating class down to the kiddies' classes (the youngest was only six). had plenty of challenges, whether as party guests, well-drilled soldiers or scurrying m,ce in choreography by Jason Beechey, director of the school. Oleg Klymuk, as Orosselme,er, b.:ilanced saturnine looks w ith a suave manner - I loved the neat ending that had h,m on t he grandfather clock In place o f the owl Like the grand pas. much of the mow scene and the divertissements are new choreography by Watkin, each designed to showcase the dancers' talents l he Ru~1Jn trio. Fab1en Voranger, Jan OrJtyns~, and Francesco P,o Rice,. raised cheers with their vlrtuos1c Irie~,. the Spanish. d v,1r1ation on the Va lenciana, featured Julia Dresden Weiss d1splay1ng d hcry temperament ,n contrast to her cool authority ,l s the Snow Quel'fl And If th-.. 0 11\'ntal played to cwry , tert!otypt!, ,t d,d so quit" beautifully ,n the lithe lorm o f Jc-11n1 Schafer hott l he Ch1new d1vN tissemt>n t illlowed hreball Jon V,1lleJo to lmpregndlt! the tradittonal with Kung Fu fury The Flow ers. In the prett1e\t , O\l 11rnc\ ever, lu11ned J llouquc t ru11nl.1 the young lo11ers w hile the M irlitons. led by l J rad1J11t Sarah l tunt. \howed crl\p footworl-.. cry\tdl clear beats and h ne mustc.>lrty ~· th.it brlghtuned up my l!<'JSt IJvo1111ll• number Around th1\ t1m .- o f the year. go,n 11 to Wt! 1 i V<' t a11o th1: NutcrucA.t•r t.111 llcw111e <1 chore rlther t h:in a pleawre. but th,, 1 prudutt1on d 1rn,ht>d 0 11 ,11t h ,1 po tpourri of d\'lights tit.it Scrool!!e .ind hi\ B.ih' ltumtlugl' Ji,prOJCh l o Chr1\llt1J) W ,1\ llJIIIShed - JI lt>a\t for th(' moment 3/18/2020 At Autumn Festival in Paris, William Forsythe Is Everywhere - The New York Times 11 https://nyti.ms/1uisYws DANCE REVIEW At Autumn Festival in Paris, William Forsythe Is Everywhere By Roslyn Sulcas Nov.
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