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Contributors/writers the international dance magazine Erik Aschengreen Leonetta Bentivoglio ENGLISH Edition Donatella Bertozzi Valeria Crippa Clement Crisp Gerald Dowler Elisa Guzzo Vaccarino Marc Haegeman Anna Kisselgoff Dieudonné Korolakina Kevin Ng Jean Pierre Pastori Martine Planells Olga Rozanova Roger Salas : Sonia Schoonejans Ulyana Lopatkina, René Sirvin Andrei Yermakov Editorial advisor in “ Trois Gnossiennes”, Elisa Guzzo Vaccarino c. Hans van Manen (ph. Jack Devant ) Editorial assistant Cristiano Merlo Translations Simonetta Allder 6 News – from the dance world Cristiano Merlo Collaborator Alain Garanger 20 On the cover : Editorial services, design, web Mariinsky, having to be the best Luca Ruzza A film about Mathilda Kschessinskaya and other specialities Advertising [email protected] 28 On stage, critics : ph. (+33) 09.82.29.82.84 Paris Opéra Ballet (+39) 011.19.58.20.38 Hamburg Ballet Hamburg Ballet: “Anna Karenina” Subscriptions Aterballetto [email protected] , London Sasha Waltz and Guests n° 269 - X. 2017 Víctor Ullate Ballet Emanuel Gat Dance Eastman – Sidi Larbi Cherkaoui Compañía Manuel Liñán Ballet Preljocaj Het Nationale Ballet Ballet Nacional de Cuba Candoco Dance Company Kor’sia Paris Opéra de Paris: “” BALLET 2000 B.P. 1283 – 06005 Nice cedex 01 – F tél. (+33) 09.82.29.82.84 46 Miami Festival, against the winds and tides Éditions Ballet 2000 Sarl – France ISSN 2493-3880 (English Edition) Commission Paritaire P.A.P. 0718K91919 48 BalletTube: Romeo and Juliet Distribution : Messageries Lyonnaises de Presse, 76 rue de Reuilly, 75012 Paris 49 Multimedia : TV, Web, Dvd, Cinema... Imprimé en France/Printed in France by Imprimerie Trulli - 06140 Vence 54 Programmes TV www.ballet2000.com e-mail: [email protected] 56 International Calendar Het Nationale Ballet: “Symphonieen der Nederlanden”

5 Gonzalo García – New York City Ballet: “Pulcinella Variations”, c. Justin Peck

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Creations A Rococo in Copenhagen Raymonda reaches Denmark for the first time. The work was Marius Petipa’s final “ballet à grand spectacle” (1898), to music by Alexan- der Glazunov and with a grand total of five variations for Raymonda and three sumptu- ous grands pas spread over the ballet’s three acts. The Royal Danish Ballet has Raymonda on its programme at The Royal Danish Theatre, Copenhagen as from Novem- ber (with various revivals until April), though in a new version by the company’s director Nikolaj Hübbe. The latter’s re-readings of the of August Bournonville are notorious and can, at the very least, be described as eccentric – for example Napoli, re-located to the 1950s and steeped in a ‘Fellini-like’ at- mosphere; the same can be said about Hübbe’s versions of classics such as La Bayadère, re-set in 19th-century colonial In- dia. Also Raymonda, the love-story between the titular character and crusader knight Jean de Brienne, thwarted by the fiery Saracen The Royal Danish Ballet’s poster for the new Nikolaj Hübbe “Raymonda” . Abderakhman, gets a new setting: from the In the photo Jaime Crandall and Ulrik Birkkjaer Middle Ages and the Crusades, to a southern European early 18th-century Rococo ambi- tury (using the Stepanov method); of a com- ence. The show’s poster shows the dancers of choreological reconstruction, Messerer has pletely different character is the original crea- in a pose typical of the final pas de dix... but been restaging various ballets of the Russian tion by Pontus Lidberg for The Royal Swed- in a launderette, so as to emphasise the non- 19th-century repertory on the basis of the ish Ballet (2014) which turns the plot into a conventional character of this operation. great Soviet tradition (Swan Lake, Don love-story between the dancers of a company Petipa’s Raymonda, today considered a great Quixote, La Bayadère, ), as well who are rehearsing Raymonda and contains classic, was exported from the as others from the 20th century that are em- ‘citations’ from Petipa’s into Western Europe by who original. restaged it for of London in 1964; Nureyev went on to make various sub- sequent versions for other companies, culmi- Zakharov’s nating in the ultimate one for the Paris Opéra Ballet in 1983. In recent years – after a flurry Cinderella is back Mikhail Messerer descends of new productions of La Bayadère and Le from a great Russian ballet Corsaire – a sort of re-discovery of family: he is the son of Raymonda has also taken place: among these, Sulamith Messerer and the the so-called “philological” version created nephew of Asaf Messerer, by Sergei Vikharev for the Ballet Company two of the most celebrated of Teatro alla Scala (2011), based on the balletmasters at the Bolshoi choreological notations made by Nicholas Theatre of Moscow and, more Sergeyev at the beginning of the 20th cen- generally, of the Russian School in the 20th century. Since 2009 he has been at the Nikolaj Hübbe rehearsing with helm of the Mikhailovsky Christopher Rickertt Ballet, the second most-im- portant ballet company of St Petersburg (after the Mariinsky, obviously) where, contrary to the current trend

1965, Kirov Theatre, Leningrad: Irina Kolpakova in a revival of "Cinderella" by Rostislav Zakharov

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Choreographers Maguy Marin and consent of the masses Perhaps not yet entirely disillusioned despite her age (66), Maguy Marin continues relentlessly to wage her social battles – using the weapon of radical, scathing protest (devoid of the slightest concession to the glamour of showbiz) to advo- cate a better world. The eternal enfant terrible of French dance now works with her company at Sainte-Foy-lès-Lyon, on the outskirts of Lyon, in a centre called “Ramdam, un centre d’art” which has the same unadorned, stark air of her stage aesthetics. Marin’s latest creation, premiered in early October at the Centre Culturel André Malraux de Vandoeuvre-lès-Nancy (in Greater Nancy, France), was inspired by Propaganda, a book by Edward Bernays, nephew of Sigmund Freud. Propaganda explored the psychology be- hind manipulating the masses and the technique for shaping the will of the masses to the require- ments of the élite in a peaceful way, creating what Bernays calls the “factory of consent”. Starting off from these considerations, Maguy Marin pro- poses in her new creation to bring out the “smell Zurich Opera Ballet: “ and the Mouse King”, c. Christian Spuck of death” and “existential abyss” of this “carefree (ph. G. Batardon) society” of ours which we strive to make “dy- blematic of the “Socialist Realism” style, such Angelina Vorontsova – Mikhalovsky Ballet, St Petersburg: “Cinderella”, as The Flames of Paris (Vasili Vainonen) and c. Rostislav Zakharov (ph. J. Devant) Laurencia (Vakhtang Chabukiani). Unde- terred in his revaluation of the Soviet reper- tory, Messerer inaugurated the Mikhailovsky’s new ballet season last Sep- tember with Cinderella by Rostislav Zakharov, a choreographer who is more widely known for his ballet The Fountain of Bakhchisarai (1935) which is still in the rep- ertoire at the Mariinsky and emblematic of the dramatic/lyrical/psychological ballet genre. Zakharov’s Cinderella (to the famous score which Sergei Prokofiev had just com- pleted after a somewhat complex creation process) debuted at the Bolshoi Theatre, Moscow in 1945.

New Nutcrackers As Christmas gets closer, The Nutcracker continues to be the festive season’s most popular ballet. Alongside the great classical versions – Vasili Vainonen’s traditional ballet at the of St Petersburg and ’s Nutcracker, much loved by New Yorkers – there are also a number of creations. At the Zurich Opera House, Christian Spuck will be presenting his version which is based directly on the original short story by German writer E.T.A. Hoffmann, The Nutcracker and the Mouse King, while at the Théâtre du Capitole de Toulouse, company director Kader Belarbi will be premiering his own new production, set among students at a college.

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Sergei Polunin, an acting dancer Sergei Polunin is now into films. After last year’s Dancer documentary that recounted his career and tormented soul (see review of the DVD on our Multimedia page), we now await his appearance on the silver screen in the remake of Murder on the Orient Express, based on the famous thriller by Agatha Christie. On release as from November, the star-studded cast includes names like Johnny Depp, Michelle Pfeiffer and Penélope Cruz. Polunin plays the role of Hungarian Count Rudolf Andrenyi who, in the famous 1974 movie directed by Sidney Lumet, had been played by Michael York. The Rus- sian dancer has also acted in another thriller film, to be released in 2018, Red Sparrow directed by Francis Law- rence: it is the story of a Russian ballerina who is forced to become a spy for her gov- ernment. But along with appearing in movies, Polunin is also posing for the camera. David LaChapelle, who directed the famous video-gone-viral that catapulted Polunin to public attention also beyond the ballet world, has taken shots of the dancer, with Canadian actress Pamela Anderson and his fiancée/partner Natalia Osipova, for arts maga- zine King Kong; incidentally, the risqué photos with Anderson remind us of the still of Rudolf Nureyev used to publicise his film Valentino. How- ever, these activities don’t mean that the “beau- tiful and damned” ballet dancer of our times has forsaken his original vocation: on the con- trary, in December Polunin is expected again at the London Coliseum in a new show of his “Polunin Project” series – notwithstand- ing the lukewarm success (and numer- ous reservations expressed by critics) of the show he presented last March at the Sadler’s Wells Theatre in London (See review in BAL- LET2000, issue No. 266).

namic, pleasant, youthful, urbane and open”. The and Juliet, to Hector Berlioz’s “dramatic sym- work is going on tour in France, principal stops phony”, for the Volksoper in Vienna. The show is Ratmansky NY-Moscow-NY being in December at Créteil (on the outskirts of to be premiered in December with the principals During this season Alexei Ratmansky will be Paris, in the context of the Festival d’Automne), of the Wiener Staatsoper and the corps de ballet, splitting himself between the USA, his adop- at the Maison de la Danse, Lyon and at the Lille chorus and orchestra of the Volksoper. In January tive country (he has been Artist in Residence at Opera House in February 2018. the Ballet du Capitole de Tolouse will be reviv- American Ballet Theatre since 2014) and his ing Bombana’s short ballet Les Liaisons homeland Russia. His new creation for ABT Dangereuses (created for the French company debuts during the company’s “Autumn Sea- New Year in Vienna with Bombana three years ago and inspired by the 17th-century son”; it is set to a new score by Leonid Davide Bombana (59 years old) is working on the epistolary novel Dangerous Liaisons) in the con- Desyatnikov with whom Ratmansky works choreographies that will accompany the 2018 New text of an “Italian Evening” that also includes regularly (and who composed Odessa, his pre- Year Concert from the Golden Hall at the Cantata by Mauro Bigonzetti. This year vious ballet for ABT which was premiered last Musikverein in Vienna – as always to be broad- Bombana also premiered a work entitled May in New York). Afterwards, the Russian cast worldwide and to be conducted this year by Galathea’s Myth in Cyprus, in the context of Pafos choreographer is returning to the Bolshoi Riccardo Muti. This is the third time Bombana 2017 European Capital of Culture; the new ballet Theatre in Moscow (whose ballet troupe he has been asked to produce the choreography, to is based on various Ancient Greek myths and was directed between 2004 and 2008) where, in be danced by the Wiener Staatsballett (Vienna danced by Cypriot dancers currently with Euro- November, his Romeo and Juliet (created in State Ballet), directed by Manuel Legris. Legris pean and American companies, together with danc- 2013 for the National Ballet of Canada, To- has also asked Bombana to create a new Romeo ers from Italy. ronto, to the Sergei Prokofiev score) is entering

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McGregor’s autobiography At the beginning of October, 47-year-old Eng- lish choreographer Wayne McGregor presented his latest creation for the Wayne McGregor Company (which has been the group’s new name for some time) at the Sadler’s Wells Thea- tre, London. It is also his first work created in the company’s new home and “creative arts space for making” (the ultra-modern “Studio Wayne McGregor”, located at Here East in Queen Elizabeth Olympic Park, London) and, as is clear from its title, an autobiographical one whose aim is to look at which traits hu- man beings have in common and discover what it is that determines individuality. In the forth- coming months Autobiography, which brings out the choreographer’s interest in biology, will be touring Europe (see Calendar pages). While the choreographer’s company will be touring this and other works (mark your diaries also for a revival of Tree of Codes which also in- volves dancers from the Paris Opéra), McGregor’s annual creation for The Royal Ballet of London (where he is Resident Cho- Travis Clausen-Knight, Jessica Wright – Wayne McGregor Dance Company: reographer) will be in March/April 2018: a “Autobiography”, c. Wayne McGregor (ph. D. Morgan) work to music by Leonard Bernstein as part of the celebrations marking the centenary of the composer’s birth. In the course of the sea- the repertoire. From Moscow back to New York long-forgotten ballet made in 1900 by Marius son, other works of his are being performed where Ratmansky’s next ballet is to be Petipa, to music by Riccardo Drigo, which by Boston Ballet (Obsidian Tear) and the Vi- Harlequinade, also known as Les Millions Ratmansky will be resuscitating for ABT, re- enna State Ballet (Eden/Eden), while the Ba- d’Arlequin (“Harlequin’s Millions”). This is a viving also the atmosphere and ballet style of varian State Ballet (Munich, Germany) has a

Free Nureyev, arrest director The Bolshoi Theatre of Moscow has now announced that the ballet dedicated to Rudolf Nureyev (choreography by Yuri Possokhov, di- rected by Kirill Serebrennikov) will finally be premiered in Decem- ber – but with only two performances. The creation was originally supposed to debut last July but had been postponed because not ready in time. At least this was the official explanation offered by the Muscovite theatre; the press instead suggested censorship had kicked in on account of certain scenes depicting Nureyev’s homo- sexuality. At any rate, last August a new turn of events came about when 47-year-old Serebrennikov, a controversial figure in Russia’s theatre milieu, was arrested on charges of fraud. (The head of the Opposition Alexei Navalny, suggested that this was in fact a warn- ing from the present incumbent Vladimir Putin to Russian artists and intellectuals not to side against him in the forthcoming presidential Director Kirill Serebrennikov is arrested elections). The arrest had produced even further uncertainty as to the fate of the ballet. Meanwhile, as we await 2018 which will mark the 80th anniversary of his birth and the 25th of his death, Nureyev’s versions of the classics continue to be performed all over the world; from December to January, Nureyev’s The Nutcracker will be staged at the Teatro Colón in Buenos Aires and at the Vienna Opera House, his at the Paris Opéra and in Hamburg (where it is now entering the repertoire), and so forth. In the context of the various celebratory events, Milan’s Teatro alla Scala has announced that it will be honouring the 20th century’s iconic ballet dancer with a gala evening next May starring various guest dancers.

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Laëtitia Pujol leaves the Opéra Having reached the mandatory retirement age of 42, Paris Opéra étoile Laëtitia Pujol bade farewell to the Opéra on 23 September – though hers was anything but an understated adieu. Pujol received a standing ovation lasting more than 25 minutes with the audience hurl- ing flowers onto a celebrity-packed stage where the former director of the Paris Opéra Ballet School, Claude Bessy, a host of danseurs-étoiles, together with the entire company and school (270 dancers) convened to honour her. On the big night, Pujol began by dancing Emeralds, the first part of Jewels by George Balanchine which was performed at the Opéra at the beginning of the season (see review in this issue). With Mathieu Ganio as her partner, and in her solo, Pujol dem- onstrated the purity of her arabesques penchées and shone with radiance. When she danced the final pas de deux from by John Neumeier, partnered by Manuel Legris (director of the Vienna State Ballet) who re- turned to Paris for the occasion, one could perceive a gamut of emotions. And if we were to summarise her twenty- National Ballet of Canada: “Romeo and Juliet”, c. Alexeï Ratmansky (ph. A. Antonijevic) five year career in just two ballets: on the classical side it is that springs to mind, McGregor triple bill planned consisting of (where Ballet Preljocaj is based) as part of a on account of the ease with which Pujol Borderlands (created in 2013 for San Fran- double bill that also included a revival of male passes from the naivety of a young peas- cisco Ballet) and Kairos (created in 2014 at duet Un trait d’Union. Still Life is going on to ant girl to the throes of madness, while on the Zurich Opera House) and, particularly, a tour France and Europe in the course of the the contemporary plane one thinks of her new creation. season, either coupled with Un trait d’union reading of the ambiguous and tormented role or with Helikopter. Other Preljocaj ballets to of the Eldest Sister in The House of Bernarda be toured his year by the company are last Alba by Mats Ek. (M.P.) Preljocaj creates to Philip year’s creation La Fresque (“The Painting Glass on the Wall”) and Romeo and Juliet, an old Laëtitia Pujol salutes the audience Last September 60-year-old French-Albanian ballet of his from 1996 set during the Balkan at the Opéra (ph. J. Benhamou) choreographer Angelin Preljocaj presented his Wars – and which opened the TorinoDanza new creation Still Life, to music by Philip Festival last September in the Italian city of Glass, at the Pavillon Noir in Aix-en-Provence Turin (see review in this issue).

Baptiste Coissieu, Redi Shtylla – Ballet Preljocaj: “Trait d’union”, c. Angelin Preljocaj (ph. J.-C. Carbonne)

Emio Greco’s children Italian choreographer Emio Greco, director of the Ballet de Marseille, has drawn his inspiration for a work in two parts from Gustav Mahler’s Kindertotenlieder (“Songs

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on the Death of Children”). The first part, entitled Apparition, is to be performed in Marseilles next December after a première in Maastricht, The Netherlands. The “Lieder” chosen for this creation have been transcribed for children’s voices and piano by Franck Krawczyk. Greco has created this work, that “questions the dividing line be- tween life and death”, (as always) in close partnership with Dutch director Pieter C. Scholten.

Benjamin Pech, the Sun King according Robyn Orlin Benjamin Pech, danseur-étoile of the Paris Opéra, personifies Louis XIV, the Sun King, the dancing king… Surprisingly, it’s the 62- year-old angry and politically-committed South African choreographer Robyn Orlin who made this role to measure for Pech. Orlin is well-known name in France where she returns every season to present her works criticising politics and society in Af- rica or aspects of Western culture; such was the case of Daddy, I’ve seen… with its black ducks (inspired by Swan Lake) or F… (untitled), a revisiting of the Faust legend. It’s now Louis XIV’s turn, the absolute monarch of the “Grand Siècle” who also rightfully holds a place in ballet history for having founded in 1661 the Académie Royale de Danse, ancestor of the school and com- pany of the Paris Opéra, and for having him- self entertained his court with his dancing (the nickname “Sun King” was given to him for having danced the role of the Sun in Bal- let de la Nuit,1653). It was therefore of es- sence to have a classical dancer personify this sort of ‘foster father’ of ballet. The show debuts next December at the Cannes Dance Festival and will also open at the Théâtre de la Cité Internationale, Paris in the context of the season of Paris’ contem- porary dance hub, Théâtre de la Ville. As is always the case with Robyn Orlin’s crea- tions, this work has an unending title: Oh Louis… We move from the ballroom to hell while we have to tell ourselves stories at Marianela Núñez – The Royal Ballet: “Sylvia”, c. (ph. T. Kenton) night so that we can sleep.

Darsonval in 1971. In 1952 Ashton re-choreo- Benjamin Pech (ph. Abaca) Companies graphed this ‘pastoral’ ballet for his muse Margot Fonteyn in London, intending it not so much as a Sylvia is back tribute to late-romantic ballet, as to Petipa’s ‘clas- Frederick Ashton’s Sylvia returns in November sicism’: indeed, the ballet concludes with a lavish and December to Covent Garden, London. It is mythological divertissement that intentionally said that Léo Delibes appeared in a dream to the harkens back to the one in The Sleeping Beauty English choreographer (1904-1988) asking him to (with the characters from Perrault’s fairytales). bring back to life the music he had written for this After years of absence from the stage, the version ballet, created by choreographer Louis Mérante which The Royal Ballet dances today was recon- in 1876 for the Paris Opéra. Based on a mytho- structed by Christopher Newton in 2004. logical story, only a handful of excerpts have come Marianela Núñez, Lauren Cuthbertson and down to us; the original choreography has been Natalia Osipova will be alternating in the title role largely-forgotten, apart from a few revivals last of the nymph Sylvia which, at least in this ‘re- century in Paris – the last of which was by Lycette construction’, is a technically complex one.

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Svetlana Zakharova – “The Lady of the Cammellias”, c. John Neumeier

Svetlana of the Camellias The first ballet of Teatro alla Scala’s new 2017/2018 season is a revival of The Lady of the Camellias, by John Neumeier, in De- cember. Created 40 years ago at the Stutt- gart Ballet for Marcia Haydée, the ballet is based on the famous novel by Alexandre Dumas Junior and set a string of music by Cho- pin. Accompanied by as Armand, Svetlana returns to Nice Zakharova returns to La Scala to take the role of Seeing as nowadays The Royal Danish Ballet of the romantic heroine Copenhagen, home of the oeuvre of Romantic suffering from con- choreographer August Bournonville, performs sumption. Fast-for- its most famous ballet, La Sylphide in a version ward to January for a “modernised” by the company’s director Nikolaj change of genre when Hübbe (where Madge the Witch is a sort of dandy the Milanese company besotted with the hapless James), one has to go will be dancing elsewhere to see the authentic Sylphide, handed Goldberg-Variationen down since 1836, the year it was created in Co- which Swiss choreographer Heinz Spoerli penhagen. In December, the version staged by Neapolitan Season created in 1993 to music by Bach. Dinna Bjørn, leading specialist on the After a revival of Cinderella by Giuseppe Picone, director of the Ballet Company of Alessandro Staiano, Annachiara Amirante, Claudia D’Antonio – Ballet of the San Carlo Teatro San Carlo, Naples (Italy), in Novem- Theatre: “Cinderella”, c. Giuseppe Picone (ph. F. Squeglia) ber (as part of their “Autunno in Danza” sea- son) the troupe is offering Pulcinella, a creation by Francesco Nappa, to music by . (The Neapolitan choreographer, formerly a dancer with Ballets de Monte-Carlo and Nederlands Dans Theater, created a previ- ous version of this ballet for Cannes Jeune Bal- let.) Pulcinella will be followed by two clas- sics: The Nutcracker in December (choreogra- phy by Giuseppe Picone) and Giselle in March (restaged by Anna Razzi, a former star of Teatro alla Scala and afterwards, for many years, di- rector of the San Carlo Ballet School). Next summer (July 2018), Teatro San Carlo is pre- paring a gala tribute to Vladimir Vasiliev, while in September 2018 a new Lady of the Camellias by English choreographer Derek Deane has been pre-announced.

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Remembering Roland Petit The common denominator of a ‘vintage’ double bill offered by the Lyon Opera Ballet in tribute to Roland Petit is the music of Georges Bizet. This programme has been planned by the company’s director Yorgos Loukos who was one of the French choreographer’s dancers, as well as his assistant, during the heyday of the Ballet de Marseille. Thus, in November the Lyon Opera Ballet is reviving Petit’s legendary Carmen created in 1949 in Lon- don for the Ballets de Paris and starring Renée Jeanmaire – it was in the title role that the ballerina, sheathed in a corset and with bobbed hair, became “Zizi”, a symbol of the alluring, chic Parisian woman associated with Petit’s aesthetic vision. An- other still widely-performed ballet, L’Arlésienne, created by Petit several years later and based on the short story/play by Alphonse Daudet, completes the programme in Lyon.

Festivals Nijinsky in Monte Carlo The Monaco Dance Forum, a festival held under the aegis of the Ballets de Monte-Carlo (directed by Jean-Christophe Maillot), is tak- ing place in December. 45-year-old German choreographer Marco Goecke, the Stuttgart Ballet’s Choreographer in Residence, is present- Ballet Nice Méditerranée: “La Sylphide”, c. August Bournonville (ph. D. Jaussein) ing Nijinsky which he created in 2016 for an- other Stuttgart company, Gauthier Dance; it is set to music by Chopin and Debussy and Bournonville repertory, is being revived at the Duato to whom we owe the “artist concept”, inspired by the legendary dancer of the Ballets Nice Opera House by Ballet Nice and Víctor Ullate who is creating the choreog- Russes. In the past, the Ballets de Monte-Carlo Méditerranée, with the company’s director Éric raphy proper and who, several years ago, cre- have presented Goecke’s “remake” of Spectre Vu-An once again taking the role of Madge the ated an extravagant Don Quixote for his own de la Rose by Michel Fokine, a ballet originally Witch which, according to the Danish tradition, company in Madrid. created in 1911 for Vaslav Nijinsky. Also ex- is often performed by male dancers en travesti. Although this ballet is in two acts it is in fact quite short, so it is customary to perform an- Yana Salenko, Dinu Tamazlakaru – Staatsballett Berlin: “Jewels”, c. George Balanchine other short work on the same evening: in this (ph. C. Quezada) case Serge Lifar’s Romeo and Juliet, to Tchaikovsky’s “fantasy overture”. The revival of this ballet from the mid-20th century testifies to the attention which Ballet Nice Méditerranée and its director are paying to the French reper- tory from the first half of the 1900s.

Duato/Ullate: the odd couple The Staatsballett Berlin (Berlin State Ballet), directed by Nacho Duato is returning to one of its venues, the Staatsoper Unter den Linden. The German capital’s old historical theatre was closed for a long time for revamping, but in December the company will be dancing Jewels by George Balanchine here on the occasion of the 50th an- niversary of the ballet’s creation in New York. This will be followed by the ‘house’ version of Giselle by French choreographer Patrice Bart. The novelties of the season in Berlin include a new production of Don Quixote in February, the result of an unprecedented partnership be- tween two Spanish artists of the dance: Nacho

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María Riccetto, Ciro Tamayo – Ballet Nacional Sodre: “Don Quixote” (ph. S. Barreiro)

pected at the festival are a musical created by a Luke Prunty, Rosario Guerra – Gauthier Dance: “Nijinsky”, c. Marco Goecke group of teachers and students in the context of (ph. R. Brocke) an experimental teaching project, and a show with Momix. A second section of the Monaco Dance Forum takes place next summer with a tribute by three Swedish choreographers – Mats Ek, Johan Inger and Alexander Ekman – to Swedish director Ingmar Bergman.

Diversity in Cannes The Cannes Dance Festival has been held every two years since it was founded in 1984. The 2015 edition and that of this year have been entrusted to Brigitte Lefèvre (for several years director of the Paris Opéra Ballet) as artistic director. Although it is a contemporary dance festival, this year’s edi- tion – from 8 to 17 December – has a much more eclectic programme featuring various genres. Thus, alongside a creation by Thomas Lebrun, director of the Illico Company of Tours (France), we find a classic Don Quixote performed by the Ballet Nacional Sodre (Uruguay) directed by Julio Bocca; alongside Carmina Burana by Claude Brumachon, who is to this day a prominent representative of

16 ECHOS NEWS • ECHOS • BREVIECHOS • •BREVES ECHOS • BREVINEWS •• ECHOSECHOS •• BREVIECHOS • •BREVES ECHOS • NEWSECHOS • ECHOS• ECHOS • BREVI• ECHOS • BREVES • ECHOS • ECHOS• ECHOS

Alessandra Ferri, Herman Cornejo “Trio Concert Dance” (ph. R. Ricci)

17 NEWS • ECHOS • BREVI • BREVES • NEWS • ECHOS • BREVI • BREVES • NEWS • ECHOS • BREVI • BREVES • ECHOS • French nouvelle danse, and a show by Robyn Orlin with Benjamin Pech (see separate news), we have Farewell, Emmanuèle Ruegger the Rome Opera Ballet presenting a Roland Petit It is with deep sadness that we announce the passing of triple bill consisting of Carmen, L’Arlésienne and Emmanuèle Ruegger, a devoted contributor to this magazine. La Rose malade (this latter piece, to the Adagietto For over twenty years our readers have appreciated her sim- from Mahler’s Fifth Symphony, was originally cre- ple and clear style, at times disarmingly innocent in its love ated in 1973 for Maya Plisetskaya and will be for the art of dance and dancers; but her candidness by no danced by the director of the Rome troupe, as well means denoted incompetence. After studying piano at the as étoile of the Paris Opéra, Eleonora Abbagnato). Conservatoire and dance at the school of Rosella Hightower The evening featuring the Centre National de Danse in Cannes, Emmanuèle continued her studies of musicology, Contemporaine of Anger in two works by Merce history of the theatre and literature at university. Born of a Cunningham (Inlets 2 from 1983 and the more fa- German-Swiss father and French mother, she was wont to mous Beach Birds from 1992) will be one of those split her time and interests between Zurich and Paris. She fairly rare occasions for seeing works by the great had been gifted with the fortune of being able to cultivate American choreographer now that his own com- her intellectual pursuits without preoccupations of a mate- pany has been disbanded. Mark your calendars rial kind. A lady of leisure, one might say, but not of idle- also for a ‘recital evening’ entitled Trio ConcertDance ness: Emmanuèle would study and travel in order to follow with Alessandra Ferri: the Italian ballerina is very her favourite festivals and was a regular in Aix-en-Provence, Avignon, Stuttgart (home of her famous not only in Italy, but also in London, New ‘pet’ company) and Hamburg for the creations of her much-admired John Neumeier; as for York and Tokyo, though slightly less-so in France; another of Emmanuèle’s darlings, Uwe Scholz, she had had him close-by at the Zurich Opera here at the festival she will be dancing with her House for years. She wrote on dance, penned academic history and theory essays, as well as habitual partner during this ‘reprise season’ of her press articles and reviews for specialised magazines, first and foremost BALLET2000. A short life as an artist, Herman Cornejo of American Ballet while ago Emmanuèle wrote to us privately to take her leave, informing us serenely that she Theatre, and accompanied by pianist Bruce was suffering from advanced stage cancer. She passed away in Zurich on 5 October at the age Levingston. of 59, comforted by a religious faith that was unwavering yet meek, limpid and indisputable because it was neither intolerant nor pretentious, nor did it presume to impose any certi- tudes. And also for these reasons we are going to miss her. (A.A.) Ferrara in dance The Teatro Comunale di Ferrara (Italy) of- fers a rich dance season from October to Febru- Goodbyes Ballet de France). Janine Charrat suffered severe ary, with leading names from Italy and beyond. burns during an accident in a TV studio, but recov- For instance, leading international dancemakers Janine Charrat passed away last August aged ered and returned to the stage. In the 1960s she Angelin Preljocaj and Wayne McGregor will 93. Discovered by Irène Lidova at a very young age directed the Ballet du Grand Théâtre de Genève be presenting their respective creations here (see and, later promoted by Serge Lifar, Charrat was and was also dance consultant for the Centre separate news on the two choreographers). described as a lyrical and extremely musical balle- Georges Pompidou, giving prominence in the Cen- Aterballetto, which is touring its new pro- rina; as a dancer and choreographer she played a tre’s programmes to young French and interna- gramme made up of works by Cristiana part, along with Roland Petit (who was her con- tional dancers. Other ballets by Charrat include: Morganti (who used to dance with Pina temporary), in the rebirth of French ballet after the Concerto (1951) which reveals the influence of Bausch’s company) and Hofesh Shechter (a Second World War; Charrat, however, essentially Lifar; Les Algues (1953) which is somewhat ex- prominent figure on the British scene), is also remained an independent figure, with a highly per- pressionistic; Les Liens which uses elasticised fab- expected. The season’s programme is varied and sonal style of her own, in the audacious but ‘intel- rics, similar to those that were used later on by also features names like Dada Masilo and Robyn lectual’ ambience of the times. A child prodigy, Alwin Nikolais; Offrandes and Hyperprisme, cre- Orlyn, today the two most famous choreogra- Charrat was only 12 years old in 1936 when she ated at the Paris Opéra to music by Edgard Varèse. phers of African dance, as well as The Nut- was chosen as the heroine in Jean-Benoît Lévy’s cracker by Amedeo Amodio. film La Mort du cygne (aka Ballerina). She studied Russian company director and choreographer with the great teachers of the Russian diaspora Vladmir Vasilyov (not to be confused with the who had settled in Paris – Olga Preobrajenska, great dancer Vladimir Vasiliev) died last August aged Competitions Liubov Egorova and Alexander Volinine – and 86. In partnership with his wife Natalia Kasatkina branched out as a choreographer early on. Her début he was an important choreographer who created a was Jeu de cartes for Roland Petit’s Les Ballets des large quantity of ballets between the 1970s and 1990s; Reconnaissance Champs-Élysées in 1946, but she soon made a in 1977 he founded the Moscow Classical Ballet, a In November the Rampe d’Échirolles (France) name for herself across Europe and in America. In company that brought to the fore stars such as Irek is hosting the 9th edition of (re)connaissance, 1961 she founded her own company, Le Ballet Mukhamedov and Vladimir Malakhov. In 1962 a competition founded in 2009, on the basis of Janine Charrat (known, for a certain period, as Le Vasilyov and his wife created Vanina Vanini (based an idea of Pacifique – CDCN de Grenoble et de on the novella by Stendhal) and a new version of The la Maison de la Danse, the purpose of which is Rite of Spring at the Bolshoi Theatre in Moscow; in to give visibility and provide support to estab- 1971 The Creation of the World (set to music by lished but not widely-known – choreogra- Andrei Petrov) for the Kirov in Leningrad. This work phers and companies. 12 companies that have was to become the calling card of the Moscow Clas- passed a preliminary selection will be partici- sical Ballet, for which it was revived, along with pating and the three winners will be offered other ballets; new ballets were also created for the tours consisting in about 15 performances each company – restagings of classics (from Coppélia to during the forthcoming season. Under the lead- Cinderella) along with choreographies to music not ership of Marie Roche, new director of intended for ballet, from the symphonies of Pacifique, new partners have joined up with Tchaikovsky to Béla Bartók. The ‘adventure’ of the competition and a new phase on a much Vasilyov, Kasatkina and the Moscow Classical Bal- greater scale is expected to begin. let is considered part of the history of Soviet ballet.

18 19 ON THE COVER Mariinsky, having to be the best

The Imperial Mariinsky Theatre of St Petersburg, the great Russian theatre which subsequently became the Kirov of Leningrad before reverting to being the Mariinsky all over again, has always boasted a ballet company of incomparable quality and prestige. But its well-deserved fame raises expectations that are not always met. The Russian troupe’s recent appearance in London leaves us with some misgivings regarding its repertoire and principal dancers, and Ulyana Lopatkina’s retirement doesn’t help

When we speak of the that was where the young Mariinsky Ballet, we are choreographer hailed from in used to speaking in superla- 1924 – Editor’s note), al- tives; it remains the home of though their choice from his classical dance, the heart of works is limited, and it has the art form and the gold sought to bring the Ballets standard for other compa- Russes ‘home’, again with Viktoria nies. a selection of mainly early Tereshkina, However, it too faces works. Its track record with Vladimir pressures and problems, not the old Soviet repertoire is Shklyarov – least the thorny question of less consistent, while new Mariinsky repertoire. Where other na- works remain few and far be- Ballet, St The tional flag-bearers have had tween. Petersburg: Mariinsky the bravery/foolishness to loosen their ties with their Many of these conflicting elements were to be seen “”, c. Theatre past, the Mariinsky remains firmly defined by what during the company’s three-week London season, as Yuri Burlaka in a 1885 has gone before and not by its the present. It has well as others which raise questions about the direc- (ph. V. drawing tried to reclaim Balanchine as one of its own (indeed tion of the current ensemble (since 2008 in the hands Baranovsky)

20 Ulyana Lopatkina: “La Mort du cygne”, c. Michel Fokine (ph. N. Razina)

21 Nadezhda Batoeva – Mariinsky Ballet, St Petersburg: “Don Quixote” (ph. N. Razina)

22 of Yuri Fateyev – Editor’s note). ground. Ulyana Lopatkina has now retired from the Alexander The choice of ballets to offer London was partly stage and Diana Vishneva is on the last lap of her Parish – made for financial reasons, but the roster of Swan career and it is hard to see who will replace them. Mariinsky Lake, Don Quixote, La Bayadère, Alexei Ratmansky’s Certainly, London suffered, as in other recent visits, Ballet, St Anna Karenina and a curious mixed bill of Alberto of a paucity of star principals, the top rank perhaps Petersburg: Alonso’s Carmen, Wayne McGregor’s Infra and a spread a little too thinly around the world in the “Paquita”, ‘new’ production of the Grand Pas from Paquita must Mariinsky’s many manifestations. c. Yuri also indicate what the company sees is their ‘A list’ The big news in London was the cleverly timed Burlaka of works. promotion of Englishman Xander Parish to Princi- (ph. N. Certainly, their productions of the three classics pal a few days before he opened the season in Swan Razina) are hyper-traditional, perhaps more than a little over- Lake – he certainly has the physique of a prince but burdened by their own performing history and the there were expressions of surprise at his elevation ghosts of great performances of the past, whereas on the evidence of his dancing in London. Kimin Kim, the choice of Ratmansky, which should have worked, the company’s Korean male principal impressed did not, offering a dully delivered narrative which found greatly, showing true virtuosity, although it was little favour. It was hard to see why Alonso’s pre- Vladimir Shklyarov who proved to be the most con- posterous Carmen has been revived, other than to provide a vehicle for Diana Vishneva, while the choice The Kirov/Mariinsky videography is ample and of McGregor, despite the committed performance his includes period footage as well as recent record- work was given by the dancers, showed nothing more ings. The anthology of articles on our magazine’s than the Mariinsky being yet one more company website www.ballet2000 includes a long article which has fallen for the hype. which summarises and comments the various bal- But even the mediocre can be memorable with art- lets available on DVD with the St. Petersburg ists of the first order, and it was in this that the company. Mariinsky was found by many to be on uncertain

23 Ulyana Lopatkina bids farewell to the stage Flags have been lowered to half-mast by true balletomanes all over the world. She who was considered the last great Bal- lerina (with a capital B) from the noble tradition of the Kirov/Mariinsky of St Petersburg has taken her leave from the stage. The announcement was posted last June on the Mariinsky Theatre’s website, in an understated manner and without any of those overstatements that are often piled on when describing far more ordinary artists. Nor is there is any talk of celebrations or farewell galas. Nothing. Ulyana Lopatkina is leaving the company and the dancing profession as a consequence of physical problems, at the age of 43. She has been dancing with the Petersburg troupe since 1991 until earlier this year. Unlike other Russian dancers of our times, Lopatkina has relatively seldom appeared inde- pendently of the Mariinsky on account of an almost mystical devotion to her home company and the Kirov style, as well as of a sort of media reserve which is unusual in a true and haughty star with unique qualities, one of recognised artistic excellence. We announced this news in our previous issue although, when all is said and done, we are still in waiting. It wouldn’t be the first time that Lopatkina exits the stage only to return a short while later. This time the decision seems to be final; but BALLET2000 has written reams about Lopatkina over the years and hopes to continue. sistently satisfying of the men, bringing real brio to five opening nights and exhibiting a steely technique; Ekaterina his dancing. The negative side of Russian company she was closely followed by the glamorous, long- Kondaurova, practice was shown by the questionably prominent limbed Ekaterina Kondaurova, who made an impact Timur Askerov – casting of Evgeny Ivanchenko, now in the twilight even in Infra. Of the younger dancers, First Soloist Mariinsky Ballet, of his dancing career. Nadezhda Batoeva exudes a warm lyricism which made St Petersburg: Certainly, on the female side, the star of the sea- one wish she had been Nikya to Tereshkina’s Gamzatti “La Bayadère”, son was Viktoria Tereshkina, featuring in four of the in La Bayadère, although several interesting fellow (ph. N. Razina)

24 A film about Mathilda Kschessinskaya, the “imperial” ballerina of the Mariinsky The film Matilda, a Russian production directed by Alexei Uchitel, was re- leased in October in several countries. It is about Mathilda Kschessinskaya, “prima ballerina assoluta” of the Imperial Theatre of St Petersburg between the late 19th and early 20th centuries. She was the first great Russian balle- rina as well as, above all, mistress of the last Tsar Nicholas II and of other aristocrats. A unique celebrity in the history of ballet. Matilda caused a commotion even before reaching the silverscreen. Orthodox religious militants, backed by Duma deputy Natalia Plokonskaya known for her “tough” character, launched harsh threats against director Alexei Uchitel and all cinemas planning to show the film. The movie recounts the story of the future Tsar Nicholas II’s relationship with the ballerina, which began be- fore his marriage and ascent to the throne, but continued afterwards too. Ac- cording to the religious fundamentalists, this soils the memory of “martyr” Nicholas, killed by the Bolshevik revolutionaries and canonised in 2000 by the Orthodox Church. But what is the real story of Mathilda? Born in 1872, Kschessinskaya was the daughter of Feliks Krzesiñski a character dancer and mazurka “specialist” of Polish origin who enrolled her in the Imperial Ballet School of St Petersburg. She soon became the favourite student of Lev Ivanov (the choreographer of Act 2 of Swan Lake and of The Nutcracker) and of Ekaterina Vazem, and embarked on a dazzling ca- reer, both on stage and off. Beautiful, vivacious, haughty and ‘elitist’, Mathilda Kschessinskaya in Nicolas Legat’s version Kschessinskaya loved luxury and the privi- of “The Talisman” by Marius Petipa, leges of power; at the age of 23 she was St Petersburg 1910 nominated “prima ballerina assoluta” (the only Russian to be given this title which was held by Italian ballerina Pierina Legnani). She was powerful and imperious and, a few years later, dancing only those roles she herself had chosen for herself. She danced abroad, in Vienna and Paris, as well as appearing in the topmost European theatres with Diaghilev’s Ballets Russes, coached by her Nicholas II, last Tsar of Russia, teacher Enrico Cecchetti. in a photo taken in 1909 At the Mariinsky, Mathilda Kschessinskaya advocated a drastic shortening of tutus; she was also suc- cessful in obtaining permission to perform wearing her own personal jewels: a scandal, but she pre- vailed in this, as in other instances, thanks to the protection of the Tsar. Commentators of the time praised her solid and virtuoso technique. But not everyone was of the same opinion (years later Bronislava Nijinska wrote that “She was an athlete who jumped like a man.”) While preferring Italian ballerinas, Marius Petipa created Le Réveil de Flore and Les Millions d’Arlequin for Kschessinskaya which were her pièces de résistance on account of their technical difficulty. Michel Fokine also customised roles for her, as recorded by George Balanchine who was around at the time. Our heroine bade farewell to the stage in London in 1936. She always endeavoured to keep her slender figure, in an unspoken war with the more famous Anna Pavlova who was very thin. She loved jewellery. In a caricature by the Legat Brothers (who were also dancers in Russia and then became teachers in Europe) Mathilda, Matilda, 2017. Historical ro- dancing the role of poor gypsy girl Esmeralda with her goat, is wearing mantic drama film. Released enormous diamonds as earrings: it was a joke, but not far from the on 8 October 2017. Director truth because no matter which role she was dancing, the ballerina Aleksej Efimovich Uchitel, loved to show off her emeralds... screenplay by Aleksandr In actual fact, she hadn’t been the mistress solely of Tsar Nicholas, Terekhov, music by Marco but also of his brothers Kyril and Boris and of his cousins Sergei Beltrami. and Andrei Romanov; she bore the latter a son and later finally married Starring Michalina Olszañska him in France, thereby acquiring a pompous aristocratic title. as Mathilde and Lars Eidinger Mathilda Kschessinskaya never returned to Russia and during the as the last Russian emperor Soviet era was also ignored outside. In 1929 she opened a school in Nicholas II Paris where she lived until the age of 99. Roger Salas

dancers of her rank did not, this time, make the journey edge of their seats were rare, the quality too uneven to London. to allow a cumulative effect to be produced. Com- The standards set for the Mariinsky are high, not panies have their ups and downs – London certainly least by themselves, so this season must be seen in wishes to see this ensemble again, but wishes also, that context. However, the performances at which the one suspects, that it returns reinvigorated. temperature was raised and the audience sat on the Gerald Dowler

25 Ekaterina Kondaurova was a sumptuously danced Ekaterina Swan Lake and other Odette-Odile, long limbed, technically assured, but Kondaurova, specialities she too approached her choreography more as an Timur abstraction than a narrative. The ‘arch’ quality that Askerov – Swan Lake – chor. Marius Petipa, Lev Ivanov has crept into the Mariinsky style was here ap- Mariinsky (Konstantin Sergeyev), mus. Pyotr I. Tchaikovsky; parent, and while we could admire much in her per- Ballet: Paquita (Grand Pas) – chor. Marius Petipa (Yuri formance, we were not involved in her character. “Swan Lake” Burlaka), mus. Ludwig Minkus; Infra – chor. Wayne Evgeny Ivanchencko has had a long and illustrious (ph.V. McGregor, mus. Max Richter; Carmen – chor. Al- career with the Mariinsky so it was something of Baranovsky) berto Alonso, mus. Rodion Shchedrin a disappointment to see such an under-danced London, Covent Garden Siegfried, one now so lacking both in technical vir- tuosity and on-stage character, even if his partnering London is a strange place in late July and Au- remains sure. Thus, the vital chemistry between gust; the mainly indigenous audience for classical the Prince and the Swan Queen was lacking, two dance melts away and is replaced by an amalgam dancers on a stage together but without the rela- of visitors from abroad, once-a-year ballet goers tionship which makes their dancing take flight. and, in the case of Russian companies, their expat A triple bill of puzzling composition showed a compatriots. Nothing is guaranteed to please such curious side to the company – Yuri Burlaka’s new/ an audience more than Swan Lake, and so the ven- old Paquita Grand Pas is set and costumed in glo- erable Mariinsky Ballet opened its three-week sea- rious 1940s Technicolor; striking, certainly, but it son with the very same, trailing the glories of their could not hide the fact that the Maryinsky Paquita performing past behind them. of old has been jettisoned in favour of this unsat- In truth, it was something of a muted affair, a isfying version – no children and many favourite solid but not great evening. Certainly, the wondrous elements cut. Thank goodness for Vladimir quality of the corps de ballet was apparent in the Shklyarov, who dominated the stage sporting an poetic lakeside scenes, as was the superlative char- Errol Flynn moustache and exhibited unbridled vir- acter dancing in the Act III ball, but a certain de- tuosity. An impressive Paquita from Viktoria tachment was noted, a froideur which prevented Tereshkina was out-danced by Kondaurova in the real contact with the audience – they dance, but fourth variation – she clearly felt she should have maybe not really for us. Certainly almost every been the lead. ‘number’ is delivered with aplomb by its dancers, Wayne McGregor’s tiresome Infra was given a but what was missing was the feeling of a collec- superlative performance by the Russians, but noth- tive effort, of a contribution to the whole. This ing could mask its inherent tedium; to paraphrase Swan Lake certainly looks sumptuous and suitably Pierre Bosquet seeing the Charge of the Light Bri- medieval in its traditional designs, and Konstantin gade “c’est magnifique, mais ce n’est pas le bal- Sergeyev’s 1950 version still stands strong, even let”. Alberto Alonso’s 1967 Carmen was a blast if one continues to regret the loss of the mime, the of Castro and Brezhnev, gloriously designed but happy ending (Odette and Siegfried stride off into saddled with Rodion Shchedrin’s vulgar, noisy score a bright Soviet future) and the inclusion of the ir- and bargain basement choreography. Diana Vishneva ritating Jester, who, although sparkly danced by prowled the stage with suitable sultriness, seduc- the quicksilver Vladislav Shumakov, should have ing Konstantin Zverev’s slightly blank Don José been rowed out to the middle of the swans’ lake and Ivanchenko’s dull dog Toreador. and thrown overboard. Gerald Dowler

26 27 • critics • critics ON STAGE ! critics • critics •

Amandine Albisson, Hugo Marchand – Paris Opéra Ballet: “Jewels” (“Diamants”), c. George Balanchine (ph. F. Levieux)

Paris Opéra Ballet all of the above-mentioned features. she does tackle the role, originally created by A part of Jewels entered the Paris Opéra Bal- Violette Verdy, with determination. let’s repertoire back in 1974, while the full bal- From melancholic, the atmosphere becomes let was taken into the repertoire in 2000 (with joyous with Rubies, and here it is Alice Renavand The Opéra’s precious gems scenery and costumes by Christian Lacroix) and who shines, surrounded by an equally glittering is regularly performed at the Opéra which has corps de ballet. Renavand is vivacious, precise Jewels – chor. George Balanchine, mus. Gabriel suitable dancers for it, starting with Hannah and gritty and brings out the choreography’s every Fauré, Igor Stravinsky, Pyotr I. Ciaikovsky O’Neill, a marvellous gem of a ballerina who dis- movement, emphasising the jazzy accents when Paris, Opéra Garnier plays just the right balance – ‘twixt impetuosity necessary; her dancing is incandescent – a real and control – as suggested also by Gabriel Fauré’s ruby. In the sequence in which her body is han- What is it that we like so much about George autumnal music. Her arabesques, pirouettes and dled by four boys, she gives the impression of Balanchine’s works? Their marvellous musical- deep pliés concatenate as in a dreamy vision. bestowing herself while continuing to dominate ity? The architecture of the choreography? Their O’Neill abandons herself in the adagio together them. Renavand is a princess surrounded by her clarity and audaciousness of movement? Or the with Mathieu Ganio, an attentive partner, with- suitors. The choreography is very witty and minimalism of the scenery and costumes in fa- out however losing her oomph. Balanchine seems to have had fun blending in cake vour of the dancing? We don’t have to make a Perhaps on account of the effort that goes into walk steps with references to the classical rep- choice when it comes to Jewels – which major her multiple activities and the apparent indiffer- ertory or to jockeys in a paddock, as only a Russian companies all over the world have been dancing ence of her partner Stéphane Bullion, Eleonora émigré in the United States might conceive. As ever since it was created in 1967 for New York Abbagnato, who succeeded O’Neill in this role, for Léonore Baulac, who was recently promoted City Ballet – seeing as this three-part ballet boasts doesn’t glow with the same radiance – although to étoile, she does have a good technique but at-

Hannah O’Neill, Mathieu Ganio – Paris Opéra Ballet: “Jewels” (“Emeralds”), Valentine Colasante, François Alu: “Jewels” c. George Balanchine (ph. F. Levieux) (“Rubis”), c. George Balanchine (ph. J. Benhamou)

28 Amandine Albisson, Hugo Marchand – Ballet de l’Opéra de Paris: “Jewels” (“Diamants”), c. George Balanchine (ph. J. Benhamou)

tacks the pas de deux which such impetus that she burns out the movements without rendering their sensuality (her partner, Paul Marque, does his best to keep up with her). No ralenti at the the end of the pirouettes and no legato between the pirouette and the attitude. However, in spite of her brisk delivery that detracts from the sen- suousness, she too gets the “choreographic score” across with tremendous clarity. In Diamonds we witness the apotheosis of Russian lyricism. With the admirable geometrics of his ensembles, the complex lines, the beauty of the pas de deux, Balanchine pays a deep trib- ute to the Russian balletic tradition and to its masters, Marius Petipa and Lev Ivanov. The in- tense, yet at the same time subtle, rendering of this last section of the ballet by Amandine Albisson and Hugo Marchand evokes the mood that Balanchine had in mind, that of his child- hood at the Imperial School of St Petersburg. Ex- pressive without overdoing it, Albisson knows how to dose the brio of the allegro with the aban- don of the adagio. Hugo Marchand, who with the utmost simplicity crosses the Opéra’s great stage in three grands jetés, dances with the no- bleness of a knight at the service of his lady. Sonia Schoonejans

29 Hamburg Ballet

Karenina according to Neumeier Anna Karenina – chor., scenery/light/costu- me designs John Neumeier, mus. Pyotr I. Tchaikovsky, Alfred Schnittke, Cat Stevens Hamburg (Germany), Staatsoper

After The Seagull by Anton Chekhov (2002) and Tatiana based on Eugene Onegin by Al- exander Pushkin (2014), John Neumeier has now tackled another masterpiece of Russian literature: Anna Karenina by Leo Tolstoy. This magnificent novel has inspired choreog- raphers of renown, from Boris Eifman (mus. Tchaikovsky), Alexei Ratmansky (Shchedrin) to Christian Spuck (Rachmaninov, Lutoslawski, etc.). But this version by the “Prince of Ham- Anna Laudere, Ivan Urban – Balletto di Amburgo: “Anna Karenina”, c. John Neumeier burg” (Neumeier has been director of the Ham- (ph. S. Ballone) burg Ballet for the past 44 years) stands the comparison with the utmost ease. And yet, in respect of the story, Neumeier In any case, Neumeier has such stage know- nents of the scenography, which generally get doesn’t elude the difficult parts: unlike how that he manages to make the story rela- moved around in front of the audience and Ratmansky who concentrates the action on tively clear. By producing not only the cho- have clever openings through which the art- the Anna-Karenin-Vronski threesome, reography, but also designing the sets, lights ists can make their entrances, are particularly Neumeier gives much space to the Kitty/Levin and costumes, he gives an amalgamating co- ingenious. and Dolly/Oblonsky couples. Which, obvi- herence to this ballet with numerous charac- Not having been able to stage the horse races, ously, doesn’t aid our comprehension of what ters who flit through the various scenes: the one of the pivotal scenes of Tolstoy’s novel, goes on onstage but does justify the duration platform at the station, the gym, the clinic, Neumeier finds an alternative by staging the of the ballet: three hours. the farm, the ballroom… The mobile compo- rough Native American game of lacrosse in-

Edvin Revazov – Balletto di Amburgo: “Anna Karenina”, c. John Neumeier (ph. S. Ballone)

30 stead. Shielded by protective gear, the play- (made up of Inger’s triptych) which makes ers swing their lacrosse sticks surmounted by for an ever-pleasant evening, partially thanks netted scoops in a bid to send the rubber ball to the music that is neither too daring, nor into the other team’s goal area. Another nifty punitive. An evening that, above all, provides idea is the frequent appearance of the elec- good choreographic material for classical/con- tric train set with which Anna and Karenin’s temporary dancers – with humour and senti- son Seryozha plays and which links up the ment into the bargain. tragic accident at the beginning of the ballet, Golden Days, which has to date been per- when a workman is run over by a train at formed in Spain, France and Italy, is a com- Moscow station, and Anna’s suicide at the pelling contribution to Aterballetto’s repertoire. end, when she throws herself under a train. Rain Dogs (2013) develops in a straight line Everything links together perfectly in this using the depth of the stage in counterpoint ballet which may be long but isn’t pedestrian, to Tom Waits’ dramatic voice. Instead Bliss although the rhythm does slump slightly in (2016), steeped in Keith Jarrett’s gushing vari- part two. ations, develops in curved lines as if built As usual Neumeier has put together an ex- around a storm’s eye at centrestage. When it traordinary string of music, making a clever comes to dynamics, both pieces are robust, selection of excerpts from Tchaikovsky and Schnittke. Surprisingly, he has also added four songs by Cat Stevens for the Kitty-Levin duet with nature as a backdrop. Strange as it may 50-year-old Swedish choreographer Johan seem, this musical patchwork – to which the Inger is one of the most prominent names Ivana Mastroviti – Aterballetto: “Birdland”, Hamburg Philharmonic Orchestra does full jus- on the Northern European contemporary c. Johan Inger tice – is seamless. All flows smoothly despite dance scene. A product of the Nederlands the contrasts between Tchaikovsky’s har- Dans Theater, in Europe Inger is mony, Schnittke’s dissonance and Stevens’ considered a disciple (or imitator) of Jirí natural, organic, very “dancey”, have a clar- wistful melodies. Kylián. It was indeed the Czech ity that is recognisably Nordic in taste and a The Hamburg Ballet dancers are highly en- choreographer who discovered him during gamut of moods and relationships that are gaged and superbly convey the ideas of their one of the Dutch company’s never devoid of humour, aided and abetted by choreographer who never fails to reveal how choreography workshops. After studying the music. And both of them indulge the danc- amazingly inventive he is, especially in the nu- initially in Stockholm, Inger moved to ers’ wishes to show off their qualities and merous duets. The corps de ballet is an adorn- NDT in The Hague where he created musicality, in simple everyday clothes. Inger’s ment to his groups scenes: gymnasts, harvest- numerous works and was Resident choreography is always flowing and decipher- ers, the “Bolshoi dancers”, the ball guests… Choreographer from 2009 to 2015, later able, which easily explains his success and And the soloists embody their characters to a going on to create works also for many why he is so popular and sought-after by so T: in particular, at the performance I attended, other companies around the world. Inger many companies. Anna Laudere (on whom Neumeier created the has also led the Cullberg Ballet, the The two chief works in Golden Days are titular role), Ivan Urban, Edvin Revazov, legendary Swedish company founded by linked by the Birdland solo, which takes its Patrizia Friza, Aleix Martinez. Birgit Cullberg, mother of Mats Ek. title from a poem by Patti Smith (a boy doesn’t The success of this major production war- Inger’s most famous work is probably want to yield to his pain and repeats I won’t rants its scheduled revivals by the Bolshoi Ballet Walking Mad, to Ravel’s Boléro and give up). Inger’s idea is fun: the technicians of Moscow and The National Ballet of Canada. music by Arvo Pärt, which reveals the who are changing the sets have to struggle with Jean Pierre Pastori funny, zany, surreal streak that a dancer who doesn’t want to leave the stage. characterises much of Scandinavian dance And the public is amused. Aterballetto today. Elisa Guzzo Vaccarino

Inger galore Aterballetto: “Rain Dogs”, c. Johan Inger (ph. A. Anceschi)

Golden Days: Rain Dogs – chor. Johan Inger, mus. Tom Waits; Birdland – chor. Johan Inger, mus. Patti Smith; Bliss – chor. Johan Inger, mus. Keith Jarrett On tour around Italy

As a long phase in the life of Italian com- pany Aterballetto wrapped up with a favour- ably-received triptych by 50-year-old Swed- ish choreographer Johan Inger, Gigi Cristoforetti and Pompea Santoro succeed, respectively, Director General Giovanni Ottolini and Artistic Director Cristina Bozzolini. Thus the company prepares for a turnaround with its new top brass, which also includes Paolo Cantù who has recently been appointed director of the Teatri di Reggio Emilia. Meanwhile, Aterballetto convinced the pub- lic with its programme entitled Golden Days

31 English National Ballet ture dominated by a huge wall which tilts technical and interpretative prowess, his and rotates and rises at one moment to al- body infinitely flexible and expressive – his low the Landlords to emerge to walk among is a name to watch. their outcast workers (as does the hunting Director Tamara Rojo herself was a multi- Giselle according to party among the peasantry in the original). facetted Giselle, her own artistry in the tra- Akram Khan Khan creates phalanxes of movement or ditional version suffusing Khan’s cross-stage scurrying for his workers’ en- reinvention; she remains a highly powerful Giselle – chor. Akram Khan, mus. Vincen- semble who thereby contrast with the stately performer and one who gives of her all – a zo Lamagna landlords. fitting role-model for her dancers. London, Sadler’s Wells Theatre Hilarion is more prominent with Khan, a The Wilis of Act II are also here, on wily, fox-like oppor- pointe, and moving spectrally out of the tunist who wants shadows, but they are more savage for Khan, Giselle for himself full of the lust for vengeance, brandishing and, as we learn, bamboo canes, which they use as weapons kills her. César to kill the hapless Hilarion. In this, as in Corrales, the compa- the first act, the dancers of the company ny’s fire-cracker deliver their choreography with total engage- principal blasted ment and making the production a truly through the role in a thrilling experience. display of both his Gerald Dowler

Tamara Rojo, James Streeter – English National Ballet: “Giselle”, c. Akram Khan (ph. D. Morgan)

English National Ballet: “Giselle”, c. Akram Khan (ph. Liotardo)

We live in an age of choreographic para- sites, dance creators who pin their own ideas onto a well-known title – Swan Lake has suffered most, with any number of bizarre concepts taking the name in a bid to fill the theatre, but in reality bringing nothing of either swan or lake to the party. So, the announcement in 2015 that Akram Khan was to create his own Giselle was ini- tially greeted with some trepidation, not least because English National Ballet already possesses a superb period production of its own. But any fears proved misplaced; Khan is an intelligent artist of great integrity, so his re-imagining of the familiar story is full of stage-craft of genuine quality. The main characters remain, as does the betrayal of a peasant girl by an unthinking aristo, and, crucially, the two act format, one mortal, the other supernatural. The music, a clever score by Vincenzo Lamagna, uses snatches of the Adolphe Adam origi- nal, in a fusion of live orchestral sound and recording abstract industrial sound. Indeed, the qualities of this and the sets, costumes and lighting, alongside Khan’s ever-interest- ing movement palette and story-telling abili- ties make this a genuine Diaghilevian Gesamtkunstwerk in which all the elements contribute strongly to a whole which is greater than the sum of its parts. The familiarity of the narrative allows Khan to deviate from it, to bend it to suit his own concept, making a powerful dance work that is intensely of the moment but which also clearly rises from the art form’s own past. It looks superb, the stage pic-

32 33 Erina Takahashi, Isaac Hernández – English National Ballet: “Romeo and Juliet”, c. Rudolf Nureyev (ph. L. Liotardo)

English National Ballet Lavrovsky at the Kirov (in 1940, to music crowd humour and named roles taken with by Prokofiev) and largely followed by sub- gusto. sequent choreographers ever since. Rather, Director Tamara Rojo has overseen some- Nureyev went back to Shakespeare and at- thing of an overhaul of this company, bring- New Romeos and Juliets tempted to bring more of the Bard into his ing in dancers to her own taste in all ranks, work. Largely, that side of things is suc- but also providing opportunities for those Romeo and Juliet – chor. Rudolf Nureyev, cessful, with several striking passages which perhaps a little ignored under the previous mus. Sergei Prokofiev one wishes appeared in other versions; but, director. But R&J stands or falls on its cen- London, Royal Festival Hall Nureyev was also choreographing for him- tral couple, and a matinée performance pro- self, so Romeo literally takes centre stage vided a showcase for two of the ensemble’s “Too many steps, Mr Nureyev, too many much of the time and Juliet is a trifle un- newest Lead Principals; Russian Jurgita steps”. Would that someone had whispered der-baked as a role. Dronina, who also remains a principal of this into Rudi’s ear as he was making his London Festival Ballet became English Na- The National Ballet of Canada, and Briton Romeo and Juliet for London Festival Bal- tional in a re-branding exercise, so the Aaron Robison who has joined from San let back in 1977 (later revived at La Scala present-day company continues to hold dear Francisco. Milan, at the Paris Opéra and elsewhere); to the Nureyev version, made for them. On Whereas the opening night had been a dra- it would have saved a lot of effort for gen- the somewhat cramped stage of a modified matically tame affair, with both lead danc- erations of dancers and strengthened his vi- Royal Festival Hall (usually a concert ers struggling to find the required intensity, sion for the work. venue), today’s company gave their all to this was another matter altogether, demon- And it is not a bad vision, moving away this work, bringing verve and enthusiasm to strating two artists of strong technique and from the narrative as established by Leonid their dancing, revelling in Nureyev’s bawdy pleasing line (both are tall, with long, el- egant limbs) who, crucially, are experienced and talented actors, able to project charac- ter and feeling. This lifted Nureyev’s over- complicated concept onto another plane al- together, bringing blazing emotion and dramatic focus to what can seem a little dif- fuse. They are welcome additions to what has become an exciting ensemble. Gerald Dowler

English National Ballet: “Romeo and Juliet”, c. Rudolf Nureyev (ph. L. Liotardo)

34 35 Sasha Waltz & Guests Festival in the Italian capital, demonstrates a up regardless of whether they are clad in chrysa- change of course; with the fourteen excellent lis-like skeins, SF skirts, see-through mini ar- dancers of her group, Waltz’s show was a lav- mour or coils of tulle. The choreography plays ish burst of choreographic flamboyance, a stage out between metallic mirror-like drapes which Sasha Waltz’s Eden exploration of the aesthetic, all-embracing no- function as shells for the dancers who, with tion of a supple body. In other words, hers is their intertwined movements, always seem to Kreatur – chor. Sasha Waltz, mus. Soundwalk a primordial or (as per the work’s title) be seeking contact with one another and an es- Collective “creatural” perspective. Kreatur’s Eden of cape from their bewitched containers. Rome, Teatro Argentina (for Roma Europa) gleaming nudity seems to want to summarise At times, suggestive elements rise up onstage, the genesis of mankind with the choreographer like the white wall which the dancers climb si- Today Sasha Waltz is not only the most ac- leaving behind her past tendency towards cold lently and arduously. This original universe is claimed of German choreographers, but also one abstraction and turning over turn over a new ever-changing, immersed in a magma of syn- of the most celebrated contemporary leaf by giving her dance greater plasticity, po- thesised natural sounds interwoven into the dancemakers on the international plane. In com- etry and sensuality. electronic music. Gushing water and the buzz posing she is rigorous and original and continu- The involvement of equal partners is fun- of insects, shrieks and song, repeated percus- ously seeks to explore the idiom. Among other damental here, in the sense that the show is, sive sequences, guide us in what is, implicitly, things, we must give her credit for having, at to all effects and purposes, essentially a team the tale of an embryonic humanity – a tale of the end of the last century, managed in her own product. The costuming is by Iris van Herpen, power and weakness, dominators and the domi- way to take her distance from the ultra-wide- the Dutch designer who devised looks for both nated, isolation and mass, destruction and re- spread patterns of Tanztheater à la Pina Bausch. Björk and Lady Gaga and who for Kreatur has birth. All of which cadenced by fights and bites, With her independent spirit and solid ground- invented skimpy, sculptural costumes inspired kissing, wild sex and acts of submission. ing, Sasha has often had a tendency in the past by organic forces: sturdy, dense and thick, digital At the climax of this journey a gigantic black to concentrate on highly-schematised castles technology mixed with a primitive taste, vi- hedgehog with huge spines (a female dancer in the air and on choreographic projects whose sionary and suggestive of the beginning or end wearing a fabulous costume), capable of wound- purpose was to celebrate new, monumental ar- of the world. Light designs are by Urs ing and crushing the others, breaks onto the chitectural structures. In parallel, she has been Schönebaum who has worked with artists such stage. The dancers pulsate, vibrate, trace un- committed to an in-depth exploration of music as Robert Wilson, Marina Abramovic, Micahel expected forms, seem tormented by devastat- scores (her rendition in dance of Schubert’s Haneke, Thomas Ostermier and William ing natural events, dissolve reverting to the state Impromptus was unforgettable) and the direction Kentridge. The music is by Soundwalk Col- of amoebae, then recompose themselves into of operas (her staging of Henry Purcell’s Dido lective, a band based between Berlin and New the nudity of harmonious beings, or so as to & Aeneas, with nymphs, undines and tritons York which features vocals by Patti Smith and be a part of the overall beauty. Each one im- dancing in a water-filled tank, was splendid). is steeped in anthropological/ethnological re- presses his/her special energy onto this tech- Waltz’s latest creation, Kreatur, premiered search. nically well-elaborated product, staged with last summer in Berlin and which later trium- For the entire 90 minutes of Kreatur, both delirious and magnetic elegance. phantly kicked off the autumn Romaeuropa the men and women are naked from the waist Leonetta Bentivoglio

Sasha Waltz and Guests: “Kreatur”. C. Sasha Waltz (ph. P. Tauro)

36 Lucía Lacarra, Josué Ullate – Ballet Víctor Ullate: “Carmen”, c. Víctor Ullate (ph. F. Marcos)

Ballet Víctor Ullate especially for his own company – Editor’s Note), first ballet rendition of Carmen was created pre- which after debuting in Vichy (France) was brought cisely in Madrid and pre-dated the libretto for to Madrid and afterwards taken on tour, is that Bizet’s opera. A similar phenomenon occurred in his Carmen the legendary character is not the also with other famous works; Don Juan and La Ullate and his Carmen notorious ‘femme fatale’ archetype. And it seems somnambule, to mention only two examples, in- to me that once again Ullate is repeating the mis- spired ballets (now lost) that were created be- Carmen – chor. Víctor Ullate, mus. Georges Bizet take he made in his Amor Brujo (“Love the Ma- fore the operas by Mozart and Bellini (Don and Pedro Navarrete. gician”), using the same outdated modus oper- Giovanni, La Sonnambula) which have instead Madrid, Teatros del Canal andi which is foreign to the subject. This time survived through the centuries. the result appears obscure and in certain parts It was Marius Petipa who, during his sojourn The first thing to point out about this new muddled; the characters hardly develop and the in Madrid and after having read the novella by creation by Víctor Ullate (the famous Spanish mood seems excessively akin to cabaret. Prosper Mérimée (published in 1845), came up teacher has always also been a choreographer, Looking back through history, we see that the with two successive versions of a ballet based

37 on the tragic story on the loves and death of the Emanuel Gat Dance the 2015 reworking of Gat’s Sacre (“Rite of cigar factory worker of Seville. Dance historians Spring”) that he originally created in 2004 bring- still speculate on these ballets, which are men- ing out an aspect of Igor Stravinsky’s epony- tioned by Petipa himself in various writings of mous music that has not usually been appar- his, but of which little more than the titles have Gat’s Sacre: alone ent in the numerous choreographic readings of come down to us: Carmen y su toreador and Una together the score: its roundness. How? By using the tarde de la salida de los toros. whirling steps of salsa dancing and the switching But to get back to Ullate’s creation, one notes Milena & Michael – chor. Milena Twiehaus, of hands and partners, with the propulsive thrust his use of ballet technique in relation to the style Michael Loehr; Sacre – chor. Emanuel Gat, mus. of the dancers’ arms that form the typical ruedas of the opera. And in this regard I cannot but praise Igor Stravinsky de casino chains. the stage presence and prowess of Ullate’s dancers, Vignale (Italy), Piazza del Popolo (Vignale It is worth noting that the dancers, includ- qualities that persist even when placed at the service Monferrato Festival) ing Milena, Michael and Emanuel, are in odd of flashiness and (now and then) superficiality. numbers, thus making the various numerical Rather than a “contemporary ballet” style per This gaunt duet featuring Milena Twiehaus combinations and sequences, performed on a se, what we have here is a slackening of the idiom. and Michael Loehr (both longstanding perform- red carpet at centrestage (where they come and In Carmen Ullate is inspired by a particular Cen- ers of Emanuel Gat to whom we owe the di- go), all the more thrilling. tral European current that emerged in recent dec- rection, light designs and music) is an intense One is alone even when one is together: the ades – yet he fails to really slip into it. gestural dialogue, initially from a distance and choreographic design cleverly conveys the con- I found it hard to recognise the master and crea- then close-up when the two mutually infringe cept that Gat detects in the music – a score tor who in the past successfully gave shape to a on one another’s space and, then, come into that constitutes a huge challenge for whoso- true Spanish contemporary ballet, rooted also in conflict. The minimalist flesh-coloured costumes ever wishes to render it in dance. its national traditions. Instead, this Carmen has they have chosen enhance the quality of their Elisa Guzzo Vaccarino too many assorted and alien ideas, from Roland meticulous and well-honed movements, precise Petit to Alberto Alonso (authors of the two most in form and fiery in substance, sculpted in Eastman famous Carmen ballets). space. Roger Salas Coupled with this quality opening piece was Cherkaoui and power

The unusual figure of 48-year-old Emanuel Gat stands out on the very rich Israeli dance Fractus V – chor. Sidi Larbi Cherkaoui, mus. horizon of today. Gat approached dance fairly late on, when he was already 23 years old. Shogo Yoshii, Woojae Park, Sidi Larbi He trained in Israel and began to work as an independent choreographer in 1994, drawing Cherkaoui, Johnny Lloyd, Soumik Datta. his inspiration from the principles of American post-modern dance. Ten years later he Rome, Auditorium Conciliazione (for founded his own company at the famous Suzanne Dellal Centre of Tel Aviv, before moving RomaEuropa) to France in 2008 and settling at Istres (near Marseilles). After a number of successful works (Voyage d’hiver and Le Sacre du printemps), he continued to make an impact with A new chapter in Sidi Larbi Cherkaoui’s var- Winter Variations and Brillant Corners. His works for MontpellierDanse, Plage romantique ied choreographic and creative adventure, and Sunny, have made him one of the hip choreographer on the French contemporary dance Fractus V was offered as one of the salient events scene. He is also a musician (often composing music for his own choreographies), as well of the 32nd edition of the RomaEuropa Festi- as a photographer. val and performed to acclaim (with ovations that bordered on stadium cheering). Cherkaoui has been well-known and loved Emanuel Gat Dance: in the Italian capital ever since he presented “Sacre” (ph. J. Gat) Foi at the Teatro Valle in 2003 and has, since then, regularly guested at the Romaeuropa Fes- tival; for five years (2010-2015) he was also the artistic director of the Equilibrio Festival at the city’s Auditorium/Parco della Musica. A dancer/choreographer with a dual cultural background (Belgian on his Flemish mother’s side and Moroccan on his father’s) that he has always placed emphasis on, Cherkaoui was ar- tistically born and moulded (both as a performer and as a dancemaker) in Alain Platel’s “Bal- lets C. de la B.”. From Platel he derived his multicentric and – in a certain way – “com- munity” visions of creation, a philosophical bent and a tendency (which he personally ac- centuated) to encompass in his composition idiom techniques, vocabulary and stylistic fea- tures taken from the experiences of the danc- ers with whom he happened to be working. In this sense, Fractus V exemplifies to per- fection where he is coming from: in a dense and fast-moving work lasting just over an hour, Cherkaoui gathers together five solid, talented but diversely-trained male dancers – all of whom strongly-influenced by the hip-hop tech- nique and tradition – and a quartet of excel- lent musicians (placed on the sides of the stage)

38 39 who team up with the dancers for some of the Compañía Manuel Liñán songs. On a screen at the back we see contrast- ing images of painful migrations and illusionary optimism, as well as texts (some of which re- cited) by philosophers Noam Chomsky and Alan Men in skirts Watts. Considerations – especially those by Chomsky – on the nature of power and the in- Nómada – chor. Manuel Liñán, mus. Víctor struments that power has of coercing the masses; Márquez “El Tomate”, Francisco Vinuesa in our times, basically by switching the exer- Turin (Italy), Piazzetta Reale tion of power from force to thought-condition- ing through propaganda. The so-called bata de cola is the train of The performers come from ten different parts flounces that traditional flamenco dancers know of the world – including Japan, Korea and Congo how to sway and bounce around with extraor- – and the productions of Eastman, the name of dinary skill, so as to broaden and elongate the Cherkaoui’s Antwerp-based company, are sup- lines of their sinuous movements. These days ported by eleven cultural institutions (nine Eu- there’s also a man who’s extremely good at ropean, one Canadian and one American). bringing to life both this skirt extension and The essential characteristic of Fractus V is the fringed silk shawl – known as the mantón this molecular multiculturalism; it is almost a de Manila – that swirls and whirls when the digest of all of Cherkaoui’s previous dancers spin around. experimentations which, however, develops – It is with great virtuosity that Manuel Liñán, as is typical in his work – not as a simple as- who belongs to the new generation of Spanish semblage but is based on his strong sense of flamenco, has appropriated himself of these responsibility as a choreographer who composes weapons of seduction, managing to develop a work with unmistakable traits: harmony (in them into explosive Dionysian movements that spite of the considerable diversity of the con- make us oblivious to his stocky build. There’s Manuel Liñán: “Nomadas” tributions), an almost calligraphic meticulous- no doubt that his performance is the highlight (ph. P. Villalta) ness in constructing the interaction between the of Nómada, but his group is a high-quality one, performers, imagination in devising the passages. both when it comes to dancing and to the live Above all, Fractus V is coherent with the po- cante that vibrates with warm shades and to- etic world of this author who has up until now nalities. Ballet Preljocaj explored distant worlds – from kathak to fla- Interesting to note that he has added to the menco, to the martial arts of Shaolin monks – soundtrack Tanguillos de la Guapa de Cai sung while remaining ever-faithful to his own mild by the legendary Lola Flores, the portrait of a vision which has a rich potential of hybridised woman of character, certainly an icon for the Preljocaj’s R&J, a classic solutions, applicable both to dance and to life. excellent Liñán. Donatella Bertozzi Elisa Guzzo Vaccarino Roméo et Juliette – chor. Angelin Preljocaj, mus. Sergei Prokofiev, Goran Vejvoda Turin (Italy), Teatro Regio (for TorinoDanza) Eastman: “Fractus V”, c. Sidi Larbi Cherkaoui (ph. F. Van Roe) Commissioned by the director of what was then called the “Lyon Opéra Ballet”, Yorgos Loukos, Angelin Preljocaj’s Roméo et Juliette, created for that company in 1990, was revived for the larger Ballet Preljocaj in 1996. The name of the work itself is indicative of the French- born choreographer’s intention to build up a rep- ertory, on a large scale and “neo-ballettic” in style. 60-year-old Angelin Preljocaj, who is himself of Albanian descent, worked on this ballet with collaborators of Eastern European origin: Godan Vejvoda, who provided the electronic add-ons to Sergei Prokofiev’s score, and Enki Bilal, who designed the sets (a wall and watchtower and the dark setting that seems straight out of a comic strip for adults). Prejocaj tells the tale of an impossible love between a ruling class girl and a homeless boy in one of those satellite Iron Curtain countries that were strongly influenced by the Soviet Union after World War II. Juliet has no parents or hus- band-to-be, only a despotic brother; the boys don’t fight duels but brawls; no poison phials but instead poisoned red robes for Juliet to fake her death – leading the unwitting Romeo to com- mit suicide and the broken-hearted Juliet to slit her veins. Almost twenty years have gone by since the début of this remake which caused quite a sen-

40 41 Ballet Preljocaj: “Roméo et Juliette”, c. Angelin Preljocaj (ph. J.-C. Carbonne) sation on account of its jagged movements, al- mostly because they have been overused and mis- of a disavowal of their origins, today they of- most “abstract” during the ensemble scenes, of used for decades by countless other choreogra- fer a well-defined choreographic product. its emphasis on class conflict rather than fam- pher. Today Roméo et Juliette comes across as a We must bear in mind that today’s young crea- ily feuds, of its black costumes for the baddies highly classic piece in composition, also because tors, both as far as dance and other arts are con- in the gang, and of the sensual pas de deux. Which the steps rest precisely on the music which, in cerned, put a lot of effort into selecting their are the best and most compelling part. turn, adheres very closely to the action. material and forms. The ever-growing and in- These days Preljocaj – whose “choreologist”, But perhaps this is precisely Preljocaj’s ob- evitable bombarding of information, from the web Dany Lévêque, meticulously notates his works jective: to become authoritatively “classical” us- and other media, presents a serious artist with – offers his Roméo et Juliette as a repertory work ing his personal idiom, style and hallmark. the problem of having to synthesise; while this of the company that bears his name, thereby Elisa Guzzo Vaccarino already existed in the past, youthful restless- competing with the more famous versions of ness of today must, in addition, cope with a this ballet, from to Kenneth Kor’sia saturation of stimuli, some of which of a so- MacMillan and Rudolf Nureyev. cial/political nature. Re-watching this milestone work of Preljocaj’s Indeed, Human deals with human rights and career triggers a number of observations: the the Universal Declaration (UDHR) of 1948 in repetitious choreographic phrasing and the idea Look out for those three an artistic video screened to music from a Bach of having multiple dancers perform it, which Cantata which results in an unexpected contrast- made a considerable impact in 1990 as one of Human – chor. Mattia Russo, Antonio De Rosa, ing effect. And then there is a boxing match in the novelties of Preljocaj’s choreography and mus. various which one of the two contestants has the Stars dramaturgy, have lost some of their punch, Madrid, Teatros del Canal and Stripes sewn onto his shorts, his opponent the Italian flag. The ring is a fighting arena where The three founders and members of the Ma- light and semi-darkness alternate. Mattia Russo, Antonio de Rosa – Kor’sia: drid-based “Kor’sia” group are all Italians: Mattia The dancing harkens back to Kylián, Kurt “Human” (ph. M. Alperi) Russo, Antonio de Rosa and Giuseppe Dagostino Jooss’ Green Table and the dynamics of Forsythe (and all three are 29 years old). Until quite re- during his “deconstructivism” years. There are cently, the former two belonged to Spain’s many good ideas, although they still need to be Compañía Nacional de Danza, while Dagostino channelled into a clear and homogenous stream. is a member of the Ballet de Lorraine, in France. For this work Kor’sia called in students from Basically, the “company” is constituted by Madrid’s dance conservatoire to fill up the stage the three above-named, with a handful of guests and increase the choreographic possibilities and, in the various shows; it is the vehicle through notably, Compaña Nacional de Danza dancer which the three discover their own personal ex- Agnes López Río, a faithful collaborator of the pression, a process that began when they were Kor’sia trio who here embodies a surrealist-type very young and while they were demonstrat- character. Look out for these artists; their ex- ing their excellent dancing talents. perience demonstrates how utterly contempo- Human, the show I recently saw in Madrid, rary intentions and creations can actually spring is made up of the different segments of their from an “academic” experience. discovery. Having gone through various stages Roger Salas

42 Ballet Nacional de Cuba

The True Body of Alicia

Magia de la danza – chor. Alicia Alonso (from the classical repertory), mus. various Ravenna (Italy), Pala de André (for Ravenna Festival)

The more patient readers of BALLET2000 won’t be surprised to find yet another review of a show by the Cuban National Ballet; they are only too well aware of my shameless ad- miration for Alicia Alonso and her creature, the National Ballet Company and School of Cuba (BNC). The great ballerina is Cuban by birth but ab- solutely global as far as fame and career are con- cerned: both of which began in New York and unfolded over an incredible time span at the helm of her company as it toured the world over or as she guested personally at the topmost theatres; Alonso is now declaredly approaching the age of one century. And her life continues to be the very life of her company, the latter being her true body, consubstantially so. Each step taken by the more than one hundred dancers of the BNC, each sty- listic trait, each minute of the repertoire, originate directly from Alicia Alonso, from her work, her authority, her superhuman determination to be. Rafael Quenedit – Ballet Nacional de Cuba: “The Sleeping Beauty”, c. Alicia Alonso The show in question was a wonderful an- (ph. Z. Casadio) thology of the company’s classical repertoire, consisting of long excerpts also for the ensem- spired and exemplary Giselle, with her partner zine does so) is Rafael Quenedit, heir to many ble (i.e. not a “gala” made up of pas de deux) Dani Hernández, an elegant product of the es- marvellous Cuban dancers of the recent past and from Giselle, The Sleeping Beauty, The Nut- sential Cuban School established by Alicia to- who carries forward a “new” aesthetic (one thinks cracker, Coppélia, Don Quixote and Swan Lake, gether with Fernando Alonso (a great ballet mas- of José Manuel Carreño) of elegance and mod- all danced according to the choreographic ver- ter who later moved to Camagûey, the home-city ern masculine handsomeness. sions by Alicia Alonso. In other words, the quin- of this fine dancer). Many others deserve at least a mention, from tessence of the Cuban style which it is seem- . Then there was Sadaise Arencibia who, com- Claudia García to Grettel Morejón, from Raúl ingly easy to define as having a Russian-American pared to the Cuban type, is an original dancer Abreu to Patricio Revé. academic base (not a Soviet one, mind you, this on account of her long (one might say “mod- They all came together in Sinfonia Gottschalk, being a widespread misconstruction among the ern”) lines, but is solid and stunning in Beauty. choreographed some years ago by Alonso her- non-cognoscenti), “coloured” by Latin tempera- Not to mention the famous and, fortunately, ever- self to a score by 19th-century American com- ment and hand-drawn by a great artist who has present, , the troupe’s star poser Louis Moreau Gottschalk who became been a model for generations of dancers of the thanks to her impeccable, virtuoso and musical popular also for his vivacious use of the motifs cuban school. But a handful of words cannot technique and of her stage exuberance and cha- and rhythms of Creole and South American suffice to define her work that has been build- risma. music. The ideal, firecracker finale for a com- ing up over several decades. BALLET2000 has Undoubtedly worth noting among the young pany that is so classical and so Cuban. tried to do so a little more accurately, with lights dancers (and it isn’t the first time this maga- Alfio Agostini and shadows, with each review of the BNC, both in Cuba or on tour. Ballet Nacional de Cuba: “Swan Lake”, c. Alicia Alonso (ph. A. Cannatello) The Ravenna Festival did very well to host this (as I have already said) highly-anthological show during the BNC’s recent European tour (and which, we note, is one of the first to take place without the presence of the great Alicia in person). It was above all an occasion to update our knowledge of the state of the company whose dancers are continuously being bolstered by new recruits coming in from a school that seems like a bottomless reservoir. Having to be exactly that so as also to compensate for those dancers who – albeit without resorting to the dramatic de- fections staged by previous generations – pre- fer to pursue their careers elsewhere in the world. Shining among the BNC’s well-oiled and well- known treasures were Anette Delgado, an in-

43 Het Nationale Ballet

Ode to Hans van Manen

Chor. Hans van Manen: On the move – mus. Sergei Prokofiev; Symphonieën der Nederlanden – mus. Louis Andriessen; Sarcasmen – mus. Sergei Prokofiev; 5 Tangos – mus. Astor Piazzolla Amsterdam, Muziektheater

The celebrations for the 85th birthday of Hans van Manen are in full swing at Het Nationale Ballet. After the successful perform- ances with a selection of his ballets in the re- cent Montpellier Danse Festival, reviewed in this magazine, the Amsterdam-based company opened the 2017/18 season with another beau- tiful Van Manen homage, aptly titled Ode to the Master, reviving four works from the cho- reographer’s rich legacy. Later on Van Manen will create a new piece for Het Nationale Bal- Candoco Dance Company: “Face In”, c. Yasmeen Godder (ph. H. Glendinning) let, to be premiered in the Dutch Doubles bill in March. Ode to the Master was a well-balanced pro- Candoco Dance Company pleasurable but also confirms that good danc- gramme, mostly upbeat, covering a period of ing is alive and kicking and relevant. And also no less than 40 years of creativity, with the that it can be handed down faithfully, co- more substantial works On the move and 5 herently and with sentiment. Tangos framing two shorter pieces, Candoco’s edge As far as the Candoco Dance Company Symphonieën der Nederlanden and Sarcasmen. is concerned, this is thanks to “Brownian old Much of Van Manen’s work seems to belie Face In – chor. Yasmeen Godder, mus. The faithful” Abigail Yager. its age, in fact not unlike the man himself. Brandt Brauer Frick Ensemble feat. Emika- The aesthetic coherence of this work – a True, one can argue about his ideas related to Pretend; uniformity of thought and taste – produces the relationship between the sexes in some Set and Reset/Reset – chor. Trisha Brown, a perfect result, both visually and acousti- of his choreographies. But Van Manen also mus. Laurie Anderson cally. Robert Rauschenberg’s elegant grey offers a hopeful cure for the neurotic and de- Turin (Italy), Teatro Carignano (for designs for the scenery and gossamer cos- pressing, essentially anti-human trend in so TorinoDanza) tumes combine well with Laurie Anderson’s much contemporary dance. gripping music and Trisha Brown’s airborne The success of the Ode to the Master At this moment in time when we are aware and flowing choreography. evening was in no small measure due to the that the contemporary dance “opus” is in This is all the more striking when danced short supply – as opposed to studies, hy- by a special company like “Candoco” which brids, works in progress, multidisciplinary groups disabled dancers together with non- Below: Het Nationale Ballet: “Symphonieen research – to have been able to see Set and disabled ones, all of whom capable of per- der Nederlanden”, c. Hans Van Manen Reset (1983), a gem-opus by the lately-la- forming Set and Reset’s wave movement, from (ph. H. Gerritsen) mented Trisha Brown, is not only highly wings to centrestage , oblivious to any pos- sible impediments they may have in deliv- ering an accurate rendition of this masterpiece of postmodern American dance. As openers, the Candoco Dance Company Dance and disability is one of those also performed Face In, a “wicked” work by current, “politically correct” themes. In Yasmeen Godder who is notoriously fond of this sense, the Candoco Dance harsh, rough and extreme movements. For Company has been avant-garde. Founded Candoco this Israeli choreographer has grafted in London back in 1991, it includes much colour and action (including assaults disabled dancers and non and centres its and biting) on to some lively indie music. aesthetics and philosophy around a Crutches and wheelchairs thus become props different vision of dance. Throughout the that add grit to the piece. years, the company has danced works Moreover, Face In brings out the tempera- by various prominent choreographers ment of each dancer and emphasises the spe- who have either created or revived cial traits in their personalities and the way previous pieces for them; these inclu- they move. The drive to dance is extremely de: Trisha Brown, Yasmeen Godder, impelling in the single dancers, couples and Jérôme Bel, Nigel Charnok, Stephen group and the spectators lap it up, delighted, Petronio, Rafael Bonachela and Javier de troubled and seduced at the same time, in a Frutos. Charlotte Darbyshire and Ben vortex of physical recklessness that keeps Wright have been at Candoco’s helm us with bated breath. since last June. Elisa Guzzo Vaccarino

44 skill and obvious dedication and relish of the yet not a dull moment in sight. Just like Vito Mazzeo in the leads. whole company performing this – in many Piazzolla upgraded traditional tango, van And, finally, what joy to see the master ways their – repertory. Musical accompani- Manen shook off dance conventions for an himself, nimbly taking a bow at the end of ment was equally topnotch, bringing the works energetic and playful cocktail instead of the the evening and greeted by a standing ova- alive in a fresh, vibrant and exciting manner. obvious Latino ballroom folklore. Again, it was tion. Happy birthday Hans van Manen! What is so pleasing about Van Manen is superbly performed by Igone de Jongh and Marc Haegeman that his choreographies are informed by a clar- ity and intelligence, allowing the audience to imagine what he expresses with his dance. He doesn’t need the usual windy programme ver- biage which compromise so many creations. He just lets the dance speak, often with witty accents and surprising twists, and always keeping a close watch on the score. Musical- ity is one of Van Manen’s trademark quali- ties. It subtly underpins his steps and move- ments, at times closely tied to the musical line, then again taking a distance and following their own course. This subtle play with the score is very ob- vious in the masterful On the Move (1992), originally created for Nederlands Dans Theater and making its Het National Ballet première here. Using Prokofiev’s Violin Concerto No. 1 we follow 14 dancers in a seamless swirl of ensemble work and duets. Two couples re- peatedly come to the fore with striking plas- ticity and glances, as if propelled by the move- ment of the group, yet contrastingly only the first couple (in red) somehow manages to break free. Music also guides the meticulous parading in the jazzy and tongue-in-cheek Symphonieën der Nederlanden, created for Amsterdam as European Capital of Culture in 1987 with mu- sic by Louis Andriessen. The teasing and pleasing duet Sarcasmen (1981), set to Prokofiev’s piano pieces, hasn’t lost any of its sharp irony, especially when danced with such conviction as by Floor Eimers and Jozef Varga. And who wouldn’t want to see the bril- liant 5 Tangos (1977) again? Forty years old,

Right side: Marijn Rademaker, Igone de Jongh – Het Nationale Ballet: “Sarcasmen”, c. Hans Van Manen (ph. H. Gerritsen)

45 Miami Festival, against the winds and tides The 22nd International Ballet Festival of Mi- ami took place under heroic conditions with Florida having recently been devastated by hur- ricanes. But the tenacity of its director and the commitment of all of the artists involved man- aged to pull it off. “Against winds and tides” may be a figure of speech but one that did indeed materialise at the end of last September, at the 22nd Interna- tional Ballet Festival of Miami (staged in vari- ous theatres around Miami, with a gala presen- tation held just a stone’s throw from New York). The festival was in jeopardy as it was encir- cled by hurricanes (Irma & Co.) – which led to the original dates being cancelled. Natural ca- lamities aren’t covered by insurance but festi- val founder and director Pedro Pablo Peña and his staff were able to weather the financial losses Nicole Graniero, Jorge Óscar Sánchez – Washington Ballet: “Le Corsaire” (ph. S. Soong) and enormous logistical setbacks thanks to the goodwill and support of the artists, none of whom failed to show and all of whom gave their Vincenzo Di Primo, who have been with ABT Florida (with Venezuelan prima ballerina May best. and are currently with the Polish National Bal- Carmen Catoya), Dimensions Dance Theatre of The audience that filled the Union City Per- let, presented their own well-structured cho- Miami and Cuban Classical Ballet of Miami. forming Arts Centre (New Jersey) enthusiasti- reography to music by Vivaldi. The performance given by two dancers from cally applauded the gala programme made up It has always been a criterion of the Miami Washington Ballet, Nicole Graniero and Jorge of classical and contemporary pieces danced by Festival to feature artists who are seldom seen, Óscar Sánchez, can truly be defined “stellar”. a multitude of guest dancers. Shining among them such as a couple from the Ljubljana Opera House Sánchez is actually the company’s most promi- was one of Ballet Nacional de España’s fore- (Slovenia), Tjasa Kemetev and Petar Dorcevski, nent dancer; of Cuban origin, he left Cuba a few most dancers, Sergio Bernal, noted for his abil- who danced a stirring duet to music by years ago and ventured alone into the wide world ity to communicate and the litheness of his so- Rachmaninov. A touch of elegance was brought and into the world of dance. Today he is a name phisticated ‘baile’. in by Oksana Maslova and Sterling Baca of Penn- worth noting; athletic and poetic at the same Paris Opéra étoile Delphine Moussin was sylvania Ballet (now directed by Ángel Corella) time, virtuoso but with a highly personal dra- much admired in a solo from Madame Bovary in the The Sleeping Beauty pas de deux; these matic approach, Sánchez has always had his own by choreographer François Mauduit, to music two truly remarkable dancers demonstrated as- special way of tackling technical intricacies while by Richard Strauss. Virna Toppi and Massimo surance and ease in Petipa’s famous and diffi- remaining calm, cool and collected. Garon, a couple from La Scala, Milan, danced cult choreography, rightly considered the zenith This year’s recipient of the Festival’s “A Life an excerpt from Le Papillon, an old ballet origi- ‘par excellence’ of the classical ballet repertory. for Dance” Lifetime Achievement Award was nally created by Maria Taglioni and re-choreo- The young Baca catches the eye with his fine Brazilian ballerina Cecilia Kerche, presently the graphed in modern time by Pierre Lacotte at the and noble stage presence. director of the ballet company of Rio de Janei- Mariinsky Theatre of St Petersburg. This piece On account of this year’s calamities, only the ro’s Theatro Municipal and an artist of great is extremely difficult on account of its subtle festival’s final evening was held at the Miami merit who has had a laudable career in Europe technique and refined style. Dade County Auditorium; three Florida-based (especially Stuttgart and Munich) and America. Two other Italian dancers, Rinaldo Venuti and companies were featured: Art Ballet Theater of Roger Salas

Virna Toppi, Massimo Garon – La Scala Ballet, Milan: “Le Papillon”, c. Pierre Lacotte Delphine Moussin: “Madame Bovary”, (ph. S. Soong) c. Francois Maudiut (ph. S. Soong)

46 47 BalletTube

This column compares a selection of videos of the same piece danced by different artists. This time, we take a look at the “Balcony pas de deux” from “Romeo and Juliet” by John Cranko. The videos mentioned can be found on YouTube channel: magazineBALLET2000 The impalpability of Juliet

In scouring YouTube for various videos of the “balcony pas de deux” from John Cranko’s Romeo and Juliet, we notice how limited the selection is if one wishes to draw comparisons between the various Juliets in this key scene of the bal- let. By contrast, one can scroll down a long list of videos of the “balcony pas de deux” from Kenneth MacMillan’s Romeo and Juliet, his ballet being, after all, much more extensively danced than Cranko’s. Some would add: undeservingly so. Limiting ourselves to examining the duet in question we can say that both choreographers indulge generously in audacious lifts, thereby giv- ing the scene a special “airborne” quality charac- terised by the bursts, impetus and abandon sug- gested by Prokofiev’s music. But whereas MacMillan plays on the chiaroscuro contrasts and on a quality of dance that alternates flowing movements with statuesque poses, on the con- flict of energy (I mean the partnership interac- tion), thereby intentionally creating a truncated, tormented and winding phrasing, Cranko’s pas de deux flows smoothly and seamlessly (despite the complexity of the portés and the use of space

Marcia Haydée, Richard Cragun – Stuttgart Ballet: “Romeo and Juliet”, c. John Cranko (photo F. Leemans, 1988)

with multiple changes in direction); he conveys the other hand, emerges fully in the old video a sense of brightness and gentleness, almost one with Marcia Haydée and Richard Cragun (1973). of enchantment, in contrast with MacMillan’s Cranko’s great muse is measured in her every stage realism (an essential feature of the Scottish movement, with each gesture devoid of actor-like choreographer’s style). This faerie-like quality of emphasis and no showing off of technique; she Carla Fracci Cranko’s is, incidentally, extremely Shakespear- renders the intimate quality of movement by being ean. All of which isn’t to say that I believe Cranko Juliet from within. The impression is that the to be better than MacMillan: though at first sight corporeality of the dancing dematerialises and dis- these pas de deux aren’t all that different, in ac- solves in a dreamlike vision. tual fact they are the result of highly different In this sense, Carla Fracci is incredible and we aesthetics and choreographic notions; and I be- can see her on the Internet in Cranko’s ballet, lieve that if viewed in relation to such aspects, dancing the role of teenage Juliet at almost sixty both of them reveal beauty in their own right – years of age, partnered by Gheorghe Iancu (N.B. albeit a different kind of beauty. not to be confused with the numerous videos in But I’d like to focus on the Cranko ballet here, which Fracci dances the Rudolf Nureyev ballet, the comparison with MacMillan serving merely which comes across more as boxing match than Marcia Haydée to draw out the specific qualities of the Stutt- a piece of choreography). Although Fracci brings gart choreographer’s pas de deux; I’d also like to her grande tragedienne quality to her Juliet, she look at how the aforesaid qualities are rendered appears disembodied and the entire balcony scene by the dancers. ends up by having such a splendid etherealness In videos with Alicia Amatriain or Polina that it appears otherworldly. The atmosphere has Semionova we note the precision of the two bal- the same soft and charmed intangibility, one might lerinas’ dancing which is vigorous, even athletic venture to say, of Shakespeare’s own text (which (a dreadful word, yet apt), their legs are high and can, for example, be seen on YouTube in the bal- their cambrés breathtaking, they both take rel- cony scene from the Franco Zeffirelli film where ish in “acting” out their character: ah, the legen- Shakespeare’s verses are spoken by Olivia dary Juliet! But we are only partially able to ap- Hussey). Such is the Carla Fracci miracle. Alicia Amatriain preciate the lyricism of this pas deux which, on Cristiano Merlo

48 MultiMEDIA

WEB

The internet, sadly, is a carrier of the most obscurantist fanaticism; but can it also open up minds? Sometimes. This is what has hap- pened with the photos, articles and videos concerning the umpteenth case of backward/ fanatical prejudice that needs to be fought and won over with the weapon of art. The point in case is that of 26-year-old Syrian-Palestinian Ahmad Joudeh, unswerv- ingly passionate about dancing and, conse- quently sentenced to death by the Islamic State. Yet he has fearlessly had Dance or die tattooed on his neck and has gone from teaching war-orphaned and handicapped children in Damascus to Het Nationale Bal- let in Amsterdam. Thanks to an initiative by the Dutch Na- tional Ballet’s artistic director Ted Brandsen – who is committed to raising funds for Syr- ian refugees – Ahmad is now finishing his studies in The Netherlands with a view to embarking on the career he always dreamt of in spite of thrashings from his father who considered having a male son dancer an in- tolerable shame – to the point of divorcing from the boy’s mother and kicking Ahmad out of his home. In the meantime, Ahmad has already danced a small part in Coppélia. Ahmad’s salvation came from Europe just when he feared he was going to have to un- dergo three years of military service, and goodness knows how much torment. At the time he was working to support his mother and brother while, at the same time study- ing with the Enana Dance Theatre, a mod- ern folk dancing group named after the god- dess of beauty, and at the Higher Institute for Dramatic Arts in Damascus, as well as also creating some choreographic pieces for the city’s Opera House. The turning point came thanks to a Dutch Photos (top) Ahmad Joudeh dances on the stage at the Roman Theatre, Palmyra, Syria. documentary which showed him dancing on (Above) Joudeh again, Place du Trocadéro, Paris. rubble at Yarmouk, the Palestinian refugee camp where he grew up (and where five of his relatives were killed by a car bomb) and “sad/happy” story that hits the news, a What happened to her? Where is she bur- under the scorching sun in the amphithea- Cinderella/rags-to-riches tale that has gone ied? tre of the magnificent ancient ruins of global. A story of individual success that Camille Laurens, author of (to name two Palmyra devastated by ISIS. Brandsen has triumphed over endless social/political/ other titles) Dans ces bras là (winner of the watched the video, was moved by his story, cultural/sexual prejudices. Prix Femina 2000) and Celle que vous croyez and invited Ahmad to Amsterdam. Will we all be able one day to feel se- (2016), asks these questions about the model “When I dance I feel free, I feel like a king. renely “normal” in our diversity, whether of Edgar Degas’ ultra-famous sculpture La I must now work hard to show that I deserve gender or vocational, without having to flaunt Petite Danseuse de quatorze ans (“The Lit- the chance I’ve been given”, says the indomi- or hide our “otherness”? Without this be- tle Fourteen-Year-Old Dancer”) which also table dancer who, after 11 years, has also met ing newsworthy? That would indeed be the gives its name to this book. up again with his father now living in an asy- ultimate fairytale. An essay accompanied by a thorough, al- lum-seeker centre in Germany. The hatred is E.G.V. most obsessive investigation, leads to a gone. The dancer son and musician father (who number of questions about the young girl who used to play the Arab lute, or oud) are once Books posed for Degas. more on speaking terms. Her real name was Marie Geneviève Van The video which turned Ahmad Joudeh’s Goethem, her parents were Belgian (her fa- destiny around can be found on YouTube La Petite Danseuse de quatorze ans – by ther was a tailor, her mother a laundress) and by typing in his name. Camille Laurens – Éd. Stock she was born in Paris on 7 June 1865. She And so, yet again, we tell and share a Who was she? Where did she come from? had two sisters, Antoinette and Louise-

49 The family was not only cursed with pov- Mark your calendars: Exhibition Degas erty, but had the additional misfortune of hav- Danse Dessin. Un hommage à Degas ing three daughters. Hence, as was a custom avec Paul Valéry. 28 November 2017 – in those days, Madame Van Goethem en- 25 February 2018. Musée d’Orsay Paris. rolled them at the Paris Opéra Ballet School. Don’t miss the series of conferences, Thus they became “petits rats” (little rats) films and workshops connected to this or “marcheuses” (walkers) because “they exhibition. would pass their time executing steps, ini- tially in the rehearsal studios, then onstage where they would only set foot when they Camille Laurens asks herself: “What is there were about thirteen or fourteen.” behind those closed eyes, beneath her child- Marie debuted in La Korrigane, a ballet like chest?” When, in the course of her in- in two acts, at two francs a day. That was vestigation, the author read in the Paris always better than the wages of a textile Opéra’s accounting register that Marie was worker, but not enough to emerge from pov- dismissed in May 1882 and that she earned erty. There were only two possibilities: pros- 71.25 francs a month (net), she deduced that titution or posing for painters – which some- the posing sessions for Degas (which were times were one and the same thing. But Marie better paid) must have undoubtedly been the was fortunate, Monsieur Degas was chaste, reason why the eponymous Little Dancer a Jansenist and a misogynist. missed her ballet rehearsals and was even- Nevertheless, the wax statuette exhibited at tually sent away. the Salon des Indépendants in 1881 caused a After which, one loses track of her. No hullaballoo. It was given all sorts of names – burial, nothing. The mystery continues. The like “Ugly” and “la Petite Nana” – and the eyes of the sculpture remain closed, linked dancer was compared to “a monkey” and to those of Degas who became blind towards mocked for having a face marked by “deep the end of his life. vice” and “criminal features”. Degas went away At the end of her investigation Camille with his sculpture tucked under his arm. It Laurens reveals that as a child she took clas- Joséphine. Of the three girls, it was Louise- was only after his death in 1917 that twenty- sical ballet lessons, has always had a pas- Joséphine who was the luckiest. She became two bronze repetitions were cast of the wax sion for dance and had trouble tearing her- a teacher at the Ballet School of the Paris statue. Disseminated in several museums, the self away from her character – as we did from Opéra where her pupils included future étoile Little Dancer continues to hold the fourth her book. Yvette Chauviré. position, her hands joined behind her back. Martine Planells

50 Film Lisa Kraus is categorical: “Notation? Ri- diculous. Movement, in a work by Trisha, takes place inside the dancer; how can one Transmitting Trisha Brown write it down?” If one rules out notation, that leaves only Dans les pas de Trisha Brown – Glacial dancer-to-dancer transmission. Kraus and Decoy à l’Opéra – a film by Marie-Hélène Lucas are there for that purpose, to pass Rebois – Production Kaléo Films along that which their bodies haven’t for- Rehearsing in studio in front of the cam- gotten. The memory of Glacial Decoy that era, the Paris Opéra dancers take deep Kraus danced at its creation and Lucas per- breaths and follow Lisa Kraus’s instructions: formed later on, when she joined the com- “Relax… Today you must feel your pany in 1984. Here they are at work to defy weight…” It isn’t easy to switch from the the law of gravity and ignore weight, just classical approach that has moulded their as Brown taught them. bodies, to the flowing and “liberated” style “A jump isn’t a ‘letting-go’ that leads no- of a work by Trisha Brown, the grande dame where…” Often, during the rehearsals, it’s of post-modern dance. And yet it all looks clear that the Opéra dancers find all this so simple when we see how Lisa Kraus, who hard. As Lisa remarks: ”It’s not easy to is steeped through and though in the Ameri- change one’s habits and combine these two can choreographer’s idiom, moves. approaches.” Lisa Kraus and Carolyn Lucas, both danc- When this film was being shot the cho- ers of the Trisha Brown Dance Company, reographer, whose memory was beginning Scenes from documentary were at the Opéra to coach a new generation to wane, wasn’t present (she died on 18 “In the Steps of Trisha Brown” with Lisa of dancers in the emblematic Glacial Decoy March 2017, aged 80). But we see her in Kraus and Carolyn Lucas (a work without music from 1979) for its 2013 period films like Man Walking Down the Side revival. (Glacial Decoy had already entered of a Building where a performer does ex- the Opéra’s repertoire back in 2003). actly that (1970). The recounting of a child- – in silence, in front of the photos and with Handing down choreography: this is what hood memory of Brown’s, when she used all the performers in Robert Rauschenberg’s fascinates director Marie-Hélène Rebois who to live at Aberdeen (on the USA West white costumes. “Almost tutus”, comments has already made two documentaries on cho- Coast), explains her affinity with the world Lisa Kraus with simplicity, thereby dem- reographers Dominique Bagouet and Merce of birds. onstrating that the transmission has taken Cunningham. How can a work of dance con- And it is birds who put in an appearance place, poetically. tinue living without its choreographer? at the stage rehearsal at the end of the film Martine Planells

Laurence Laffon, Caroline Robert: Paris Opéra Ballet: “Glacial Decoy”, c. T. Brown (ph. L. Philippe)

51 Fashion house Ermenegildo Zegna has launched an unusual advertising campaign: a long video with Robert De Niro and Benjamin Millepied. The 74-year-old American actor and director and the 40-year- old French dancer and choreographer walk along the streets of New York, talking about “their” city and how much they love it: “peo- ple come here because they aspire to be in the city that’ll give them the freedom to do what they want and realize their aspirations, their dreams...” They compare their respective ‘trades’ in an amiable conversation. It’s not clear what all this has to do with a famous brand of textiles and fashions, but the com- munications experts who hit on the idea must certainly have their good reasons.

Robert De Niro and Benjamin Millepied in Ermenegildo Zegna’s advertising campaign, second chapter of "Defining Moments"

and unpredictable moods. The public are al- ways fascinated by excess. Here we can enjoy old footage of the young Sergei, dancing a solo to Neapolitan song Te voglio bene assai sung by Pavarotti, family history, the praise of his regular Russian teach- ers and, obviously, David LaChapelle’s viral video Take me to the Church to the song by Irish songster Hozier which this DVD hinges on. Pop gets plenty of space, alongside the Sergei Polunin in Hozier video “Take Me to Church” directed by David LaChapelle usual music from Giselle and Spartacus. (ph. David LaChapelle) Polunin has what it takes to be a born dancer: he’s self-centred, narcissistic and a masochist fiercely intent on transforming his DVD all, he is a beautiful and damned ‘bad boy’, body; yet at the same time he’s insufferable both on stage and off. His fabu- of the routine, discipline, obli- lous jump, precise turn and el- gations, duties and belonging to Dancer – Bad Boy of Ballet – dir. Steven egant bearing are evident but one a ‘world apart’ that constitute Cantor – DVD Universum Film/BBC/Magno- must add that nowadays there the life of a dancer. lia/Eklktica/Western Film, Imagion are quite a few danseurs who He is a slave unto himself, a “The James Dean of the Ballet World” is have comparable top-notch aes- “crazy horse” – which is what the subtitle (and a lure to buy it) on the cover thetic and technical talents. So we romantically imagine artists of this recent DVD dedicated to Sergei why does he command such at- to be – and he excels at this, Polunin. tention? On account of his rest- whether with hair or shaven- Born in the Ukraine and greedy for virtuosic lessness, the ups and downs of headed, clothed or naked in the movement since childhood, an ultra-classical his career, (his sensational no- snow. principal of The Royal Ballet after studying shows, disappearances and ex- So he deserves this documen- in London, Polunin is now 27 years old and hibitionism), the tattoos and scars tary, title, subtitle and all. longing for new choreographic works; above on his gorgeous body, his bizarre Elisa Guzzo Vaccarino

52 la revue française de la danse internationale FRANCE

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53 programmes • programmi • calendar • programmes TV programmi • calendar • programmes • programmi

ARTE 7, 13. XI, 12. XII: “Hommage à Hans van Manen à Montpellier Danse” – c. H. van www.arte.tv Manen – Het Nationale Ballet; Love 24. XII: Fred Astaire, l’homme aux pieds Chapter 2 – c. Sharon Eyal – Cie Lev; d’or (docum.); Fred Astaire donne le la Gnosis – c. Akram Khan – Cie Akram Khan Classica 10. XI: The Lisbon Peace; Französiche Suite; Rain – c. Anne Teresa De Keersmaeker – Cie Rosas; Rain (docum.) www.mondoclassica.it 8, 17, 19. XI: Giselle – American Ballet 14, 20, 25. XI: Noé; Roméo et Juliette; Theatre, int. Carla Fracci, Erik Bruhn Silhouette; Estro; Nocturnes – c. Thierry 12. XI: Bartabas: Requiem Malandain – Thierry Malandain/Ballet 15, 26. XI: Metamorphosis – c. Arthur Biarritz Pita, int. Edward Watson 21, 27. XI: Seven out of Seven/Maurice 22. XI: Magnificat – c. Heinz Spoerli – Béjart (docum.); “Béjart Ballet Lausanne Zurich Ballet à Versailles”; Light – c. Maurice Béjart – 29. XI: Roméo et Juliette – c. Sasha Waltz Béjart Ballet Lausanne – Ballet de l’Opéra de Paris, int. Aurélie 28. XI: La Neuvième Symphonie; Le Tour Dupont, Hervé Moreau du monde en 80 minutes; Messe pour le temps présent – c. Maurice Béjart – Béjart Mezzo Ballet Lausanne Mezzo live HD www.mezzo.tv 4, 17, 18. XI: Cendrillon – c. Alexei www.mezzo.tv Ratmansky – Ballet du Théâtre Mariinsky 4, 5, 6, 9, 10. XI: David Parsons Dance de Saint-Pétersbourg; Avant tout disparition Company; Coppélia – c. Charles Jude – c. Thomas Lebrun – Cie Illico – Ballet de l’Opéra de Bordeaux 6, 11, 24. XI: Déesses et Démons – c. 11, 12, 13, 16, 17, 18, 19, 20, 23, 24, 25, Blanca Li, int. Blanca Li, Maria Alexandrova; 27, 30. XI: La Petite Sirène – c. Jan Kodet Robot! – c. Blanca Li – Cie Blanca Li – Ballet National Tchèque

Fred Astaire en 1935 (ph. John Kobal Foundation) Béjart Ballet Lausanne: “La Neuvième Symphonie”, c. Maurice Béjart (ph. Lauren-Pasche)

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15, 16, 17, 20, 21, 22. XII: The CZECH REP. Nutcracker – c. G. Balanchine – Royal Danish Ballet Prague Š National Theatre GERMANY 20, 21, 25, 26. X, 2, 3, 11, 12. XI: – c. G. Balanchine; Creation – c. E. Gat; Le Sacre Berlin du printemps – c. G. Tetley – Š Staatsoper Unter den Linden Prague National Theatre Ballet 15, 28. XII: Jewels – c. G. 8, 9, 11, 12, 16, 21, 22, 25, 28, Balanchine – Staatsballett Berlin 30, 31. XII: The Nutcracker-A 21. XII: Giselle – c. Patrice Bart Christmas Carol – c. Y. Vàmos – Staatsballett Berlin Š The Karlín Music Theatre Š Komische Oper 31. X, 6, 7. XI: Romeo and Juliet 6, 15, 16. XI: The Art of not – c. P. Zuska – Prague National Looking Back – c. H. Shechter; Theatre Ballet Erde – c. N. Duato – Staatsballett Š Estate Theatre Berlin 14, 20, 21. XI, 6. XII: Valmont – c. L. Vaculík – Prague National Dresden Theatre Ballet Š Semperoper 17, 23, 26. XI, 1, 3. XII: The Little 24, 26, 27. XI, 3, 7, 10, 13, 17, Mermaid – c. J. Kodet – Prague 23, 25. XII: Casse-Noisette – c. National Theatre Ballet A. Watkin – Dresden Ballet Š The New Stage Š Europäisches Zentrum der Juliet Burnett – Ballet of Flanders: “The Fire Bird”, 28. X: Solo for the Two of Us – Künste c. Sidi Larbi Cherkaoui (ph. F. Van Roe) c. P. Zuska – Prague National 29, 30. XI, 1, 2, 3. XII: “Open Theatre Ballet Grounds” – Dresden Frankfurt Dance Company DENMARK AUSTRIA 23, 28, 29. XII: Casse-Noisette Duisburg – c. R. Nureyev – Weiner Š Theater der Stadt Wien Staatsballett Copenhagen 12, 16. XI: Petite Messe Š Staatsoper Š Volksoper Š Det Kongelige Teater Solennelle – c. M. Schläpfer – 31. X, 6, 10. XI: Concerto – c. 5, 7, 28. XI: Marie-Antoinette – 28. X, 4. XI: 7’52”; Falling Angels; Ballett der Deutschen Oper am K. MacMillan; Marguerite and c. P. de Bana – Wiener Sarabande; Symphony of Rhein Armand – c. F. Ashton; Eden/ Staatsballett Psalms – c. J. Kylián – Royal Eden – c. W. McGregor – Weiner 9, 12, 15, 19, 22, 27. XII: Romeo Danish Ballet Düsseldorf Staatsballett and Juliet – c. D. Bombana – 11, 12, 16, 18, 24. XI: Raymonda Š Opernhaus 16, 17, 18, 19. XII: Wiener Staatsballett – c. N. Hubbe – Royal Danish 22. XI, 2, 11. XII: Petite Messe Tanzdemonstrationen der Ballet Solennelle – c. M. Schläpfer – Ballettakademie BELGIUM 1, 2, 3, 5, 6, 7, 8, 9, 10, 13, 14, Ballett der Deutschen Oper am

Anvers Amy Watson, Jonathan Chmelensky – Royal Danish Ballet: Š Opéra d’Anvers “The Nutcracker”, c. George Balanchine (ph. H. Stenberg) 19, 20, 21, 22, 26, 27, 28. X: L’Oiseau de feu – c. S. L. Cherkaoui; Ten Duets of a Theme of Rescue – c. C. Pite; Orfeo Part I – c. É. Lock – Ballet Royal des Flandres

Gand Š Vlaamse Opera 21, 22, 23. XII: Ma Mère l’Oye – c. J. Verbruggen; Faun; Pictures at an Exhibition – c. S. Larbi Cherkaoui – Ballet Royal des Flandres

Ludmilla Konovalova, Jakob Feyferlik – Wiener Staatsballett: “Marguerite and Armand”, c. Frederick Ashton

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Leipzig Š Oper 31. X, 12, 22. XI: St Johnn Passion – c. M. Schröder – Leipzig Ballet

München Š Nationaltheater 19, 25. XI, 1. XII: Anna Karenina – c. C. Spuck – Bayerisches Staatsballett 22, 25. X, 23, 26, 28. XII: Alice’s Adventures in Wonderland – c. C. Wheeldon – Bayerisches Staatsballett

Stuttgart Š Opernhaus 27. X, 3, 5. XI: Onegin – c. J. Cranko – Stuttgart Ballet 31. X, 8, 10, 16. XI: SSSS... – c. E. Clug; Falling Angels – c. J. Kylián; QI – c. L. Stiens – Stuttgart Stuttgart Ballet: “Jeu de cartes”, c. John Cranko Ballet (ph. Stuttgart Ballet) 13, 15, 18, 26. XI: L’Estro Ar- monico; Brouillards; Jeu de Cartes – c. J. Cranko – Stuttgart 29, 30. XII: Don Quichotte – c. 4, 6, 7, 9, 10, 12, 13, 15, 16, 18, Ballet J. C. Martínez – Compañía 19, 20, 22, 23, 24, 27, 28, 29, Alessandro Riga – Compañía 6, 9, 10, 14, 15, 18, 23, 25, 30. Nacional de Danza 30, 31. XII: Play – c. A. Ekman Nacional de Danza: XII: Le Lac des cygnes – c. J. – Ballet de l’Opéra de Paris “Don Quixote”, Cranko – Stuttgart Ballet Palma de Maiorca Š Opéra Bastille c. José Carlo Martínez Š Auditorium 9, 11, 13, 14, 15, 19, 20, 22, Wuppertal 2, 3. XII: Don Quichotte – c. J. 24, 25, 27, 28, 30. XII, 2, 3, 4, 5, Š Opernhaus C. Martínez – Compañía 6. I: Don Quichotte – c. R. Nureyev Rhein 10, 11, 12, 17, 18, 19. XI: 1980 Nacional de Danza – Ballet de l’Opéra de Paris 16, 20, 23, 26, 30. XII: Stravinsky – Eine Stück von Pina Bausch Š Centre Pompidou Violin Concerto – c. G. – Tanztheater Wuppertal FRANCE 15-18. XI: Jérôme Bel: Pichet Balanchine; Roses of Shadow Klunchun and myself – c. M. Schläpfer; Polish Pieces SPAIN 13-16. XII: Marlene Monteiro – c. H. Van Manen – Ballett der Paris Freitas: Bacchantes – prélude Deutschen Oper am Rhein Š Opéra Garnier pour une purge Barcelona 25, 26, 27, 28, 31. X, 2, 3, 4, 7, Š Nanterre-Amandiers – Centre Frankfurt Š Gran Teatre del Liceu 11, 12, 14, 16. XI: Agon – c. G. Dramatique National Š Bockenheimer Depot 3-7. XI: Ballet du Grand Théâtre Balanchine; création – c. S. 7-16. XII: Gisèle Vienne: Crowd 21, 22, 26, 27, 28, 29. X, 2, 3, 4. de Genève: Roméo et Juliette Teshigawara; Le Sacre du Š Créteil – Maison des Arts XI: Workwithinwork – c. W. – c. J. Bouvier printemps – c. P. Bausch – Ballet 29. XI-2. XII: Ballet de l’Opéra Forsythe; High Breed – c. J. 20-23. XII: Eifman Ballet: Anna de l’Opéra de Paris de Lyon: The Second Detail – Godani – Dresden Frankfurt Karenina – c. B. Eifman Dance Company Madrid Tanztheater Wuppertal: “1980 – Ein Stück von Pina Bausch”, Hamburg Š Teatro Real c. Pina Bausch (ph. F. Christofilopoulou) Š Staatsoper 9, 11, 12, 13. XI: Ballet Nacional 3, 5. XI: Duse – c. J. Neumeier de España: Sorolla – c. A. – Hamburg Ballet Carmona, M. Fuente, M. Liñán, 21, 22, 30. X: Anna Karenina – A. Najarro c. J. Neumeier – Hamburg Ballet Š Pozuelo de Alcacón – Teatro 28. X: Dancing at a Gathering; Mira The Concert – c. J. Robbins – 24-26. XI: Don Quichotte – c. J. Hamburg Ballet C. Martínez – Compañía 14, 16, 23. XII: Turangalîla – c. Nacional de Danza J. Neumeier – Hamburg Ballet Š Palacio de los Deportes 20, 23, 26, 29, 30. XII: 29. XI: Carmen – c. J. Inger – Weihnachtsoratorium – c. J. Compañía Nacional de Dan- Neumeier – Hamburg Ballet za 10, 12, 14, 15, 21. XII: Don Quichotte – c. R. Nureyev – Murcia Hamburg Ballet Š Auditorio Víctor Villegas

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de Bordeaux 13, 14, 15, 17, 18, 19, 20, 22, 23, 26, 27, 28, 29. 31. XII: Don Quichotte – c. M. Petipa, C. Jude – Ballet de l’Opéra de Bordeaux Š Grand-Théâtre de Bordeaux 9-11. XI: CCN de la Rochelle: Un break à Mozart 1.1 – c. K. Attou

Calais Š Le Channel 9. XII: Ballet Preljocaj: Playlist # 1 – c. A. Preljocaj

Cannes Š Grand Auditorium 8. XII: Ballet Nacional Sodre: Bordeaux Opéra Ballet: “Suite en blanc”, c. Serge Lifar Don Quichotte – c. S. Bazilis, R. Candal 10. XII: Balletto dell’Opera di c. W. Forsythe; Set and Reset/ Pindorama 25. X: Maria Montero: Men’s Reset – c. T. Brown; creation Š Aubervillers – Centre day – c. J. Bel Dramatique National Š La Générale 6-9. XII: Cie Maguy Marin: 8-10. XII: Jérôme Bel: Un 4. XI: Vincent Lacoste/Bal Création spectacle en moins Partecipatif sur Roues Š Théâtre des Champs-Élysées Š Théâtre de la Cité Š Théâtre de la Reine Blanche 24, 26, 27, 28, 29. XII: Momix: Internationale 22. X: Aurélien Richard/Cie Viva Momix Forever 13-23. XII: City Theater and Liminal: Enfer Š Théâtre de la Ville – Les Dance Group: Oh Louis... – c. Abbesses R. Olyn Aix-en-Provence 22-25. XI: Gaëlle Bourges: Š MC93 Š Le Pavillon Noir Conjurer la peur 12-16. XII: Candoco Dance 8-10. XI: Hervé Chaussard: 30. XI-2. XII: Osmosis Company: The Show Must Go Love Project Performing Arts Co.: Titans – On – c. J. Bel 18-21. XI: Via Katlehong c. E. Laskaridis Š L'apostrophe, scène Dance: Via Kanana 11-15. XII: Georges Appaix: nationale de Cergy-Pontoise 5, 6. XII: Radouan Mriziga: 55 What Do You Think? et du val d’Oise Š Espace Pierre Cardin 6. XII: Candoco Dance Biarritz 3-6. XI: Theater Hora/Jérôme Company: The Show Must Go Š Gare du Midi Bel: Disabled Theater On – c. J. Bel 27, 28, 29. XII: Ballet Biarritz: 2-7. XI: Jérôme Bel: Jérôme Š Atelier de Paris – Carolyn Noé – c. T. Malandain Bel Carlson 5. XI: Jérôme Bel: Véronique 8-10. XII: Nadia Beugré: Tapis Bordeaux Doisneau rouge Š Opéra National de Bordeaux 9-15. XI: Jan Martens: Rule of ZOA, Zone d’occupation 18, 19, 20, 22, 24, 25, 26. X: If Cie Käfig: “Boxe Boxe Brasil”, Three artistique to leave is to remember – c. c. Mourad Merzouki Š Le 104 – Centquatre Š Point Éphémère C. Carlson; Faun – c. S. L. (ph. M. Cavalca) 28. XI-1. XII: Dorothée 23, 25. X: Enora Rivière Cherkaoui; Suite en blanc – Munyaneza: Unwanted 23. X: Eva Kilmockova: Pure c. S. Lifar – Ballet de l’Opéra Š Théâtre de Chaillot (Salle Jean Roma: L’Arlésienne; La Rose Vilar) Malade; Carmen – c. R. Petit 22-25. XI: Mathilde Monnier, Alan Cie Maguy Marin: “Deux mille dix-sept” (ph. D. Mambouch) 16. XII: Cie Claude Pauls: El Baile Brumachon: Carmina Burana 7-22. XII: Ballet Preljocaj: La – c. C. Brumachon Fresque – c. A. Preljocaj Š Théâtre Debussy 29. XII-12. I: Cie DCA: Nouvelles 9. XII: Scottish Dance Theatre: pièces courtes – c. P. Decouflé Yama – c. D. Jalet Š Théâtre de Chaillot (Salle 17. XII: Cie Par Terre: Bal Gémier) mécanique sur musique de 29. XI-2. XII: Tatiana Julien, chambre – c. A. Nguyen Pedro García Velásquez: Initio Š Théâtre de la Licorne [LIVE] 9. XII: Cie Burn Out: Compact 8-14. XII: Roser Montlló Guberna and Quintette – c. J. Gallois / Brigitte Seth: ¡ Esmérate ! (Fais 16. XII: CCN Orléans: de ton mieux !) Professor – c. M. Le Pladec 19-22. XII: Lia Rodrigues: Š Théâtre Croisette

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8. XII: CCN de Tour: Another Saint-Étienne Look at Memory – c. T. Lebrun Š Opéra de Saint-Étienne 10. XII: Robin Orlyn: Oh Louis... 30. XI, 1, 2. XII: Ballet Biarritz: 15. XII: Alessandra Ferri, Noé – c. T. Malandain Herman Cornejo: Trio ConcertDance – c. H. Cornejo, Mâçon R. Maliphant, A. Preljocaj, Fang- Š Théâtre Yi Sheu, D. Volpi, S. Welch 24. XI: Cie Maguy Marin: 17. XII: Cannes Jeune Ballet: création Soli-Ter – c. J. C. Martínez; Altro Canto I – c. J.-C. Maillot; Canta- Massy te 51 – c. M. Béjart Š Opéra Š Mougins – scène 55 16, 17. XII: Ballet Biarritz: La 14. XII: École Supérieure CNDC Belle et la Bête – c. T. Malandain Angers – Robert Swinston: Kaléidoscope – c. B. Massin; Marseille TraffffiC – c. D. Boivin Š Opéra de Marseille 2, 3. XII: création – c. E. Greco Scottish Dance Theatre: “Yama”, c. Damien Jalet Colmar – Ballet de Marseille Š Théâtre Municipal 4, 5. XI: Quintett – c. W. Forsythe; Mérignac Boxe Brasil Š Théâtre de la’Archipel 27’52 – c. J. Kylián; Jeunehomme Š Le Pin Galant Š Opéra Comique 1, 2. XII: Ballet Preljocaj: Roméo – c. U. Scholz – Ballet du Rhin 7. XI: Ballet Biarritz: Noé – c. 7, 8. XI: Cie Wang Ramirez: et Juliette – c. A. Preljocaj T. Malandain Monchichi Dijon Saint-Quentin-en-Yvelines Š Opéra Montreuil Mulhouse Š Théâtre de Saint-Quentin-en- 25. XI: CCN de Montpellier: Le Š Centre Dramatique National Š La Filature Yvelines Syndrome Ian – c. C. Rizzo de Montreuil 19, 20, 22. XI: Quintett – c. W. 9-12. XI: Ballet Preljocaj: Roméo 18-21. XII: Marlene Monteiro Forsythe; 27’52’’ – c. J. Kylián; et Juliette – c. A. Preljocaj Istres Freitas: Bacchantes – prélude Jeunehomme – c. U. Scholz – 24. XI: CCN de Nates: Scena Š Théâtre de l’Olivier pour une purge Ballet du Rhin madre – c. A. Senatore 11. XI: Ballet Biarritz: Noé – c. 8, 9. XII: Candoco Dance T. Malandain Montpellier Nice Company: The Show Must Go MontpellierDanse Š Opéra On – c. J. Bel Lille Š Théâtre de Grammont 23, 24, 27, 28, 29, 30, 31. XII: 12, 13. XII: CCN2 – CCN de Š Opéra 14, 15. XI: Troubleyn / Jan Roméo et Juliette – c. S. Lifar; Grenoble: Tordre – c. R. 3, 4. XII: Trisha Brown Dance Fabre: Belgian Rules/Belgium La Sylphide – c. A. Bournonville Ouramdane Company: L’Amour au théâtre; Rules – Ballet Nice Méditerranée 19. XII: Chicos Mambo: Tutu Geometry of Quiet; Groove and Š Opéra Berlioz Countermove – c. T. Brown 19, 20. XII: Cie Käfig: Boxe Perpignan Strasbourg Š Opéra de Strasbourg Limoges 14, 15, 17, 18, 19. XI: Quintett Š Opéra-Théâtre de Limoges Noëllie Conjeaud, Edi Blloshmi – Lyon Opera Ballet: “Carmen”, – c. W. Forsythe; 27’52 – c. J. 28. XI: Ballet Preljocaj: La c. Roland Petit (ph. J. De La Cruz) Kylián; Jeunehomme – c. U. Fresque Scholz – Ballet du Rhin

Lyon Toulon Š Opéra de Lyon Š Opéra 18-24. XI: Carmen; 23, 24. XI: Ballet de l’Opéra L’Arlésienne – c. R. Petit – National de Kazan: Casse- Ballet de l’Opéra de Lyon Noisette – c. V. Vainonen Š Maison de la Danse 27-28. X: Colective Danza Toulouse Región: Combate de Š Théâtre du Capitole Negros... 21, 22, 23, 24, 26, 27, 29, 30, 6-9. XI: Via Kathlehong: Via 31. XII: Casse-Noisette – c. K. Kanana – c. G. Maqoma Belarbi – Ballet du Capitole de 14. XI: Shantala Toulouse Shivalingappa: Akasha 16-19. XI: Cie L’Explose: Tu Versailles nombre me sale a tango Š Château de Versailles/Opéra 23. XI-3. XII: Cabaret: Le Mu- Royal sical 15-17. XII: Ballet Preljocaj: 6-9. XII: Akram Khan Dance: Playlist # 1 – c. A. Preljocaj Chotto Desh 21, 22, 23. XII: Ballet Biarritz: 13-22. XII: Alonzo King Lines La Belle et la Bête – c. T. Ballet: Biophony; Sand Malandain

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Scottish Ballet GREAT BRITAIN 6, 9, 10, 13, 17. XI: Untouchable – c. H. Shechter; Birmingham The Illustrated Farewell – c. Š Hippodrome T. Tharp; The Wind – c. A. 24, 25, 26, 28, 29, 30. XI, 1, 2, Pita – The Royal Ballet 3, 5, 6, 7, 8, 9, 10, 12, 13. XII: 5, 9, 15, 18, 20, 22, 23, 27, The Nutcracker – c. P. Wright 28, 29, 30. XII: The – Nutcracker – c. P. Wright – The Royal Ballet Bristol 23, 29, 30. XI, 1, 2, 6, 7, 11, Š Hippodrome Theatre 16. XII: Sylvia – c. F. Ashton 21-25. XI: English National – The Royal Ballet Ballet: Romeo and Juliet – c. Š Covent Garden/Clore Stu- R. Nureyev dio upstairs 18, 19, 24. X: Jeux – c. W. Edinburgh Eagling – The Royal Ballet 26, 27. X, 1. XI: Sea of Š Festival Theatre Troubles – c. K. MacMillan – 9, 10, 13, 14, 15, 16, 17, 20, The Royal Ballet 21, 22, 23, 24, 27, 28, 29, 30. 23, 30. XI, 1. XII: Alexander XII: The Nutcracker – c. P. Whitley Dance Company: Darrell – Scottish Ballet creation

Rambert: “Symbiosis”, c. Andonis Foniadakis (ph. S. Wright)

Jenna Roberts, Tyrone Singleton – Birmingham Royal Ballet: “Concerto”, c. Kenneth MacMillan (ph. D. Morgan)

Š Royal Albert Hall 3, 4. XI: Birmingham Royal 28, 29, 30, 31. XII: The Ballet: Arcadia – c. R. Brill; Birmingham Royal Ballet: The Le Baiser de la fée – c. M. Nutcracker – c. P. Darrell Corder; ‘Still Life’ at the Š Sadler’s Wells Theatre Penguin Café – c. D. Bintley 27, 28. X: Jasmin Vardimon 9. XI: Darbar Festival 2017: Company: Pinocchio Akram Khan, Raga & Tala 31. X-2. XI: Birmingham Experience Royal Ballet: Alladin – c. D. 15. XI: Damaged Goods: Bintley Until Our Hearts Stop – c. M. Stuart Glasgow 17, 18. XI: Š Theatre Royal Lauren Cuthbertson, Edward Watson, Thiago Soares – Abraham.In.Motion: 6, 7, 11, 12, 13, 24, 25. X: Le The Royal Ballet: “Judas”, c. Kenneth MacMillan Pavement – c. K. Abraham Baiser de la Fée – c. K. 21-25. XI: Rambert: A Linha MacMillan; Le Sacre du Curva – c. I. Galili; Symbiosis printemps – c. C. Hampson – c. A. Foniadakis; Goat – c. – Scottish Ballet B. Duke 30. XI-2. XII: Michael Keegan- London Dolan Dance Theatre: Swan Š Royal Opera House Lake/Loch na hEala 21, 23, 28. X : Alice’s 9. XII-27. I: New Adventure: Adventures in Wonderland – Cinderella – c. M. Bourne c. C. Wheeldon – The Royal Š Coliseum Ballet 20, 21, 24, 25. XI: Svetlana 24. X, 1. XI: The Judas Tree; Zakharova: “Amore” Song of the Earth – c. K. 22, 23. XI: Ivan Putrov: “Men MacMillan – The Royal Ballet, in Motion” English National Ballet 5-9. XII: Sergei Polunin: 26, 27. X: Gloria; The Judas “Project Polunin” Tree; Elite Syncopations – c. 13, 14, 15, 16, 19, 20, 21, 22, K. MacMillan –– The Royal 23, 26, 27, 28, 29, 30. XII: Ballet, Northern Ballet, English National Ballet: The Birmingham Royal Ballet, Nutcracker – c. W. Eagling

60 61 affiche • cartellone • calendar • affiche • cartellone

Petracca: Trattato semiserio di ITALY oculistica; Timothy and the Things: Your Mother at my Door; Bologna Arno Schuitemaker: I will wait Š Teatro Duse for you 16. XI: Balletto di Roma: Lo 3. XI: Floor Robert/inQuanto Schiaccianoci – c. M. Volpini teatro: Influenza; Daniele Ninarello/Dan Kinzelman: Brescia Kudoku; Jesús Rubio Gamo: Š Teatro Grande Boléro 24. X: Interno 5: Trattato 4. XI: Francesca Foscarini: semiserio di oculistica – c. O. Vocazione all’asimmetria; Izzo, A. Petracca; Gabriel Jonas&Lander: Adorabilis Schenker: Pulse Constellations 15. XI: DNAppunti coreografi- 26. X: Collettivo Cinetico: 10 ci 2017 miniballetti – c. F. Pennini Š Teatro Nazionale 3. XI: Wayne McGregor 29, 30. XI, 1, 2, 3, 4, 6, 7. XII: Company: Autobiography – c. La Boutique fantasque – c. L. W. McGregor Ballet School of Rome Opera Theatre: “La Boutique fantasque”, Cannito – Scuola di Ballo del- 17. XI: Cristiana Morganti: c. Luciano Cannito (ph. Y. Kageyama) l’Opera di Roma Jessica and Me 6. XII: Junior Balletto di Tosca- Trento na: La Bella addormentata – DCE: Lo Schiaccianoci – c. A. Reggio Emilia Š Teatro Sociale c. D. Tortelli Amodio Š Teatro Romolo Valli 31. X: Company Wayne 10. XI: Aterballetto: creazione McGregor: Autobiography – c. Cremona Milano – c. C. Morganti; Wolf – c. H. W. McGregor Š Teatro Ponchielli Š Teatro alla Scala Shechter 25. XI: Cristiana Morganti: 17, 20, 23, 29, 30, 31. XII, 3, 4, Torino Moving with Pina 10, 13. I: La Dame aux camélias Roma Š Teatro Regio 13. XII: Junior Balletto di To- – c. J. Neumeier – Balletto del Š Teatro dell’Opera 1. XII: Gauthier Dance scana: La Bella addormenta- Teatro alla Scala 15, 16, 17, 18, 19, 21, 22, 23. Company: Uprising – c. H. ta – c. D. Tortelli Š Teatro Strehler XI: Don Chisciotte – c. L. Hilaire Shechter; Killer Pig – c. S. Eyal, 14, 15, 16, 17, 19, 20, 21, 22. – Balletto dell’Opera di Roma G. Behar; Minus 16 – c. O. Ferrara XII: Scuola di Ballo Accademia 31. XII, 3, 4, 5, 6, 7. I: Lo Schiac- Naharin Š Teatro Comunale del Teatro alla Scala: Lo Schiac- cianoci – c. G. Peparini – Bal- 5, 6, 7, 9, 10. XII: Compagnia 4. X: Dada Masilo/The Factory cianoci – c. F. Olivieri letto dell’Opera di Roma DCE: Lo Schiaccianoci – c. A. Dance: Giselle Š Teatro Carcano Romaeuropa Festival Amodio 7. X: Collettivo Cinetico: Serie 4, 5. XI: Balletto del Sud: Carmen Š Teatro Vascello 13, 14, 15, 16, 17, 19. XII: Bal- di vuoti – c. F. Pennini – c. F. Franzutti 10-12. XI: Akram Khan letto del Teatro Mariinsky di San 11. X: Collettivo Cinetico: Ben- 30. XII-2. I: Balletto di Roma: Company: Chotto Desh Pietroburgo: Il lago dei cigni venuto umano – c. F. Pennini Lo Schiaccianoci – c. M. Volpini 22, 23. XI: GRIP | NAH: Rule of – c. M. Petipa, L. Ivanov 14. X: Theater & Dance Group/ MilanoOltre Three – c. J. Martens 29-31. XII: Roberto Bolle and Robyn Orlin: And you see... Š NonostanteMarras Š Macro Testaccio - La Pelanda Friends 25. X: Co. XE: Erodiade fame 21, 22. X: Compagnia Enzo 2. XI: Orlando Izzo, Angelo Š Limone Fonderie Teatrali – di vento 1993-2017 – c. J.A. Cosimi: La bellezza ti stupirà Anzilotti – c. E. Cosimi Collettivo Cinetico: “Benvenuto Umano”, c. Francesca Pennini 31. X: MM Contemporary Dance Š DanceHaus (ph. F. Giuliani) Company: Carmen; Bolero – 27-29. X: Compagnia Susan- c. M. Merola na Beltrami: Io sono il bianco 5. XI: Wayne McGregor del nero – c. S. Beltrami Company: Autobiography – c. W. McGregor Napoli 9-10 XI: “Fuori Strada” – nuove Š Teatro di San Carlo proposte di compagnie emer- 18, 19. XI: Pulcinella – c. F. genti Nappa – Balletto del Teatro San 24. XI: Cie Seydou Boro: Le Cri Carlo di Napoli de la Chair 23, 28, 29, 30. XII: Lo Schiac- 25. XI: Collettivo Cinetico: L’ac- cianoci – c. G. Picone – Ballet- qua intrappolata scorre all’in- to del Teatro San Carlo di Na- dietro – c. F. Pennini poli 1. XII: Junior Balletto di Tosca- na: La Bella addormentata – Palermo c. D. Tortelli Š Teatro Massimo 17, 19, 20, 21, 22, 23, 27, 28. Genova XII: La Bella addormentata – Š Teatro Carlo Felice c. M. Levaggi – Balletto del Te- 16, 17, 19, 20. XII: Compagnia atro Massimo di Palermo

62 calendar • affiche • cartellone • calendar • affiche

Moncalieri Tangos – c. H. Van Manen – 6, 7. X: Faso Danse Théâtre Het Nationale Ballet & Halles de Schaerbeek: 10, 12. XI: Nederlands Dans Kalakuta Republik Theater II: creation – c. M. 19. X: Aterballetto: Wolf – c. H. Goecke; One on One – c. J. Inger; Shechter;creazione – c. C. Cacti – c. A. Ekman Morganti 9, 11, 12, 14, 15, 17, 18, 20, 21, 22. X: La Main De l’Homme: 22, 23, 24, 25, 27, 28, 30, 31. Humanoptère XII: La Belle au bois dormant 27-29. X: Cie CDA: Nouvelles – c. P. Wright – Het Nationale pièces courtes – c. P. Decouflé Ballet 10, 11. XI: Ballet de Marseille: Boléro; Two – c. E. Greco Den Haag 24, 25. XI: MM Contemporary Š Lucent Danstheater Dance Company: Offline in 1, 2. XII: Nederlands Dans tempo reale Theater: Young Talnet Project Š Lavanderia a Vapore – Š Zuiderstrandtheater Collegno 8, 9. XII: Nederlands Dans 26. X: Annamaria Ajmone, Al- Theater II: creation – c. M. berto Ricca: To Be Banned Goecke; One on One – c. J. Inger; from Rome Cacti – c. A. Ekman Mai Kageyama, Patryk Walczak, Rinaldo Venuti – Polish National 7, 8. XI: Mal Pelo: Spagna 19-21. XII: Nederlands Dans Ballet: “Chroma”, c. Wayne McGregor (ph. E. Krasucka) Theater I: The missing door – Venezia c. G. Carrizo; The Lost Room; Š Teatro La Fenice creation – c. F. Chartier 19, 20, 21, 22. XII: The 13, 14, 15, 16, 17. XII: Balletto Nutcracker – c. K. Boyadjiev – POLAND Reale delle Fiandre: Faun; NORWAY Norwegian National Ballet Exhibition – c. S. L. Cherkaoui; Š Opera (II) Warsaw Ma Mère l’Oye – c. J. Verbrugge 18. X: CCN Ballet de Lorraine: Š Moniuszko Auditorium Oslo Plaisirs inconnus 28-30. X: The Tempest – c. K. Vicenza Š Opera 9, 10, 14, 15, 16. XI: The Pastor – Polish National Ballet Š Teatro Comunale 2, 4, 5, 6, 8, 9, 11, 12, 14, 15, Norwegian National Ballet II 10. XI: Switezianka – c. R. 5. XII: Ballet Nacional de Sodre: Bondara; On a Stave – c. J. Tyski; Carmen pas de deux – c. M. Violin Concerto No. 2 – c. J. Haydée; Adagietto – c. O. Araiz; Yolanda Correa, Joel Carreño – Norwegian National Ballet: Przybylowicz – Polish National Sinfonietta – c. J. Kylián; Don “The Nutcracker”, c. Kaloyan Boyadjiev (ph. E. Berg) Ballet Quichotte Suite 16, 17. XI: Dance Theatre of 16, 17. XII: Junior Balletto di Harlem II Toscana: La Bella addormen- 19. XI: The Rite of Spring – c. tata – c. D. Tortelli M. Graham; Krzesany – c. H. Konwinski – Polish National MONACO Ballet 21, 22. XI: Chopiniana – c. M. Fokine; Bolero – c. K. Pastor Monte-Carlo Chroma – c. W. McGregor – Š Opéra Garnier Polish National Ballet 14, 15. XII: Gauthier Dance 24, 25, 26. XI: Le Lac des cygnes Company: Nijinsky – c. M. – c. K. Pastor, L. Ivanov – Polish Goecke National Ballet 16, 17. XII: Momix: Viva Momix 15, 16, 17, 19, 20, 21, 22, 23. Forever XII: The Nutcracker and The 28. XII-5. I: La Mégère Mouse King – c. T. van Schayk, apprivoisée – c. J.-C. Maillot – W. Eagling – Polish National Les Ballets de Monte-Carlo Ballet Š Mlynarski Hall HOLLAND 10. XII: Darkness – c. I. Weiss – Polish National Ballet

Amsterdam RUSSIA Š National Opera & Ballet 14, 15, 17, 19, 21, 27, 28, 29, 30. X, 1, 2, 3. XI: Mata Hari – c. St. Petersburg T. Brandsen – Het Nationale Š Mariinsky Teatr Ballet 21, 22. X: Giselle – c. J. Coralli, 7, 8, 11, 12, 14, 16, 17. XI: On J. Perrot, M. Petipa – Mariinsky the Move; Symphonieën der Ballet Nederlanden; Sarcasm; 5 26. X: A Midsummer Night’s

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Moscow Š Bolshoi Teatr (new stage) 28, 29. X: The Bright Stream – c. A. Ratmansky – Bolshoi Ballet 2, 3, 4, 5. XI: The Cage – c. J. Robbins; Études – c. H. Lander; Forgotten Land – c. J. Kylián – Bolshoi Ballet 22, 23, 24, 25, 26. XI: Romeo and Juliet – c. A. Ratmansky – Bolshoi Ballet 2, 3, 19. XII: La Fille mal gardée – c. Y. Grigorovich – Bolshoi Ballet 13, 14, 15, 16. XII: Flammes de Paris – c. A. Ratmansky (V. Vainonen) – Bolshoi Ballet Š Bolshoi Teatr (old stage) 8, 9, 10. XI: Spartacus – c. Y. Grigorovich – Bolshoi Ballet 11, 12. XI: Giselle – c. J. Perrot, J. Coralli, M. Petipa (Y. Grigorovich) – Bolshoi Ballet 9, 10. XII: Nureyev – c. Y. Possokhov – Bolshoi Ballet Olga Smirnova – Bolshoi Ballet, Moscow: “Giselle”, c. Yuri Grigorovich 17, 20. XII: Don Quichotte – c. (ph. E. Fetisova) M. Petipa (A. Fadeyechev) – Bolshoi Ballet 23, 26, 27, 28, 29, 30, 31. XII: Dream – c. G. Balanchine – Ballet 25. XI: Na Floresta; Prelude; Casse-Noisette – c. Y. Mariinsky Ballet 6. XI: La Fille mal gardée – c. White Darkness – c. N. Duato Grigorovich – Bolshoi Ballet 30. X: The Bronze Horseman F. Ashton – Mikhailovsky Ballet – Mikhailovsky Ballet – c. Y. Smekalov – Mariinsky 8, 9, 10. XI: Romeo and Juliet 29, 30. XI: Multeplicidad, SWITZERLAND Ballet – c. N. Duato – Mikhailovsky Formas de silencio y vacío – 28, 29. X: The Legend of Love Ballet c. N. Duato – Mikhailovsky Ballet – c. Y. Grigorovich – Mariinsky 12. XI: Cipollino – c. G. Mayorov 2, 3. XII: Cinderella – c. R. Lausanne Ballet – Mikhailovsky Ballet Zakharov – Mikhailovsky Ballet Š Théâtre Beaulieu 3. XI: The Stone Flower – c. Y. 14, 15, 16. XI: Don Quichotte 11, 12, 13. X, 6, 7, 8. XII: La 19-24. XII: “Dixit”, c. M. Béjart, Grigorovich – Mariinsky Ballet – c. M. Petipa, A. Gorsky – Belle au bois dormant – c. N. G. Roman – Béjart Ballet 11, 25, 27. X, 12. XI: La Sylphide Mikhailovsky Ballet Duato – Mikhailovsky Ballet Lausanne – c. A. Bournonville – Mariinsky 22, 23. XI: Giselle – c. J. Co- 21, 22, 24, 27, 28, 29, 30. XII: Ballet ralli, J. Perrot, M. Petipa – Casse-Noisette – c. N. Duato Zürich 16. XI: Don Quichotte – c. M. Mikhailovsky Ballet – Mikhailovsky Ballet Š Opernhaus Petipa, A. Gorsky – Mariinsky 14, 20, 29. X, 3, 10, 11. XI, 9, Ballet 12, 15, 17. XII: Nussknacker 6. XII: Le Lac des cygnes – c. Mikhailovsky Ballet, St Petersburg: und Mauseköning – c. C. Spuck M. Petipa, L. Ivanov (K. Sergeyev) “The Nutcracker”, c. Nacho Duato – Zürich Ballet – Mariinsky Ballet 19, 23, 25. XI, 1, 2, 7. XII: In Š Mariinsky Theatr II the Middle, Somewhat 4, 5. XI: Romeo and Juliet – c. Elevated – c. W. Forsythe; Gods L. Lavrovsky – Mariinsky Ballet and Dogs – c. J. Kylián; Minus 6. XI: Prodigal Son – c. G. 16 – c. O. Naharin – Zürich Balanchine; Violin Concerto no. Ballet 2 – c. A. Pimonov; Russian Ouverture – c. M. Petrov – SWEDEN Mariinsky Ballet 8, 9. XI: Spartacus – c. L. Yakobson – Mariinsky Ballet Stockholm 30. XI: Yoroslavna. The Eclipse Š Opera – c. V. Varnava – Mariinsky Ballet 17, 24, 27. X, 2. XI: Half Life – 1, 2. XII: Casse-Noisette – c. c. S. Eyal; De l’origine – c. O. K. Simonov – Mariinsky Ballet Dubois – Royal Swedish Ballet Š Mikhailovsky Theatre 9, 13, 15, 16, 18, 20, 29, 30. 25, 26, 28. X: Le Corsaire – c. XII: Alice’s Adventures in M. Petipa, P. Gusev, K. Sergeyev Wonderland – c. C. Wheeldon (M. Messerer) – Mikhailovsky – Royal Swedish Ballet

64 Lydie Vareilhes – Ballet de l’Opéra de Paris: “Grand Miroir”, c. Saburo Teshigawara (ph. A. Poupeney)

65 ENGLISH Edition

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