DOCSLIB.ORG

Festival Review (PDF)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Festival Review (PDF) The Royal Ballet fielded three casts for Both were expertly and elegantly per- the Boston engagement of Manon. While formed by the Dutch dancers. each was interesting in its own right, one Guangdong Modern Dance Company proved head and shoulders above the rest. also used film, a computer-generated ani- Zenaida Yanowsky — relatively new to the mated look at calligraphy, in its ensemble role of Manon — and her partner Kenneth piece Upon Calligraphy by Liu Qi. The Greve were outstanding at creating the sort dance was evocatively brought to life of chemistry that made Lynne Seymour with the supple and controlled power of and Rudolf Nureyev thrilling in these dra- the Chinese dancers. Beijing Modern matic roles. Dance Company, on the other hand, Yanowsky is, in fact, one of the few danc- used explosive steps and red scarves for ers tackling this role today who is capable of dramatic effect in the big and booming suggesting the conflicted emotions of a All River Red by Li Han-zhong and Ma woman torn between lust for jewels and Bo set to a crashing Igor Stravinsky score. money, and love for Des Grieux. She sug- The Europeans mostly eschewed gests brilliantly the inner drama that drives drama in favour of cutting-edge dance this very human character. When Mon- theatre such as Ballet der Staatsoper sieur G.M. clasps a choker of diamonds Hannover’s Thundering Silence with its about her elegant neck, she shivers with a Zuska’s Les Bras de Mer, presented at canopy of hanging Magritte umbrellas frisson of lust for the wealth and power it Houston’s annual Dance Salad Festival, and black-corseted women flying and suggests. Somehow Yanowsky suggests April 13-15 at the Wortham Centre’s scooping through an abstract work by sweetness and danger all rolled into one. Cullen Theatre, married a simple Stephan Thoss. Their freewheeling Yanowsky combines strength and weak- straight-back chair and table into a com- movement and hand fluttering, despite ness in one body. She gives a performance plicated emotional duet for Silja the avant-garde trappings, perfectly of wonderful daring, desperate risk taking. Schandorff and Jean-Lucien Massot of matched the music by Antonio Vivaldi Tamara Rojo and Alina Cojocaru may the Royal Danish Ballet. The duo, in and Alessandro Marcello. dance the role more expertly, but they simple, muted clothing, used the two Göteborgs Operans Ballet danced sec- haven’t anything like the dramatic power pieces of furniture less as props and more tions from American choreographer Yanowsky unleashes. Kenneth Greve is a as partners in their emotional depiction Nicolo Fonte’s Re: Tchaikovsky, a power- perfect partner for Yanowsky’s desperate of a troubled relationship. It was one of ful yet lyrical examination of a compos- passion. He may not be as elegant as Johan the more moving of the international er’s life and emotional turmoil. The piece Kobborg, nor as athletically thrilling as presentations staged over three nights contained a particularly beautiful pas de Carlos Acosta, but when he stretches his leg and almost 10 hours. deux for two males. in arabesque it is from some point of yearn- There was no single theme to the 11th Trey McIntyre’s pick-up company ing, not just a romantic step that is techni- annual Houston contemporary festival showed excerpts from his quirky and cally precise but empty of feeling. this year, with 11 different companies very amusing Chasing Squirrel. Dancers None of the dancers who came to Bos- coming from seven different countries, en pointe with cartoon hairstyles enticed ton managed to create a believable all curated by producer Nancy men in red pants and suspenders, in a Lescault. Thiago Soares came close, but Henderek. Instead of a salad, it was more rousing pursuit of love between the sexes. like Viacheslav Samodurov and Jose Mar- a buffet of tastes from several different Effortless partnering and a sheer delight tin, he didn’t have the sense of dark treach- cultures. There were dances presented in the steps charmed the audience like a ery that Anthony Dowell and David Wall from China, Europe and America, rang- Bugs Bunny ballet. used to bring to this role. ing from classical and contemporary bal- Maurice Béjart’s La Barre also used Genesia Rosato and Elizabeth let to post-modern movement. The Chi- humour in a loving and brilliant tribute McGorian were both delicious as Madam, nese, particularly, chose dramatic to the life of dancers. To the strains of recalling the glory days of Gerd Larsen and ensemble pieces to show, while the Johann Strauss and the running com- Rosalind Eyre who danced this part to Dutch National Ballet sent three su- mentary of an instructor, the immensely perfection. perbly danced duets, two of which were talented William Pedro of Béjart Ballet Overall, the 75-year-old Royal Ballet preceded by short, amusing films. Lausanne addressed his barre with a looked in great form under Artistic Direc- Morning Ground, David Dawson’s Chaplin-esque wave before commencing tor Monica Mason. Mason worked closely delicate pas de deux between the lovely his pliés and ports de bras. The barre — with MacMillan and knew him as well as and lithe Yumiko Takeshima and Cedric “the barre is alive” — was held by a anyone. Not all of the 3,600 Wang Centre Ygnace, followed a charming short film, black-clad dancer and moved to its own seats were full at each performance, but the To the Point, by Altin Kaftira — showing choreography. From the barre to the audience cheered long and loud for this how Freed puts the pointe shoes together mirror to the floor, this short piece ex- great company celebrating 75 years of and then how Takeshima takes them plored the daily work of a ballet dancer. dance. apart before wearing. The same film- And, although there were comic antics Gary Smith maker produced a short on romance in incorporated, Pedro was a masterful the rehearsal studio that served as the dancer exploding onto the floor in el- opening act for The Man I Love from evated leaps with a suppleness and spring George Balanchine’s Who Cares?, a suite that belied the ease of his huge grin. Like Houston of dances to George Gershwin songs. Charlie Chaplin on film, it takes great Igone de Jongh and filmmaker and talent and training to play the clown in Not since Fred Astaire graced the silver dancer Kaftira starred in both the short dance, and Pedro was the clown prince, screen has choreography been so inti- and the following duet set to a rousing articulating right down to his toes. mately entwined with furniture. Petr rendition of the popular Gershwin tune. Marene Gustin Above: Anthony Krutzkamp of Trey McIntyre Project Dance International Fall 2006 performing Chasing Squirrel 60 Photo: Rene Micheo.
Load more

Recommended publications
  • UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
    UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat.
    [Show full text]
  • 2020 World Championships Information
    UC IRVINE, BREN EVENTS CENTER HILTON COSTA MESA 100 Mesa Rd. Irvine, CA 92697 3050 Bristol St. Costa Mesa, CA 92626 Miss Dance Drill Team International Welcome To World Championships The 39th annual Miss Dance Drill Team International Prepare to compete against the best teams in the U.S. & the competition continues the legacy of Dr. Kay Teer Crawford, world! Events begin at the host hotel on Thursday 3/26, with a who founded the first “drill team” in Edinburg, TX (1928), and welcome orientation luncheon for solo title contestants (solo created MDDTUSA as the first national and international title competition begins that afternoon with adjudicated championship competition for dance teams & drill teams in preliminary interviews, modeling, and some routines). This is 1968. As the original & most prestigious dance competition in followed by a master class workshop with some of the dance the world since 1981, Miss Dance Drill Team International industry's most renowned instructors & choreographers! On World Championships is open to all international school dance Friday 3/27, competition resumes at the host hotel in the teams, dance studios, and community dance/drill teams with morning with soloists, duet/trios, and officer routines, and youth dancers age 19 and under (This event is held moves to the Bren Center in the afternoon with some small simultaneously with U.S. Nationals). Highlights consist of team team divisions & solo title finalists. Saturday 3/28 consists of competition, U.S. national & world championship awards, and team competition, national & world championship awards, the crowning of our national/international solo title champions! special guests, and the coronation of the MDDTUSA national/ MDDT INTERNATIONAL is the original “grandmother” dance international champion solo title winners.
    [Show full text]
  • Types of Dance Styles
    Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together.
    [Show full text]
  • A Mixed Blessing at the Ballet 01
    Daily Telegraph July 28 2001 A mixed blessing at the ballet Photo Sheila Rock As Anthony Dowell leaves the Royal Ballet, dance critic Ismene Brown assesses his 15-year regime as director - and stars pay tribute below AT THE Royal Ballet the countdown has begun to the end of an era. A week tonight, amid flowers, Champagne and tears, Sir Anthony Dowell, the longest-serving ballet director since the company’s founder, Ninette de Valois, will end his 15-year regime. He was undoubtedly one of the great world stars of dancing, and the “Celebration Programme” will mark his achievements as such. But about his success as director of the company, opinion is far from unanimous. What makes a good director? The question has never been more of a poser than during Dowell\s captaincy of the ballet, in the most turbulent years of the Royal Opera House’s history. There are many pluses on Dowell’s account sheet - his maintenance of high classical technical standards, his welcoming of key foreign artists into the Royal (particularly Sylvie Guillem and Irek Mukhamedov), his inspiring coaching, to which leading guest stars attest opposite. The rise of Darcey Bussell to world acclaim, the forging of a superb partnership between Mukhamedov and Viviana Durante, this final, nostalgic and beautiful 2000-01 season - these are positive memories. He will be noted as a conservative, and many welcomed this after an insecure period of modernising under his predecessor, Norman Morrice. Whether conservatism has served the company well for the future, though, is debatable. In the shifting landscape of ballet, conservatism is not enough to hold steady.
    [Show full text]
  • Paul Taylor Dance Company’S Engagement at Jacob’S Pillow Is Supported, in Part, by a Leadership Contribution from Carole and Dan Burack
    PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Suzanne Carbonneau TO OUR VISIONARY LEADERS The PillowNotes comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through It is said that the body doesn’t lie, but this is wishful thinking. All earthly creatures do it, only some more artfully than others. annual gifts of $10,000 and above. —Paul Taylor, Private Domain Their deep affiliation ensures the success and longevity of the It was Martha Graham, materfamilias of American modern dance, who coined that aphorism about the inevitability of truth Pillow’s annual offerings, including educational initiatives, free public emerging from movement. Considered oracular since its first utterance, over time the idea has only gained in currency as one of programs, The School, the Archives, and more. those things that must be accurate because it sounds so true. But in gently, decisively pronouncing Graham’s idea hokum, choreographer Paul Taylor drew on first-hand experience— $25,000+ observations about the world he had been making since early childhood. To wit: Everyone lies. And, characteristically, in his 1987 autobiography Private Domain, Taylor took delight in the whole business: “I eventually appreciated the artistry of a movement Carole* & Dan Burack Christopher Jones* & Deb McAlister PRESENTS lie,” he wrote, “the guilty tail wagging, the overly steady gaze, the phony humility of drooping shoulders and caved-in chest, the PAUL TAYLOR The Barrington Foundation Wendy McCain decorative-looking little shuffles of pretended pain, the heavy, monumental dances of mock happiness.” Frank & Monique Cordasco Fred Moses* DANCE COMPANY Hon.
    [Show full text]
  • CATALOGUE 2018 This Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 CATALOGUE 2018 Plus New Additions to the Catalogue
    CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 CATALOGUE 2018 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany WORLD SALES CEO: Jan Mojto C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager All information is not contractual and subject to change without prior notice. [email protected] & Marketing [email protected] All trademarks used herein are the property of their respective owners. [email protected] Date of Print: February 2018 © UNITEL 2018 All rights reserved Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet [email protected] [email protected] ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES AVAILABLE FOR THE FIRST TIME FOR GLOBAL DISTRIBUTION LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music.
    [Show full text]
  • Royal Opera House Performance Review 2006/07
    royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 1 Royal Opera House Performance Review 2006/07 The Royal Ballet - The Royal Opera royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 2 Contents 01 TH E ROYA L BA L L E T PE R F O R M A N C E S 02 TH E ROYA L OP E R A PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 3 3 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 01 TH E ROYA L BA L L E T PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 4 4 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 GI S E L L E NU M B E R O F PE R F O R M A N C E S 6 (15 matinee and evening 19, 20, 28, 29 April) AV E R A G E AT T E N D A N C E 91% CO M P O S E R Adolphe Adam, revised by Joseph Horovitz CH O R E O G R A P H E R Marius Petipa after Jean Coralli and Jules Perrot SC E N A R I O Théophile Gautier after Heinrich Meine PRO D U C T I O N Peter Wright DE S I G N S John Macfarlane OR I G I N A L LI G H T I N G Jennifer Tipton, re-created by Clare O’Donoghue STAG I N G Christopher Carr CO N D U C T O R Boris Gruzin PR I N C I PA L C A S T I N G Giselle – Leanne Benjamin (2) / Darcey Bussell (2) / Jaimie Tapper (2) Count Albrecht – Edward Watson (2) / Roberto Bolle (2) / Federico Bonelli (2) Hilarion – Bennet Gartside (2) / Thiago Soares (2) / Gary Avis (2) / Myrtha – Marianela Nuñez (1) / Lauren Cuthbertson (3) (1- replacing Zenaida Yanowsky 15/04/06) / Zenaida Yanowsky (1) / Vanessa Palmer (1) royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 5 5 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 LA FI L L E MA L GA R D E E NU M B E R O F PE R F O R M A N C E S 10 (21, 25, 26 April, 1, 2, 4, 5, 12, 13, 20 May 2006) AV E R A G E AT T E N D A N C E 86% CH O R E O G R A P H Y Frederick Ashton MU S I C Ferdinand Hérold, freely adapted and arranged by John Lanchbery from the 1828 version SC E N A R I O Jean Dauberval DE S I G N S Osbert Lancaster LI G H T I N G John B.
    [Show full text]
  • Finding Aid for Bolender Collection
    KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by
    [Show full text]
  • The Royal Ballet Tours to Moscow, Taipei and Shanghai
    3 JUNE 2014 THE ROYAL BALLET TOURS TO MOSCOW, TAIPEI AND SHANGHAI The Royal Ballet Tour - Moscow 17 – 22 June / Taipei 27 – 29 June / Shanghai 3 – 5 July This summer The Royal Ballet will tour to Moscow, Taipei and Shanghai for the annual international tour. The Royal Ballet is delighted to return to Moscow, its first visit since 2003, where it will be part of the UK-Russia Year of Culture celebrating the rich and diverse cultural heritage of both countries. As part of the celebrations The Royal Ballet will perform in The Bolshoi Theatre between 17 – 22 June, presenting a Triple Bill of Tetractys by Wayne McGregor, Rhapsody by Frederick Ashton and DGV: Danse à grande vitesse by Christopher Wheeldon. The Royal Ballet will also perform Manon by Kenneth MacMillan, one of the signature works from the Company’s repertory. Tetractys, an exhilarating fusion of baroque music and contemporary dance, received its UK premiere in February and is Wayne McGregor’s latest work for The Royal Ballet. Rhapsody was created in 1980 by Frederick Ashton for the 80th birthday of HM The Queen Mother. It is a celebratory showpiece, set to sweeping music by Sergey Rachmaninoff, and pays tribute to virtuoso dance. Christopher Wheeldon's award-winning DGV: Danse à grande vitesse is a high- octane finale, set to Michael Nyman’s score, MGV (Musique à Grande Vitesse), which was composed to commemorate the 1993 inauguration by the north European line of the French train TGV. Manon, Kenneth MacMillan’s acclaimed tragic ballet is a modern masterpiece telling the story of Manon Lescaut, a young woman longing for love who is corrupted by wealth and luxury in 18th century Paris.
    [Show full text]
  • Tamara Rojo Artistic Director of the English National Ballet Tamara Began Dancing in Madrid at the Víctor Ullate School, Where
    Tamara Rojo Artistic Director of the English National Ballet Tamara began dancing in Madrid at the Víctor Ullate School, where she took part in an extensive repertoire of classical roles. She won a Gold Medal at the Paris International Dance Competition and the Special Jury Prize unanimously. Galina Samsova asked her to join the Scottish Ballet and she later received a personal invitation from Derek Deane to join the English National Ballet, where she became director after six months. She danced the whole range of leading roles with the company, including Juliet (Romeo and Juliet) and Clara (The Nutcracker), which Derek Deane created expressly for her. Tamara joined The Royal Ballet as Principal Dancer at the invitation of Sir Anthony Dowell. She is also a regular guest of the Mariinsky Ballet, La Scala Ballet, Tokyo Ballet, New National Theatre, Tokyo, the Cuban National Ballet, the National Ballet of China, the Lithuanian National Ballet, the Mikhailovsky Ballet, the Royal Swedish Ballet and the Finnish National Ballet. She has also performed at the prestigious World Ballet Festival in Tokyo and at galas all over the world. In 2010 she was recognised for her artistic excellence with the Laurence Olivier Award for the Best New Dance Production with Goldberg: the Brandstrup - Rojo Project. She has been awarded the Prince of Asturias Prize, the Gold Medal for Fine Arts and the Encomienda de Numero de Isabel la Catolica. Other recognitions include the Prix Benois de la Danse, The Times Dancer Revelation of the Year, the National Dance Critics Award, the Barclay’s Award for Outstanding Achievement in Dance, the Positano Dance Award, Léonide Massine Premi al Valore, the Italian Critics Award, the International Arts Medal and the Madrid Performance Award.
    [Show full text]
  • Ashton Triple Cast Sheet 16 17 ENG.Indd
    THE ROYAL BALLET Approximate timings DIRECTOR KEVIN O’HARE Live cinema relay begins at 7.15pm, ballet begins at 7.30pm FOUNDER DAME NINETTE DE VALOIS OM CH DBE FOUNDER CHOREOGRAPHER The Dream 55 minutes SIR FREDERICK ASHTON OM CH CBE Interval FOUNDER MUSIC DIRECTOR CONSTANT LAMBERT Symphonic Variations 20 minutes PRIMA BALLERINA ASSOLUTA Interval DAME MARGOT FONTEYN DBE Marguerite and Armand 35 minutes The live relay will end at approximately 10.25pm Tweet your thoughts about tonight’s performance before it starts, THE DREAM during the intervals or afterwards with #ROHashton FREE DIGITAL PROGRAMME SYMPHONIC Royal Opera House Digital Programmes bring together a range of specially selected films, articles, pictures and features to bring you closer to the production. Use promo code ‘FREEDREAM’ to claim yours (RRP £2.99). VARIATIONS roh.org.uk/publications 2016/17 LIVE CINEMA SEASON MARGUERITE OTELLO WEDNESDAY 28 JUNE 2017 AND ARMAND 2017/18 LIVE CINEMA SEASON THE MAGIC FLUTE WEDNESDAY 20 SEPTEMBER 2017 LA BOHÈME TUESDAY 3 OCTOBER 2017 CHOREOGRAPHY FREDERICK ASHTON ALICE’S ADVENTURES IN WONDERLAND MONDAY 23 OCTOBER 2017 THE NUTCRACKER TUESDAY 5 DECEMBER 2017 CONDUCTOR EMMANUEL PLASSON RIGOLETTO TUESDAY 16 JANUARY 2018 TOSCA WEDNESDAY 7 FEBRUARY 2018 ORCHESTRA OF THE ROYAL OPERA HOUSE THE WINTER’S TALE WEDNESDAY 28 FEBRUARY 2018 CONCERT MASTER VASKO VASSILEV CARMEN TUESDAY 6 MARCH 2018 NEW MCGREGOR, THE AGE OF ANXIETY, DIRECTED FOR THE SCREEN BY NEW WHEELDON TUESDAY 27 MARCH 2018 ROSS MACGIBBON MACBETH WEDNESDAY 4 APRIL 2018 MANON THURSDAY 3 MAY 2018 LIVE FROM THE SWAN LAKE TUESDAY 12 JUNE 2018 ROYAL OPERA HOUSE WEDNESDAY 7 JUNE 2017, 7.15PM For more information about the Royal Opera House and to explore our work further, visit roh.org.uk/cinema THE DREAM SYMPHONIC VARIATIONS Oberon, King of the Fairies, has quarrelled with his Queen, Titania, who refuses to MUSIC CÉSAR FRANCK hand over the changeling boy.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Company 300 Nortfi Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800,521-0600 Order Number 9238175 The teaching of modern dance: What two experienced teachers know, value and do Fortin, Sylvie, Ph.D. The Ohio State University, 1992 UMI 300 N.
    [Show full text]