Contrastes (2025)

 

VISTO Paris 14.12.2025 Palais Garnier 

École de danse

VISTO Paris 14.12.2025 Palais Garnier 

Paula Padani (2025)

Paula Padani. La danse migrante : Hambourg, Tel-Aviv, Paris

Paris 9.12.2025 mahJ

Le Dieu bleu (R. Hahn, 2012)

Le Dieu bleu (R. Hahn, 2012)

Dylan Corlay, Les Frivolités Parisiennes

CD B-Records 2025

1° gravação, Soissons 2024

Diapason d'or de l'année 2025

Criação : Les Ballets Russes, 2012

Perspectives (2025)

Serenade

Georges Balanchine

Against the Tide (2025)

Cathy Marston

Everywhere We Go (2014)

Justin Peck

Royal Ballet

Conductor: Martin Georgiev 

Orchestra of the Royal Opera House 

Reprodução da review de The Guardian:

Autor: Lyndsey Winship

The Royal Ballet: Perspectives review – intimate seduction, pure dance and enduring beauty

Royal Opera House, London

In an engaging triple bill, a new work from Cathy Marston explores the emotional charge of Britten’s Violin Concerto, while works by Justin Peck and George Balanchine showcase the simple joy of dancing to great music Lyndsey Winship Lyndsey Winship Sun 16 Nov 2025 11.58 GMT Share When choreographer Cathy Marston was commissioned to make a new one-act work for the Royal Ballet, she intended to create something abstract, just dancing to music – admittedly not the usual style of the woman who brought us Jane Eyre, Hamlet, Atonement and other narratives – but in the end the music she chose wouldn’t let her do it. Benjamin Britten’s Violin Concerto was written from 1938-39, his backdrop; the beginnings of the second world war, Britten – a pacifist – moving to the US with his lover Peter Pears, and the death of the composer’s mother. All these things have found their way into Marston’s piece, Against the Tide, and all for the better.

William Bracewell plays the unnamed protagonist, his dancing instinctive as ever, the whorls of his mind played out in the twisting and untangling of his body. Here come military men, with rigid demeanour and clenched fists, and Matthew Ball with satin shirt and seduction; there is Bracewell torn between duty, beauty and freedom. You can feel his torment, it reads like one long dark night of the soul.

The partnering between Bracewell and Ball is beautifully done, endlessly inventive, their bodies on convoluted trajectories that might lead to a fish dive of sorts, or a tender moment nuzzling foreheads. Marston’s choreography is never predictable but always human. Melissa Hamilton appears as the spirit of Bracewell/Britten’s mother. The score brings heightened senses, the astringent sounds of rattled nerves, ominous brass. Chloe Lamford has designed a fantastic set, a grey slate bridge rising across the stage, heavy and hopeful at the same time. Best foot forward: Justin Peck’s Royal Ballet debut – in pictures Read more The rest of the programme showcases two American choreographers who were/are very comfortable to just dancing to great music. George Balanchine built his career on it, and Justin Peck, the inheritor of Balanchine’s flame, is following suit. Both delight in the joy of pure dance, at speed, with intricate detail. In Peck’s piece, Everywhere We Go, the dancers repeatedly move on the “and”, ahead of the bar line, raring to go. Peck is the pre-eminent US ballet choreographer of the 21st century, but surprisingly, this is the first time the Royal has performed his work, and they dance it well: preppy, perky, jaunty, tightly drilled, as Peck scrolls through different permutations of dancers to a busily orchestrated score by Sufjan Stevens. There are gorgeous interventions for the whole group, as when dancers leap en masse with arms sweeping the sky then fall to Earth, it’s like a giant happy sigh. Marianela Nuñez brings her magnanimity to a slow section, with the music pared back to emotive repetition; puckish Daichi Ikarashi flies through the fast bits with infectious delight. View image in fullscreen Diaphanous … Serenade by George Balanchine. Photograph: Tristram Kenton/The Guardian Balanchine’s Serenade, from 1935, has one of the most arresting openings in ballet: the charged Tchaikovsky chords, the curtain raised on a stageful of women in long tulle skirts, hands raised to the sky. It begins like a ballet class, but it is both academic and escapist, at best the dancers diaphanous and vivacious – Leticia Dias captures it perfectly. It’s the epitome of Balanchine’s famous “ballet is woman” quote. Although since his death there’s been some reappraisal of Balanchine’s attitudes towards women, and it’s hard to watch the scene where three sylphs let down their long hair and surround lone man Ryoichi Hirano without imagining it as Balanchine’s after-hours fantasy. But there’s no denying it’s very beautiful.

Fim da reprodução do texto de L. Winship

Notre-Dame de Paris (1965)

A OBRA (R. Petit, 1965)

Notre-Dame de Paris, ballet em 2 actos e 13 quadros LIBRET Inspirado no romance de Victor Hugo (1831), COREOGRAFIA Roland Petit MÚSICA Maurice Jarre DATA Paris 11.12.1965, Opéra de Paris (Garnier) INT Claire Motte (Esméralda), Roland Petit (Quasimodo), Cyril Atanassoff (Claude Frollo) e Jean-Pierre Bonnefous (Phœbus) CENÁRIOS René Allio FIGURINOS Yves Saint Laurent

O ESPETÁCULO (Bastille, 2025)

Paris 07.12.2025 Opéra Bastille 

Notre-Dame de Paris (2025)

Programa ONP Opéra Bastille

Dezembro de 2025

BIBLIOTECA F

Leituras 2025

SOMMAIRE 

Mort et résurrection, por Jean Cau

Du roman au ballet, por Antony Desvaux

Roland wpetit, l'éternel forain, por Gérard Mannoni

Le rêve de Saint-Laurent, por Emma Baxter-Wright

Comme un fresque du Moyen âge, por Yves Saint Laurent

Histoire d'un monument,  por Dany Sandron

Notre-Dame de Paris (1996)

Programa ONP Opéra Bastille

novembro de 1996

BIBLIOTECA P

Leituras 2025

Fôlego & Boca Abissal (2025)

Fôlego

Boca Abissal (2025)

Balé da Cidade de São Paulo apresentou duas coreografias de Rafaela Sahyoun: Fôlego (2021?) e Boca Abissal (2025).

Paris 25.09.2025 Théâtre de la Ville 5/5

Danser avec le IIIe Reich (2000)

Danser avec le IIIe Reich (2000)

Autor: Laure Guilbert

Ed. Complexe 2000

DISCOTECA P

outra edição

CHORÉGRAPHIE ET SOCIÉTÉ (1990)

CHORÉGRAPHIE ET SOCIÉTÉ (1990)

Autor: Claudine Guerrier

Chiron 1990

BIBLIOTECA P

Les Sylphides & Coppélia

LES SYLPHIDES (Chopin) & COPPÉLIA (Delibes)

Orchestre Philharmonique de Berlin, Herbert von Karajan

Gravação de 1961

LP D.G. Privilege s/d

DISCOTECA P

Mats Ek (Théâtre Garnier, 2019)

Bolero (2019, criação)

Carmen (1992)

Um espetáculo marcante com duas criações: Another Place (com Aurélie Dupont) e Bolero, com música de Ravel claro. Paris 06.2019 Palais Garnier 4,5/5

DVDteca Quebra-Nozes

The Nutcracker (Peter Wright) 

DVDTECA

Les Enfants d'Isadora (Damien Manivel, 2019)

Um daqueles raros filmes que não consegui ver até ao fim. Um tédio absoluto sobre um tema que me interessava à partida: um solo de Isadora Duncan inspirado pela morte dos filhos é recriado por quatro mulheres de hoje. Paris 11.2019 Beaubourg 1/5