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Dancing Through It - My Journey in the Ballet
Autor: Jenifer Ringer
Viking HB 2014
BIBLIOTECA
Showing posts with label BIBLIOTECA. Show all posts
Showing posts with label BIBLIOTECA. Show all posts
Monday, April 27, 2026
Tuesday, December 2, 2025
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
Saturday, August 16, 2025
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
Tuesday, July 22, 2025
Swingin'at the Savoy (1996)
Swingin'at the Savoy (1996)
Memórias de Norma Miller
Temple University Press 1996
BIBLIOTECA
Le Langage de la Danse Classique (2012)
Le Langage de la Danse Classique (2012)
Autoria: Flavia Pappacena
Gremese 2012
BIBLIOTECA
Original: Il linguaggio della danza classica -
Guida all'interpretazione delle fonti iconografiche (2012)
The Dante Project (McGregor, 2023)
Programa de The Dante Project
ONP maio de 2023
BIBLIOTECA
Leitura 2023 Paris 5/5
Signes (Carolyn Carlson, 1997)
Signes (Carolyn Carlson, 1997)
Programme Opéra de Paris, juillet 2013
BIBLIOTECA
Leitura Paris junho de 2023
Corps Glorieux (Dominique Delouche, 2003)
Corps Glorieux (2003)
Autor: Dominique Delouche
La Renaissance du Livre, 2003
BIBLIOTECA
Nijinsky. Sa vie, son geste, sa pensée (2006)
Nijinsky. Sa vie, son geste, sa pensée (2006)
Autor: Guillaume de SARDES
Hermann Éditeurs, 2006
BIBLIOTECA
La Danse (Jean-Pierre Pastori, 1997)
Découvertes Gallimard
Edição revista 2005
Découvertes Gallimard
Edição original 1997
Le Ballet de L'Opéra de Paris (Ivor Guest, 1976)
Le Ballet de L'Opera de Paris (Flammarion, 1976) é uma obra de referência sobre a mais antiga companhia de ballet do mundo. Uma instituição venerável que felizmente está bem ativa. PV 2021 5/5
John Neumeier (Jacqueline Thuilleux, 2010)
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JOHN NEUMEIER. Trente ans de ballets à l'Opéra de Paris
BIBLIOTECA
Thursday, July 17, 2025
Biblioteca L'Histoire de Manon
L'HISTOIRE DE MANON (2023)
Programme ONP 2023
BIBLIOTECA
Leitura 06.2023 Paris
Manon, título da criação em Londres, L'Histoire de Manon em França. A música de Massenet mas nada da sua ópera Manon... Do romance de Prévost ao ballet de MacMillan. Tanta coisa a saber..
L'Histoire de Manon (ONP, 2001)
Programme ONP 2001
BIBLIOTECA
Leitura 2023 Paris
Balanchine: A Biography (Bernard Taper, 1974)
Uma excelente biografia, pelo que li na internet, a melhor até hoje de Balanchine. E no entanto já tem muitos anos, foi escrita quando Balanchine era vivo e trabalhava ainda como coreógrafo. Esta biografia não se apoia nos numerosos documentos que servem para provar uma existência, como acontece nas biografias mais ambiciosas e exigentes. Mas o livro de Bernard Taper é brilhante pois consegue dar-nos o ser humano e o coreógrafo Balanchine em toda a sua complexidade e ao longo do tempo. Balanchine formou-se numa das melhores escolas de ballet do seu tempo: os Ballet Imperiais de São Petersburgo. Nos anos 20, ainda muito jovem, trabalhou em Paris com os Ballets Russes de Serge Diaghilev e os Ballets Russes de Monte-Carlo, mas acabou por ir para os EUA onde criou a escola de ballet americano por excelência: o New York City Ballet. Com esta companhia, que fundou e dirigiu durante décadas, criou dezenas de obras que entraram no repertório de companhias de todo o mundo. Um grande artista. VC 08.2020 (5/5)
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