My Feet Keep Dancing: Biblioteca Programa de Espetáculo

Showing posts with label Biblioteca Programa de Espetáculo. Show all posts

Tuesday, June 16, 2026

Programa: La Bayadère (ONP, 2026)

Programa do espetáculo

Opéra National de Paris, juin 2026

BIBLIOTECA

Leituras 2026

Friday, May 22, 2026

La Belle au bois dormant (ONP, 2004)

BIBLIOTECA F

Leituras 2025

PROGRAMME

Opéra National de Paris, novembre 2004

BIBLIOTECA

Leituras 2025

Bteca: Dame aux Camélias (ONP, 2006)

La Dame aux Camélias (John Neumeier, 1978)

Programme Opéra National de Paris, juin 2006

BIBLIOTECA

Leituras 2026

Wednesday, May 20, 2026

Bteca Dame aux Camélias (2026)

La Dame aux Camélias (John Neumeier, 1978)

Programme Opéra National de Paris, mai 2026

BIBLIOTECA

Leituras 2026

Monday, February 9, 2026

Le Parc (Angelin Preljocaj, 1994)

Programme ONP 2013

Le Parc (Angelin Preljocaj, 1994)

Programme ONP 2013

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

Monday, November 3, 2025

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

Tuesday, July 22, 2025

The Dante Project (McGregor, 2023)

Programa de The Dante Project

ONP maio de 2023

BIBLIOTECA

Leitura 2023 Paris 5/5

Signes (Carolyn Carlson, 1997)

Programme Opéra de Paris, juillet 2013

BIBLIOTECA

Leitura Paris junho de 2023

Maurice Béjart (ONP, 2023)

MAURICE BÉJART (2023)

Programme ONP mai 2023

Leituras 2023 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

Saturday, May 10, 2025

SYLVIA (1876)

A OBRA (Louis Mérante, 1876)

Música: Leo Délibes Coreografia: Louis Mérante Criação: Opéra de Paris 1876

O ESPETÁCULO

Valentine Colasante (Sylvia), Heloise Bourdon (Diane), Guillaume Diop (Aminta), Jeremy-Loup Quer (Orion), Jack Gasztowtt (Éros), Lorenzo Lelli (Endymion)

COMENTÁRIO: Sylvia é um ballet do fim do romantismo na dança. Foi o primeiro ballet a ser criado na nova sala da Opéra de Paris, o Palais Garnier. É um ballet longo, que ocupa uma soirée inteira, facto também pioneiro. Por fim, a música de Delibes foi composta para vestir a coreografia de Louis Mérante nos mínimos detalhes. É uma das grandes obras de Delibes e foi elogiada por Tchaikovski. Vários coreógrafos fizeram a sua versão de Sylvia ao longo do século XX, nomeadamente F. Ashton e J. Neumeier. A coreografia que vi, assinada por Manuel Leigris, ex-étoile do Ballet de l'Opéra de Paris, opta por não se distanciar demasiado do legado clássico (romântico) da obra original. Gostaria de ver uma abordagem mais contemporânea, mas mesmo assim são admiráveis os números virtuosos, sobretudo os do terceiro acto. Paris 13.05.2025 Palais Garnier NOTA 3.5/5

BIBLIOTECA & LEITURAS

Programa do Espetáculo da Opéra National de Paris

Mai 2025

BIBLIOTECA

Leituras 2025

Programa do Espetáculo da Opéra National de Paris

BIBLIOTECA

Leituras 2025

Monday, February 10, 2025

ONÉGUINE (1965)

A OBRA (1965/1967)

Ballet em três actos COREOGRAFIA John Cranko LIBRETO John Cranko, baseado em Eugene Onéguine, de Pouchkine MÚSICA Seleção de músicas de Tchaikovsky CRIAÇÃO Ballet de Stuttgard, Alemanha 13.04.1965 Staatstheater Stuttgard,

O ESPETÁCULO (Garnier, 2025)

VISTO: Paris 10.02.2025 Palais Garnier NOTA: 5/5

Sunday, September 29, 2024

Programme William Forsythe / Johan Inger

Opéra National de Paris
Septembre 2024
BIBLIOTECA

En quelques mots, p. 22
Repères, p. 26
Defilé du Ballet de l'Opéra, p. 32
WORD FOR WORD
Une exploration cntemporaine de la tradition classique
(My'Kal Stromile, 36)
J'aime repoisser les limites (My'Kal Stromile, 39)
REARRAY
L'explosion de la forme (Heidi Gilpin, 44)
Thèmes et variations (48)
BLAKE WORKS I
Une oeuvre ancrée dans l'école française
Colour in anything (James Blake, 54)
IMPASSE
Jusq'où allons-nous? (Johan Inger 60)
Contes et autres berceuses: un portrait de Johan Inger
(Mario Alberto Zambrano 62
Répétions (69)
Les Artistes (90)