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Posts Tagged ‘Miyako Yoshida’


New year, time to update our calendars and balletic schedules. In this post we share our essential ballet picks for 2010. With many of our favourite dances and dancers, plus so many companies stopping by London, we are feeling like seven-year-olds at large in a candy store. The difference being that ballet candy is somewhat more costly (our pockets bleed already and it’s only January). Now that you know where we’ll be going make sure to stop us and say hi.

January – Febuary

While Romeo and Juliet is sure to keep us warm from the Artic conditions outside, we are heading to even colder plains to check out Royal Danish Ballet’s Bournonville/Balanchine double bill of La Sylphide/Symphony in C – another programme guaranteed to make our hearts flutter. Later in February it’s time for a look at young choreographer’s Jonathan Watkins new ballet, part of the Infra/Rushes/New Watkins Triple bill.

On February 22 we shall be heading to Covent Garden Odeon to catch The Royal Ballet’s Mayerling, the gritty and shocking balletic drama with Ed Watson as Crown Prince Rudolf.  Pre-book your tickets and join us for some ballet & popcorn.

Also on our radar: Mara Galeazzi’s Fundraising Gala at Sadler’s Wells which promises to feature new choreography by Steven McRae.

March – April

Speaking of Steven, March brings his Romeo back to Covent Garden, this time paired with the lovely Roberta Marquez who recently featured as Juliet opposite Teddy Kumakawa in K-Ballet’s staging (DVD soon out in Japan we hear). There will be other opportunities to catch this young pair in La Fille Mal Gardée and Cinderella both ballets contrasting heavily with the MacMillan Triple bill of Concerto, The Judas Tree and Elite Syncopations.

Also on our radar: We are keeping tabs on the Coliseum which will host Ballet Nacional de Cuba and a mix of international acts at the Nureyev gala on March 21. BRB also have a big gala celebration planned for their 20th anniversary of residence at the Birmingham Hippodrome, including some rarities.

May – June

While Electric Counterpoint and Mats Ek’s Carmen are not really our cup of tea, the Royal Ballet’s May triple bill includes Liam Scarlett’s first ballet for the main stage (his ballet at the Linbury last year stole our hearts) so we go. The Royal Ballet closes another fab season contrasting the neoclassical Symphony in C with ultra modern Chroma and Wheeldon’s Tryst.

Also on our radar: We may have to pay a visit to ENB’s mammoth Swan Lake-in-the-round given Polina Semionova will be guesting.

July – August

While The Royal Ballet is in Japan where Miyako Yoshida dances her last Juliet opposite – him again – Steven McRae’s Romeo, the Bolshoi takes residence at the ROH with an exciting programme mixing the usual suspects (Le Corsaire, Don Q., Spartacus) with Ratmansky’s wonderful Russian Seasons, a reconstructed Coppelia and a double bill of Giselle/Serenade. Let’s hope for plenty of starry casts.

Also on our radar: As if there wasn’t enough Russian ballet in town, the mighty Mikhailovsky are reportedly bringing Giselle and Swan Lake this summer, lucky we.

September – October

We take a break from ballet in September and gear up for another Royal Ballet season (2010/2011) in the beginning of October.

November – December

It seems The Mariinsky will be bringing The Little Humpbacked Horse to Paris, we pack our bags and go!

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As the season kicks off  Birmingham Royal Ballet (BRB), one of the UK’s top three ballet companies, celebrates its 20th anniversary as a Birmingham resident. Over the years it has evolved from being the Royal Ballet‘s “touring arm” into shaping its own style: a mix of core repertoire alongside new original full-length narrative ballets, showing a degree of experimentation and risk taking uncommon to big ballet companies. Here we look at the past and present of this unique company:

History

As the name indicates, the Birmingham Royal Ballet is historically linked to the Royal Ballet. They both originated in 1926 when Ninette de Valois founded the Academy of Choreographic Art, her first step towards creating a ballet company with a supporting school. Through Lilian Baylis and her theatres, The Sadler’s Wells and the Old Vic, de Valois found a way to give her company a base and by 1931 she had established the Vic-Wells Ballet and Vic-Wells Ballet School at the Sadler’s Wells Theatre.

Moira Shearer in Sadlers Wells production of Cinderella Photo: Gjon Mili © Source: LIFE

Moira Shearer in Sadler's Wells production of Cinderella Photo: Gjon Mili © Source: LIFE

In 1939 both company and school lost the “Vic” tags to better align with their base at Sadler’s Wells, but the subsequent destruction of Sadler’s Theatre during the war dislodged the company and forced it to become a touring troupe known as the Sadler’s Wells Ballet. The end of the war saw the company’s return to the refurbished theatre until its split into two in 1946: the main company and school moving to a new home at the Royal Opera House (eventually becoming the Royal Ballet) and a smaller sister company – the Sadler’s Wells Theatre Ballet –  created to handle touring performances under the supervision of artistic director John Field.

This sister company would later become the Birmingham Royal Ballet but at this point it continued to change and accrue different names. From 1955 to 1977, having left its base at the Sadler’s Wells Theatre to perform in theatres all around the country, it was known as the Royal Ballet Touring Company. A Royal Charter had been granted to recognize the company’s independence and status but it still functioned as a touring “branch” of the Royal Ballet. By 1970 the company had effectively regained its base at Sadler’s Wells so in 1977, with the arrival of Sir Peter Wright as artistic director, it was renamed Sadler’s Wells Royal Ballet.

The Sadler’s Wells Royal Ballet finally became the Birmingham Royal Ballet when it relocated to Birmingham in 1990, following an invitation by the Birmingham Hippodrome Theatre and the Birmingham City Council. Peter Wright continued as their Artistic Director until 1995. He was succeeded by choreographer David Bintley, who put his focus into creating an independent company which could be dissociated from the Royal Ballet and in 1997 the BRB finally became independent from the Royal Opera House and the Royal Ballet. Despite this separation, the company still shares a common repertoire with the latter and many of its dancers have emerged from the Royal Ballet School, although the BRB now has its own associated dance academy in the Elmhurst School of Dance.

In addition to performing at home, the BRB regularly visits some of the most important stages around the UK such as the London Coliseum, Sadler’s Wells Theatre, Symphony Hall, The Lowry, etc. It also continues to increase its international presence after successful tours around the US, Hong Kong and South Africa.

Nao Sakuma as Aurora and Chi Cao as Prince Florimund in BRBs The Sleeping Beauty Photo:Bill Cooper / BRB © Source: BRB Website

Nao Sakuma as Aurora and Chi Cao as Prince Florimund in BRB's The Sleeping Beauty Photo:Bill Cooper / BRB © Source: BRB Website

Style and Repertoire

Given their shared origins the BRB style has common elements with the Royal Ballet’s: in their repertoire, with plenty of narrative ballets, and in dancers who are able to emphasize drama and theatricality when performing those. AD David Bintley has furthered the company’s range by continuously creating or commissioning new pieces, with particular focus on the difficult genre of narrative ballet. He has created ten full-length story based ballets (with half of them having been created for BRB and most of them still in repertoire), of which the most successful have captivated audiences and continue to attract  new ones. In contrast, the Royal Ballet’s investment in full-length original commissions has been slimmer, the last one having been Twyla Tharp‘s 1995 A Worldly Wise and the next one, Christopher Wheeldon’s Alice in Wonderland, currently announced and planned for the 2011 season.

Ambra Vallo and Chi Cao in Bintleys Beauty and the Beast. Photo: Bill Cooper / BRB © Source: BRB Website

Ambra Vallo and Chi Cao in Bintley's Beauty and the Beast. Photo: Bill Cooper / BRB © Source: BRB Website

In an ever more globalized ballet world, BRB seems to be  creating its own history, developing its own character. It has shown to be a daring company which is capable of attracting regular audiences with original works. Instead of bringing predictable classics (e.g. Swan Lake, The Sleeping Beauty, etc.) on  tours around the country, they aim to keep a balance with many works by the great 20th century choreographers, such as Ashton, Balanchine, Cranko, de Valois, MacMillan, Robbins and Tudor. With such a pick’n’mix, it is no wonder  their fanbase keeps growing.

The Dancers

Many well known Royal Ballet names began their careers with the BRB: from Nadia Nerina and Lynn Seymour to Darcey Bussell, Miyako Yoshida and Leanne Benjamin.

Through its association with the Elmhulst School of Dance, BRB aims to develop its own talent to feed into the company’s ranks, but plenty of dancers come from other vocational schools such as the Royal Ballet School or internationally, as is the case with Principal dancers Nao Sakuma (Japan), Chi Cao (China), Elisha Willis (Australia), César Morales (Chile) and Ambra Vallo (Italy). Given its continuous flux of new ballets, the company attracts many dancers interested in having roles created on them.

Aaron Robison and Christopher Larsen as Winds and Artists as Snowflakes Photo: Roy Smiljanic / BRB © Source: BRB Webpage

Aaron Robison and Christopher Larsen as Winds and Artists as Snowflakes in The Nutcracker. Photo: Roy Smiljanic / BRB © Source: BRB Webpage

Videos

Birmingham Royal Ballet has a solid online presence, with plenty of feature and reheasal videos on their website. Here are links to some examples:

  • David Bintley’s Beauty and the Beast with Nao Sakuma as Belle [link]
  • Robert Parker and Elisha Willis in David Bintley’s Cyrano [link]
  • Ashton’s The Two Pigeons Rehearsal with Nao Sakuma and Robert Parker [link]
  • Nao Sakuma rehearses Bintley’s Sylvia [link]
  • Alexander Campbell and Natasha Oughtred rehearse the Nutcracker pas de deux [link]
  • Natasha Oughtred and Joseph Caley rehearse Ashton’s The Dream, under the careful eye of former Royal Ballet Stars,  Anthony Dowell and Antoinette Sibley [link]

Sources and Further Information

  1. Wikipedia Entry for Birmingham Royal Ballet [link]
  2. Step-by-step guide to dance: Birmingham Royal Ballet. By Sanjoy Roy, The Guardian, April 2009 [link]
  3. David Bintley and the BRB: A Tradition of Niceness by Patricia Boccadoro. Culturekiosque, April 2000 [link]
  4. Birmingham Royal Ballet’s Website [link]
  5. Elmhurst and Birmingham Royal Ballet [link]

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Edward Watson & Miyako Yoshida in Ondine. Source: ROH, Copyright belongs to its respective owners

Edward Watson & Miyako Yoshida in Ondine. Source: ROH, Copyright belongs to its respective owners

In this compelling article dance critic Alastair Macaulay examines what drives the archetypal “heroine of the water”, her allure, her psychological connotations. I recommend it as essential reading not only to those thinking about catching the last few performances of Ondine this week but also to any Swan Lake devotees.

In La Motte Fouqué’s Undine, the short novella from which Ashton’s ballet Ondine derives, we have, as Macaulay puts it, “a Romantic hero (originally named Huldebrand) for whom this world is not enough: he has a human fiancée but he finds what he craves in the affections of Undine, a water nymph “who lacks a soul”. In a nutshell, it’s our human condition: we want to escape from a dreary, routine existence but at the same time do we know what we are getting ourselves into, why and how do we dare pursue the unattainable? And if we get what we want, how do we deal with it?

Plot-wise, Ondine is not unlike another Romantic ballet gem, La Sylphide, where we also have a tragic male hero (James) forever divided between desire (the Sylph) and reason (Effie). But I feel Ondine needs a bigger degree of engagement and scratching beneath its surface so that we can better understand who Ondine and Palemon are, what they seek and what the choreography and the constant stream of music say of these and other characters. In short, Ondine is not as easy on the eye (or the ears, I overheard a ballet goer comment yesterday “well, it’s not music you can lose yourself in, is it?”) as La Sylphide or Giselle and I don’t think I would have liked it a couple of years ago so well as I do now, three performances and a considerable amount of background reading later.

On two previous sittings last winter I saw Edward Watson’s quintessential Palemon matched with the sublime Tamara Rojo, a very dense waterfall of an Ondine. This luxury cast, I fear, raised the bar so impossibly high that I now find Miyako Yoshida’s reading to be a little too basic, lacking in drama. She speaks more through her dancing – moving fast and mischievously with dainty steps, quick jumps, lush backbends, forever trying to slip away – than through facial expressions. However, her choice of a more polite interpretation also works alongside Edward Watson’s very intense Palemon – in a reading that is almost MacMillanesque, well suited to choreography which would perhaps have influenced MacMillan’s own creations later – because it fully emphasizes the contrast between their two worlds: one pure as water, where Ondine will surely not toy with Palemon’s feelings as Berta does, but one which is also devoid of soul and personality (with the exception of the domineering and revengeful Lord of the Sea, Tirrenio, danced with outrageous precision by Ricardo Cervera), the other world, where Palemon would naturally belong, is for him even more mysterious, full of emotion and heart, as hot blooded as the red scarf with which Berta wraps herself when she sees Ondine lost to the sea and thinks Palemon will be fully hers again.

From left to right: Miyako Yoshida and Edward Watson. Source: The ROH ©. Copyright belongs to its respective owners.

From left to right: Miyako Yoshida and Edward Watson. Source: The ROH ©. Copyright belongs to its respective owners.

But will he? In the final act of the ballet we see him married to mortal Berta but pining over his lost Ondine. How I wish Ashton had given Palemon a few extra minutes of solo dancing, for throughout the ballet but especially here Watson’s steps express his frustration with settling into a normal life, while haunted by hallucinations of Ondine: he whips up furious turns evoking the trauma of the seastorm caused by Tirrenio, he beats and shimmers his legs. Ashton’s choreography & Watson’s execution are impassioned, no wonder it’s this heart that Ondine covets.

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Ondine

Is this ballet for you?

Go if: You are an Ashton fan. You have a keen eye for demanding technique, quick steps and plenty of characterisation in dance. You like stories involving fantasy femmes fatales, mermaids and ill-fated romances, especially those with a Victorian edge.

Skip if: You can’t put up with a difficult non-melodic score. Hans Werner Henze’s modernist music, tailor made to resemble a continuous flow of water & spray of the sea throughout the ballet has been a hard sell with many, including Ashton himself.

Dream Cast: Tamara Rojo.

Tamara Rojo and Edward Watson in Ondine. Photo: Dee Conway ©. Source: The Observer.

Ondine is a 3 act ballet originally created by Sir Frederick Ashton as a vehicle for Margot Fonteyn. The ballet, like the Opera “Rusalka”, is loosely based on Friedrich de la Motte Fouqué‘s novella “Undine”. Ondine is the only Ashton ballet choreographed to specially commissioned music and where Ashton worked in close proximity to the composer, Hans Werner Henze, providing him with plenty of notes and details on precise timings for steps. The costumes and designs by Lila de Nobili evoke the 19th century romantic classics such as Giselle against a maritime backdrop, think “La Sylphide under the sea”.

When it premiered, the critics hailed Fonteyn but expressed reservations against the music. The audience’s difficulty in connecting with the work also had to do with the fact that Ondine is more concerned with generating a mood and trying to replicate the feeling of water in dance, than with telling a straightforward story (although there is plenty of symbolism for the smart ballet goer to reflect on). It has little pyrotechnics to generate thunderous applause and plays to the lyrical strengths of the main ballerina in its fluid choreography and aqueous motifs. Ondine is a substance vs. form ballet, its subtlety might not appeal to everyone’s tastes but it’s a work which shows Ashton at his most avant-garde: its continuous undertow of dance was probably a major influence for Kenneth MacMillan‘s own seamless (& mime-less) choreography later on.

See below a short video where ballerina Tamara Rojo and veteran ballet critic Mr. Clement Crisp talk about the story, the music and motifs in Ondine:


The Story:

Ondine is a water sprite (or nymph) who emerges out of a waterfall onto land fascinated with her own shadow, something she had never seen before. She is observed by Palemon, a mortal man, who is completely entranced by her innocence and gentle manner of playing and marvelling at the sight of this shadow. Realising she is being observed, Ondine is at the same time drawn to and repelled by the human figure of Palemon, especially when she feels his heart beat (as water sprites have no hearts or souls). Dancing a beautiful “watery” pas de deux where Palemon tries to grab and hold slippery Ondine, they fall in love and decide to marry.

Before her marriage Ondine is warned by her uncle Tirrenio, Lord of the Mediterranean sea, that marrying a mortal and thus acquiring a human soul is against a water nymph’s nature and potentially fatal, should Palemon ever betray her. Ondine decides to ignore Tirrenio’s warning as she loves and trusts Palemon to be faithful. Little does she know that Palemon has broken a previous engagement to mortal Berta in deciding to marry her.

Palemon and Ondine get married and set out on a boat trip. A terrible storm unfolds caused by Tirrenio to force Ondine to return to the sea. She is lost overboard and Palemon, having survived the shipwreck and believing Ondine to be forever lost to him, ends up marrying Berta.

On the day of their wedding heartbroken Ondine reappears before a perplexed Palemon. Meanwhile, Tirrenio exerts revenge against the new couple by bringing destruction to the palace and to all of Palemon and Berta’s guests. It is then that Palemon realises his betrayal and the price he has to pay: he longs to be reunited with Ondine and tries to kiss her but when their lips finally meet, he dies. The ballet’s final Victorian looking tableau shows a grief stricken Ondine watching over Palemon’s lifeless body which she has dragged under the sea as an eternal keepsake.

Ondine is part of The Royal Ballet’s Summer Season from the 27 of May – 6 of June, with Alexandra Ansanelli, Miyako Yoshida and Roberta Marquez in the principal role.

Mini Biography:

Choreography: Sir Frederick Ashton
Music: Hans Werner Henze
Original Design: Lila de Nobili
Original Cast: Margot Fonteyn, Michael Somes and Alexander Grant.
Premiere: 27 October 1958, Covent Garden, London.

Sources and Further Information:

  1. Dance Review by Roslyn Sulcas at the New York Times. Dec. 5 2008 [link]
  2. Wikipedia entry for Ondine (Ashton).
  3. Water Magic by John Percival. Danceviewtimes, 2005.
  4. Ballet.contexts. Facts about Ondine at ballet.co. Written by Jane Simpson, 2005.
  5. An excellent article by Alastair Macaulay about the symbolism of water creatures in ballet and opera.

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