The Guardian has reported that Sylvie Guillem is ending her 39-year career after the end of her world tour. Ms. Guillem is recognized as one of the greatest Prima Ballerina’s of her generation. She was a Principal dancer with both Paris Opera Ballet and Royal Ballet will be retiring after her world tour. Ms. Guillem, who is 50, had supposedly gave a friend of hers a “license to kill” if she was to go on dance for too long. Ms. Guillem has stated she wanted to retire why she still had pride in her performance.
Friend Tamara Rojo, Artistic Director of the English National Ballet has tried to get the world renowned French Ballerina to change her mind. “She is such a gifted human being and it is a great loss for all of us,” she said. “Of course we don’t want her to stop; we want her to go on for ever. She said to me it had to happen at some point, why not now? To which I had many answers.”
Ms. Guillem, 42 at that time, told Julie Myerson in a 2008 interview “It would be nice to wake up and be able to walk to the bathroom,” referring to her extreme muscle stiffness each morning. But she says her stiffness isn’t much to do with age. Nearly every morning of her adult life has been like this, even when I was 20 and at the Paris Opera I had to crawl down the stairs; it is only when I start to work and stretch that my body begins to recover again.’
Alistair Spalding, chief executive and artistic director for Sadler’s Well, said: “She is the most significant ballerina of our time, no doubt about it. In the future, looking back, we’d say she was the one really. She is remarkable, a once-in-a-generation dancer.”
Recalling her training in Paris, where all the students were nicknamed “little rats” and obliged to bow to all teachers and dancers, Guillem said: “The dancers always seemed so solemn and aloof and whenever we were in a hurry they always seemed to appear out of nowhere, causing us to come to a skidding halt to take our bows. The very old floor, waxed and made slippery by skids from previous generations, made this task relatively dangerous.
“At full speed, we tried to hold, for at least half a second, the ‘bow’ – a genuflexion with arms stretched downwards in a V shape, palms down, back foot pointed behind the supporting leg. And, this done, off we went, trotting to the next class. These wobbling marks of respect were far from gracious, but for us it was a mission accomplished!”
Ms. Guillem’s world tour called Life in Progress will encapsulate her last performances. The tour begins in Modena, Italy, on 31 March, stopping at Sadler’s Wells in May and ending in Tokyo in December. It will include two new works by Akram Khan and Russell Maliphant as well as a solo piece written for her by Mats Ek, called Bye.
10 Hairy Legs
“Closing the Glass Door”
Choreographer: Randy James
Music: Haendel-Halvorsen, Pascacaglia for Violin and Cello
Violin: Jane Chung, Cello: Sarah Biber
Costumes: Abraham Cruz
Lighting: John Lasiter
Recorded at the New Jersey Performing Arts Center, March 8, 2014
Artistic Director: Randy James
Executive Director Elizabeth Shaff Sobo
Four Programs in Two Week
With Live Orchestra
Ardani Artist presents for the first time in the United States The Mikhailovsky Ballet of St. Petersburg, Russia for a special two week engagement November 11 – 23, 2014 at the David H. Koch Theatre (Lincoln Center) NYC. There will be four programs for this premiere engagement performed with a live orchestra. The Mikhailovsky Ballet USA engagement is supported by the Russian Ministry of Culture.
GISELLE, OU LES WILIS
Fantasy Ballet in Two Acts
Music: Aldophe Adam
Choreography: Jean Coralli, Jules Perrot & Marius Petipa
Nov. 11, 7:30 pm: Natalia Osipova, Leonid Sarafanov
Nov. 12, 2:00 pm: Kristina Shapran, Victor Lebedev
Nov. 12, 7:30 pm:Angelina Vorontsova, Ivan Vasiliev
Nov. 13, 7:30 pm: Natalia Osipova, Leonid Sarafanov
THE FLAMES OF PARIS
Ballet in Three Acts
Music: Boris Asafiev
Choreography: Vasily Vaynonen revised by Mikhail Messerer.
Nov. 14, 7:30 pm: Oksana Bondareva, Ivan Vasiliev
Nov. 15, 2:00 pm: Angelina Vorontsova, Ivan Zaytsev
Nov. 15, 7:30 pm: Oksana Bondareva, Ivan Vasiliev
Nov. 16, 2:00 pm: Angelina Vorontsova, Ivan Vasiliev
Three Centuries of Russian Ballet
Three Ballets in One Act
LE HALTE DE CAVALERIE THE LADY AND THE HOOLIGAN PRELUDE
Nov. 18 &19, 7:30 pm Natalia Osipova & Ivan Vasiliev
Ballet in Three Acts & a Prologue
Music: Ludwig Minkus
Choreography: Marius Petipa & Alexander Gorsky
Nov. 20, 7:30 pm Natalia Osipova, Ivan Vasiliev
Nov. 21, 7:30 pm Angelina Vorontsova, Victor Lebedev
Nov. 22, 2:00 pm Oksana Bondareva, Leonid Sarafanov
Nov. 22, 8:00 pm Angelina Vorontsova, Ivan Vasiliev
Nov. 23, 7:30 pm Natalia Osipova, Ivan Vasiliev
Premiere: 1869 by the Imperial Bolshoi Theatre Ballet
Orchestra & 1st Ring $29, $55, $89, $129 & $149
2nd & 3rd Ring $29, $55, $89 $129
4th Ring $55, $89, & $129.
Available are 25 Premium ticket packages for each performance
(Best in the Orchestra, Souvenir Program, a Glass of Champagne, Meet Company Members)
Buy 2 programs get a 10% discount; 3 programs with a 20% discount.
Tickets can be purchased at the box office
Or by Phone (212) 496-0600
by Fax at (212) 580-2545 and on the web.
*Casting Subject to Change
Project /TeZukA: Sidi Larbi Cherkaoui for Eastman
Visionary Japanese manga artist and animator Osamu Tezuka provided the inspiration for TeZukA. Working with an international cast of 11 performers, 3 musicians and a calligrapher, Cherkaoui explores Tezuka’s fascinating world – a blend of tradition, science fiction and contemporary reality. Two of Tezuka’s manga stories which are well known in Japanese popular culture – Astro Boy and Buddha – particularly captured Cherkaoui’s imagination in creating this work. TeZukA features a specially commissioned score from award-winning composer Nitin Sawhney with lighting and set design by Willy Cessa and costumes by fashion designer Sasa Kovacevic. Tezuka’s original illustrations are projected alongside work by video artist Taiki Ueda and calligraphy by Tosui Suzuki. Using the dancers’ movements to trace the physical evolution of Tezuka’s drawings – from a line on a blank page to a single Japanese kanji (letter) to a fully-formed manga character – Cherkaoui brings the ‘God of Manga’s’ philosophy, drawings and characters to life.
September, 6, 2011, Sadler’s Wells
Additional / Traditional Music
Jon Filip Fahlstrøm, Damien Jalet, Kazutomi ‘Tsuki’ Kozuki, Satoshi Kudo, Shintaro Oue, Daniel Proietto, Guro Nagelhus Schia, Helder Seabra, Vebjørn Sundby, Huang Jiahao, Li Bo, Kieran Brown, Mirai Moriyama, Hirotsugu Saegusa, Minoru Harata
Production / Technical Manager:
Lar Lubovitch Dance Company returned to the Joyce Theater for its 46th Anniversary Season with a program based on ancient myths entitled Ancient Tales. The program consisted of the premieres of The Black Rose and Artemis in Athens, a re-conceived production of Artemis, which was originally created for American Ballet Theatre in 2003.
The evening opened with Artemis in Athens featuring guest artist Alessandra Ferri and ten young dancers from The Juilliard School who performed with the Lubovitch Company to a newly commissioned orchestration of Christopher Theofanidis’s original score. The score was performed live by Le Train Bleu under the direction of Ransom Wilson. But sadly, not even Alessandra Ferri with Le Train Bleu and Ransom Wilson could save Artemis in Athens.
I wanted so very badly and I ardently tried to like Artemis in Athens…but no matter how much I tried I just couldn’t. (…and I tried hard…)
Zeus, father of Artemis, in his infinite wisdom gives Artemis, goddess of the hunt, a sacred glade. Zeus, perhaps like all fathers, is a little over-protective of his daughter’s virginity…Artemis is sort of known for her virginity. He therefore decreed death to any mortal (especially mortal men) who enter and sees Artemis. Along comes Akteon who, while out hunting stumbles upon the glade. When Artemis discovers him in her glade she mercifully spares his life by turning him into a deer and setting him free to roam in the woods….
Mr. Lubovitch (and I have literary lost sleep trying to figure out why)…set the work in a summer camp for the boys and girls scout troops in Athens, Georgia. The dancers wear tan scout uniforms….and yes, they were complete with the sash displaying their badges of achievement, knot tying, canoeing, fire making, etc. Sadly, even with the addition of Ms. Ferri, one of the world’s greatest dramatic ballerinas, the whole scout motive just made the production seem amateurish.
Now if not for the scout motive, this may just have been a brilliant piece. The choreography is filled with beautiful movement that utilizes both classical and modern vocabularies. Every move and gesture of Mr. Ferri was sublime. Tobin Del Cuore was an excellent partner for Ms. Ferri, his lifts strong and he always seemed in command.
Christopher Theofanidis’s original score, performed live by Le Train Bleu under the direction of Ransom Wilson was wonderful. I greatly admire Mr. Lubovitch’s commitment in using live music for his performances, something that has become increasingly rare in today’s dance scene.
I would love to see a stripped down version of Artemis in Athens, a version without the whole scout motive…
The Black Rose, tells a dark tale drawn by Mr. Lubovitch from the ancient folk stories from which fairy tales originally arose. The work is for ten dancers and set to a commissioned score by Scott Marshall (composer of Lubovitch’s Men’s Stories).
The work is a tad melodramatic, very stagy, and seems to want to appeal to the Gothic crowd. Everything is dark, the costumes, the lighting design and especially the score. Mr. Marshall’s score is a compilation that mixes Tchaikovsky’s The Sleeping Beauty and Swan Lake with some love songs heard here and there.
The work takes place at a ball and a witch’s Sabbath. There is an attempted play on the theme of light and dark, good vs. evil. Reid Bartelme approaches Mucuy Bolles with a red rose and honorable intention. Barton Cowperthwaite, sinister from the moment he steps on stage, presents a black rose to Mr. Bolles. The only thing lacking from Mr. Cowperthwaite persona of turpitude is a handlebar mustache for him to twirl while snickering evilly.
Long story short, Mr. Cowperthwaite seduces and rapes Ms. Bolles. Mr. Bartelme appears blind with a walking stick because Mr. Cowperthwaite has puts out his eyes (he has red something smeared down the front of his face) and then proceeds to beat Mr. Bartelme without mercy. A baby is born from Ms. Bolles and Mr. Cowperthwaite’s violent union. An over sized fork and knife appear and it would seem that Mr. Cowperthwaite has his heart set on a delightful meal of baby a la fricase. Ms. Bolles and Mr. Bartelme find each other in those last few moments and the rest is history…
Lar Lubovitch has made a career of producing the unexpected. He is a very brave artist that is willing, actually seems to yearn trying new things, new approaches. The only problem with this is sometimes it works and sometimes it doesn’t. From me, both Artemis in Athens and The Black Rose did not work.
But in all fairness Mr. Lubovitch must be commended on his willingness to experiment. His refusal to be categorized has yielded some incredible dances such as his 2011 work Crisis Vairation which won the 2012 Prix Benois de la Danse or one of the most brilliant dances for men created (I think…) his 2013 work As Sleep Befell, set to Paola Prestini score and is for six men. Both are brilliant and is evidence of a certain genius and geniuses take chances…
The Italian International Dance Festival NYC returns for the 2nd edition with a Lifetime Achievement Award to Edward Villella, and performances by several dance companies from Italy, or NY-based organizations directed by Italian artists.
Artistic Director Antonio Fini and Creative Director Tabata Caldironi will present and host the event that brings together dancers, companies, and choreographers from Italy and America in a spirit of exchange and collaboration – an “abbraccio dell’arte” (embrace of art).
Performers include Antonio Fini with composer Noa Guy, Dianna Folio in a tribute to Luigi, Michael Mao Dance, SLK Ballet and Staten Island Ballet joining forces to perform a new work by Michael Mao, and the award-winning Italian drag artist Platinette in an excerpt from his over-the-top new musical “La Sposa in Blu.” Awards will also go to great American dancer of Italian descent, Edward Villella – Lifetime Achievement Award; dancer/performer Alessandra Corona, former principal with Ballet Hispanico, and Platinette.
ITALIAN INTERNATIONAL DANCE FESTIVAL NYC
Friday October 24, 7:30 PM
Julia Richman Theater
317 East 67th Street
$25; $15 for Students & Seniors
For its 46th Anniversary Season, the internationally renowned Lar Lubovitch Dance Company will present ANCIENT TALES, a single program of two new dances based on ancient myths – the world premiere of The Black Rose and the premiere of a new production, Artemis in Athens, featuring guest artist Alessandra Ferri. Both works are set to original commissioned scores, and every show will include live music.
The Black Rose, tells a dark tale drawn by Mr. Lubovitch from the primeval folk stories out of which fairy tales eventually arose. This dramatic work for 10 dancers is set to a score by Scott Marshall (composer of Lubovitch’s masterpiece, Men’s Stories).
The second premiere, Artemis in Athens, is a re-conceived production of Artemis, originally created by Lubovitch for American Ballet Theatre and performed at the Met. Based on the Greek myth of the goddess of the hunt, this new production features the legendary ballerina Alessandra Ferri in the title role with the Lubovitch Company dancer Tobin Del Cuore as Aktaion, and 10 top dancers from The Juilliard School as the ensemble.
It is set to a new orchestration of Christopher Theofanidis’ original score, performed live by Le Train Bleu under the direction of Ransom Wilson. At the time of the earlier premiere at the Met, dance critic Jennifer Dunning wrote that Lubovitch has “created a delicate aura of mystery and magic that is unusual on the ballet stage today” (The New York Times).
Tickets start at $10!
Call JoyceCharge at 212-242-0800
All other tickets can be purchased online.
175 Eighth Avenue
(at the corner of 19th Street)
New York, NY 10011
Three-Week Engagement at Lincoln Center
MARCH 11 – 29, 2015
Features Major Works by Doris Humphrey & Shen Wei, 2 NY Paul Taylor Premieres as well as the world premiere of
Mr. Taylor’s 142nd as-yet-untitled piece
Live Music Planned For Every Program played by the renowned Orchestra of St. Luke’s
Conducted by long-time Taylor Music Director, Donald York.
$10 Orchestra Seats Available For All Performances
First announced last March, Paul Taylor American Modern Dance Company seeks to strengthen and expand American modern dance, one of our nation’s great indigenous art forms. With this new enterprise, Paul Taylor will:
- Continue to create new work of his own and present it alongside acclaimed dances from his repertoire;
- Mount legendary masterwork and new work from other choreographers – utilizing legacy companies or artists trained in the signature techniques of those chosen;
- Assure that brilliantly performed live music accompanies Lincoln Center performances as intended by the choreographers
- And, starting in the spring of 2015, Mr. Taylor will begin to nurture and commission a new generation of dance greats – programming them, over time, into his seasons on the world’s leading dance stage where they can reach huge new audiences.
Among the great masterworks of modern dance to be presented this Season is Doris Humphrey’s influential piece from the 1930s, Passacaglia and Fugue in C Minor. It will be performed by the venerable Limón Dance Company. Shen Wei Dance Arts will perform Rite of Spring, Mr. Shen’s brilliant take on the legendary Stravinsky score. The two dances were chosen by Mr. Taylor to help celebrate the indigenous American art of modern dance alongside his own masterworks.
The Company’s 2015 Taylor repertoire includes
Arden Court (1981), Aureole (1962), Beloved Renegade (2008), Big Bertha (1970), Brandenburgs (1988), Cloven Kingdom (1976), Company B (1991), Diggity (1978), Esplanade (1975), Eventide (1997), Last Look (1985), Piazzolla Caldera (1997), Promethean Fire (2002), Sunset (1983), Syzygy (1987), The Word (1998), Troilus and Cressida (Reduced) (2006), the New York City premiere of Sea Lark (2014),
and the world premiere of Mr. Taylor’s 142nd yet to be named new work (2015).
The Company’s performances are
Tues, Wed &Thurs at 7pm
Fri at 8pm
Sat at 2pm & 8pm
Sundays at 2pm
Ticket prices for all performances except for March 12
$10, $30, $60, $90, $120 and $175
Premium $175 seats include an invitation to the Patrons Lounge during intermissions.
Tickets go on sale to the public on September 23.
Direction & Choreography: Adrien Ouaki
Charlotte Sepiora, Golan Yosef, Tarek Aitmeddour & Adrien Ouaki
Co-directed & Edited: Lola Teyssedou
Camera & Light Design: Guillaume Pitel
Music: Roc Chaliand a.k.a FREON
Graded by Sam Tibi
Assistant Directors: Juliette Decomarmond – Jérémy Ouaki
In Collaboration with Ever Magazine: fr.lemagazineever.com/