With the eight most promising ballet students Australia can muster and top dance troupes vying for other awards, this is one of the most popular annual events in the Sydney Eisteddfod calendar.
Sponsored by The Guillermo Keys-Arenas Dance Trust and supplemented by the Sydney Eisteddfod Jubilee Fund, the total prize value exceeds $36,000, often being recognised as the most valuable awards in the Southern Hemisphere, and attracts very keen competition.
Talented dancers who have been nurtured by the prestigious Sydney Eisteddfod Ballet Scholarships have been sourced by the leading ballet companies around the world for decades. The Australian Ballet’s Leanne Stojmenov and Adam Bull and The Royal Ballet’s Steven McRae are shining examples.
While the ballet finalists delight with their grace, in complete contrast, the wild and wonderful troupes competing in Dance Group Final amaze with their seemingly impossible moves and tricks.
The Sydney Eisteddfod Ballet Scholarship & Dance Group Final will take place on Sunday 30th July at 2.30pm at the Concert Hall, Sydney Opera House.
Cost: A Reserve: Adult $69, Concession $59; B Reserve (restricted viewing): $55.
Above- Kristy Lee Donovan and Alexander Baden Bryce in Arche. Photography by Taylor Ferne Photography.
Following its inaugural sell out at The Concourse, Chatswood premiere season in March, Melbourne Ballet Company (MBC) returns with Archè on Thursday June 29 and Friday June 30 at 7.30pm on both nights.
Founded in 2007 MBC is a not-for-profit organisation which has now grown to become one of Australia’s most loved dance companies. The artistic policy of MBC is to present new work, modern ballet performed by highly trained classical dancers. Since its launch MBC has presented over 35 original works.
We were privileged to see absolutely dazzling dancing in this revival of Balanchine’s Jewels by the Royal Ballet.
This year marks the 50th anniversary of Balanchine’s work and a decade since it became part of the Royal Ballet’s repertoire.
The three works, all without a clear narrative structure, are a homage by Balanchine to French Romanticism (Emeralds) America and Broadway (Rubies) and the Imperial Russian ballet of Petipa ( Diamonds). The works feature scores by three composers – Faure , Stravinsky and Tchaikovsky.
f we shadows have offended, Think but this, and all is mended, That you have but slumber’d here. While these visions did appear – A Midsummer Night’s Dream, Scene 7
Stunningly danced the latest screening of the Palace Opera and Ballet season is the Paris Opera Ballet’s presentation of Balanchine’s A MIDSUMMER’S NIGHT DREAM in two acts and six scenes .It is the first time the Paris Opera Ballet has performed this particular Balanchine work , one of Balanchine’s few narrative ballets .
Originally created in 2015 this is a welcome return of resident choreographer Wayne McGregor’s three part work based on the life and works of Virginia Woolf.
McGregor’s three acts delve into three of Woolf’s novels, interwoven with images from her own life. The choreography is athletic and extremely demanding at times with death defying leaps and catches in the partnering and laser sharp legs .The Royal Ballet dancers are AMAZING.
Lush and stylish, this production is a glorious feats of dance, yet again proving why this version is rightly regarded as a classic. Macmillan’s fiendishly difficult choreography is marvellously performed.
This screening, in which we get to see Roberto Bolle and Misty Copeland dance together for the first time. is of the performance that took place at the Teatro alla Scala in Milan on the 15th January this year.
The orchestra under the baton of maestro Patrick Fournillier played the lyrical, achingly passionate Prokofiev music thrillingly. Music lovers should enjoy the many detailed closeups of the various sections of the orchestra.
If you want to see pure, dazzling, practically perfect classical ballet technique danced superbly then this screening is for you.
The Paris Opera Ballet’s revival of Nureyev’s SWAN LAKE is superb. The production choreographed by Nureyev was first presented at the Paris Opera Ballet in 1984 and previously last seen in 2011. This screening was of the performance that took place at the Opera Bastille in Paris on the 8th December 2016.
Nureyev’s rather Freudian version is presented as if it is the main characters Siegfried’s dying dream, controlled by Wolfgang, his tutor, who in Siegfried’s mind becomes the mysterious, malevolent Rothbart. The orchestra, under maestro Vello Pahn, plays superbly .
Simon Hoy is the resident choreographer and tour director of the Melbourne Ballet Company and up till now has created seventeen works for the Company.
Hoy studied at the Australian Ballet School and has worked in Europe, Asia and America before returning to Australia in 2007.
The Melbourne Ballet Company, established in 2007, is led by Alisa Finney, and has talented dancers from around the globe.
As part of a national tour, and the Company’s tenth anniversary celebration, they are bringing a triple bill entitled BEING AND TIME to the Concourse at Chatswood.
This is a world premiere production and will feature new works by Simon Hoy, Lucas Jervies (who has worked with the Australian Ballet, Scapino Ballet, Expressions Dance Company , Sydney Dance Company and the Queensland Ballet, among others ) and Tim Podesta (who has worked with the South African Ballet Theatre, Queensland Ballet and Projection Dance, to name just a few).
Hoy described this new production, ” as examining the belief that philosophical thinking begins with, and reflects, its human subjects, in their acting, feeling, and as recognisable, living human individuals. This existential understanding of being is ‘grounded in time’, or the more popular way of describing it, is ‘of living in the moment.”
Hoy has been inspired by reading the works of Martin Heidegger the German philosopher. “While the predominant value of existentialist thought is widely acknowledged to be its freedom, its intrinsic primary virtue lies in its authenticity. Being and Time seeks to explore the concept of authenticity and the meaning of life, striving to articulate the question of Being.
“Through the movements depicted , questions are raised, – where does this movement come from? what does it mean to be human?!”
Hoy said that with this new work he is, “attempting to ignore his knowledge and preconceived ideas about the Company’s dancers, and create something as new, fresh and challenging as possible.”
The company is very excited as Mara Galeazzi, a principal dancer with the Royal Ballet – currently performing with them in Woolf Works – will be joining the Company for the production.
Hoy has worked with her previously on a gala, and has already met with her this year.and met her again earlier this year.
In other exciting news, Joseph Phillips , of the State Primorsky Opera and Ballet Theater in Vladivostok, and formerly of the American Ballet Theatre, will also be part of the production.
The Melbourne Ballet Company is classically based but like almost all dance companies now performs a mix of a variety of styles including ‘neoclassical’ and contemporary, They have a loyal following and have developed enthusiastic audiences in not just Melbourne but in regional areas too.
Hoy said he regards regional touring as very important and is excited that the Company is touring widely including to Darwin, Alice Springs and Western Australia.
The Melbourne ballet Company can be seen performing BEING AND TIME at the Chatswood Concourse on March 11 and 12.
The Company will return to the Concourse again at the end of June when it will stage another new work, Arche, based on Swan Lake.
Ballet lovers should take this opportunity to see this screening of the Royal Ballet’s production of Sir Peter Wright’s version of Tchaikovksy’s /Petipa’s THE NUTCRACKER. This Royal Ballet production was particularly special as it was part of Sir Peter Wright’s 90th birthday celebrations.
This is terrific family fare, a quite traditional and enchanting production with some technically AMAZING dancing, particularly in the second act.
A must see for balletomanes, this is completely Natalia Ospiova’s show as Anastasia and she is more than sensational.
The Royal Ballet has just completed the live performances of this production which took place at between the 26th October and the 12th November. We are privileged to see this amazing production via the filming of the performance which took place on the 2nd November which is being presented as part of the current Palace Opera and Ballet season.
The ballet’s subject is the mysterious woman, known as Anna Anderson, who was incarcerated in a mental hospital in Berlin from 1920 and claimed to be Anastasia, daughter of Tsar Nicholas II, who somehow escaped from the cellar where the imperial family had been murdered by the Bolsheviks. Choreographer Kenneth MacMillan explores the whole notion – Was she or wasn’t she?! Continue reading THE ROYAL BALLET PRESENTS ANASTASIA @ THE ROYAL OPERA HOUSE, LONDON→
The Media Launch of the 2017 Australian Ballet season recently took place at the Capitol theatre rather than its usual home, the Joan Sutherland Theatre at the Sydney Opera House. However, for a good part of the forthcoming season the Joan Sutherland will be shut for several months for an upgrade of its stage machinery. The Australian Ballet requested the Capitol theatre to stage its 2017 season and the Capitol was happy to oblige.
The Australian Ballet’s Artistic Director David McAllister and the Executive Director Libby Christie announced the 2017 program combining classic and contemporary works, the season showcases the artistry of dance with story ballets, Alice’s Adventures In Wonderland, Sleeping Beauty, and Nutcracker – The Story Of Clara, and inspires awe with Faster and Symphony In C.
For comprehensive details about the Australian Ballet’s’ 2017 season visit The Australian Ballet’s website – http://australianballet.com.au.
All images by Ben Apfelbaum (c). Featured photo-left to right- Kevin Jackson, Robyn Hendricks, Amber Scott, Benedicte Bemet, Ty King-Wall.
Strong, striking and dramatic with some powerful performances, the Royal Ballet’s FRANKENSTEIN, choreographed by Liam Scarlett, looms massively onto the screen. It is the latest in the Palace Opera and Ballet season. A co-production between the Royal Ballet and the San Francisco Ballet, the work is closely based on the supernatural Gothic thriller by Mary Shelley – a story of scientific development and love, the piece also raises very important questions about life and creation .
This is a wonderful, quite mesmerising dance documentary screening as part of the Sydney Film Festival.
RESET is an intimate, behind the scenes look at the work of Benjamin Millepied. Many people will know Millepied for his work on the movie Black Swan and his marriage to the film’s lead actress Natalie Portman. At the time of the filming Millepied was the Artistic Director of the Paris Opera Ballet. We follow his journey up to the gala premiere of his new work Clear, Loud, Bright, Forward (This piece was reviewed by me for the Guide when it screened in November last year).
There are wonderful sequences of the dancers in class and rehearsal. We learn about the decision process that went through in choosing sixteen of the dancers from the Corps de Ballet. We also learn about the long history of the Paris Opera Ballet, its importance in the ballet world and how Millepied how has been attempting to introduce changes to the Company’s bureaucracy. (See the movie La Danse for the previous regime).Continue reading RESET – A NEW DOCUMENTARY ON BENJAMIN MILLEPIED→
“She always stood out. She had what you can’t teach and you can’t learn. She had a fire.” Susan Fales-Hill.
Balletomanes will love this. This is a very intimate portrait of Misty Copeland as we follow her life, see performances from backstage, and follow her struggle to return to performing after a major operation. Whilst this doco may leave a little to be desired in its technical aspects, this is a very rewarding film.
Readers might be familiar with her autobiography Life In Motion, published in 2014, as well as her children’s book, Firebird. Copeland has also featured on the cover of Time magazine and is the face of the “I will what I want” campaign for Under Armour.
Copeland was the first Afro-American dancer to be accepted into the prestigious American Ballet Theatre, established some 75 years ago.
This is a beautifully danced, exquisitely crafted revival devised by Peter Wright.
The version has now been around for about 25 years and has had over 550 performances yet it is still riveting and seems as fresh as if it was its first season.
Act 1 is mostly in russet colours, Act 2 by contrast an eerie woodland glade with Giselle’s rough cross.
The orchestra under the dynamic inspired baton of Barry Wordsworth was in superb form.
The corps de ballet were excellent in both acts as individualized peasants in Act 1 and the female corps of the Willis in Act 2 were menacing and powerful, breathing and pulsating as one. The ‘peasant pas de deux’ is, with this version, presented as a bubbling, charming pas de six led by Yuhui Choe and Alexander Campbell.
Nunez was magnificent as Giselle. In Act 1, especially at first, we see Giselle as vibrant and sunny, full of love and life, blushing and giggly with nerves when she interacts with Albrecht- enchanting, hardly believing her luck when she is crowned Queen of the Vintage. Their pas de deux was splendid.
Once she realizes she has been betrayed she is shattered, her mind fragmented, seeing only otherworldly things. Her mad scene was extremely powerful.
In Act 2 she was a whisper of a haunted, fragile, loving ghost, feather light. Technically she was in tremendous form in both acts and there was an emphasis on the ‘Romantic ‘ line of the body especially the arms as seen in the original 1841 lithographs .
As Albrecht, Muntagirov was delightful with incredible technique , beautifully stretched feet, soaring jetes ,cabrioles and entrechats. He moves instinctively with aristocratic grace and elegance blended with youthful enthusiasm. He is also a marvellous partner.
Muntagirov plays Albrecht as a rather caddish, spoiled playboy (observe the reaction of his squire Wilfred who helps Albrecht disguise himself before he flirts with Giselle ) but is shocked at the end of Act 1 with Giselle’s death and is heartbroken in Act 2.
Bennet Garside is splendid as Hilarion who also in love with Giselle. He is rather foxlike in appearance and wears a jacket of skins and furs revealing his trade.
Christina Arestis as Bathilde, suffering from an attack of ennui, is stunning in an incredible beaded dress as if she had stepped out of a Renaissance painting. (Interestingly, in this version Giselle touches the drape of her sleeve not the hem of her skirt).
Berthe’s mime sequence as played by Elizabeth McGorian, gives one shivers. Do we get a sense of untold subtext and hidden backstory here?!
Tall, proud and imperious Itziar Mendizabal was terrific, icy, implacable and technically excellent as Myrtha, Queen of the Willis. I am afraid, however, she looked like a transfer from Les Ballets Trockadero de Monte Carlo.
This was a very thoughtful and delightful revival of this classic work with the highlight the magnificent dancing .
Running time allow 2 hours 45 including one interval. The film also features a short ‘behind the scenes ‘ screening and interviews before and during the interval.
The Royal Ballet’s production of Giselle is playing selected arthouse cinemas between the 6th and 11th May.
The Taming of the Shrew is generally extremely difficult to bring off in this day and age. However this is a contemporarized, dazzling choreographed and danced version that will have you cheering at the end.
In the ballet world the most well known version of this Shakespearean work previously was by John Cranko (1969).
This is a new version specifically worked for the Bolshoi by Maillot and absolutely sizzles. Maillot condenses the complicated plot of what perhaps is probably the most erotic and “politically incorrect” of Shakespeare’s plays to focus mainly on the central characters: the aggressive, haughty, bad-tempered Katherina — the ‘’ shrew ‘’ of the title — who scares away all would be suitors and is contrasted with her sister, the sweet and good Bianca, who, according to tradition, must wait to be married until after Katherina is wed. Continue reading BOLSHOI BALLET PRESENTS THE TAMING OF THE SHREW→
The Royal Ballet weave their magic in an Peter Wright’s splendiferous, spectacular version of Tchaikovsky’s classic ballet.
It is a sumptuous, quite traditional version, which has been around for about 30 years now and retains the Petipa /Ivanov choreography and it has to be said, unlike some versions of the work, actually makes a lot of dramatic sense.
With this screening ballet lovers are in for a great treat with the wonderful Paris Opera Ballet bringing us an extraordinary quadruple bill of four famous Diaghilev Ballets Russes works that are very rarely performed on the contemporary stage. The performances took place as part of the Company’s Centenary program in 2009.
The ballets have been lovingly recreated and beautifully danced. It felt almost like being in a time machine and being able to see these works at their premieres. Three of the works have links to the legendary Vaslav Nijinsky.
At the start of the twentieth century, Serge Diaghilev’s Ballets Russes overthrew conventions and led the way in modernity, bringing together painters, musicians and choreographers of the avant garde. The artistic elite of the era was brought together in a dazzling team of stellar greats. They included artists of the calibre of Debussy, Stravinsky, Falla, Picasso, Bakst, Massine, Nijinsky, Fokine …. Continue reading PARIS OPERA BALLET BALLETS RUSSES→
This breathtaking production by the Bolshoi Ballet of John Neumeier’s Lady of the Camellias is full of shattering, overwhelming tempestuous passion that had some audience members in tears at the end.
This is the Neumeier version originally created for the Stuttgart Ballet in 1978 telling the story of Marguerite Gauthier and Armand Duval as in the Dumas novel, the opera la Traviata and Ashton’s ballet. It is a tale of tragic true love interwoven with the story of Manon Lescaut and Des Greiux (for example Marguerite and Armand attend a performance of a ballet version of Manon and identify with the characters). The ballet uses the delicate yet volcanically passionate music of Chopin. The orchestra under the direction of Pavel Sorokin was splendid.
Can you hear them? Here dwell the spirits of the great artists of the past”. One of the leading theatrical impresarios of all time, Paolo Grassi, said this of the Teatro Alla Scala, and this is what makes La Scala unique – it is haunted by the invisible ghosts and voices of some of the greatest in opera history, including icons like Verdi, Puccini,Toscanini, Pavarotti and Callas.
In this glorious film brought to us by Luca Lucini and Silvia Corbetta, the audience has unprecedented behind the scenes access to one of the most exclusive popular temples of the elite performing arts in the world and its fascinating history spanning over more than 200 years. There are dazzling shots of the huge interior of the lavish, golden auditorium. Continue reading TEATRO ALLA SCALA : TEMPLE OF WONDERS→
For the sixth consecutive year Sharmill Films are bringing ballet lovers filmed versions of four ballets presented by the legendary Moscow ballet Company. The first in time is this splendid, very traditional, terrifically danced production of GISELLE.
The ballet was clearly filmed with effective use of close up at times while at others pulled back so we could see the patterns of the choreography ( for example, in the peasant revels and the intricacies of the work for the Willis).
GISELLE is regarded as a cornerstone example of the Romantic ballet, a major test piece for both the ballerina particularly and her partner.
Act 1 is mostly bathed in russet Autumnal colours, whilst Act 2 is a ghostly woodland glade. It is interesting to note that in this version there is no chilling mime solo for Berthe , Giselle’s mother telling the story of the legend of the Wilis. Nor is Giselle crowned Queen of the Harvest Festival (although there is a Bacchus like figure who sits atop a wine barrel leading the celebrations). And in this version Hilarion is called Hans and the ‘Peasant pas de deux’ is shown as being part of the general festival celebrations.
The Orchestra of Bolshoi Ballet performed terrifically under Pavel Klinichev.
The ensemble of the corps de ballet gave fine performances in each act; as villagers in Act 1 or, for the women, Willis in Act 2 . The peasant pas de deux were marvellously danced too by Daria Khokhlova and Igor Tsvirko.
The two lead roles were wonderfully danced. Both Giselle and Albrecht were convincingly enamoured of each other with little flashes of detail in the acting throughout Act 1 increasing the drama.
Svetlana Zakharova as Giselle was sensational. She breathlessly dazzles in her interpretation of the role. In Act 1 she was a shy, innocent beautiful village girl blossoming under Albrecht’s attention. The pas de deux in Act1 was joyous. Her ‘mad scene’ was shattering, grippingly danced and acted, her broken almost uncomprehending desolation made believable.
Svetlana has command of a very light upper body and soft high jumps combined with steely, assured pointe work and fast fleet footwork even more noticeable in Act 2.
In Act 2 as Giselle’s ghost she was a fragile whisper invisible to Albrecht yet he could feel her presence.(The two main pas de deux in Act 2 were ravishing – the transition from arabesque to turns and developes were refined and elegant, the travelling lifts and poses with floating arms handled brilliantly).
Handsome Sergei Polunin as Albrecht was tremendous. In Act 1 he is cheekily impressive, a bit of a playboy with a dazzling smile, genuinely in love with Giselle and shocked and grieving at her unexpected death. The appearance of Bathilde rattles him. In Act 2 he has a very posh glittering black top with white inserts in the black sleeves.
Technically he was superb with brilliant soft jumps, high elevation, pantherine’ ballon and impeccable finish. He is also a tremendous actor, – in Act2 we see princely brooding and despair.
Ekaterina Shipulina as Myrtha , with her photogenic cheekbones, was cold, imperious and regally implacable as the Queen of the Willis, ignoring Hans’ pleas for his life and condemning Albrecht to death as well. The demanding choreography included cabrioles, brises and testing jumps and tours as well as gliding bourees , all of which were excellently performed , creating a chilling characterization.
The corps of Willis in Act 2 was precise and menacing. They breathed and pulsated as one.
Young, handsome Denis Savin as the woodsman Hans acted and danced terrifically. In Act1 he unwitting betrays Albrecht’s double life causing tragedy and in Act 2 is terrified and driven to his death by the Willis.
This was a terrific traditional version gloriously danced by its two principals.
Running time – 2 hours including introduction and interviews before and during interval.
THE BOLSHOI BALLET ON SCREEN : GISELLE screens at selected arthouse cinemas from 27th February 27.
With this great double bill the Palace Opera and Ballet season gives ballet lovers the opportunity to enjoy two fine examples of the definitive Ashton style which helped to shape British dance .
RHAPSODY opened the programme, a pure abstract dance piece which was created in 1980 to celebrate the Queen Mother’s 80th birthday , with Baryshnikov in the fiendishly demanding main role. The piece features a very demanding ballerina role (you can see the Fonteyn influence in the choreography) and an ensemble of a dozen supporting dancers.
Carlos Acosta is one of the most well known dancers of our times, famous internationally. This book is published to mark Acosta’s farewell season, and is a very exciting retrospective seeking to preserve and capture most of what are regarded as his greatest performances with The Royal Ballet.
Released in Australia by Currency Press, the book is a tribute to his popularity and success with international audiences since 1998 .
A large, beautiful coffee table book it documents Acosta’s seventeen year career with the Royal Ballet. There are over 150 assorted photos of Acosta on stage and in rehearsal. The photos are spectacular and show him in dynamic, striking poses from his performances, in leading roles, as Basilio in Don Quixote, as Des Grieux in Manon, Romeo in Macmillan’s Romeo and Juliet, Albrecht in Giselle, and Siegfried in Swan Lake in which he danced the principal roles. Continue reading CARLOS ACOSTA @ THE ROYAL BALLET→
Raining roses and with emotional speeches at the end this was a very special screening. Part of the Palace Opera And Ballet season, the Royal Ballet’s Quadruple Bill was filmed at Carlos Acosta’s farewell to the stage.
The film’s presenters were Darcy Bussell and Fiona Bruce with interviews before the show and during the intervals. The clean crisp photography translated the show very well from stage to screen.
Part of this year’s Palace Opera and Ballet season we were very privileged to be able to see this special screening from La Scala, to celebrate the closing of the 2015 Milan World expo, bringing together some of the world’s finest ballet dancers.
The Orchestra of the Teatro alla Scala played magnificently under the dynamic baton of David Coleman.
The complex program blended a mix of American, French, Russian and English choreographic styles. In my view, the ‘English’ school, as represented by the MacmIllan pas de deux, was the least successful of the collection.