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Mar 312011
 

Last week the world of bal­let took its first del­ic­ate and perfectly-poised steps into the world of 3D cinema. Gis­elle 3D — which was shot almost a year ago at Russia’s Mari­in­sky Theatre in St Peters­burg — received its big screen première in Lon­don and will be shown in selec­ted cinemas around the UK in April.

It’s not just bal­let which is seek­ing to entice art­house audi­ences to don 3D glasses. Opera entered the fray earlier this year with 3D cinema screen­ings of Bizet’s Car­men and Donizetti’s Lucrezia Bor­gia. The lat­ter, per­formed by the Eng­lish National Opera and dir­ec­ted by Mike Fig­gis, was broad­cast live to 15 cinemas across the UK and Ire­land, and on Sky TV, in February.

Earlier this month saw the release of Bizet’s Car­men, star­ring Christine Rice, filmed in 3D by Julian Napier at the Royal Opera House.… [con­tinue reading]

Mar 312011
 

London’s Arts Theatre has announced details of its sum­mer pro­gram, which will include the world première of Anton Burg’s Bette & Joan, which will star Greta Scaa­chi and Anita Dob­son in the title roles of Bette Davis and Joan Craw­ford, respect­ively — writes Mark Shenton.

The play, to be dir­ec­ted by Bill Alex­an­der, begins per­form­ances May 5 for a run through June 25. Based on the real-life legendary feud between the two stars, the play shows them at a low point in their careers when they meet on the set of “Whatever happened to Baby Jane?,” which becomes a sur­prise hit that pro­pels them back to star­dom.… [con­tinue reading]

Mar 312011
 

India could bring in legis­la­tion to jail any­one who insults Mahatma Gandhi while state gov­ern­ments are mov­ing to ban a bio­graphy that review­ers said showed the “Father of the Nation” was bisexual.

Gandhi led the cam­paign to end Brit­ish colo­nial rule but law­makers say his repu­ta­tion is being besmirched by a new bio­graphy that sug­gests he had a homo­sexual affair with a Ger­man bodybuilder.

“Mahatma Gandhi is revered by mil­lions, not just in India but across the world. We can’t allow any­body to draw adverse infer­ences about his­tor­ical fig­ures and den­ig­rate them. Oth­er­wise his­tory will not for­give us,” Law Min­is­ter M. Veerappa Moily told the Indian Express news­pa­per.… [con­tinue reading]

Mar 312011
 

boheme en 700x237 Met Opera, ABT and concert tours organised by Japan Arts at risk

The Met­ro­pol­itan Opera is debat­ing whether to pro­ceed with its sched­uled Japan­ese tour in June, an ambi­tious trip that was sev­eral years in the plan­ning and would be the Met’s first to that coun­try since 2006.

Peter Gelb, the Met’s gen­eral man­ager, met on Tues­day with union rep­res­ent­at­ives about safety con­cerns and on Wed­nes­day issued a state­ment to the entire com­pany that described the tour as being “in jeop­ardy at this time.”

Mr. Gelb said any risk cre­ated by prob­lems at nuc­lear react­ors would be fully eval­u­ated “before the advance team is sched­uled to depart in the middle of May.”

Per­form­ances in the three-week tour are to begin June 4 at the Aichi Arts Cen­ter in Nagoya. It would be the Met’s sev­enth Japan tour, all but one of which have been presen­ted by the Japan Arts Cor­por­a­tion of Tokyo.… [con­tinue reading]

Mar 312011
 

daniele rustioni 01 V Fabio Luisi chasing James Levines job leaves an opening for the young Daniele RustioniLast night Daniele Rus­tioni con­duc­ted Aida at Cov­ent Garden. At 28 he is cer­tainly young, but as assist­ant to the house musical dir­ector Ant­o­nio Pap­pano he was an obvi­ous and pleas­ing choise to replace the escap­ing Fabio Luisi.

Luisi, who’s eye­ing James Levine’s job at the Met, dashed off to replace him, break­ing his Royal Opera House con­tract in doing so. As The Arts Desk com­men­ted, we may not be see­ing much more of him at the ROH, though of course, if the gamble pays off, they may be see­ing much more of him in NY. Whatever, he’s given the young Mil­anese con­ductor Rus­tioni an excel­lent oppor­tun­ity. Today’s edi­tion of the Italian news­pa­per La Repub­blica has devoted a page to him: “Rus­tioni con­quer­ors Lon­don”.… [con­tinue reading]

Mar 302011
 
300px Natalie Portman at the TIFF 2009 011 The Guardian says: vote for ballet... online

Image via Wikipedia

The ques­tion that the news­pa­per is ask­ing is:

“A row has erup­ted over whether Nat­alie Port­man danced most of her bal­let scenes in Black Swan. Does it mat­ter whether it was her or ‘bal­let double’ Sarah Lane?”

Go here to vote.

Mar 302011
 

Brit­ish author John Le Carre will remain on the short­l­ist for the bien­nial Man Booker Inter­na­tional Prize des­pite ask­ing judges to with­draw his name from the list of 13 nominees.

“I am enorm­ously flattered to be named as a final­ist of 2011 Man Booker Inter­na­tional Prize,” said the cre­ator of spy clas­sics includ­ing “The Spy Who Came In From the Cold” and “Tinker, Tailor, Sol­dier, Spy.”

300px John le Carre1 John Le Carre doesnt want to be considered for the Man Booker Prize

Image via Wikipedia

“How­ever, I do not com­pete for lit­er­ary prizes and have there­fore asked for my name to be with­drawn,” the 79-year-old, whose real name is David Corn­well, said in a statement.

But prize organ­izers said they would ignore his wishes.

“John le Carre’s name will, of course, remain on the list,” said Rick Gekoski, chair of the Man Booker Inter­na­tional Prize 2011 judges. … [con­tinue reading]

Mar 302011
 

If you want to exper­i­ence the angst of an artist, if you want tem­pera­ment and vicari­ous high-octane liv­ing, it ain’t there. But if you want the sheer joy of human cre­ation and recre­ation, then go to a piano recital by Angela Hewitt. From the moment she steps sprightly on stage — the walk of the dan­cer she was in a former incarn­a­tion — you know that the hum of hap­pi­ness is going to be there, in and through everything she plays.

This time Hewitt had paired two key­board suites of the Baroque period with two mas­ter­pieces of vari­ation form. So, triple cre­ation: that of the ori­ginal com­poser; then the responses of another; and finally the recre­at­ing ima­gin­a­tion of the per­form­ing artist.… [con­tinue reading]