Fun and games with Carla Fracci, Genesia Rosato and George de la Peña

 ballet, photography  No Responses »
Jul 252012
 

Fracci Roasto de la Pena Nijinsky Fun and games with Carla Fracci, Genesia Rosato and George de la Peña

Jeux (Games) is the last work for orches­tra writ­ten by Claude Debussy. It was com­posed for Serge Diaghilev’s  with Vaslav Nijinsky’s cho­reo­graphy. Jeux was was not a suc­cess when premiered in 1913, but this was noth­ing com­pared to the recep­tion Stravinsky’s The  received just two weeks later!

Her­bert Ross’ 1980 biopic Nij­in­sky recre­ated sev­eral of his bal­lets, includ­ing Jeux which, as pic­tured above, fea­tured (left), the ’s , and George de la Peña as Nijinsky.

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  • wp socializer sprite mask 16px Fun and games with Carla Fracci, Genesia Rosato and George de la Peña
  • wp socializer sprite mask 16px Fun and games with Carla Fracci, Genesia Rosato and George de la Peña
  • wp socializer sprite mask 16px Fun and games with Carla Fracci, Genesia Rosato and George de la Peña
  • wp socializer sprite mask 16px Fun and games with Carla Fracci, Genesia Rosato and George de la Peña
  • wp socializer sprite mask 16px Fun and games with Carla Fracci, Genesia Rosato and George de la Peña
  • wp socializer sprite mask 16px Fun and games with Carla Fracci, Genesia Rosato and George de la Peña
  • wp socializer sprite mask 16px Fun and games with Carla Fracci, Genesia Rosato and George de la Peña
  • wp socializer sprite mask 16px Fun and games with Carla Fracci, Genesia Rosato and George de la Peña

Critics round-up: Royal Ballet’s “Birthday Offering”, “A Month in the Country” and “Noces”

 ballet, roundup  1 Response »
Jul 092012
 

’s last pick­ings from the Royal Bal­let rep­er­toire before leav­ing her post as the company’s dir­ector included two works by the Royal Ballet’s founder cho­reo­grapher, Fre­d­er­ick Ashton - Birth­day Offer­ing and A Month in the Coun­try - and Bron­islava Nijinska’s “extraordin­ary” Noces. It was Ashton who invited Nij­in­ska to restage her mas­ter­piece for the com­pany in 1966 and, as the New York Times notes,

When you keep watch­ing, you see that all three bal­lets ask the same pli­ancy of the torso, tip­ping every which way while the lower body keeps busy.

The crit­ics awar­ded the Dame’s choices and the Royal Ballet’s dan­cing with a splat­ter of 4 and 5-star reviews.

Birth­day Offering

Birth­day Offer­ing was cre­ated in 1956 to cel­eb­rate the 25th anniversary of the company’s found­a­tion and to show off the company’s baller­inas to the young Queen Eliza­beth.… [con­tinue reading]

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Critics Round-up: Royal Ballet’s Sleeping Beauty

 ballet, roundup  No Responses »
Nov 092011
 

In 2006 decided to go back to the begin­ning with the Royal Ballet’s sig­na­ture bal­let, The Sleep­ing Beauty: con­sign the 2003 Makarova dis­aster (“dra­mat­ic­ally shape­less and emo­tion­ally flat” said The Times) to the dust­bins, and restore Oliver Messel’s 1946 pro­duc­tion. That was the year that the Vic-Wells Bal­let moved to the Royal Opera House.

There has now been a slight change, as David Dou­gill explains in The Sunday Times,

In 2006, Mon­ica Mason and Chris­topher New­ton made this splen­did resta­ging of the land­mark 1946 pro­duc­tion, but the cos­tumes were rein­ter­preted. Now we find that many of those for the palace scenes have been metic­u­lously re-created from Oliver Messel’s ori­ginal archive, and what a spec­tac­u­lar dif­fer­ence it makes to see his bold, vibrant palette of col­ours and intric­ate dec­or­a­tions.… [con­tinue reading]

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