プログラム
The Royal Ballet @Royal Opera House
The Vertiginous Thrill of Exactitude / Tarantella / Strapless / Symphonic Dances: Saturday 27 May 2017, 12.30pm
演目1: The Vertiginous Thrill of Exactitude.
CREDITS
◆Choreography: William Forsythe◆Music: Franz Schubert
◆Costume designer: Stephen Galloway
◆Lighting designer: Tanja Rühl
PERFORMERS
◆Conductor: Koen Kessels◆Dancers:
Tierney Heap
Mayara Magri
Akane Takada
Valentino Zucchetti
Tristan Dyer
◆Concert Master:Peter Manning
◆Orchestra: Orchestra of the Royal Opera House
Music
Franz Schubert(1797-1828),Sympony no.9 in C major, d944; IV.Allegro vivace
演目2: Tarantella
Credits
Choreography: George BalanchineMusic: Louis Moreau Gottschalk
Orchestration: Hershy Kay
Costume designer: Karinska
Costume realization: Natalia Stewart
Lighting designer: Simon Bennison
PERFORMANCE
Conductor: Koen Kessels
Dancers:
Meaghan Grace Hinkis
Alexander Campbell
Concert Master: Peter Manning
Orchestra: Orchestra of the Royal Opera House
Dancers:
Meaghan Grace Hinkis
Alexander Campbell
Concert Master: Peter Manning
Orchestra: Orchestra of the Royal Opera House
Music
Louis Moreau Gottschalk(1829-69), Grande Tarantella Op.67
演目3: Strapless
CREDITS
Choreography: Chrihristopher WheeldonScenario: Christopher Wheeldon and Charlotte Westenra
after Deborah Davis
Music: Mark-Anthony Turnage
Additional orchestrations: Christopher Austin
Designer: Bob Crowley
Lighting designer: Natasha Chivers
PERFORMERS
Conductor: Koen Kessels
Amélie Gautreau: Natalia Osipova
John Singer Sargent: Edward Watson
Dr Samuel-Jean Pozzi: Federico Bonelli
Albert de Belleroche: Matthew Ball
Concert Master: Peter Manning
Orchestra: Orchestra of the Royal Opera House
演目4:Symphonic Dances
CREDITS
Choreography: Liam Scarlett
Music: Sergey Rachmaninoff
Designer: Jon Morrell
Lighting designer:David Finn
PERFORMERS
Conductor: Koen Kessels
Dancer: Laura Morera
Concert Master: Peter Manning
]Orchestra: Orchestra of the Royal Opera House
Running times
The performance lasts around 2 hours 50 minutes and ends at approximately 3.20pm.
First work 15 minutes
Pause 5 minutes
Second work 10 minutes
Interval 30 minutes 食事をしたりワインを飲んだり
Third work 40 minutes
Interval 25 minutes 食事をしたりワインを飲んだり
Fourth work 45 minutes
The Vertiginous Thrill of Exactitude
5人のダンサーが次々とソロやアンサンブルで小気味の良いリズムでダイナミックな踊りを展開していきます。
緊張感に満ちた明るいのびのびとした素晴らしい作品でした。
とても難しいテクニックを用い、早いテンポで次のパ、次のパへと移っていく様は息を飲みました。
衣装が当然なのですが、音楽と振り付けにぴったりとあっていました。
日本のプリンシパルの高田茜さんの肢体の伸びやかさと外観には驚かされました。
全てに感動しました。
Vertiginous を辞書で引くと
めまいがする、旋回する、目まぐるしい
という意味でした。
まさに目まぐるしくポーズが展開していく舞台でした。
高田さんが出ていたので食い入るように見てしまいました(^_-)-☆
Royal Opera House Hpより
http://www.roh.org.uk/productions/the-vertiginous-thrill-of-exactitude-by-william-forsythe
Introduction
Five dancers perform a series of solos and ensembles in a virtuoso display of classical technique, driven by the rhythmic vitality of the final movement of Schubert’s ‘Great’ Ninth Symphony.
Background
William Forsythe created The Vertiginous Thrill of Exactitude for his company Ballett Frankfurt in 1996, using the final movement of Schubert’s Ninth Symphony. The eleven-minute ballet was quickly recognized as an exemplary work from this modern master of classical ballet, and was taken into the repertories of companies around the world. It was first performed by The Royal Ballet in 1999.
The Vertiginous Thrill of Exactitude was created as a celebration of the technique and musicality of the five Ballett Frankfurt dancers who created it. It has since gained a reputation as one of the most demanding short ballets in the repertory – Forsythe explains that ‘dancers like a challenge’. As the title suggests, Forsythe exploits the precision and musicality of his dancers to create a work that thrives in its surprising and always satisfying response to the energy of Schubert’s score. Stylish designs from Stephen Galloway complete this celebration of balletic brilliance.
Tarantella
URL:http://www.roh.org.uk/productions/tarantella-by-george-balanchine
Introduction
A couple dance an exuberant pas de deux, loosely inspired by itinerant southern Italian dancers, that melds exacting classical technique with good-natured charm.
Background
George Balanchine created Tarantella in 1964, as a pas de deux to show off the virtuoso talents of New York City Ballet dancers Patricia McBride and Edward Villella. He used music by the New Orleans-born composer Louis Moreau Gottschalk, now relatively little known but in his day widely celebrated for his cheerful and energetic style. Gottschalk in turn took inspiration from the popular ‘tarantella’ dance, said to derive from southern Italy and long popular for its lively rhythms and exuberant energy.
Balanchine’s choreography for Tarantella places great demands on its dancers, who have an opportunity to show off their speed, precision and athleticism. But there’s more than just technique on display here, as amid the pyrotechnics Balanchine mixes in witty, cheeky steps to create a sense of open-hearted, good natured fun. As Balanchine put it, ‘It is a dazzling display piece, full of speed and high spirits’.
Strapless
言葉がなく、踊りだけでこれだけのストーリーを展開していく、
バレエも最後の差異は、表現力なのだと思います。
The Story
Socialite Amélie Gautreau commissions a portrait from John Singer Sargent, after seeing his handsome picture of her lover Dr Samuel Jean Pozzi. Sargent at first struggles to begin Amélie’s painting, but finds inspiration in recollections of his lover Albert de Belleroche.
Read more… (Contains spoilers)
Background
Christopher Wheeldon, one of the leading choreographers of his generation, created the one-act narrative work Stapless for The Royal Ballet in 2016. Wheeldon has a long history with The Royal Ballet: he trained at The Royal Ballet School and began his career with the Company, and in 2012 was appointed its Artistic Associate. In Stapless, Wheeldon draws inspiration from the scandal surrounding John Singer Sargent’s Portrait of Madame X. Mark-Anthony Turnage (Anna Nicole and ‘Trespass’ from Metamorphosis: Titian 2012) composed the commissioned score, while Bob Crowley (The Winter’s Tale and Alice’s Adventures in Wonderland) created the designs.
Sargent’s painting caused outrage on its unveiling at the Paris Salon in 1884. The shock caused by the picture – particularly around a strap falling provocatively off the model’s shoulder – ruined the careers of both Sargent and his Madame X, Virginie Amélie Gautreau. But while Sargent was able to move on and recover his career, Gautreau was ostracized by Parisian society. Wheeldon’s ballet explores the desires and ambitions of both Amélie and Sargent, and the hypocrisy of their society; The Guardian called it ‘a superb piece of stagecraft’.
Please remain seated during the pause
Symphonic Dances
Backgraound
Liam Scarlett is one of the most exciting ballet choreographers of his generation. He trained at The Royal Ballet School and danced with The Royal Ballet, before turning to choreography full-time in 2012. Acclaimed as ‘ballet’s fast-rising star’ (Evening Standard), he now creates works for leading companies around the world.
Scarlett’s creations for the Company include the one-act works Asphodel Meadows, Sweet Violets and The Age of Anxiety, and the full-length ballet Frankenstein. He has choreographed internationally for companies including English National Ballet, New York City Ballet, American Ballet Theatre, San Francisco Ballet, Miami City Ballet and K-Ballet. In this world premiere he creates a new abstract ballet for the Company to Rachmaninoff’s great final work, the Symphonic Dances.