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 Post subject: Estonian National Ballet 2006
PostPosted: Wed Feb 01, 2006 5:09 am 
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Joined: Mon Oct 07, 2002 11:01 pm
Posts: 60
Location: Tallinn, Estonia
LA DAME AUX CAMÉLIAS

"La Dame aux Camélias" is a new Estonian ballet, the music for which has been chosen by Tiit Härm from the creations of Ferenc Liszt. The plot based on Alexandre Dumas's world-famous novel bearing the same name speaks of the young courtesan Marguerite Gautier who sacrifices herself in the name of love. It is a drama of soul struggles, loneliness and love.
The prototype of Marguerite Gautier, the heroine of Dumas’ novel, was a courtesan Marie Duplessis who in her time was famous for her charm, intelligence as well as good taste and noble soul. Her circle of admirers included the high-society of Paris and among them were also Alexandre Dumas and Ferenc Liszt.
In the ballet "La Dame aux Camélias", Marguerite Gautier gives up the brilliant life in Paris and moves to the country with her lover Armand Duval. Their happiness is distrurbed by the young man’s father who cannot accept that his son is living with a "frivolous seducer" and thus, violates the family honour. He asks Marguerite to leave his son. Marguerite is willing to sacrifice herself but she has not much time left...

Ballet by Tiit Härm

Choreographer and Stage Director Tiit Härm
Conductor Jüri Alperten/ Aivo Välja
Designer Eldor Renter
Lighting Designer Klaus Gärditz

premiere on 2 February 2006

In main roles: Marina Chirkova, Olga Riabikova or Luana Georg (Marguerite Gautier), Vladimir Arhangelski, Linnar Looris or Allan Simson (Armand Duval), Sergei Fedossejev, Anatoli Arhangelski or Vitali Nikolajev (Georg Duval).

information from www.opera.ee

_________________
Vladimir Arhangelski
http://www.estballet.com


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PostPosted: Wed Feb 01, 2006 6:00 am 
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Joined: Sun Oct 24, 1999 11:01 pm
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Location: London, England; Tallinn, Estonia
Many thanks for this news, Vladimir, and best wishes to Marina, you and all the other cast members for the premiere tomorrow.

I have a ticket booked for early March and am looking forward to this new full-length production.


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PostPosted: Wed Feb 01, 2006 7:50 am 
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Joined: Sat Mar 24, 2001 12:01 am
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Location: Lighting Heaven
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best wishes to Marina, you and all the other cast members


...And, of course, to Klaus.

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"A man's speech must exceed his vocabulary, or what's a metaphor?"


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PostPosted: Tue Jun 27, 2006 3:36 am 
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Joined: Sun Oct 24, 1999 11:01 pm
Posts: 19975
Location: London, England; Tallinn, Estonia
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Galina Lauš rehearsing the role of Cassandra
Photo courtesy of Estonian National Ballet


“Cassandra” revisited

Estonian National Ballet, May 2006

“Cassandra” has been in the repertoire of Estonian National Ballet for four years and this succinct up-dating of Christa Wolf's novel, based on “The Iliad”, remains a satisfying experience with its clearly drawn characters and Luciano Cannito's inventive, flowing choreography for a mix of off-pointe ballet, social and jazz dance. Tiit Härm, the Ballet Director, has an exceptional record of importing high quality work and his company's “Cassandra” would grace any stage in Europe.

Cannito and Wolf recount the tragedy of Troy from the perspective of the prophetess, doomed never to be believed. However, the choreographer brings the story forward to the 1950s and crosses the Meditteranean to his home to describe the erosion of the traditional values and culture that binds the society together.

Recent performances provided the chance to compare new casts and old. First, as Cassandra and Enea, the ill-fated lovers, I saw Marina Chirkova and Vladimir Arhangelski, who have danced these roles since the ballet first came to Tallinn. The characters fit them like a glove now and these exceptionally expressive dancers bring great emotional intensity to their performances.

The next cast featured premieres in the leading roles: Galina Lauš displayed strong technique and elegant movement and her final solo, with her lover departed and her family and friends lost to the TV world, was an expressive high-spot, showing scope for the future development of the role; Anatoli Arhangelski also looked stronger in the second half and I enjoyed his solos and his commanding presence in the fight scenes, but his relationship with Cassandra needs more fire to make the partnership fully blossom.

In other first viewings, Artjom Maksakov was sinuous and confident in his jazzy moves as Paride (Paris), the son returning from America. In the same role, Daniel Kirspuu put his own stamp on the choreography in a witty portrayal. Ingrid Gilden, as Paride's fiancée, Helen, was sensual enough to convince us that she can dazzle Paride and shock the villagers. Andrei Mihnevitsh's Ulysses combined ballet and rock 'n roll moves fluently in his brash portrayal of the devious, gilted husband come to reclaim his bride.

A special mention for Margarita Dombrovskaja and Vitali Nikolajev, who have both given long service as Cassandra's parents and paint convincing portraits as the concerned and protective mother and blustering patriarch. The corps de ballet make the most of Cannito's ever-changing lines and groupings.

Marco Schiavoni's score effectively combines his own melancholy folk tunes with borrowings from a range of sources spanning Honeggar to Presley, and Carlo Cerri's lighting brilliantly enhances the drama. I look forward to future performances of “Cassandra”.


For those of you that want to practice your Estonian, here is the link to a shorter version of this article, published in Postimees:

http://www.postimees.ee/150606/esileht/ ... 205793.php


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