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 Post subject: Royal Ballet's "La Sylphide" Mixed Bill
PostPosted: Sat Oct 08, 2005 4:52 am 
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La Sylphide
By Debra Craine for The Times

WE WAITED long enough, but now that La Sylphide has finally reached the Royal Ballet, how right it feels. This historic 1836 ballet is one of the gems of the Romantic repertoire, the sweetest of delights, and its arrival at Covent Garden is long overdue.

It took the bicentenary of its creator, August Bournonville, and the happy presence of Johan Kobborg to make this production happen. Kobborg is the Royal’s Danish star dancer, and La Sylphide, Denmark’s most famous ballet export, is in his blood.

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PostPosted: Sat Oct 08, 2005 5:26 am 
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La Sylphide/The Lesson
by JUDITH MACKRELL for the Guardian

For instance, the men can only be described as blithe. It's not just that they're all dancing in kilts (although that counts for a lot); it's the fact that Kobborg and his assistant, Sorella Englund, have coaxed from them such radiant beats, finessed footwork and cruising jetés that all of them - from Ivan Putrov, as a flashing, moody James, to the little boys at the back - dance like bonny princes.

published: October 8, 2005
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PostPosted: Sun Oct 09, 2005 4:48 am 
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Seduced by La Sylphide
By Jann Parry for The Observer

Ever since Monica Mason took over as director of the Royal Ballet in 2002, she has been honour-bound to observe significant anniversaries. So far, she's commemorated the centenaries of Frederick Ashton and George Balanchine; now it's the turn of great Danish choreographer August Bournonville, born 200 years ago.

Surprisingly, the Royal Ballet had never danced La Sylphide (1836), the ballet that made his name. Mason asked the company's Danish principal, Johan Kobborg, to mount it, drawing on his experience of the many productions he's known.

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PostPosted: Mon Oct 10, 2005 2:19 am 
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La Sylphide
by CLEMENT CRISP for the Financial Times

Everything about Kobborg's Sylphide is right. Covent Garden has borrowed the delightful, apt designs that lately graced the Royal Danish Ballet's production - these having been replaced by clumsy new decorations well suited to a clumsy new version.

published: October 10, 2005
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PostPosted: Thu Oct 13, 2005 1:56 am 
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Another view
by DANUTA JACKSON, ballet teacher, for the Guardian

People always die in ballet. I can see why you might not want a ballet student to see a performance in which the teacher kills their pupil, but the actual murder is quite blink-and-you-miss-it. People are just shocked because ballet is expected to be old-fashioned, and that's what's great about this - it feels so modern.

published: October 12, 2005
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PostPosted: Fri Oct 14, 2005 7:20 am 
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The Lesson/La Sylphide/Les Rendezvous
By Gavin roebuck for The Stage

Two Danish ballets with unhappy endings make an odd, though not unwelcome, opening to the season. August Bournonville’s most famous ballet La Sylphide and gruesome drama The Lesson by Flemming Flindt alternate with Ashton’s charming Les Rendezvous.

Marking the bicentennial of Bournonville’s birth, this new production by Johan Kobborg of the 1836 La Sylphide has all the elements of the Romantic classic.

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PostPosted: Thu Oct 20, 2005 2:02 am 
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Welcome to the premier league
The Royal Ballet begins a new season at the top of its game, writes David Dougill

The opening programme of the Royal Ballet’s new season at Covent Garden was a triumph: for the company as a whole, dancing magnificently, and especially for the resident Danish star Johan Kobborg, who masterminded it. To celebrate the bicentenary of August Bournonville’s birth, the Royal are performing — astonishingly, for the first time ever — his La Sylphide, an iconic work of the Romantic era, created in 1836. Kobborg, a product of the Royal Danish Ballet, has the Bournonville style and traditions in his blood; so here was the perfect opportunity to commission the production from him.

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PostPosted: Tue Nov 15, 2005 4:02 am 
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La Sylphide/The Lesson
By A C Greyling for Online Review London

And why is 'La Sylphide' also not a standard of the international repertoire? From this early ballet much tradition flows, and it is surprising how accident and attitude have combined to keep the font more or less separate from the streams of ballet that have flowed from it - except in its native Denmark, where it sprang from an earlier 'La Sylphide' at the Paris Opera, danced by the famous Marie Taglioni.

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PostPosted: Thu Nov 17, 2005 5:21 am 
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Talking About Madge: An Interview with Sorella Englund
By William Anthony for Dancing Times

Sorella Englund is a gentle person who speaks in soft, warm tones. But even Scandinavian reticence can’t disguise her enormous presence and the power of her personality, which blaze from ice blue eyes. And deep down is a furnace of intelligence and passion from which emerge the remarkable, complex characterisations that have marked her career as a leading dancer.

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