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 Post subject: Carlos Acosta at the London Coliseum
PostPosted: Sat Feb 23, 2008 3:03 am 
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Location: Rugby, UK / Taipei
As many will be aware, Carlos Acosta has two programmes at the forthcoming Spring Dance season at the London Coliseum. Details, including casting below:

Carlos Acosta with Guest Artists from The Royal Ballet
Monday 31st March – Thursday 3rd April, 2008

As previously, the show comprises classical and contemporary dance devised and produced by Acosta himself. He will be joined on stage by Royal Ballet dancers Mara Galeazzi, Sarah Lamb, Tamara Rojo, Zenaida Yanowsky, Valeri Hristov, José Martín, Caroline Duprot, and Zachary Faruque.

Part 1 of the programme features excerpts from the classical repertoire including:
    - Pas de deux from Balanchine’s "Agon" (Carlos Acosta, Zenaida Yanowsky).
    - Extracts from Bournonville's "La Sylphide" (Sarah Lamb. Valeri Hristov).
    - Pas de deux from Vaganova’s "Diana and Actaeon" (Carlos Acosta, Tamara Rojo)
    - MacMillan’s Farewell pas de deux from "Winter Dreams" (Mara Galeazzi, Zachary Faruque).
Part 2 features six contemporary pieces including:
    - Ben Stevenson’s "End of Time" (Caroline Duprot, Zachary Faruque).
    - Ben Van Cauwenbergh’s anti-establishment Jacques Brel work "Les Bourgeois" (Carlos Acosta).
    - "Je ne regrette rien", danced by Sarah Lamb.
    - Jose Garcia’s "Majisimo" set to music from Massenet’s ballet "Le Cid", performed by Carlos Acosta, Mara Galeazzi, Sarah Lamb, Tamara Rojo, Valeri Hristov, José Martín, Caroline Duprot and Zachary Faruque.
    Gustavo Mollajolli’s "A Buenos Aires" set to the music by Piazzolla (Tamara Rojo and José Martín).
    - William Tuckett’s "Nisi Dominus", set to Monteverdi’s "Vespers" (Zenaida Yanowsky).
The Royal Ballet Sinfonia will accompany the performances. "A Buenos Aires", "Je ne regrette rien", "Les Bourgeois" and "Nisi Dominus" will be performed to recorded music.

Carlos in Cuba
Wednesday 9th-Saturday 12th April

Again, a mixed programme of classical and contemporary works, this time Acosta joins forces with Danza Contemporánea de Cuba, which starred in his show Tocororo.

Part one of the programme features:
    - Pas de deux from "Don Quixote" (Carlos Acosta and Yolanda Correa, Principal dancer with Ballet Nacional de Cuba).
    - "Ecuación" by Cuban choreographer George Céspedes, a First Dancer with Danza Contemporánea de Cuba, set to specially commissioned music by X Alfonso and featuring four dancers from Danza Contemporánea de Cuba.
    - The world premiere of "El peso de una isla", again by Cespedes and to be danced by Carlos Acosta, Yolanda Correa and 14 dancers from the Danza Contemporánea company. Also set to music by X Alfonso, "El peso de una isla" is inspired by a book of poetry called "La isla en peso" (The island in weight) written by Cuban writer Virgilio Piñera. The ballet explores concept of Cuban identity and the contrast between the stereotype and the reality.

Part two of the programme comprises "Tocororo Suite", a selection from Acosta’s popular production "Tocororo – A Cuban Tale". This features Acosta, Ballet Nacional de Cuba Soloist Verónica Corveas, and 12 dancers from Danza Contemporánea plus a full live Cuban band. Alexander Varona, winner of the 2007 National Dance Awards’ Emerging Male Artist (Modern) category reprises his star role as The Moor.


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PostPosted: Fri Mar 28, 2008 10:56 am 
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Location: Rugby, UK / Taipei
Carlos Acosta and Guests from the Royal Ballet Cast Changes

Please note the following changes to the Carlos Acosta with Guest Artists from the Royal Ballet programme as part of the Spring Dance at the London Colesium Season:

Zenaida Yanowsky and Zachary Faruque will not be performing in the Carlos Acosta with Guest Artists from The Royal Ballet programme.

Yanowsky's roles will be performed by Sarah Lamb and Lauren Cuthbertson, Faruque’s roles will be performed by Martin Harvey.

Full revised casting as follows:

Agon pas de deux (Choreography by George Balanchine)
Performed by Lauren Cuthbertson and Carlos Acosta

La Sylphide - Act 2 Pas de deux (Choreography by August Bournonville)
Performed by Sarah Lamb and Valeri Hristov

Winter Dreams pas de deux (Choreography by Kenneth MacMillan)
Performed by Mara Galeazzi and Martin Harvey

Air de Ballet from Massenet’s Suite No.4

Dying Swan (Choreography by Mikhail Fokine)
Performed by Sarah Lamb

Diana and Actaeon pas de deux (Choreography by Agrippina Vaganova after Marius Petipa)
Performed by Tamara Rojo and Carlos Acosta

INTERVAL

Fête Bohême from Massenet’s Suite No.4

End of Time (Choreography by Ben Stevenson)
Performed by Martin Harvey and Caroline Duprot

A Buenos Aires (Choreography by Gustavo Mollajolli)
Performed by Tamara Rojo and José Martín

Je ne regrette rien (Choreography by Ben Van Cauwenbergh)
Performed by Sarah Lamb

Les Bourgeois (Choreography by Ben Van Cauwenbergh)
Performed by Carlos Acosta

Margot and Rudy (Choreography by Liam Scarlett)
Mara Galeazzi and Valeri Hristov

Nisi Dominus (Choreography by William Tuckett)
Performed by Lauren Cuthbertson

Majisimo (Choreography by Georges Garcia)
Performed by Carlos Acosta, Mara Galeazzi, Sarah Lamb, José Martín, Tamara Rojo, Martin Harvey, Valeri Hristov, Caroline Duprot


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PostPosted: Thu Apr 03, 2008 1:14 pm 
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Joined: Sat Dec 15, 2001 12:01 am
Posts: 222
Location: Barcelona, Spain
David wrote:
Zenaida Yanowsky and Zachary Faruque will not be performing in the Carlos Acosta with Guest Artists from The Royal Ballet programme.


Thanks David, do you have any idea about why Zenaida will not perform?

:roll:

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To know more about ballet and dance in Spain you can visit "http://balletymas.com/" web page with some articles also in English


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PostPosted: Fri Apr 04, 2008 1:58 am 
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Sorry, Carolina, no idea at the moment. I understand that Faruque has not only left The Royal Ballet but given up dancing as a career altogether.


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PostPosted: Fri Apr 04, 2008 2:43 am 
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Location: London UK
According to a recent newspaper article Zenaida Yanowsky is pregnant.


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PostPosted: Fri Apr 04, 2008 10:56 am 
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Thank you very much to both of you for the information!

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To know more about ballet and dance in Spain you can visit "http://balletymas.com/" web page with some articles also in English


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PostPosted: Tue Apr 29, 2008 2:46 am 
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Location: London, England; Tallinn, Estonia
“Carlos in Cuba”
Coliseum, London, 9th April, 2008

Cuban dancers make an impact around the world with their exemplary technique, expressive qualities and passion, and in particular Carlos Acosta has captivated audiences in the UK for a decade or more. However, while many of his fellow countrymen and women who have joined US companies focus on the undeniable human rights shortcomings of their birthplace, Acosta emphsises the fact that, as a poor boy from the streets, Cuba may have been the only place where he would have had the chance to become a professional ballet dancer, and he acknowledges the debt he owes the system that made this possible. Thus “Carlos in Cuba”, a celebration of the talents and energy of the island's artists, is a natural step for him.

While the majority of the show is based on a synthesis of contemporary dance and Latin rhythms, Acosta chose to open with the “Don Q” grands pas, perhaps to soften the blow for die-hard ballet fans. While grands pas, ripped out of context on a bare stage, can prove indigestible fare, Acosta and his partner, Yolanda Correa, brought the beautiful steps to life through the chemistry of their partnership and the resulting warmth flowing out from the stage. Acosta executed the complex, high jumps and whirlwind fast spins that we expect from him, but his partner proved a revelation; Correa, a Principal from the Ballet Nacional de Cuba, quickly established a rapport with the audience and produced a highly accomplished and expressive performance with perfect balances and climaxing with double turns in her fouettes.

The next two works, both choreographed by George Céspedes, showcased Danza Contemporánea de Cuba in a distinctive modern style incorporating the Afro-Hispanic character of the Caribbean island. “La Ecuación” featured four dancers performing in and around a metal cube of rods, combined with an enigmatic equation in the programme, suggested a dry mathematical exploration. However, the series of sensuous solos, duets, and larger groupings provided a strong electric charge. Each performer had their own steps defining the cubic space and while the solos worked best for me, some of the combinations were also satisfying. Each time Wuislleys Estachoili stepped up to the plate, the energy level threatened to leap off the end of the scale; sometimes moving from his knees to his feet in a single, sharp move, or executing a high, toe touching jump worthy of the Guinness Book of Records and all with a glorious movement quality.

“The Weight of an Island”, a larger scale piece, promised an exploration of “the concept of Cuban identity and the contrast between the stereotype and the reality.” The reality was an over extended rumble with combinations of 13 men and women in simulated conflict and confrontation. The men had the best of this format and were very impressive, overcoming the repetitive nature of the choreography. Another point of interest was Carlos Acosta's role as one of the ensemble dancers, sharing the stage on equal terms with the others. But this is typical of Acosta's style: he always gives his fellow performers every opportunity to shine, without hogging the limelight himself.

“Tocororo Suite” is a selection from Acosta's popular full length show, which had overlong sections and some that just didn't work. In the “Suite”, Carlos has wielded the knife effectively, leaving the energy of Cuban dance styles, in a contest between country ballet boy, Acosta, and a street-wise gang leader, Alexander Varona. While Acosta's triumphant adoption of popular dance styles, eventual leadership of the gang, and the stereotypical, simplistic view of Cuban life, are predictable, this is now transformed into a fine entertainment, which received applause equal to the opening “Don Q”.

Overall, Acosta has now added two successful collaborations with Danza Contemporánea de Cuba to his classical repertoire, and perhaps has pointed up a future direction when he eventually hangs up his ballet shoes. But on the evidence of his continuing virtuosity in “Don Q”, I suspect and hope that's still a long way off,


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