Posts Tagged ‘Tamara Rojo’
Incredible dancing. Intense storytelling. Totally immersive. English National Ballet’s new Giselle by Akram Khan is an epic dance experience. Everything about the production is so inspired that, after joining an elated audience in a lengthy standing ovation, I left Sadler’s Wells utterly convinced that no words will ever do this masterpiece justice.
The company, under the direction of Tamara Rojo, is intent on evolving the art of ballet. While still honouring the classical tradition (the dancers begin their Nutcracker season at Milton Keynes Theatre next week), English National Ballet is adding amazing diversity to its repertoire with fresh new works. Following the resounding success of Khan’s Dust for the Lest We Forget programme, anticipation has been sky-high for his Giselle.
In short, it is a triumphant re-imagining of the 1841 Romantic Era ballet. All the essential themes – love, betrayal, revenge, the opposing realms of life and death – remain but Khan’s vision teases out the dark undertones that have always been there. Dragged to the surface, these elements are expressed with visceral urgency, arresting intent and harrowing sensibility.
Awesome and absorbing dance-works make for an evening to remember
Dance may be the most transient of mediums but English National Ballet’s emotive Lest We Forget will forever remain with audience members privileged to see the award-winning triple bill at Milton Keynes Theatre last night (Tuesday 20th October).
Commissioned to commemorate the centenary of the First World War, this mixed programme of profoundly powerful pieces of contemporary choreography astounded fans and critics alike when it premièred in London at the Barbican in 2014 and during its recent revival at Sadler’s Wells. A huge departure from the traditional classics that theatregoers associate with English National Ballet, ‘Lest We Forget’ marks artistic director Tamara Rojo‘s boldest move so far.
Inspired by the loss, longing, pain, sacrifice, strength and sadness evoked by war, the production reflects upon the experiences of both the men who went off to fight and the women who were left to keep the home fires burning. Liberated from the conventionalism of classical ballet technique, English National Ballet’s dancers effortlessly embody the approach to movement taken by each of three of today’s most celebrated British choreographers: Akram Khan, Russell Maliphant and Liam Scarlett.
NEWS: English National Ballet returns on tour with two powerfully poignant productions – Milton Keynes Theatre, October 2015
Theatregoers in Milton Keynes are in for such a treat this October as English National Ballet is bringing not one but two award-winning productions to the new city. Whether you are a dedicated dance fan or simply interested in enjoying a beautifully performed work of art, you will not want to miss out on seeing the Company during its autumn visit to Milton Keynes Theatre.
Artistic director Tamara Rojo is committed to showing that there is more to ballet than the tutu-clad ballerinas featured in the classics. As the driving force behind the Company and a prima ballerina herself, Tamara is intent on advancing the art form in order to keep it relevant, interesting and – most importantly – alive for future generations to enjoy. The reflective triple bill Lest We Forget is her first new commission for English National Ballet. Created to commemorate last year’s centenary of the First World War, this contemporary programme features the choreography of three of the most in-demand British dance-makers of today.
Romeo & Juliet is undeniably the world’s greatest love story. Rudolf Nureyev’s landmark production for English National Ballet was devised in 1977 to celebrate the Queen’s Silver Jubilee. It premièred at London Coliseum on 2nd June 1977 and won the prestigious Olivier Award for Best Ballet Creation that year. The Company has since performed Nureyev’s production around the world (373 times!) to critical acclaim. Demonstrating the expressive artistry and explosive virtuosity of the Company’s dancers, Romeo & Juliet is a beloved masterpiece from English National Ballet’s repertoire which promises to prove popular with balletomanes and newcomers alike.
Lest We Forget is a poignant reflection on World War One. It is dimly-lit, intensely affecting and profoundly powerful. As a theatrical experience, it is majorly melancholic since haunting hopelessness, deep despair and the painful reality of lost lives permeate all three of the pieces in the programme. Nonetheless, the atmospheric compositions and admirable quality of dance readily raised my spirits when I watched this week’s London revival of the production at Sadler’s Wells.
When it premiered at the Barbican in 2014 as part of the First World War centenary commemorations, Lest We Forget marked a defining moment for English National Ballet. No longer was the Company simply synonymous with the classics and tradition. Just as dedicated dancer and driven Artistic Director Tamara Rojo promised it would, English National Ballet was vehemently taking strides to secure its future and reach new audiences by demonstrating how ambitious collaborations can push the boundaries of ballet, dance and art.
Lest We Forget was conceived by combining the contemporary technique of three exceptionally sought-after British choreographers with the technical prowess and keen appetite for learning that English National Ballet’s classically-trained dancers possess. Dance-makers Liam Scarlett, Russell Maliphant and Akram Khan introduced the Company to new ways of moving, thinking and communicating – resulting in a triple bill of stirring works that astounded audiences, critics and even the cast members themselves.
Team Ballet Papier in London
We dancers know that timing is everything. Fittingly, this month’s most exciting news is that, after over a year of communicating via email and on social media, talented Ballet Papier artist Berenice (María La Placa), her sparkling co-star daughter Ambar Gavilano and I managed to be in the same place at the same time for a gossipy get-together!
Our well-choreographed rendezvous came about as Ballet Papier moves forward in its quest to reach dancers on the world stage. Keen to connect with UK retailers and distributors – in addition to tapping into what is à la mode with balletomanes here in Britain – Berenice and Ambar made visiting London a priority for early 2015. Of course, they let me know of their plans to swap sunny Barcelona for a week in London to ensure that we would be able to make exploring the city an enjoyable pas de trois.
Eagerly anticipating our long-awaited meeting, I pirouetted into the capital for a Saturday packed full of dance discussions, inspiration and enthusiasm.
Swan Lake is the epitome of a bucket-list ballet and the English National Ballet production currently in residence at Milton Keynes Theatre is simply stunning.
I must confess to a great affinity for the perennially popular Swan Lake having learned a lot of the repertoire in workshops as a youngster; performed many of the roles in school shows and compulsively viewed countless versions in theatres, on television and online. The swell of the overture is enough to transfix me – listening to Tchaikovsky’s haunting score soothed this scholar during many years of revision throughout school and university. Together, the combination of story, music, choreography and staging makes the ballet a truly touching masterpiece.
Of course, possessing such zeal and knowledge means that with each cumulative performance of Swan Lake I am privileged enough to see, the potential to be disappointed grows. Fortunately, English National Ballet’s touring production had me enraptured on opening night. In fact, I swanned out of the auditorium appropriately moved by such an emotional evening and in awe of the incredible talent within the Company.
NEWS: Drama and romance as English National Ballet swans into the new city – Milton Keynes Theatre, November 2014
English National Ballet returns to Milton Keynes Theatre from Tuesday with Swan Lake.
Moonlit lakeside scenes of romance and despair; the splendour of a royal palace and the spectacle of a corps de ballet of synchronised swans gliding poetically across the stage make Swan Lake a favourite among dance fans and the perfect introduction for first time ballet-goers.
Swan Lake was Tchaikovsky’s first score for ballet and the haunting music is some of the illustrious composer’s best-known work. The ballet’s 1877 premiere was poorly received but it has since become one of the absolute classics, with demanding technical content and a mesmerising story.