LONDON Love&Hate 愛と憎しみのロンドン

Home未分類 | Dance | Sylvie Guillem | Royal Ballet | Royal Opera | Counselling | Sightseeing | Overseas Travel | Life in London(Good) | Life in London(Bad) | Japan (Nihon) | Bartoli | Royal Families | British English | Gardens | Songs | Psychology | Babysitting | Politics | Multiculture | Society | Writing Jobs | About this blog | Opera Ballet | News | Arts | Food | 07/Jul/2005 | Job Hunting | Written In English | Life in London (so so) | Speak to myself | Photo(s) of the day | The Daily Telegraph | The Guardian | BBC | Other sources | BrokenBritain | Frog/ Kaeru | Theatre | Books | 11Mar11 | Stage | Stamps | Transport | Summer London 2012 | Weather | Okinawa | War is crime | Christoph Prégardien | Cats | Referendum 23rd June | Brexit | Mental Health 





Royal Ballet triple bill review – yet more sexual violence


Is sexual violence being trivialised in ballet?





今日、ENBから、2018年4月に上演予定のミックス・プログラム、「Voices of America」の案内メイルが届いた。

Voices of America


Robbins / Forsythe / Barton

Jerome Robbins. William Forsythe. Aszure Barton. Three generations of choreographers in New York. Each with a distinct style, but with work infused with the raw, in-your-face attitude of American-style neo-classical ballet.

World premiere: A New Creation by William Forsythe
The world premiere of a new work by one of the most revered choreographers working today, created especially for English National Ballet, this is his first creation for a UK ballet company in over 20 years.

Approximate Sonata 2016, William Forsythe
Originally created in 1996, Forsythe recently reworked this piece for Paris Opera Ballet. A series of pas de deux that deconstruct the classical ballet vocabulary, Approximate Sonata 2016 is accompanied by a new version of the original score by Thom Willems.


The Cage, Jerome Robbins
Animal desire, predatory instinct and natural selection come together in Robbins’ powerful work, where a female ‘insect’ comes to see the male counterpart as prey. This arresting piece is performed to Stravinsky’s haunting Concerto in D, played live by English National Ballet Philharmonic.






先月、サドラーズ・ウェルズ劇場で、イングリッシュ・ナショナル・バレエによる意欲的なトリプル・ビルが上演された。演目は順に、「In the Middle, Somewhat Elevated by William Forsythe」、「Adagio Hammerklavier by Hans van Manen」、そして「Le Sacre du printemps (The Rite of Spring) by Pina Bausch」。

English National Ballet — Pina Bausch / William Forsythe / Hans van Manen

Sadler’s Wells Associate Company English National Ballet is back with another triple bill of masterpieces from the 20th century.

Not seen in the UK since 2008, English National Ballet is the first UK company to be allowed to perform Pina Bausch’s iconic Le Sacre du printemps (The Rite of Spring). Stravinsky’s riotous score is performed live by English National Ballet Philharmonic.

William Forsythe famously changed ballet forever with In the Middle, Somewhat Elevated, allowing the dancers to show off their technical expertise and physical prowess.

Hans van Manen’s austere and lyrical Adagio Hammerklavier is set to Beethoven’s pensive piano Sonata No 29, Op 106, performed by three couples.




Check out the new season of Dutch National Ballet





Ballerina: The Reason I Keep Dancing

Japan has and continues to produce world class ballet dancers. Dancing at The Royal Opera House in Covent Garden is the pinnacle of a dancer’s career, and young Japanese ballet dancers dream of joining the world-famous Royal Ballet company. Such is the success of Japanese ballet that Ryoichi Hirano and Akane Takada are currently principal dancers in the Royal Ballet. Miyako Yoshida, who has performed in numerous leading roles at the Royal Ballet, is probably the most famous Japanese ballerina in Britain. After retiring from the company, she is now teaching young talented dancers in Japan the art of ballet. In this talk, we invite her to tell us about her ballet experiences and to share her love of dancing with us.

Born and trained in Tokyo, Yoshida joined The Royal Ballet School in 1983 after winning the Prix de Lausanne. In 1984, she joined Sadler’s Wells Royal Ballet, (now known as the Birmingham Royal Ballet), where she was promoted to principal dancer in 1988. In 1995, Yoshida joined the Royal Ballet as principal dancer. Spending most of her career in Britain, Yoshida captured the hearts of the British people, subsequently being awarded the prize of Best Female Dancer in the 2006 National Dance Awards. Known for her expressiveness, precision and feather-light yet powerful movement, Yoshida is beloved by many and has established a huge fan base both in Britain and all over the world. With more than two decades spent in dance, Yoshida took her final bow in Covent Garden with an emotional performance of Cinderella, reserving Romeo and Juliet for her final curtain call in her native Tokyo. In 2010 she left the Royal Ballet and is now a freelance dancer. She records her experiences as a ballerina in her recently published book, Ballerina: The Reason I Keep Dancing, 「バレリーナ・踊り続ける理由」.




The Red Shoes by マシュー・ボーン@サドラーズ

スクリーンショット 2016-12-27 14.00.15

サドラーズ・ウェルズ劇場での本公演初日の12月8日に、マシュー・ボーンの新作、「The Red Shoes」を観てきた。

The Red Shoes — Matthew Bourne/New Adventures

A beloved fairy tale and Academy Award-winning movie, The Red Shoes has seduced audiences and inspired generations of dancers with its tale of obsession, possession and one girl's dream to be the greatest dancer in the world. Victoria Page lives to dance but her ambitions become a battleground between the two men who inspire her passion.

Matthew Bourne’s magical adaptation is set to a new score arranged by Terry Davies using the mesmerising music of golden-age Hollywood composer, Bernard Herrmann (most famous for his collaborations with Alfred Hitchcock and Orson Welles) and played live by the New Adventures Orchestra, with sumptuous set and costume designs by Lez Brotherston, Paule Constable (lighting) and Paul Groothuis (sound).

An intoxicating drama where life imitates art with fateful consequences; The Red Shoes will dazzle your senses and break your heart.




Wilson, Keppel & Betty







Rhizome Entertainment today announced that Will Tuckett's Nutcracker will no longer receive its premiere this year. Due to open at The Printworks London in Canada Water on 30th November, the production has stalled due to funds from an investor falling through.

Producer Bob Watts said:

"It is with enormous regret that we are having to put the production on hold, but our efforts to find a new investor at short notice in this current climate have sadly proven unsuccessful.

"It was a huge privilege to see Will Tuckett's vision come to life - his Nutcracker was shaping up to be an extraordinary experience. I hope it will come to a London audience soon".

A leap too far: Will Tuckett on why his Nutcracker won't go on




The Wind in the Willows (2003年) (2012年) (2013年) (2014年)

兵士の物語 (2004年)

ピノッキオ (2005年)

The Thief of Baghdad (2009年)




スクリーンショット 2016-11-16 14.33.23


English National Ballet — Akram Khan's Giselle


Akram Khan's refugee Giselle: 'A real woman in a catastrophic situation'


Giselle review – Akram Khan's bewitching ballet is magnificently danced






English National Ballet — Pina Bausch / William Forsythe / Hans van Manen



スクリーンショット 2016-11-14 20.31.28


New Adventures — Matthew Bourne’s Early Adventures

Matthew Bourne returns to his roots for his company’s 30th anniversary, featuring a programme of fun and witty pieces that launched his career, with designs by long-time collaborator Lez Brotherston.

Four mail-order-underwear models parody Perrot’s Pas De Quatre in Spitfire.

Yearning pas de deuxs and pastoral clog-dances feature in Town and Country’s post-war vignettes.

Take a trip to Gay Paree with The Infernal Galop, as all the glorious clichés of 30s and 40s Paris are paraded (and can-canned) across the stage.

And return to childhood with Watch with Mother, inspired by Joyce Grenfell’s Nursery School sketches.



Age guidance 12+
Contains some adult humour




Paris Opera Ballet lambasted by auditors for €90,000 taxi bill



Auditors recognised that the company had taken steps to bring its spending "in line with its financial restraints."But it called for it to increase the number of productions in order to bring the POB back on an even keel.

"Too many new productions, notably lyric ones, do not have another run (40%) or only a single subsequent performance (26%)," the auditors pointed out in their reports.

"Given the high cost of productions ... The Opera cannot allow this to continue and must better manage its productions over time," they said.


 ロイヤル・オペラ、ロイヤル・バレエは新作、もしくは新しい演出で、その後に再演されないプロダクションは死屍累々。思いつく限りで、「Castle in nowhere」、「プロヴァーブ」、昨年のシェヒターの新作も再演されることは無いだろうと断言。更に、前監督のモニカ・メイソン女史の引退記念のトリロジー(も、「マキナ」以外が再演されるとはとても思えない。





スクリーンショット 2016-09-11 6.26.13



The Story

Act I

Giselle is one of a community of migrant workers cast out of their jobs in a condemned garment factory. They seek entry to the place where the factory Landlords live, beyond a high Wall built to exclude them.

Giselle is in love with Albrecht, a member of the privileged class, who has disguised himself as an Outcast in order to woo her. When the Landlords arrive, expecting to be entertained by the Outcasts, Albrecht recognises his fiancée Bathilde among them, and tries to hide. But he is challenged as an impostor by Hilarion, an Outcast who also loves Giselle, and the two men fight. Bathilde’s father confronts Albrecht and he is forced to choose between the two women. When he submits and returns to Bathilde, Giselle is driven to madness. The Outcasts encircle Giselle, and when they move apart, her lifeless body is revealed. The Landlords retreat to safety beyond the Wall.

Act II

In the wrecked and abandoned factory where Giselle and her female co-workers have labored, and many have died, Albrecht confronts and condemns the Landlords. But he flees at the appearance of Myrtha, Queen of the Wilis (ghosts of the factory workers who seek revenge for the wrongs done to them in life). Myrtha summons Giselle into the realm of death and into the company of the Wilis.

Hilarion enters the factory to mourn Giselle. The Wilis surround him, demanding retribution for her death, and he is brutally killed.

Albrecht returns, and the lovers are reunited on the threshold of life and death. Breaking the cycle of violence, Giselle forgives Albrecht and saves him from the vengeance of Myrtha. Giselle departs into death with the Wilis, and Albrecht, now an outcast from his own community, is left to carry the burden of his wrongdoing.



Template by まるぼろらいと

Copyright ©LONDON Love&Hate 愛と憎しみのロンドン All Rights Reserved.