Excellence in Dance

Wayne McGregor is knighted by The King in his Birthday Honours List His Majesty The King has appointed Resident Choreographer of The Royal Ballet Wayne McGregor CBE a Knighthood in this year’s Birthday Honours List.

Tristezza infinita 😢💔💔

C'est avec une profonde tristesse que l'Opéra Nice Côte d’Azur apprend le décès d’Éric Vu-An, survenu à l’âge de 60 ans des suites d'une longue maladie. Cet immense danseur et chorégraphe était également, depuis 15 ans, directeur artistique du Ballet Nice Méditerranée.
Après avoir fait l’École de danse de l’Opéra de Paris, Éric Vu-An entre au Ballet de l’Opéra de Paris à l’âge de 15 ans. Son talent lui vaut d’être rapidement propulsé dans des rôles de soliste et de se bâtir une notoriété internationale. Il interprète ainsi plusieurs rôles à succès pour Rudolf Noureev ou Maurice Béjart. De 1995 à 2008, il est successivement directeur artistique du Ballet du Grand Théâtre de Bordeaux, professeur invité à l’École de danse de l’Opéra de Paris, directeur du Ballet de l’Opéra d’Avignon et maître de ballet associé à la Direction du Ballet National de Marseille. En 2009, Éric Vu-An prend la direction artistique du Ballet de l’Opéra de Nice, avec pour mission de donner un nouveau souffle à la compagnie niçoise qu’il rebaptise Ballet Nice Méditerranée. Il revisite avec brio les chorégraphies de grands classiques de la danse (Cantate 51, Marco Polo, Don Quichotte, Coppelia, Raymonda…), enrichit son répertoire de nouvelles créations en faisant appel à de talentueux chorégraphes (Lucinda Childs, Dwight Rhoden, Luciano Cannito, Martin Chaix…) et remonte sur scène dans plusieurs ballets (Marco Polo, Cassandra, Le Rendez-vous, Don Quichotte, Eden…).
L’Opéra de Nice souhaite rendre hommage à un homme dont la vie a été dédiée à l'excellence artistique et à la transmission de sa passion. Porté par sa volonté de faire rayonner le Ballet Nice Méditerranée, il a su développer la présence de ce dernier sur la scène nationale et internationale, et à en faire une compagnie de référence dans le monde chorégraphique.
Nos pensées les plus sincères accompagnent sa famille, ses proches et tous ceux qui ont eu la chance de croiser sa route. L’héritage d’Éric Vu-An continuera de vivre à travers chaque mouvement, chaque pas et chaque note de musique qui résonneront dans nos salles.

Just around the corner

L’antica strada romana trovata alle porte di Milano durante un cantiere La strada è stata trovata durante alcuni lavori di riqualificazione di piazza Visconti a Rho, hinterland ovest di Milano

Mikhail Baryshnikov reportedly was insistent with the producers of "White Nights" (1985) that gramatically-correct Russian be spoken in this movie instead of the often nonsensical hybrid often used in American movies. Baryshinkov also did a scene where he spoke French. In real-life, it was his second language.

Of the casting of the two leads, producer and director Taylor Hackford said: "Each knew and admired the work of the other but I knew that it would require a story of substance to attract them to a project. Baryshnikov had turned down films time and again, and he had declined to film the story of his defection. As for (Gregory) Hines, it called for him to play an American deserter. I was concerned that each might feel the story was too touchy, too close to sensitive areas; too near the edge for a black American to play, too close to reality for a Russian who has defected to the West to play."

In selecting shooting locations, Hackford had an obvious problem: most of the action of this movie was set in the U.S.S.R., in Siberia and Leningrad, where permission would not be given to film the movie's subject matter, and where Baryshnikov could not safely visit. Nor could Siberian exteriors be built on soundstages because the quality of light of an Arctic summer night would be impossible to reproduce accurately in a studio situation. In an Arctic summer, there is virtually no night, only a lingering twilight. Faced with this challenge, the filmmakers made several reconnaissances in countries close to the Arctic Circle and eventually decided to shoot on the island of Reposaari, off the northwest coast of Finland, where in late summer, they would experience the same unique quality of light required for the scenes set in Siberia. It required great diplomacy on the part of co-producer William S. Gilmore before this was allowed to happen, since most people in Reposaari, whose population at the time was one thousand seventeen, were Communists. They had to be satisfied that this movie was not a run-of-the-mill anti-Soviet movie offensive to their enigmatic neighbor. Finnish Communists, however, are pragmatists, according to this movie's production notes: the movie would bring in a considerable investment of money and some temporary jobs. The Mayor canvassed his people, many of whom were unemployed. The island's once-thriving port was in decline, as were a mutually destructive chemical plant and a fish processing factory. Only three residents objected to the village becoming for two weeks a make-believe Siberian town. (IMDb)

Happy Birthday, Mikhail Baryshnikov! See less

https://www.dancehallnews.it/100-anni-dalla-nascita-di-roland-petit-genio-francese-indimenticato/?fbclid=IwAR3schQlf_js2rdz7y3k8STJF601zupP7xpTcAb8SxRh_S4Szfy9VZK8OHo

100 anni dalla nascita di Roland Petit, genio francese indimenticato - DHN - Rivista di danza online Oggi, 13 gennaio, è una data importante perché ricorrono i 100 anni dalla nascita di…

Da non perdere. Not to be missed