Norwegian National Ballet: Nothing Personal is powerfully moving

Daniel Proietto, Yvonne Øyen, Aarne Kristian Ruutu and ballet school students in Nothing Personal

Daniel Proietto as Patos in Alan Lucien Øyen's Nothing Personal

Alan Lucien Øyen's Nothing Personal

Daniel Proietto, Yvonne Øyen and Nathaniel Liodden in Nothing Personal

Alan Lucien Øyen's Nothing Personal

Von Graham Watts, 15 Oktober 2023

Laden, bitte warten...

Veranstaltung anzeigen

“This Goldstein-inspired scene was made more powerful by the role reversal in their voices”

Rezensierte Veranstaltung: Oslo Opera House, Main Stage, Oslo, am 12 Oktober 2023

Nothing Personal (Alan Lucien Øyen, Daniel Proietto)

Norwegian National Ballet

Solrey, Musikalische Leitung

Åsmund Færavaag, Bühnenbild

Ingrid Nylander, Kostüme

Martin Flack, Licht, Video

Norwegian National Opera Orchestra

Maliphant’s Landscapes: three solos, three outstanding dancers

Graham Watts, 11th March

Some of Russell Maliphant's best known, most enduring and loved works in an evening of unforgettable performances.

****1

Alan Lucien Øyen's Still Life: visions of ethereal beauty

Maggie Foyer, 26th May

Totally riveting, in Still Life the dancers move in ways that are thought-provoking and eloquent, underpinning the message that to be human is to be at one with nature.

****1

Daniel Proietto's RASA premieres at Ballet Vlaanderen

Graham Watts, 7th February

An operatic deconstruction of La Bayadère in Ghent that has ingenuity and flair but is also over-stretched.

***11

Men in Motion

Graham Watts, 22nd November

Outstanding examples of men dancing are book-ended by two new works that are badly misjudged as a means of entertainment

**111

Rossini ex machina: La Cenerentola in Oslo

Aksel Tollåli, 21st January

Bei seinem ersten Ausflug in die Welt Rossinis, verwandelte der norwegische Regisseur Stefan Herheim La Cenerentola in ein brillantes, lustiges Spektakel, gefüllt mit nachdenklich stimmendem Humor und herausragendem Gesang.

*****

Fische, Sex und Marschkapellen: Lady Macbeth von Mzensk

Aksel Tollåli, 4th September

Regisseur Ole Anders Tandbergs neue Inszenierung von Schostakowitschs Lady Macbeth von Mzensk ist grandios gesungen, doch die brutale und vulgäre Produktion tendiert dazu, es zu übertreiben.

***11

Weitere Kritiken...

Graham Watts

Graham Watts is a freelance dance writer and critic writing regularly for Dancing Times, Dance Europe, Danza Europa, and many more publications. He regularly writes features for Sadler’s Wells, London Coliseum and La Scala. Chairman of the Dance Section of the Critics’ Circle in the United Kingdom and of the UK National Dance Awards he has interviewed many of the greatest names in dance including Maya Plisetskaya, Vladimir Vasiliev, Boris Eifman, Alexei Ratmansky, Andris Liepa, Sir Peter Wright, David Bintley and Dame Gillian Lynne. When not involved in dance Graham is a keen fencer, and has captained the British Sabre team.