Rechercher des critiques de musique classique, opéra et ballet | William Forsythe

A Quiet Evening of Dance a été créé à Londres en 2018 et se joue pour la première fois à Paris. La simplicité scénographique est ici prônée par William Forsythe qui s’intéresse à la sensibilité du mouvement.

Pour l’ouverture de la saison 2019/2020, l’Opéra de Paris a tenté une rencontre entre le théâtre nô et le néoclassique américain. Brillante sur le papier, l'idée a accouché d'un spectacle décevant.

Pendant trois soirs, la Compañía Nacional de Danzade España de José Carlos Martinez rendait hommage au chorégraphe américain à l’invitation de la Comédie de Clermont Scène Nationale, à la Maison de la Culture.

L’effervescence est à son comble au Théâtre des Champs-Elysées : le Boston Ballet vient donner un programme très attendu, composé de deux œuvres de William Forsythe et d'une pièce de Jiří Kylián.

Impressing the Czar  de William Forsythe, interprété par Ballet de l’Opéra de Dresde, est une critique caustique des conventions de la danse classique. 

Une nouvelle saison s’ouvre à l’Opéra Garnier, avec une soirée réunissant les chorégraphies de Justin Peck et William Forsythe créées l’année dernière, la création de la talentueuse chorégraphe canadienne Crystal Pite The Seasons’ Canon, et une composition sans titre de Tino Sehgal

L.A. Dance Project, collectif fondé et dirigé par Benjamin Millepied, est de retour à Paris au Théâtre des Champs Elysées avec un programme néoclassique mêlant Martha Graham, William Forsythe, Justin Peck et Benjamin Millepied.

Le Ballet de l’Opéra de Paris clôture la saison 2015/2016 par une soirée consacrée au chorégraphe néoclassique américain William Forsythe, avec l’entrée au répertoire d’Of Any If And (1995), suivi d’Approximate Sonata (1996) et d’une création, Blake Works I, sur la musique de l’artiste électro-soul James Blake. 

La nouvelle tournée du Ballet de l’Opéra de Lyon donne une vue d’ensemble sur une compagnie au savoir-faire résolument contemporain et au répertoire exploratoire, ancré dans le présent de la chorégraphie.

Lander/Forsythe : un programme qui rend hommage à la technique virtuose de la compagnie. 

Anna Tsygankova is clearly enjoying her part in Forsythe's Pas/Parts 2018, an exposé of the vocabulary of modern ballet.

Company and World Premieres to round out KC'S ballet season

Die neue Premiere des Staatsballetts spannt einen Bogen über die neuere Tanzgeschichte des 20. und 21. Jahrhunderts.

An evening of frenetic movement and a rare tranquility as Forsythe continues his exploration of deconstructing ballet

Dresden's Semperoper Ballett leaves a lasting impression on its visit to Sadler's Wells with a William Forsythe triple bill. 

Forsythe’s choreography allows ENB's male corps to display their virtuoso skill in its mixed programme at Sadler's Wells.

Contemporary Ballet is alive, thriving and pushing in Boston

Virtuosity commanded the stage in the first half, drama and mood in the second, with Liam Scarlett’s new ballet a fitting tribute to the retiring Zenaida Yanowsky

Sólo una duda se respira con el encendido final de la luz... ¿Qué será lo próximo? 

A successful program of Kylian, Peck and Forsythe. 

English National Ballet's ambitious triple bill does not disappoint; it shows a company on the rise. 

 Zurich’s new triple-bill ballet programme bridges the 20 and 21st centuries with choreography by three different contemporary masters: Jacopo Godani, Hans van Manen, and William Forsythe.

Resident choreographer Yuri Possokhov’s Optimistic Tragedy is dedicated “to those who sacrificed their lives for future generations.” 

If there’s no surefire, bankable star without Körbes then there is more time to reflect on some of Pacific Northwest Ballet's other wonderful dancers.

Energy, Fun and Experimentation: Watchwords of the season at the Washington National Ballet

San Francisco Ballet's first program of 2016, featuring Forsythe's rarely performed Pas/Parts and the revival of 7 for Eight and Magrittomania, leads the way into an exciting season.

In Restless, a striking 4-part programme which the Ballett Zürich recently premiered, it’s sheer energy, speed and unequivocal action in the movements of the human body that are underscored. 

Desmond Richardson remains indelibly powerful but Dwight Rhoden's choreography wears thin in large doses.

A farewell tour by a legend is an opportunity for her to give thanks to her fans and for us to signal our appreciation for a career that spanned thirty-five astonishing years.

In a three-bill programme that opens its season, the Zurich Ballet celebrates works of three choreographers who all pioneered new genres in contemporary dance.

Explosive and animated, Sylvie Guillem moves with an inimitable combination of energy, joie de vivre and delicacy throughout her final show, Life in Progress, at Beijing’s National Center for Performing Arts.

The National Ballet of Canada opens the Danse Danse festival in Montreal with a triple bill of minimalist neoclassical works.

As the audience, our relationship with Körbes and Gaines as PNB dancers has ended, but the future holds new beginnings.

Boston Ballet ends its 2014-2015 season with Thrill of Contact, a truly thrilling program of four works that showcase a wide spectrum of styles.

A classically rooted company that is looking toward the future.

Forsythe nurtures dancers' individuality and adds another facet to the Pacific Northwest Ballet's artistry.  

English National Ballet inaugurates its association with Sadler’s Wells with Modern Masters, a triple bill of works by Jiří Kylián, William Forsythe and John Neumeier

San Francisco Ballet's Program 3 explores the boundaries of classicism, from both ends, with La Bayadère's 'Kingdom of the Shades' , and neoclassical works from Hans van Manen, William Forsythe and Myles Thatcher. 

Ivan Talijancic discusses L.A. Dance Project's New York debut, a Millepied - Peck - Forsythe mixed bill.

Program Two of the Fall for Dance festival , at New York City Center, is an ionic choreographers' digest. With works by Child's, Forsythe (For Semperoper Ballet Dresden) Ramirez -Wang and Naharin (for Alvin Ailey American Dance Theater).

As the program notes for William Forsythe’s Sider – on show this week as part of Brooklyn Academy of Music’s Next Wave Festival – meticulously explain, the score to which the dancers are performing is taken from a filmed version of an undisclosed Shakespearean tragedy.

Famous as a choreographer and as the star of the award-winning film Black Swan, as well as being the husband of Natalie Portman, there is a weight of expectation on the work of Benjamin Millepied. He will take up the position of Director of Dance at Paris Opera Ballet in 2014, but his latest project, performing at Sadler’s Wells this week, attempts to break free from classical ballet tradition.

Boston Ballet seriously want to impress London. Their 50th anniversary celebrations begin at home in the autumn, but it’s this return to England after 30 years that marks the official start of the party, and artistic director Mikko Nissinen has put together two serious, strong programmes for the capital’s ballet connoisseurs at the London Coliseum.

Boston Ballet’s Fall Program is a mix of three contemporary pieces, with music ranging from the Rolling Stones to piano and organ arrangements by J.S. Bach and electronica by Thom Willems. It began and ended on an upbeat, bookending a thoughtful (and thought-provoking) world première centerpiece.

A friend of mine once said “life is ugly. I want art to be beautiful.” I would add to that “life tells us enough stories. I want ballet to let my mind breathe.” As much as I love the story ballets, I seem to need poetry more than prose these days.