Urban Dance Festival 2011… and a tribute to the Etoile Eleonora Abbagnato

Some people think that if you like classic-contemporary Music you can’t stand Urban Dance Festival or similar events. Well, beauty is in the eye of the Beholder. So here you’ll find a tribute to a wonderful performance of Eleonora Abbagnato, Etoile de Paris, and the latest news about the 15th edition of Urban Dance Festival 2011. To let you know that in Bologna and Modena great shows still take place.

DANZA URBANA FESTIVAL 2011

The artistic Director Massimo Carosi explains: THE URBAN DANCE FESTIVAL IS THE 15TH EDITION. A LONG JOURNEY THAT HAS MARKED BOLOGNA SCENE CHOREIC NATIONAL SPECIFICITY OF A PROPOSAL, WHICH IN RECENT YEARS IT HAS SPREAD AND ROOTED IN OTHER ITALIAN CITIES. THE URBAN DANCE IS NOT ONLY A WAY TO BRING THE DANCE OUTSIDE OF THE THEATRICAL SPACES, BUT BRINGS A STRONG IDEALITY: HUMANIZING THE PLACES, OFTEN ALIENATING-OF OUR CITIES. THROUGH THE BODIES OF THE DANCERS ON THE PLACES OF DAILY SENSATIONS, EMOTIONS, SIGNS, WHICH TRANSFORM THE PERCEPTION. GIVES PUBLIC SPACES MORE UNIFYING AND STRENGTHENING THE SENSE OF COMMUNITY, TO WHICH THE DANCE FROM THE BEGINNING-HAS BEEN ASSOCIATED. THE BODY GIVES RISE TO OUR EXISTENCE. IN HIS RELATIONS WITH THE SURROUNDING ENVIRONMENT PROCESSES THE DEEP DISCOURSE THAT UNDERLIES EACH CULTURE. THE URBAN DANCE WILL EXPRESS THE RELATIONSHIP. SCHEDULE DANCE ONLY IN THEATERS NOT TO INVOLVE ALL THOSE WHO LIVE IN OUR CITY AND TO EXPRESS THE GREAT POTENTIAL THAT PLAYING IT BRINGS INSCRIBED IN ITSELF. THE URBAN DANCE FESTIVAL IN 15 YEARS PURSUES THIS UTOPIAN VISION THANKS TO THE COLLABORATION AND COMPLICITY OF ARTISTS, PUBLIC AND INSTITUTIONS THAT SUPPORT AND SUPPORT: DEMONSTRATION OF BOLOGNA IS PROUD OF HIS RECORD, A SIGN OF HIS CITIZENSHIP AND CULTURE.

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Grand Galà of Dancing. Eleonora Abbagnato et ses amis.

Review and interview by FM 04/10/2011

Introduction
The Teatro Comunale di Carpi is one of the most beautiful historical theatres of Emilia-Romagna, totally unexpected in a small provincial town, but has the sixth largest in Italy.Its programming for the season 2010/2011 is distinguished by the refinement of the proposals and distinguished names in the world of music, Ballet and theater Author classic and contemporary.It was really a beautiful and totally unexpected surprise to know that in the week-end 09-April 10, 2011 distinguished guest on stage was nothing short of the Etoile of Paris Opéra Eleonora Abbagnato, with his friends, exponents of world renown classical and Contemporary Dance.
Saturday, 4/9/2011 was organized a small press conference in the Small theater of Carpi to allow journalists to ask some questions to the great Italian Etoile transplanted in Paris. Eleanor is appeared dressed informally, shy as available to answer the curiosity, and eager to show the esteem and appreciation for the theatre (which she described as a jewel of architecture play). Significant criticism aimed at the Italian television for the approach to the world of classical ballet as well as heartfelt was the appeal to the enhancement of Theatre as place for excellence not only of dance or music, but culture as a whole. It is spoken of the significant difference of theatrical programming for Ballet between France and Italy (against the 145 dance performances organised by the Paris Opéra la Scala is not always able to guarantee 45 per year).
Differences that sadden the artist like many of his other colleagues, and prevent professionally reentering adored native Sicily, where dwells his family. In the name of passion for dance has had to sacrifice the proximity to loved ones and a carefree life, ten hours of daily training at the bar does not make it possible. Remained the only great classical dancer of our time to dance around the world, along with colleague Roberto Bolle, Etoile of La Scala, Eleonora Abbagnato has clear ideas on the situation of Italian culture and the future of dance, which must return also starred in Italian theaters, where the request is not missing but lack the funds to ensure the proper organization.

Some statements of Eleanor : “A small theater that gives emotions, has its charm. I discovered this city turning to market two minutes ago “nice to see the public waiting to find myself … I’m off many years but I try to go to theatres and meeting artists, helping Italy. It’s very hard work today, anybody imagine how exhausting work there is behind the success. You try to do always at the top level, with soloists youngsters around the world. Us dancers want to live in theaters, is the most beautiful thing. You have to understand the smaller Theatre is really another world, sacrifice, not appear. Here the dance is perhaps the most beloved in France, the theater was filled immediately. There is a hungry and thirsty actual dance. There is still this culture. Do not throw away the talent of young people “.
I asked some questions about the mix between classic and contemporary repertoire even outside of Work as well as an opinion on the representation of contemporary dance at the cinema.
On first question l’Etoile reports “this generation is closely linked to contemporary dance and new choreographers, and I try to always experimenting with new Italian choreographers. The Director of the Work is very abstract (…) Of course, the basis remains the classic but contemporary choreographers of the highest level. Don’t go crazy for those festivals that do not have a base in classical (…) I reckon choreographers such as Pina Bauch we have known through the Work of Paris, the Dance, which had a huge success all around Italy. ”
And speaking of cinema and dance, in the wake of the recent release of Black Swan “sad … Criticized by the dancers and artists in General, an exaggerated. But it is still a movie. Sorry, I give this picture of the dance to a girl who goes to see the movie with MOM. It is true that there is competition, but it is not so. She is very good, the film exciting, but I was surprised the choreographer (current companion of Portman) to the image that has given our world, he was a true dancer, though definitely not have been chosen as its Director.We are not all so depressed “.
“Les Etoiles naissent dans la douleur.” Or the passion and spirit of sacrifice in the first place in the world of dance .

At The Show.

The packed Theater, on Sunday afternoon, is an unusual sight in Carpi. Viewers ranged from children and teenagers of 5 or 6 years until advanced age people subscribe for many years to the seasons. Expectations, reading the program and view the suggestiva cornice del Teatro and guests expected, may not be maximum. And have not been minimally disregarded.
The curtain opens on the notes “Flammes de Paris”, with interpreters Miki Hamanaka accompanied by Dinu Tamazlacaru.
You, prima ballerina of the Lithuanian National Opera, of Asian descent, has received several awards in international dance festival including that of Moscow and Tokyo. Him, principal dancer of the Berlin Staatsballet of Moldovan origin, is the winner of numerous awards and recognitions throughout Europe.
A couple unique on classical repertoire. If Tamazlacaru seemed to fly while jumping, Hamanaka was not less with grace and precision of his countless pirouettes. Much appreciated by the audience the unique affinity of this artistic couple smiling and warm, which has paid tribute to the Italian audience by appearing in costumes with sashes, in honor of 150 years of the unification of Italy.
But the most exciting moment of the entire first part of the program, if not the most exciting ever of the entire show, he had “Notre Dame de Paris” starring Alice Renavand and Aurelian Houette.
She, which debuted at the Opéra de Paris at the age of 17 years, masterfully combines works of contemporary with the classical repertoire.
Him, of the Ecole de Danse de l ‘ Opéra de Paris, engages as his artistic partner in both the classical repertoire and contemporary.
The public was kidnapped, absolutely mesmerised by the atmosphere created by the lights, and the figures extremely delicate and wraparound created by two artists, intense movements to create dramatic atmosphere really exciting.The last figure, in which the hunchback, starring Houette, gently laying Esmeralda asleep on the ground, the Renavand, has literally enchanted everyone.
After an intense involvement so that she could not giumgere the most anticipated moment of the entire programme, namely the first performance of Eleonora Abbagnato, accompanied by Benjamin Pech, in the classic of classics of the dance, the Lac de Cygnes.
Her, Sicilian chosen by the great choreographer Roland Petit to interpret “the sleeping beauty in the wood” at only eleven years old, is today the first dancer at the Opéra in Paris. In 2010 has been awarded the title of Chevalier des Arts et des Lettres. Him, French in the South part of the company of the Opéra of Paris since 1992, is the soloist in the main roles of the major classical ballets in Europe and appreciated interpreter of modern creations entered the Repertoire of the Paris Opera. The interpretation could not be more perfect. She really was the Swan biancon algido imagined by Tchaikovskj. And he’s the Prince. For a moment I wondered if I would look at the Opéra of Paris rather than at the Municipal in Carpi.
At the end of the first part of the program “Scarlatti Pas de Deux”, performed by Audric Bezard Muriel Zusperreguy and. Blue bottom bright scenery only used up to this time excluded the interpretation of Notre Dame de Paris, it passed to figure posing on amaranth, without music. A dance on the notes of silence, which is gradually permeated with music and the seabed. Seemed to see two feathers made person twirl in the air. Refined contemporary as applied to a classic perfection unexpected.
Her, part of the Corps de Ballet de l ‘ Opéra de Paris, he danced in the great ballets of the classical repertoire and contemporary, already in several ballets. Him, he began to study jazz at the age of 4 years, before moving later to arriving at the ecole de l ‘ Opéra de Paris. In 2008 he obtained the prize of dance Carpeux cercle.
The second part of the program review all dancers, with the same pairs, interpret new repertoires.
In “Cendrillon” are the last two dancers of the first part, Zusperreguy and Bezard, to perform. An interpretation to Cenerentola really sweet, leaving the impression of a continuous and fluid embrace between the two partners, extended nearly to the public.
To follow “Fado”, another masterful interpretation of classical and contemporary dance. And the Renavand’, a revelation for anyone who writes, to begin a solo musical basis constituted by the rain. In a sensual as austere full black, was accompanied by Houetteagain, both on solo and in part with its partner has aroused the wonder General (not counting the comments in this regard).
The penultimate part of the program for a great classic “Don Quichotte” starring Hamanaka and Tamazlacaru. Equalling if not surpassing the virtuosity shown before, have amused and amazed spectators with stunning costumes, and in particular the Hamanaka hit for the skill and mastery of the use of Spanish fan on a basis that does not disdain the endless vibrations of the harp.
Finally, great closing Gala with Abbagnato and Pech of ” Proust ou les Intermittences du Coeur”, a poignant as innovative interpretation of a prisoner by the prima ballerina in Paris, accompanied by a partner who also only appears.
The entire show, whose artistic direction by Cavalcanti and Zarzana, is a splendid result, drawing from an atmosphere of perfection that I personally had never experienced before in Italian theatre. A Director who has had only a few initial uncertainty but that deserved full presence and vision.
An afternoon of maximum beauty and music.

WITH THE PARTICIPATION OF : Eleonora Abbagnato, Alice Renavand, Benjamin Pech, Aurelian Houette, Muriel Zusperreguy, Audric Bezard, Miki Hamanaka, Dinu Tamazlacaru
PROGRAM
Flammes de Paris
(1932)
choréographie Vasily Vaiononen
musique Boris Asafiev
MIKI HAMANAKA & DINU TAMAZLACARU
Notre Dame de Paris(1965)
choréographie Roland Petit
musique Michel Jarre
ALICE RENAVAND & AURELIAN HOUETTE
Lac de Cygnes(1895)
choréographie Marius Petipa
musique P.I. Tchaikovsky
ELEONORA ABBAGNATO & BENJAMIN PECH
Scarlatti Pas de Deux(2009)
choréographie José Martinez
musique Domenico Scarlatti
MURIEL ZUSPERREGUY & AUDRIC BEZARD
Cendrillon (1986)
choréographie Rudolf Nureyev
musique Serge Prokofiev
MURIEL ZUSPERREGUY & AUDRIC BEZARD
Fado(1999)
choréographie Jean-Philippe Dury
musique Mysia
ALICE RENAVAND & AURELIAN HOUETTE
Don Quichotte(1869)
choréographie Marius Petipa
musique Léon Minkus
MIKI HAMANAKA & DINU TAMAZLACARU
Proust ou les Intermittances du coeur << La prisonnière (>>1974)
Roland Petit
musique Camille Saint-Saëns, Symphony n° 3 pour orgue
ELEONORA ABBAGNATO & BENJAMIN PECH

 

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About Odile Milton

I travel through words whenever possible. Odile Milton is my signature on the web as I wanted an alter ego to indicate only my writings and works, not my personal life. Odile like the dancer in black swan, and Milton from the novel An old-fashioned girl. View all posts by Odile Milton

2 responses to “Urban Dance Festival 2011… and a tribute to the Etoile Eleonora Abbagnato

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