domingo, 24 de maio de 2015

Autre fois (Recit de Cassard)


Uma das minha preferidas...


...de um filme querido de toda uma vida!
(Les Parapluies de Cherbourg, 1964)

domingo, 17 de maio de 2015

The days of wine and roses...



"They are not long, the days of wine and roses:
Out of a misty dream
Our path emerges for a while, then closes
Within a dream."

Ernest Dowson ("Vitae Summa Brevis", 1896)

foi a fonte de inspiracao para JP Miler (TV drama play), depois Blake Edwards no seu filme "The days of Wine and Roses" (Vício maldito, 1962) assim como para Henri Mancini que criou uma das baladas mais "sentidas e sofridas" dos nossos tempos...

Considero esta "figure of speech" (the days of wine and roses) uma das coisas mais inspiradas possíveis...

Como vejo e revejo pessoas só pensando nos seus tempos glamourosos e de sucesso sendo infelizes no seu presente, esquecendo de viver o momento AGORA...
Se soubessem já de antemão como tudo é efemero e que outros valores são os que realmente contam, importam... ah, se soubessem...


"Tertúlia" dedicada aos imensos talentos de Jack Lemmon, Lee Remick, Henri Mancini, JP Miller, Blake Edwards e John Frankenheimer que dirigiu o original em 1958, na TV...

The days of wine and roses laugh and run away like a child at play
Through a meadow land toward a closing door
A door marked "nevermore" that wasn't there before

The lonely night discloses just a passing breeze filled with memories
Of the golden smile that introduced me to
The days of wine and roses and you


quinta-feira, 14 de maio de 2015

Muñequita linda: Esther Williams, o maillot rosa-choque e muitas maluquices...


Muñequita linda
de cabellos de oro
de dientes de perla
labios de rubí...

tra la la...

Existiu carinha mais emblemática e representativa do Cinema nos anos 40?

Existiu maior protótipo das modas e "carinhas e boquinhas" da época?

Esther Williams e seu escultural corpo, adornado pelo "traje de maillot" mais lindo do cinema - rosa choque, incluíndo uma "saída de praia" glamourosamente hollywoodiana, lacinho nos cabelos de mel e maquillage à prova d´água...


Estherzinha... pena Leslie Caron, em sua autobiografia, nos ter revelado sua arrogancia e falta total de respeito com os "colegas" da Metro, chamando-a de uma das pessoas mais desagradáveis que conheceu em sua vida...

Sua imagem no cinema era bastante diferente - a "menina" legal, boazinha, simpática...
Bem, nobody's perfect!

Aqui a cena inicial de "Bathing Beauty" (MGM 1944)



e depois, no mesmo filme, num dos momentos mais "kitsch" da história do Cinema:
como "Venus" nascendo do mar, aos sons de "Wiener Blut" de Strauss... pode este "melánge"? (Também bastante enfeitado de "rosa-choque!).
Viva a MGM!

segunda-feira, 11 de maio de 2015

Wiener Staatsballet: Premiere 2015, May 9th - Adagio Hammerklavier/ Cacti/ Bella Figura

What to expect of such an eclectic programme? van Manen, Ekman and Kylián mixed up in an evening? The “cocktail” results could not have been better…


…even if I have to start saying that van Manen’s “Adagio Hammerklavier” left a certain “emptiness” within me. Perhaps I was expecting too much and was sort of disappointed. “Kammerklavier” is definitely not one of Mr. Van Manen’s “best”. I first got in touch with his work during the 70’s as “Nederlands Dans Theater” was doing some guest appearances in Rio – since then I have been fascinated by his work and very specially by his musicality.
Like it always happens with such great talents, his choice of music, his motivation in fact (Beethoven’s Adagio aus der Sonate für Hammerklavier op. 106) may be a bit too highbrow for simple ballet audiences. Yes.

Not strangely (and according 100% to the music) he used in his choreography some very unusual resources to the movements. The all seem to “come”, to be “projected” from a very, very low back… causing some dancers to look very stiff and tense. This was made quite clear to me while watching Nina Polakova – who tends to be very tense on the shoulder region – and Roman Lazik - who normally does not have this problem but was, during this premiere, so tense – even if always so very predictable - that his chin seemed to be much ahead of him than it normally should. Ketevan Papava and Eno Peçi were more relaxed but I do not think that they were the right choices to the roles.

(copyright: Wiener Staatsoper/Ashley Taylor)

The choreography is sort of “ungrateful” to dancers bodies. It is not “easy” technically but audiences with less ballet experience will not “see” that.

Vladimir Shishov and Olga Esina were the “icing on the cake” of the piece. Mr. Shishov and his well-known stage presence, Miss Esina delighting the audiences with a certain new approach to her roles, which is not passing unnoticed to them.

Even at the risk of being snubbed on as being “superficial”, I must point that Miss Esina’s high “chignon” is most becoming to her, giving “the special touch” to her anyways long, very well balanced, proportioned neck-line... Beautiful!

Costumes that reminded me of nightgowns and old-fashioned men underwear, and some terrible “gold chains” for the men, were definitely a negative point…

“Cacti”

A lovely, funny, exciting surprise.
I must be very honest and say that I had only “heard” of Mr. Ekman’s work but had never ever seen it. I am more than delighted!

The choice of dancers is a very special one: the crème-de-la-crème of expression of today’s company:
Nikisha Forgo, Kiyoka Hashimoto, Rebecca Horner, Clra Soley, Céline Janou Weder, Franziska Wallenr-Hollinek, Marcon Demp. Alexis Forabosco, Andrey Kaydanovsky, Masayu Kimoto – more than wonderful, by the way – Greig Matthews, Richard Szabó and Dumitru Taran.

(copyright: Wiener Staatsoper/Ashley taylor)

The company seems to have FUN while performing it – yes, an exciting, excited performance (on the first part Greig Matthews, center stage, dominating the scene. Good!): musicality, joy, happiness blessed by a beautiful musical choice and incredible light design by Doef Beernink.
Many dancers expressed their Thanks for the wonderful coaching by Miss Nina Botkay – brazilian-born dancer with whom the joy to chat a lot… but that is another Story…

But still, somehow, I keep repeating Mr. Ekman’s words within me.

- How come someone may have this conceited behaviour to criticize someone’s work?

And “who are we” to write critics anyways?
How come we can take such liberties?
I prefer to think that I am just opening a discussion about art, a “tertúlia” as it is said in Portuguese and Spanish, which means just a space, just a short time to exchange and discuss opinions, thoughts about art…

A night to remember... so much talent onstage at once...


“Bella Figura”

Just at the beginning of the after Premiere-Party I had the chance to exchange some words with Manuel Legris. Speaking about “Bella Figura” I had the possibility to express my thoughts about a “new reading” of Kyllián’s work… and to add that I thought that “age” had given me the opportunity to once more make other interpretations in my own reading of the piece… adapting it to my own experience… It may be so…

(copyright: Wiener Staatsoper/Ashley taylor)

Maria Yakovleva was the biggest surprise of the evening – she brought so much emotion to a role that was danced in a sort of “je n'est sais quoi way“ by Marie Claire D’Lyse many years ago. Masha Yakovleva gave flesh and blood to this otherwise “technical” role, on the contrary of some not so gifted dancers that just try to understand it…

Ketevan Papava in a show-stopper performance – but the role is a show-stoppen anyhow.
(copyright: Wiener Staatsoper/2011)

Irina Tsymbal, Eno Peci and Vladimir Shishov simply perfect.

And Alice Firenze and Davide Dato… yes Alice Firenze and Davide Dato…

Miss Firenze: a certain sweetness around her eyes, never any sort of tension around her mouth and neck… all this involved in such an atmosphere that contains, shows, proves so much awareness on stage…
Miss Firenze and Davide Dato made me cry. And that had not happened in quite a while.

I must say…



Ekman, Manen, Kylián - Trailer from DelbeauFilm on Vimeo.




Ekman, Manen, Kylián - Trailer from DelbeauFilm on Vimeo.


(Video's Copyright: Balàzs Delbo/Delbeaufilms)

domingo, 3 de maio de 2015

Ravel / Béjart: Bolero (Nicolas Le Riche)

...e por que gastar palavras? A despedida de Nicolas Le Riche da Ópera de Paris em 9.7.2014.


Está tudo aí. Dito. Na música. Na coreografia. Nos movimentos de todos os bailarinos. Em casa segundo...

quinta-feira, 30 de abril de 2015

Leaves are fading (Antony Tudor): Gelsey Kirkland & Ivan Nagy

How can anyone on their right mind forget that?



Antony Tudor (1908 - 1987), born "William Cook", choreographed this masterpiece in 1975...
One of his last works.
He worked intensly with (lovely) Gelsey Kirkland and Ivan Nagy...

Even if the video leaves us wishing for more quality... who cares?
Something to remember. Always.

domingo, 26 de abril de 2015

"Hello Dolly!": It only takes a moment


Como já várias vezes disse aqui, é interesantíssimo como o passar do tempo, a maturidade, a idade nos dá o presente de novas “leituras” sobre um mesmo tema.
Um livro assume toda uma outra perspectiva, um quadro nos mostra mais luz, numa canção nossa atenção é captada por uma tal palavra até agora não ouvida e por sua entonação agora entendida, um acorde musical nos revela outros mundos anteriormente não vistos, um poema é agora compreendido de forma completamente diferente como se nos contasse uma nova estória… e por aí vai a lista do fascínio que o passar do tempo trás consigo…


Como de costume tendo a relatar estes acontecimentos (o fato de uma nova leitura) aqui.
Hoje acrescento à lista uma canção de “Hello Dolly!” que na realidade nunca havia me prendido a atenção… Revendo este (maravilhoso) filme de Gene Kelly (sim, ele dirigiu-o) minha capacidade de observação foi ativada ao ver esta cena, deixando-me o prazer desta nova leitura, deste compreender a verdade que o autor quis dizer em “It only takes a moment”… Bem, pelo menos a verdade que agora imagino compreender… Só o futuro pode dizer o que entenderei em 20 anos já que há mais de 20 anos mal podia esperar para esta cena passar já que achava-a chata e melodramática ao excesso... Tudo muda!

De volta ao “Hoje”:
Peguei-me dando conta da imensa lista de coisas que se concretizaram na minha vida num só momento, num instante… como que num instante se sabe que “aquela” será uma amizade para toda a vida? Que aqueles olhos só dizem verdades? Que um carinho é eterno ? Que um amor começou e será eterno?


It only takes a moment… é verdade, hoje!
Um jovem Michael Crawford acompanhado da maravilhosa Marianne McAndrew, doce, afinada Marianne McAndrew - que infelizmente nunca chegou a ter uma real carreira, que pena - e o "coro" de "Dolly" incluindo a linda bailarina E.J.Peaker e o jovem, cedo assassinado, Danny Lockin, um desses raros talentos que aparecem só cada 100 anos...

P.S. Não sei dizer por quanto tempo esta cena estará disponível no Youtube (já que me parece que o filme "Dolly" tem seus direitos de copyright bem restritos...) por isso aproveitem a chance: It only takes a moment... e é um "momento" bem investido...





e para quem se interessar, um trailer bem longe dos chatos, repetitivos, cansativos "tiques marilia-peirenses" que tive que assistir na minha última estadia carioca...

domingo, 19 de abril de 2015

Ethel Waters: Taking a chance on love


Vasculhando, cascavilhando e escarafunchando memórias, guardados e arquivos de filmes de Vincente Minnelli num domingo de primavera, encontrei esta maravilhosa cena de Ethel Waters em "Cabin in the Sky" (MGM, 1943), um filme com um elenco todo negro que nunca pode ser passado no Sul dos E.U.A....


Maravilhoso trabalho... infelizmente muito esquecido... mas este também é um dos motivos da existencia das "As Tertúlias":
ajudar a memória...
manter a memória...
E aqui "entre nous": existe rosto e sorriso mais simpático do que o de Ethel Waters? Sim talvez o e Louis Armstrong...



Dedico esta "tertúlia" para uma pessoa que considerava amiga, que amava esta cena e que depois de 30 anos mostrou-me ontem quem é.
A sua agressividade pode ter-me machucado no momento e ter-me também roubado um pouco do equilíbrio emocional...

mas é incapaz de me tirar uma coisa: meu bom-humor...

Obrigado por ter-me ensinado isso. Boa Sorte na sua vida, Susanne Satek!

segunda-feira, 13 de abril de 2015

Wiener Staatsballet: Giselle Rouge (Première April 12th, 2015, Volksoper)


Not an easy task to tell Olga Spessivtseva’s „story“. Not even to suggest it.

Choreographed in 1997 this intelligent work is not concerned with simple “story telling” - especially because of the many divergences in her biographies - it goes much further...


Boris Eifmann used an extreme creativity to surpass a classic plot and suggest emotions, life aspects and events in a much more dramatic and effective way.
Ignoring the conventional line development of a “theatre plot” (that in fact has not much to do with the “dance idiom”) he hints lightly at facts and evokes general feelings that cannot be placed on an exact time or room or country, but which were part and nearly a kind of “condicio sinequanon” of Spessivtseva’s mental instability.

Not to be really compared with his “Anna Karenina”, which conceals a much more conventional “script line”, his “Giselle rouge” fascinates more because of its very openly aggressiveness, madness, nervousness and also because of the fact that its language is freed from the burdens and obligations that classic “story-telling” brings along with it.

I am sure that this is the reason why its language is so much more fascinating and appeals so much more to Ballet-goers. This is ballet.

(Copyright: Wiener Staatsoper/Delbo_Casanova Sorolla)

Eifman, as I read quite recently, was described as a “philosopher choreographer”. And I could not have agreed more with this description.
He is so deeply absorved by and concerned with the secrets of the creative process and how very difficult these may be.
He reveals little – but very directly – to his audiences, making them a part of the ballet.
He “discusses” with Ballet-goers about complicated, dramatic aspects of life.
And all this without fear and never going too far. He defined his own genre as “psychological ballet”. And once more I could not have agreed more.

It was a pleasure and an honour for me to observe him from so nearly during the party after the Première.

(Copyright: Wiener Staatsoper/Delbo_Casanova Sorolla)

Even though I was judging this work as too “highbrow” to the customary, average Volksoper-audiences it did not surprise me a bit to witness such strong applause at the end of the evening.

I was just sort of speechless with the unjustified applause at the end of a “Charleston” (“Yes, Sir, that’s my baby” to be more precise), a popular piece that reminded me of the very strange Bolshoi “odes” to America at the beginning of the 80’s, which I had the chance to witness here in 1982.

(Copyright: Wiener Staatsoper/Ashley Taylor)

That was the only time in which the audience betrayed itself – not just by applauding a very popular “hit” but also for giving itself away revealing such lack of “connoisseurship” to the rest of the score – marvelously put together by the way, especially the use of different Alfred Schnittke’s pieces at the “mad scene” in which Olga really lost her mind (was it in Australia? Some speak of the States) not knowing anymore what she was dancing, improvising, forgetting where she was or which Ballet she was in…

(Copyright: Wiener Staatsoper/Ashley Taylor)

Roman Lazik did a good job as "the partner" - supposedly Serge Lifar. It cannot be said that Olga really had this "flirt" with Serge. But the general idea of her having an unhappy love affair could also be another "help" for her descent into hell, into madness. Another "hint". And a very good one indeed. In very good shape Mr. Lazik is a very correct and competent dancer that seems to have a following in Vienna.

Jacopo Tissi, as “the partner’s friend” (Serge Lifar's "lover"), showed a beautiful stage presence. Very clean features, long legs, a beautiful line and a precise certainty in his technique - and by the way, giving his solo debut on stage. A matter, a date of rare importance in a dancer's life. If he was nervous, the audience could neither feel or see it.
A very gifted young dancer that will definitely have a bright future.
I am quite sure that we will stil much from him!

Kirill Kourlaev filled the stage with strength. Looking very “pump” (a fact that was strongly accentuated by his low cut costume) he developed his character, the “Bolshevik” into a very threatening, menacing kind of man. Dangerous. Great work. In full command of the much needed stamina that this role requires he turned his relationship with Olga into a play of cards that very aggressively comes to an end. A very scary aspect of life: The dependance of one person while being dominated by another.
What is the reason? Love, sex, possessiveness, politics, craziness, instability or simply “power”? Whatever the answer may be Mr. Kourlaev showed us this nearly vicious kaleidoscope of feelings – and the amazing thing is: a dancer that is also a comic, a prince, a romatic partner, an angel, a Matador… I love versatility and Mr. Kourlaev is always surprising us.

(Copyright: Wiener Staatsoper/Ashley Taylor)

Eno Peçi as the Balletmaster brought down the house and made us nearly cry with his unfortunate destiny. So sad all that vulnerability. Mr. Peçi, another very strong dancer, in full command of his trade, of his intellect and of his art, has reached that beautiful moment in the life of a dancer which combines the total confidence of a strong technique in a young body and that certain thing called maturity with its many aspects that make all the difference between giving just a good performance or giving a performance that touches us, our hearts because of its artistry. Chapeau!

(Copyright: Wiener Staatsoper/Ashley Taylor)

Olga Esina was the biggest revelation of the evening. Never before had I seen Miss Esina in such an emotional, fragile, daring performance. Yes, daring, you read it right: Spessivtseva’s character is no bowl of cherries to perform. Her contradictions may make her even unsympathetic, generally. Miss Esina, another dancer known to all of us also because of her exquisite technique, beautiful and intelligent musical phrasing and poise as well as clean lines that are mixed with the best of classic proportions, surprised us all as the “Olga that went mad”. Even if sometimes the choreography is far from “becoming”, forcing her into even inelegant movements, poses. And she did it. Courageously. The kind of interpretation of the first magnitude, the kind you do not see frequently.

(Copyright: Wiener Staatsoper/Ashley Taylor)

Long lasting applause for the soloists as well as for string Corps-de-Ballet which united a special selection and combination of the exquisite talents of Eszter Ledan, Nina Tonoli, Flavia Soraes, Laura Nistor, Natascha Mair, Igor Milos, Alexandru Tcacenco, Ryan Booth, Jakob Feyferlik and Jaimy van Overeem just to name a few.

(Copyright: Wiener Staatsoper/Ashley Taylor)

Cutting it short: a most enjoyable evening that was carefully rehearsed – and when I speak of “carefully” I mean “with great care”. For details, for effects, for emotions. Everything single element carefully thought of, "round".
Bravo, Monsieur Legris for once more presenting the Viennese Audiences with a ballet that could be called “un objet d’art” of the finest bone china.

Merci.
Vienna, April 13th 2015
Ricardo Leitner


Probenvideo – Giselle Rouge from DelbeauFilm on Vimeo.



Boris Eifman’s `Giselle Rouge´- Trailer from DelbeauFilm on Vimeo.


(Videos' Copyright: Balàzs Delbo/Delbeaufilms)

sexta-feira, 10 de abril de 2015

Maybe this time (Kristin Chenoweth)


Kristin "arrasando" de novo, como de costume...


Quem foi que um dia disse que certas músicas só tem realmente "um" intérprete?

Não me lembro... e o que importa? Esta pessoa não tinha mesmo razão...

Acho que neste caso até a própria Liza o admitiria.



e mais madura...