Mr. Kobborg played this in an affectingly tentative way, as if it were something he needed to do, but didn’t know what he meant by it. After presenting a “Dances at a Gathering” far more detailed and momentous than New York City Ballet gave last spring, the Royal then performed “The Dream” — made by Frederick Ashton … It’s also a showcase for the Royal’s very different stars – an elegant Marianela Nunez, musical Francesca Hayward, playful Alexander Campbell and witty Laura Morera. Theatre review of Dances at a Gathering / The Cellist (Choreography Jerome Robbins, Cathy Marston, music Chopin, Philip Feeney) from The Royal Ballet at Royal Opera House - reviewer: Vera Liber In particular, the memories here are of Polish folk dance: Robbins plays with the footwork and upper-body gestures of the mazurka much as Chopin nostalgically re-imagined its music. Does Sambé need to mimic an actual cello (on one knee, leaning back between Cuthbertson’s legs, with one arm raised) quite so often? Photograph: Bill Cooper . This ballet without scenery has a powerful sense of place. The old Royal Ballet version, performed between 1970 and 1976, was a high point in the company’s history. The Cellist comes in a double bill with Jerome Robbins’ 1969 Dances at a Gathering – Chopin piano, dreamy pastels, choreography of conversational nuance and lovely, subtle dancing – but it’s Marston’s ingenuity we’re all here to see. Dances at a Gathering is the first ballet Robbins created for the New York City Ballet (NYCB) in years, after he worked on Broadway theatre. Delicious. 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Royal Opera House, LondonCathy Marston’s first main stage commission for the Royal Ballet translates Du Pré’s lyrical presence on the podium into dance, capturing her deep love affair with music, Last modified on Wed 19 Feb 2020 18.00 GMT. There’s a chamber piece struggling to get out of this overworked symphony, which takes the eye away from Lauren Cuthbertson’s central role (a slenderer version of du Pré, but hair just so) and her impassioned love-making with The Instrument. Jacqueline du Pré danced with her cello. And her and Sambe’s ‘break-up’ duet conveys the heartrending push-pull of how an energy that once sustained her now frightens and upsets her. WC2E 9DD, Dances at a Gathering/The Cellist review: Passion and pain in story of musical genius Jacqueline du Pré. Wednesday February 19 2020. The love affair with The Conductor (Matthew Ball fine and saturnine, but with less of a profile than Sambé, who dominates the stage as much as the caressing and caressed Instrument dominated du Pré) is a different matter. Tableaux form as if for a group photo, couples, girls, stand, reform and contemplate the sky. The dance’s most risky feature has always been its time structure. Robbins seems unstoppable, the choreography a flood of ideas and inspired teasing permutations. LONDON — In “Dances at a Gathering,” Jerome Robbins made a classic of dance and theater, a work that irresistibly invited multiple interpretations that Robbins both planted and discouraged. ‘Dances at a Gathering/The Cellist’ review. Exterior and interior worlds glimpsed: drifty, episodic, but so soothing. Hildegard Bechtler’s beautifully simple set gives the sense of being inside a cello, with one curved strip of light above the stage resembling the instrument’s F-holes and a curved revolving wooden screen that pushes the scenes along. All rights reserved. Sublime. It’s cluttered, distracting – and unnecessarily busy. At the Royal Opera House, London, until 4 March. Mostly it seems to work, although there are cumbersome moments of pas de deux, not least due to the awkwardness of the cellist’s wide-legged stance. This 65-minute work – Cathy Marston’s first for the main Covent Garden stage – tells of Du Pré’s growing fame, her marriage to the pianist and conductor Daniel Barenboim, and her battle with multiple sclerosis, the disease which would ultimately kill her at the age of just 42. Marston floods her set, all sleek cello curves and strip lighting, with dozens of bodies: some are characters, others pieces of furniture, an orchestra and even MS symptoms. Dance, Classical. She is bold in having a dancer (Marcelino Sambé) embody the cello itself, kneeling in front of Du Pré (a radiant Lauren Cuthbertson), arm raised like the neck of the instrument as the cellist draws her hand across the air holding an invisible bow. We're working hard to be accurate. In concert footage, her body sighs and sways as her music soars. It is hard to believe that Dances at a Gathering was created by the same man who was responsible for the original choreography in West Side Story and Fiddler on the Roof. Friendly warning! Tiler Peck walks us through the moments of repose in Jerome Robbins' DANCES AT A GATHERING and how they bring out a different side of her dancing. REVIEW: Miami City Ballet’s exciting “Dances at a Gathering” program by Claudia Suárez. I love its ensembles best of all: in the quintet and in several sextets there are moments when you feel your heart is brimming with emotion because these people are so intensely rapt in the moment. Invest in The Stage today with a subscription starting at just £3.98, © Copyright The Stage Media Company Limited 2020. Thanks for subscribing! In concert footage, her body sighs and sways as her music soars. We already have this email. Dances at a Gathering, which premiered in 1969, heralded Jerome Robbins’ return to New York City Ballet after a 13-year absence. There’s melancholy, perky flirtiness, male braggadocio, sweeping classical movement and folk-dance playfulness, delivered with a strong sense of individual character. Composer Philip Feeney weaves extracts from Du Pré’s rep into his score and Marston has Du Pré and conductor Daniel Barenboim (Matthew Ball) fall in love on the concert stage, locking eyes over Elgar’s Cello Concerto. Du Pré’s stumbling fall into illness is affectingly realised, with Cuthbertson’s tremors like a vibrato. Completing the bill is Jerome Robbins’ nostalgic and witty Dances at a Gathering, set to a selection of Chopin waltzes and mazurkas winningly played by Rob Clark. Anna is a freelance dance critic and arts journalist. Marcelino Sambé gives the role of The Instrument a tumultuous energy, literally sweeping Lauren Cuthbertson’s du Pré off her feet as she melts into the ecstatic delight of playing, lifted on the swell of Philip Feeney’s classics-referencing score and Hetty Snell’s solo cello. Jerome Robbins always insisted his 1969 Dances at a Gathering, set to dreamy Chopin, had no story – ‘THERE ARE NO PLOT AND NO ROLES’ he … © 2020 Time Out England Limited and affiliated companies owned by Time Out Group Plc. At the same time it is a memory ballet in which the dancers seem to be both recalling and re-enacting the past. 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Nobody speaks, is betrayed, dies or goes mad in Jerome Robbins’s ballet “ Dances at a Gathering,” but this hourlong, pure-dance work, set to an anthology of Chopin piano pieces, is …

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