FRANKENSTEIN por The Royal Ballet

FRANKENSTEIN regresa en directo en cines con la nueva coreografía del Royal Ballet el 18 de mayo.

Liam Scarlett adapta el clásico de Mary Shelley a ballet en directo en cines desde el escenario de Covent Garden el 18 de mayo en cines Lys. La española Laura Morera, bailarina principal del Royal Ballet, formará parte del reparto de esta nueva producción.

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Carlos Acosta dejará la danza clásica dentro de dos años

El bailarín cubano Carlos Acosta, estrella del Royal Ballet de Londres, dirá adiós a la danza clásica dentro de dos años con una nueva producción de la ópera «Carmen» de George Bizet, informa hoy el diario «The Telegraph». En declaraciones a ese medio, el artista, de 40 años, aseguró que al final de la temporada … Leer más

Giselle by The Royal Ballet

The Royal Ballet 18 Jan 2014 – 10 Feb 2014

The greatest of all Romantic ballets, Peter Wright’s production of Marius Petipa’s classic is a tale of betrayal, supernatural spirits and love that transcends death. Giselle, a peasant girl, has fallen in love with Count Albrecht, who has led her to believe that he is a villager named Loys. Her discovery of his true identity has devastating consequences.

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Listen: What makes Frederick Ashton unique?

As a The Royal Ballet releases an all-Ashton programme on DVD, we publish an Insights event about the choreographer’s early career.

Curator for Dance at the V&A Jane Pritchard recently examined the early career of choreographer Frederick Ashton as part of an ROH Insights event.

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Evgenia Obraztsova and Iana Salenko in The Royal Ballet

The Royal Ballet has announced that two guest principals have been invited to perform at Covent Garden this Autumn.

Principals of Staatsoper Ballet and Bolshoi Ballet to perform in Don Quixote and Romeo and Juliet.

Evgenia Obraztsova, Principal of The Bolshoi Ballet, and Iana Salenko, Principal of Staatsoper Berlin, will dance roles in Carlos Acosta’s new production of Don Quixote and Romeo & Juliet.

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The Sleeping Beauty by The Royal Ballet in Barcelona

Watching the Royal Ballet’s Sleeping Beauty, with costumes by Oliver Messel and Peter Farmer and sets by Christopher Carr, is like savoring a sumptuous strawberry-and-cream gâteaux and being transported to an 18th century Neverland to enjoy a work that is immensely rich in variations, styles and – especially in this version – childlike imagination.

As a whole, The Royal Ballet’s Sleeping Beauty is a relic, a real fairy tale full of mythical beings, famous characters and sumptuous antique costumes, together with traditional cardboard scenery, which by the end of the performance, becomes somewhat cloying.

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