注册 登录  
 加关注
   显示下一条  |  关闭
温馨提示!由于新浪微博认证机制调整,您的新浪微博帐号绑定已过期,请重新绑定!立即重新绑定新浪微博》  |  关闭

黄牧的樂府 Music/Ballet

古典音乐及芭蕾舞 Blog Music & Ballet请勿转载

 
 
 

日志

 
 

Natalia Osipova in Onegin, Covent Garden  

2015-02-02 19:10:01|  分类: 音乐和舞蹈演出 |  标签: |举报 |字号 订阅

  下载LOFTER 我的照片书  |

Natalia Osipova in Onegin, Covent Garden, review: 'extraordinary'
The Russian ballerina Natalia Osipova is simply phenomenal as the heroine Tatiana, says Laura Thompson

Daily Telegraph, London 


5 Natalia Osipova in Onegin, Covent Garden - 黄牧 - 黄牧的樂府 MUSIC  BALLET
Natalia Osipova in Onegin, Covent Garden - 黄牧 - 黄牧的樂府 MUSIC  BALLET
Force field: Natalia Osipova as Tatiana, with Matthew Golding as Onegin, at Covent Garden  Photo: Alastair Muir

By Laura Thompson



A week into the current run of John Cranko’s Onegin, the former Bolshoi star Natalia Osipova made her debut in the role of Tatiana, and received the kind of roaring, heel-drumming curtain call that I’ve not heard at Covent Garden in a long time.


The Royal has taken a series of body blows in the past few years, losing some of its most glorious assets - Tamara Rojo, Sergei Polunin, Alina Cojocaru, Johan Kobborg, Sylvie Guillem - and appearing to face a Manchester United-style eclipse.


Yet this has been averted by the retention of dancers like Marianela Nunez and Lauren Cuthbertson; the emergence of new talent such as Itziar Mendizabal; and a couple of acquisitions worth many millions in any metaphorical transfer market, Vadim Muntagirov and Osipova.


The latter is an extraordinary dancer, surely the most phenomenal since Guillem. She has the ability, like Guillem, to make shapes best described as cubist.


Her almost disorientating aerial quality gave her Giselle the strange beauty of a Richard Dadd painting. What really compels is the pull between Osipova’s dynamic physicality and her withdrawn, white-faced, tragic appearance. Unlike Guillem, she does not look like a force of nature. She looks like a ballerina of the pre-Diaghilev era, a Spessivtzeva or a Taglioni, impossibly romantic and ethereal, lost entirely in the world of her art.


This is not quite in tune with the Royal Ballet, which emphasizes precise, believable acting and personalities that communicate with the audience.

Osipova has said she is seeking to adapt to the company style – a remarkably humble statement, given her ability – and in Onegin she is surrounded by three high-level performances of the familiar Royal type.

Olga and Lensky (Tatiana’s flirtatious sister and her idealistic lover) are wonderfully realised by Yasmine Naghdi and Matthew Ball. Naghdi is sprightly and clueless as a baby animal, Ball poignantly trapped in a futile dream of poetic honour. Both dancers are products of the Royal Ballet School, and both are rich with talent.

The bored, clever, casually callous Onegin is danced by the Canadian Matthew Golding, who invests the role with extreme subtlety. Conversely, Osipova herself is less nuanced in her portrayal than the other Tatianas I’ve seen in this run (Nunez and Mendizabal).

She creates a force field so intense as to overwhelm the detailed progress of the character. She does not act, so much as hurl herself from emotion to emotion.

But she has genius. She had that quality for which one prays in a theatre: she can carry one to a place where reality is an irrelevance, where what is on show is so powerful that it resists analysis.

See her, at any cost.

Until Feb 27 (Osipova dances again Feb 7 & 16). roh.org.uk 020 7304 4000



 

  评论这张
 
阅读(68)| 评论(0)
推荐 转载

历史上的今天

在LOFTER的更多文章

评论

<#--最新日志,群博日志--> <#--推荐日志--> <#--引用记录--> <#--博主推荐--> <#--随机阅读--> <#--首页推荐--> <#--历史上的今天--> <#--被推荐日志--> <#--上一篇,下一篇--> <#-- 热度 --> <#-- 网易新闻广告 --> <#--右边模块结构--> <#--评论模块结构--> <#--引用模块结构--> <#--博主发起的投票-->
 
 
 
 
 
 
 
 
 
 
 
 
 
 

页脚

网易公司版权所有 ©1997-2017