Morphoses/The Wheeldon Company

http://www.youtube.com/watch?v=dOcTKPtdRCk
http://www.youtube.com/watch?v=_nuWfYYSa6c&feature=response_watch

                Prelude
Single presentation in Ottawa (NAC)
Бесподобный, блестящий, божественный, волшебный, восхитительный, изумительный, исключительный балет!
Yesterday IC invited me for the balet Morphoses, which has homes in London and New York, was set up to foster fresh ideas in dance by showcasing modern ballets by Wheeldon and others. What I can say: For me it was best performance since I saw Irina Kolpakova in Жизель. Ирина Колпакова была примой Кировского театра (теперь это снова «Мариинка») народной артисткой СССР.
Невероятная пластика, иногда вывернутые ломанные неожиданные рафинированные движения. Иногда кажеться, что на сцене необычные существа, владеюшие своим телом совершенно. Руки Плисецкой в «Умирающем лебеде» - помните!
http://www.youtube.com/watch?v=ZsewfOr3IXo
Танцы под музыку Баха, Равеля, Рохманинова. Играми на двух роялях и клавесине.
На сцене и в костюмах – то что называеться симплисити. Никаких декораций, легкая игра света.

Rubinald Pronk is the best!

Softly As I Leave You (music by J.S. Bach/Avro Part), an extended duet by the choreographic duo Lightfoot Leon, is no more rewarding. The dancing by Drew Jacoby and Rubinald Pronk is showy, in a portentous sort of way – she starts off trapped in a wooden box, he ends up replacing her – but no amount of hyperextended développés a la seconde can cover up the piece's glib insincerity, or excuse the breathtakingly inappropriate use of adagios by Bach and Arvo Pärt (yes, Spiegel im Spiegel again). Lightfoot Leon have been turning out slick-surfaced material like this for some years now, and there are places where it is considered high art. Unfortunately for Morphoses, they don't include London or New York, the cities in which the company pitches its tent.(by Luke Jennings, The Observer)

The Russian choreographer Alexei Ratmansky, now based in New York, continues to deliver one stunning surprise after another. Here he offers Boléro, just the kind of choreographic fillip that Morphoses needs. With its novel, witty and intelligent use of the classical vocabulary and its irresistible Ravel score (conducted with enormous fun by Paul Murphy), Boléro lifts the spirits. The six dancers (including a standout Wendy Whelan from New York City Ballet) are fashioned as contestants; each has a number on the chest. The choreography sends them flying on a sensual and athletic pulse that sweeps all before it, as it swoops and soars out of sheer delight. (The Times,October 23, 2009, Debra Craine)