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 Asunto: Re: Proyecto: música para un ballet basado en Andersen (2011
NotaPublicado: Dom Feb 12, 2012 6:25 pm 
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Recuerdo que compré el balet en la fnac por 20 €urazos y ayer vi que ahora lo tienen a 5,95 €. ¡baratísimo! Quien no lo tenga, que aproveche ahora para comprarlo, porque no creo que lo podais encontrar más barato.

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 Asunto: Re: Proyecto: música para un ballet basado en Andersen (2011
NotaPublicado: Lun Feb 27, 2012 3:53 pm 
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Aquí os describo todos los cambios sobre el ballet The Most Incredible Thing:

- Según Sven Helbig:

. La nueva escena se titula "Kings Lament": descrita como 4 minutos de drama orquestal
desesperado.
. La música ha mejorado porque tienen más instrumentos de cuerda.
. Cambian pequeñas partes de la música.
. Hay importantes cambios en algunas escenas.
. El Rey tiene otra escena después de la escena de Destruction.

- Según Javier De Frutos:

. La nueva escena se titula "Kings Lament": descrita como preciosa.
. La nueva escena muestra por qué el Rey quería crear el talent show.
. La escena de The Competition tendrá varios cambios.

¿Qué os parece?.


Última edición por Nickname el Sab Mar 24, 2012 10:56 pm, editado 1 vez en total

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 Asunto: Re: Proyecto: música para un ballet basado en Andersen (2011
NotaPublicado: Lun Feb 27, 2012 10:25 pm 
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A mi el ballet simplemente me parece bellisimo y merecedor de los mayores halagos. Nunca Pet Shop Boys seran reconocidos como lo que son, genios!

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 Asunto: Re: Proyecto: música para un ballet basado en Andersen (2011
NotaPublicado: Mar Feb 28, 2012 12:33 am 
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Blueyes escribió:
A mi el ballet simplemente me parece bellisimo y merecedor de los mayores halagos. Nunca Pet Shop Boys seran reconocidos como lo que son, genios!


Lo es, por eso me sorprende que no se hable demasiado de él entre los PSB fans.

Igual el tercer acto empieza con el "Kings Lament".


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 Asunto: Re: Proyecto: música para un ballet basado en Andersen (2011
NotaPublicado: Mar Feb 28, 2012 1:23 pm 
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The Most Incredible Thing in rehearsal
Ya se está ensayando TMIT en Sadler's Wells en Londres, la obra tiene algunos
cambios y revisiones. La obra sólo tendrá dos actos (en vez de tres). Como se
rumoreaba, el descanso del primer acto se situará justo al final de la secuencia
del reloj, todo lo demás será en el segundo acto. La nueva escena "The King's
lament" será justo después de la escena de Destruction y es un arreglo orquestal
del tema "Help Me", el protagonista será el Rey y la escena cuenta los motivos
por los que decidió crear el concurso según parece. Habrá más cambios, como en
la escena de The Competition, y musicalmente sonará mejor gracias a una mayor
instrumentación de cuerda.

Rehearsals have commenced this week for the return production of "The Most
Incredible Thing" which will open at Sadler's Wells in London on March 25th for
a two-week run. Some changes and revisions are being made, including the show
only having one interval (which will occur in the middle of Act Two at the end
of the "Clock" sequence) and a short new scene being added, entitled "The King's
lament", the music for which is an orchestral arrangement by Sven Helbig of
"Help me" from Act One. You can hear choreographer Javier De Frutos discussing
the ballet on the BBC "Radio 2 Arts Show with Claudia Winkleman" (link below).

http://www.bbc.co.uk/podcasts/series/r2weekndr

Tickets for performances can be purchased from the Sadler's Wells link below.

http://www.sadlerswells.com/show/Pet-Sh ... ible-Thing


------------------

Haber venga, animaros un poco que está solo el foro últimamente.

¿Qué cambiariais del ballet o perfeccionariais, si pudierais hacerlo?

OJO SPOILERS [10900]

- Cambiaría un poco el inicio, donde los bailarines fueran apareciendo poco a poco (me refiero a los súbditos), no todos de golpe ya en filas, aunque entiendo que querer dar esa imagen de rigidez es lo que toca.

- En Competition creo que tendría que currarse algo más a los concursantes (aunque sé que la idea sigue siendo que sean esperpénticos) y que no quede esa idea de caos final, con la princesa huyendo y Karl, además del Rey escapando detrás, con la mujer de rojo maldiciendo. No sé, es un momento del ballet que da lugar a pensar que el propio ballet es un caos (y no el concurso, que es lo que se intenta). La crítica no pone demasiado bien este momento X-factor y, según parece, han tomado nota.

- En el reloj intentaría poner algo más, en la escena en la que aparece la chica que tira los dados. Esa parte merece un retoque. Y, si se pudiera, pondría más astronautas en la parte del paseo lunar, los cuales bailarían el vals atados a unas cuerdas que simularan que se pueden impulsar algunos metros sobre el suelo, simulando la falta de gravedad.

- Yo cambiaría también la parte final en la que con el malvado Karl, el reloj y las musas. Creo que deberían pensar algo más espectacular, no sé, algún juego de luces o algo que haga la acción más dinámica. Y es que vemos que aparece el reloj como de la nada y luego las musas, pero se echa de menos un juego de luces menos estático. Estaría bien algo parecido a las luces que se veían en Performance, al final de Losing My Mind, algo más dinámico para la acción en la que se desarrolla el show.

- Al final, incluiría además de la intro del mensaje del Rey, la intro que sonaba en el cd para The Wedding.

Son retoques que yo haría, lo cual no signifique que está malo lo que hay.

¿Que opinais?.


Última edición por Nickname el Sab Mar 24, 2012 10:54 pm, editado 1 vez en total

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 Asunto: Re: Proyecto: música para un ballet basado en Andersen (2011
NotaPublicado: Mar Feb 28, 2012 8:05 pm 
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Yo todavia no he visto el Ballet ni tampoco he podido escuchar la musica, así que no puedo decir gran cosa. Si algún dia, la crisis me lo permite, comprare el CD del Ballet para poder juzgar. Y si les da por sacarlo de gira, pues intentare ir a verlo si pasa por España.

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 Asunto: Re: Proyecto: música para un ballet basado en Andersen (2011
NotaPublicado: Mar Feb 28, 2012 10:58 pm 
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Heart escribió:
Yo todavia no he visto el Ballet ni tampoco he podido escuchar la musica, así que no puedo decir gran cosa. Si algún dia, la crisis me lo permite, comprare el CD del Ballet para poder juzgar. Y si les da por sacarlo de gira, pues intentare ir a verlo si pasa por España.



Puedes verlo en youtube, no es lo mismo pero bueno. Por cierto, he calculado más o menos cuanto puede durar cada acto si lo separan en dos, como parece que va a ser. El primero llega a la hora fácil, mientras que el segundo malamente llega a los 40 minutos.


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 Asunto: Re: Proyecto: música para un ballet basado en Andersen (2011
NotaPublicado: Jue Mar 01, 2012 1:09 pm 
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Heart escribió:
Yo todavia no he visto el Ballet ni tampoco he podido escuchar la musica, así que no puedo decir gran cosa. Si algún dia, la crisis me lo permite, comprare el CD del Ballet para poder juzgar. Y si les da por sacarlo de gira, pues intentare ir a verlo si pasa por España.


Heart, hace unos meses realicé un programa especial dedicado a poner de principio a fin "The Most Incredible Thing" narrando y traducieno (de una manera mas o mucho menos desafortunada). Si te apetece y puedes descargarte los 4o megas que ocupa, aquí tienes y teneis el enlace que hice en Ivoox.

http://www.ivoox.com/the-most-incredibl ... 504_1.html

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 Asunto: Re: Proyecto: música para un ballet basado en Andersen (2011
NotaPublicado: Jue Mar 01, 2012 9:08 pm 
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Blueyes escribió:
Heart escribió:
Yo todavia no he visto el Ballet ni tampoco he podido escuchar la musica, así que no puedo decir gran cosa. Si algún dia, la crisis me lo permite, comprare el CD del Ballet para poder juzgar. Y si les da por sacarlo de gira, pues intentare ir a verlo si pasa por España.


Heart, hace unos meses realicé un programa especial dedicado a poner de principio a fin "The Most Incredible Thing" narrando y traducieno (de una manera mas o mucho menos desafortunada). Si te apetece y puedes descargarte los 4o megas que ocupa, aquí tienes y teneis el enlace que hice en Ivoox.

http://www.ivoox.com/the-most-incredibl ... 504_1.html


Gracias, el día que tenga tiempo, me lo descargo y me lo escucho. De verdad, muchas gracias[em2300].

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 Asunto: Re: Proyecto: música para un ballet basado en Andersen (2011
NotaPublicado: Vie Mar 02, 2012 1:43 pm 
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¿Preferís la obra en 3 actos o mejor en 2?. Es que a mí me parece que va a quedar descompensando, en el aspecto de la duración de cada acto.

El primero podría durar casi una hora, el segundo si llega a los 40 minutos ya es mucho.


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 Asunto: Re: Proyecto: música para un ballet basado en Andersen (2011
NotaPublicado: Mié Mar 07, 2012 10:25 pm 
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Mirad esto, está genial:
https://www.youtube.com/watch?v=6zOWBBf ... re=related


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 Asunto: Re: Proyecto: música para un ballet basado en Andersen (2011
NotaPublicado: Sab Mar 24, 2012 10:47 pm 
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The return of The Most Incredible Thing

Tomorrow, March 25th, "The Most Incredible Thing", the ballet by Pet Shop Boys and choreographer Javier De Frutos based on a story by Hans Christian Andersen, returns to Sadler's Wells in London for a two-week run. First performed a year ago, the ballet returns in a revised production, Javier De Frutos having made several creative changes. Full details and ticket information can be found at the Sadler's Wells link below.
Neil Tennant can be heard discussing the ballet tomorrow on "Weekend Wogan" on BBC Radio 2 between 11 am and 1 pm.

http://www.bbc.co.uk/programmes/b01dpqzr

Sir Terry Wogan eases you into your Sunday morning with music and musings. This week he's joined in conversation by Pet Shop Boy Neil Tennant and he has music from Marlon Roudette.

Formed in London in 1981 by Neil and Chris, the Pet Shop Boys have become one of the world's best-selling music artists with over one hundred million records sold worldwide. The band are three-time Brit Award winners and six-time Grammy nominees, with twenty two top ten hits in the UK.

Pet Shop Boys' latest project, with choreographer Javier De Frutos, is a modern dance performance The Most Incredible Thing, which returns to Sadler's Wells in London for a second run.

Terry will also be joined in the studio by Marlon Roudette for a stripped down session. Formerly of the band Mattafix, the musician of both British and St Vincentian origin is now embarking on a solo career. His new single New Age, which is released next month, has already been a number one hit in Europe and racked up over ten million hits for the video online.


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 Asunto: Re: Proyecto: música para un ballet basado en Andersen (2011
NotaPublicado: Mié Mar 28, 2012 4:02 pm 
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CLOUD DANCE FESTIVAL l3 STARS
THE PUBLIC REVIEWS 3,5 STARS
TELEGRAPH 4 STARS
EVENING STANDART 4 STARS



http://www.thepublicreviews.com/the-mos ... ls-london/

It’s been a year since The Most Incredible Thing originally premiered at Sadler’s Wells, and the current incarnation strives to be a more audience-friendly version than the original, with new scenes, reworked scenes, and half the number of intervals. The result is that it’s more of a spectacle, and much easier to follow. But is that really what the piece needed?

The Most Incredible Thing is a spectacle, first and foremost. Featuring a soundtrack by the Pet Shop Boys, it could hardly be anything else, and the lavish, constantly-shifting sets designed by Katrina Lindsay are elaborate to the point of detracting from the storytelling – complete with smoke and (multiple) mirrors.

The story is taken from the Hans Christian Anderson fairytale of the same name, about a grim, soulless country where the king announces a competition offering half his kingdom and his daughter’s hand in marriage to the man who can present him with The Most Incredible Thing.

In Javier De Frutos’s version, the story takes place in an unidentified Eastern Bloc country where workers are drones, terrorised by Ivan Putrov’s menacing overlord, and where only Clemmie Sveaas (the Princess) and Aaron Sillis (Leonardo) dream of being free: one of the best-loved scenes is of Sveaas dancing in her room to the Pet Shop Boys’ song ‘Baby’, with their faces projected on the walls.

Last year, there had been mild criticism of the competition’s presenter; this has now been turned into a dancing role, with mixed results, due to its reliance on faux-mime. The competition too has been changed; rather than seeing several of the contestants, with the judges becoming increasingly inebriated, the focus is now on the candidates’ silhouettes behind a screen, which offers more scope for creativity and props, but at the cost of several of the jokes, such as “but it’s still a towel!” (This was to a man who had claimed he could turn a towel into a swan by towel-origami).

Originally, the strongest section of the show was the section showing the clock’s wonders, however the meaning of each wonder was obscure to some – no doubt as our world is already so full of wonders, we’ve lost sight of the original wonders of the world around us. The meaning of each wonder is now telegraphed to us – Adam, the first wonder, appears wearing blue swimming trunks with ‘ADAM’ written across the back; Eve, as half of the second wonder, has ‘EVE’ written across the front of her bikini. Whereas before, dancers would hold large ears and a nose for the senses section, they now hold up signs saying ‘NOSE’ and ‘EAR’. Each of the Seven Deadly Sins wears a number on its back, the name of its sin on its front, and a beehive on top. And Aaron Sillis has become a participant in each scene, observing and sometimes joining in. While the reworking of this section may have made it easier to understand, much of the fine choreography of this section has been lost.

Despite these unsettling changes – including Aaron Sillis’s nerdy glasses, and Ivan Putrov’s less virtuosic role – The Most Incredible Thing is still a very entertaining show, and a great introduction to dance for those watching dance for the first time. There are excellent performances from Aaron Sillis, Clemmie Sveaas and Ivan Putrov and strong performances from the ensemble, especially Yuyu Rau, Diarmaid O’Meara and Edd Mitton. And yet The Incredible Thing could be so much more; the choreography tries too hard to be tame and easy to follow at the expense of potentially being extraordinary.

---------

http://www.thisislondon.co.uk/arts/thea ... 94080.html

Going Out? Full Listing - Click Here Go To Full Listing

The inaugural winner of the Evening Standard’s Beyond Theatre prize has been rejigged since its premiere a year ago. One thing that hasn’t changed is the quality that this collaboration between The Pet Shop Boys and choreographer Javier De Frutos shares with some of the best fairytales — that of a sense of wonder being wielded with the precision of a surgical instrument.

Hans Christian Andersen’s fable about a king who promises his daughter and half his kingdom to anyone who creates The Most Incredible Thing is given a knowingly sardonic makeover by De Frutos. The winning device — a magical clock that produces different biblical and allegorical figures when it strikes the hours — becomes a much more rarefied entertainment: at seven, for instance, the deadly sins drape themselves over a red velour barre like the Hey, Big Spender! whores from Bob Fosse’s Sweet Charity (except here some of them are men, and need a shave).

Although the references to other choreographers fly past, the clockwork motif is a constant. The workers being ground beneath the heel of Ivan Putrov’s jackbooted commissar, with their right-angled elbows and nordic-skier feet, could be marching to the sound of mechanical cuckoos. When Clemmie Sveeas’s Princess loses her inhibitions, it appears at first as a localised explosion, like a shoulder or a hip unsprung. It must be love when she meets Aaron Sillis’s bespectacled visionary, Leonardo, because for the first time she melts from head to toe.

Neil Tennant and Chris Lowe’s score ranges from electronic bells to symphonic rhapsody, and the design team of Katrina Lindsay, Tal Rosner and Lucy Carter produce a dystopia that almost thrills the eye enough to make you forget it’s meant to crush the spirit.

------

http://www.telegraph.co.uk/culture/cult ... eview.html

Javier De Frutos and The Pet Shop Boys' phantasmagorical fairy-tale dance work makes a welcome return
By Mark Monahan

The Most Incredible Thing is a little bit like a shark. And not in an entirely bad way.
A kaleidoscopic collaboration between Javier De Frutos (steps) and the Pet Shop Boys (score), this very modern adaptation of Hans Christian Andersen’s 1870 fairy-tale surges forward, sleekly and relentlessly, as if fearful that pausing even for a second might suffocate it. On one hand, this inevitably lends the show – telling of a king, his daughter, her two admirers, a competition and a magical clock – a decidedly breathless quality, with the more romantic passages suffering most. But on the other, is it really fair to gripe about an excess of paciness? Given how many productions move with the urgency of a small snail towing a large truck up a vast hill, if this is a fault, it is certainly a refreshing one.
What’s more, since its premiere last year, De Frutos has been a busy boy. First time round, there was too little dancing – and too much on-stage talking – during the competition itself, while the subsequent 12 “visions” that emerge from the clock, although at times fantastically beautiful, were little more than light-shows. Now, the steps are more intricately interwoven into both scenes, and there seem to be more of them, too. Nicely done.

De Frutos has also brought the one interval forward. Previously coming at the end of Act 2, after the evil Karl crushes the benevolent Leo’s wondrous creation (an act that is voted more incredible even than the clock itself, thereby winning both the competition and the princess’s hand), it now arrives immediately after those visions and a rapidly projected list of 300 “incredible” people. Whether this more serene, less firey close to the first section makes dramatic sense is open to debate, along with whether or not it achieves the Venezuelan’s aim in making it easier for the audience to debate those names – from Meryl Streep to Umberto Eco – over their half-time peanuts and pinot. Definitely welcome, though, is a vivid new lament for the king, imagining his daughter in the clutches of Karl.
Elsewhere, as before, it tends to be the edgier and more combative passages that work best. The robotic, righ-angled stomp of the oppressed masses (a 12-strong corps) contrast neatly with Leo’s wide, warm arcs through the air, as well as knitting well with the Pet Shop Boys electro thud, although the latter also let themselves off the leash at times with striking discords and even the odd 5/4 time-signature. The fusion of Soviet-style design, constantly surprising lighting and pin-sharp projections are as attention-grabbing as ever, and it is also hard to regret the return of Clemmie Sveaas (sexy and resolute as the princess), Ivan Putrov (small-framed but nore than compensating in bruteish energy, as Karl) or Aaron Sillis’s vigorously sweet-natured Leo.

If I had to plump for one currently showing, re-worked, projection-heavy, phantasmagorical fairy-tale ballet first staged in spring last year, I’d probably go for Christopher Wheeldon’s Alice’s Adventures in Wonderland, over at Covent Garden. But, even though one inevitably misses its previous novelty value, and for all its cartoonish lack of emotional and structural subtlety and nuance, De Frutos’s remains an undeniably entertaining creation, good for dance, and good, above all, for an eye-popping night out.

-----

http://www.cloud-dance-festival.org.uk/ ... thing.html

Cloud Dance Festival | The Most Incredible Thing
Wednesday, 28 March 2012 00:29
The Most Incredible Thing
Written by Chantal

The Most Incredible Thing © Hugo Glendinning


It's been a year since The Most Incredible Thing originally premiered at Sadler's Wells, and the current incarnation strives to be a more audience-friendly version than the original, with new scenes, reworked scenes, and half the number of intervals. The result is that it's more of a spectacle, and much easier to follow. But is that really what the piece needed?

The Most Incredible Thing is a spectacle, first and foremost. Featuring a soundtrack by the Pet Shop Boys, it could hardly be anything else, and the lavish, constantly-shifting sets designed by Katrina Lindsay are elaborate to the point of detracting from the storytelling - complete with smoke and (multiple) mirrors.

The story is taken from the Hans Christian Anderson fairytale of the same name, about a grim, soulless country where the king announces a competition offering half his kingdom and his daughter's hand in marriage to the man who can present him with The Most Incredible Thing.

In Javier De Frutos's version, the story takes place in an unidentified Eastern Bloc country where workers are drones, terrorised by Ivan Putrov's menacing overlord, and where only Clemmie Sveaas (the Princess) and Aaron Sillis (Leonardo) dream of being free: one of the best-loved scenes is of Sveaas dancing in her room to the Pet Shop Boys' song 'Baby', with their faces projected on the walls.

Last year, there had been mild criticism of the competition's presenter; this has now been turned into a dancing role, with mixed results, due to its reliance on faux-mime. The competition too has been changed; rather than witnessing several of the hapless contestants, with the judges becoming increasingly inebriated, the focus is now on the candidates' silhouettes behind a screen, which offers more scope for creativity and props, but at the cost of several of the jokes, such as "but it's still a towel!" (This was to a man who had claimed he could turn a towel into a swan by towel-origami).

Originally, the strongest section of the show was the middle section showing the clock's wonders, however the meaning of each wonder was obscure to some - no doubt as our world is already so full of wonders, we've lost sight of the original wonders of the world around us. The explanation of each wonder is now telegraphed to us - Adam, the first wonder, appears wearing blue swimming trunks with 'ADAM' written across the back; Eve, as half of the second wonder, has 'EVE' written across the front of her bikini. Whereas before, dancers would hold large ears and a nose for the senses section, they now hold up signs saying 'NOSE' and 'EAR'. Each of the Seven Deadly Sins wears a number on his/her back, the name of his/her sin on its front, and a beehive on top. And Aaron Sillis has become a participant in each scene, observing and sometimes joining in. While the reworking of this section may have made it easier to understand, much of the fine choreography of this section has been lost.

Despite these unsettling changes - including Aaron Sillis's nerdy glasses, and Ivan Putrov's less virtuosic role - The Most Incredible Thing is still a highly entertaining show, and a great introduction to dance for those watching dance for the first time. There are excellent performances from Aaron Sillis, Clemmie Sveaas and Ivan Putrov and strong performances from the ensemble, especially Yuyu Rau, Diarmaid O'Meara and Edd Mitton. And yet The Incredible Thing could be so much more; the choreography tries too hard to be tame and easy to follow at the expense of potentially being extraordinary.


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 Asunto: Re: Proyecto: música para un ballet basado en Andersen (2011
NotaPublicado: Mié Mar 28, 2012 5:22 pm 
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¿Hay alguien aquí que haya ido o vaya a ir a ver esta nueva versión del ballet?.


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 Asunto: Re: Proyecto: música para un ballet basado en Andersen (2011
NotaPublicado: Jue Mar 29, 2012 10:55 pm 
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Bueno, añado otra review más. Ésta me gusta porque explica más las diferencias entre la primera versión de TMIT y la segunda.

Si hiciera un cómputo de todas las reviews, creo que la nota media subiría del bien (de las primeras reviews) al notable. Lo cual no está nada mal. Pocas cosas les han salido a los PSB más redondas que este ballet.


Pet Shop Boys & Javier De Frutos
The Most Incredible Thing
London, Sadler’s Wells
27 March 2012
Show details – www.sadlerswells.com

In Hans Christian Andersen’s fairy tale, The Most Incredible Thing is first a clock with magnificent visions that appear at each strike of the hour, before the malicious act of destroying the clock is reluctantly acknowledged as being an even more incredible thing. The prize of half the kingdom and a gorgeous princess goes not to the clock’s creator but to its destroyer (although, as in all good fairy stories, the villain gets his come-uppance when good triumphs over evil).

The Pet Shop Boys’ concept of a ballet based on this slight fable has now returned in a second iteration with significant changes to structure, choreography and designs having been made to the original, which premiered at Sadler’s Wells, last year. Thankfully, this was not a case of life imitating art, since far from destroying The Most Incredible Thing these revisions are generally an improvement, dropping an interval and providing a tighter, pacier narrative.

The excellence of Tennant & Lowe’s score was always evident but the main impetus for this new, improved ballet is a greater integration of choreography, music, designs and video animation out of which emerges a more holistic package. The most dramatic alterations come in the two long sequences that portray the contest to find the most incredible thing and then articulate the magnificence of the magical clock. In a nutshell, there is now more dance and less comedic acting. A welcome addition is a passage, known as the King’s Lament, which brings more pathos to the consequences of the clock’s destruction and strengthens the relationship between King and daughter. Taken in isolation not every revision is a change for the better (some of the silhouetted portrayals of competition entries were distinctly underwhelming and lacked the humour of the original) but viewed as a whole the overall dynamic is much improved. Although it means bringing the curtain down in the middle of what was Act 2, moving into an interval immediately after the clock’s twelve visions worked particularly well.

Most of the original cast were back to reprise their roles. The clockmaker, Leo, was played again by Aaron Sillis as a New Romantic hunk, a free spirit in a nation full of grey drones and jackbooted thugs (now made more nerdily heroic by the addition of thick-rimmed spectacles – shades of ‘Some Like it Hip Hop’s Simeon Sun). Clemmie Sveaas is once again the princess who inspires Leo to succeed in making the most incredible thing while leaving us in no doubt that she is a prize well worth the effort! And Ivan Putrov is a very good, very bad, slimy SS-style villain. Having hardly seen him dance for two years, he is now becoming a permanent fixture at Sadler’s Wells, here headlining his third show in two months – from Men in Motion to the Man in Black. A strong support ensemble includes Charlotte Broom, Lisa Welham and Luke Jackson (a finalist, last year, in So You Think You Can Dance, the TV dance competition in which Javier De Frutos was a guest choreographer).

This ballet gained De Frutos a nomination for Best Modern Choreography in the 2011 National Dance Awards. It must have been a difficult choice for critics to decide whether to honour it as a modern or classical work. Certainly the two pas de deux between Sillis and Sveaas are composed from a neo-classical palette (and danced to an especially memorable theme) and there are several iconic references to ballet classics, from the obvious (such as the layered girls’ heads of Les Noces) to the more evocative (the dance for Sillis and the three muses conveying a strong scent of Balanchine’s Apollo).

The score is surely any choreographer’s dream and De Frutos has revisited this revival to make amendments with style and purpose, and in so doing the production is evolving into an excellent example of ongoing artistic collaboration. I was taken by how well the first iteration of the ballet suited television (when later screened on BBC4) but now it has grown into suiting the stage just as well.


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 Asunto: Re: Proyecto: música para un ballet basado en Andersen (2011
NotaPublicado: Vie Mar 30, 2012 11:49 pm 
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Registrado: Jue Sep 25, 2008 7:09 pm
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Hola Buenas


Hoy mismo he regresado de Londrés y fué a ver el Miércoles el ballet. Increible, espectacular. Hay cambios en el ballet, pero no puedp concretar exactamente ya que vi el programa de la BBC solo una vez en Julio( para que me sorprendiera ya que tenía claro que quería verlo y disfrutarlo en directo ) A groso modo deciros que la nueva escena " The king´s lament" es de lo más intenso y bonito del ballet. Respecto al concurso, si no recuerdo mal la presentadora no bailaba y en este caso sí ( lo que no me gustó demasiado ya que más que bailar parecía break dance! ). Antes el concurso era más humorístico , ahora es más conceptual.

Hubo fallos técnicos en la tercera campanada ( de la segunda se pasó a la cuarta ), , y pidieron disculpas en el intermedio( solo hay dos actos y no tres como antes) , y una bailarina perdió un gorro en una escena y se quedó el gorro en el suelo bastante rato .Y la verdad es que me gustarón más las escenas sin el reloj que las del reloj.

Escribo esta crónica demasiado rápido ya que acabo de llegar de Londres y estoy rebentado. Cuando tenga más tiempo, haré un visionado de la emisión de la BBC y concretaté los cambios. Por cierto compré el programa del ballet.

Pero leyendo la crónica de más arriba veo que los cambios están claros.


Si podeis ir a verlo Gana muchísimo en directo!!!!!!!!! Es una acaricia al ojo humano !!!!

¿ Os he dicho de que los PSB son el mejor grupo del mundo? Estoy todavís impactado!!!


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