Last April 3rd I attended a performance of Push by Sylvie Guillem and Russel Maliphant, the choreographer himself. At first I was intrigued because, for an hour, the only dancers who were onstage were these two. I had never seen the production before and I can say that it was brilliant, magnificent.
The ballet is divided in four sections: 'Solo', 'Shift', 'Two' and 'Push'. The three firsts are solos, and the last one is a pas de deux.
'Solo' is a solo created in origin for Mrs. Guillem to music by Carlos Montoya, flamenco guitar, very classic in essence, in which Guillem can display all her technique (she has it in full length although she is 42 years old!!!).
'Shift' was danced by Maliphant and his four shadows, as it is not a solo itself: with a clever lighting (Michael Hulls' design) it seemed that Maliphant had four 'twins' back him, dancing at the same time and doing almost the same steps. Music: strings serenade by Shirley Thompson.
Again a solo for Mrs. Guillem to music by Andy Cowton, conceived firstly as a trio. Guillem reinvented it and performed it in a minimal space ligthed as a cage. She repeated the phrases with different speed and it was incredibly well danced in tempo and technique.
Finally came the pas de deux, and all I can say is that I saw onstage 'control'. Two bodys perfectly controlled, all experience and love for dancing. Bravos and tumultous applause.
I am very, very grateful for Teatro Real's management nowadays. At least, it is reaching a level for which we Spanish can be proud.

Wow! I am so glad you enjoyed it, Grissi, and you did such a good job of sharing your pleasure.

Thanks!

Thanks, indeed, Grissi. I checked the Teatro Real site and was very impressed by the opera and concert schedule. They were fortunate to get Guillem -- and a week of the Maryinsky, too. But the stage is so very busy with other arts, it's clear Madrid needs a dance venue worthy of a capital city of its calibre.

Yes, I share your opinion and, believe me, I try with all my strength to force Teatro Real's management to include more ballet in its schedule. But, in Madrid, I don't know if the case is the same in other cities, opera's audience does not like ballet, generally speaking. And the target is, I guess, opera's audience. We balletomanes, are secondary. But I'd rather have this than have nothing.

Hi!

Unfortunately I couldn't attend but Jesús did and had been able to take photos and to publish an article with the authorization of Mrs. Guillem who is always very exigent concerning her image but always gives permission to him when she comes to Spain.

If you want to take a look:

"PUSH" by Sylvie Guillem and Russell Maliphant at the Teatro Real in Madrid

but I'm a lucky woman as she will be in Barcelona next June to dance with Akram Khan and I wont miss her.

:huepfen024:

And Grissi, it is the same in Barcelona, believe me, I also try that they include more ballet but they always say that it is an Opera Theater and that their audience doesn't like ballet very much but last season in La Gioconda, the "Dance of the Hours" was danced by Angel Corella and Leticia Giuliani and it was their dance who got the most enthousiastic applauses. 10 minutes of dance in a 4 hours opera and it was the dance who was the most appreciated.

I think that this season it will be at the Teatro Real, don't miss it!

CarolinaM, both Corella and Giuliani repeated their roles at the Metropolitan in New York City. I wonder how many in the audience realized that this balletic portion originated in Barcelona.

The Guillem photos are stunning. I was interested in the following comment by Jesus Vallinas, the photographer:Wow! Guillem -- Bussell, too -- seems to project three-dimensionality in the photos taken of her. Of course, this is largely due to the photographer's and lighting person's skill. But there seems to be something in a few very rare dancers that reveals roundness, depth, and weight -- occupying space completely, not just revealing a line.

I especially appreciated the last photo, since it gives a sense of the "look" of the production, something I've not seen in published photos from other engagements.

I completely agree, if it was me I'm for sure would do the same. I think that one has to control this kind of things, quality always first. When you see some dancer's web pages full of photographs that do not add nothing it's sometimes even disgusting.

And about what you say "it gives a sense of the "look" of the production" exactly! a picture, or a poster, or an add... has to show what we are going to see, no matter how creative it is or how beautiful it can be, it has to be respectful with what is going to be in the performance, if not, the audience can be confused or even angry.

Many thanks bart for your opinion, I'm glad you liked our article

I liked it too, and I was waiting for you to write the link for balletalkers!!! The photographs are magnificent, indeed.