Very often I come in those videos to see mostly Sylvie Guillem, but I have to say that in this ballet, the part of the (male) dancer is overwhelming. Massimo Muru is such a great dancer but holding Sylvie Guillem on his shoulders with strength and grace could have been very intimidating. So respect to Massimo Muru ! and to Sylvie Guillem also .... (my English is not perfect, sorry)
What a Great moment...two excepcional danceurs...one of incredible coreographie!! Congratulations to both and tô this wonderful Coreographer!!! Bravo !!
No words to express the feeling of seeing these two magnificent dancers! Tender and strong at the same time! Poesy in movement!! Grazzie Mille Massimo and Sylvie ❤
-- Il faut être de sacrés danseurs pour danser cette pièce de cette manière. Quelle sensualité des corps, des mouvements et des portés. Leur complicité est à la hauteur de la confiance qu'ils ont l'un pour l'autre. Belle performance. --
I have watched this so many times and the quality of the performance never dims. Outstanding !! - the level of controlled precision, the kinetic flow, the lyrical component....all completely wonderful...I am grateful for the opportunity to view it XXX
Ottima tenuta di quello che con un mio neologismo mi piace chiamare convolo della ballerina e mantenimento delle pose figurali alcune delle quali inedite e di accentuata corporeita '. Ottimo il senso del continuum della pièce danzante. MOLTO BRAVI .BIGHIN GIULIO RENZO
It must feel so freeing to be able to do this after years and years of classical roles. It bores me after awhile, quite frankly, because there’s no “music,” but that takes nothing away from the difficulty and beauty of the choreography and the strength needed to sustain it. Since I’m a classical musician, I adore modern works using actual music, whether it’s Stravinsky or other more contemporary composers (by years only….Stravinsky still sounds new to me and is definitely challenging to listen to!), but percussive blips, blops, and beeps do nothing for me.
when Stravinsky's "le sacre du printemps" was first played in Paris in 1913, it was quite a mess in the theatre, with people shouting, whistling, and others clapping ! A lot of critics said that it was not music, but noise, and it was called "le massacre des tympans" (tympans = ear drums, it is a funny play on word with the initial name "le sacre du printemps").
