引き際の悪い私は、未だ金曜日の吉田都さん最終公演の余韻に浸っていたのですが、今朝のTimes紙を読んで、更に再燃。
まずは、普段、あまりつかない５つ星（満点）がついていて安堵。自分が感動した公演に高い評価がつくのは、単純にうれしいですが、今回は「当然でしょ」てな感じでした。この公演については、たくさんの日本人ブロガーの方が記事にしていて、皆さん一様に深く感動されているのを拝読しましたが、タイムズ紙の記者も同じ心境だったようです。ただその批評文はなかなか味わい深いものでした。
著作権は放っておいて、とりあえず後ろに全文を添付しちゃいますが、「その通り、座布団３枚あげて」って感じです。
"There is nothing more exciting for a ballet lover than the arrival of a hot new talent. And there is nothing more emotional than saying farewell to a beloved star. The sea of flowers on stage at the end said it all: Miyako Yoshida, who made her last appearance with the Royal Ballet at Covent Garden in this performance of Cinderella, will be much missed."
「バレエ愛好家にとって、新たな素晴らしい才能と出会うことほどうきうきすることはないが、同様に、愛するスターに別れを告げることほど心揺さぶられることもない。舞台に積もった花々の海が全てを物語っていた。「シンデレラ」でコベントガーデンでのロイヤル・バレエ最終公演を飾った吉田都は、今後、大いに惜しまれることだろう。」
の冒頭で始まるこのエッセイは、１５年間、彼女をロイヤルバレエで見続けてきたのであろう批評家の深い愛惜の念に満ち溢れています。（詳しくは下記の全文引用を参照）
最後の結びは、
"Gone maybe, but not forgotten. "
翻訳家なら何と訳すのでしょうか。
私のせいぜいの訳は「去りぬ。されど、忘れぬ。」
ジーンと来ました。
(Quote from Times On Line)
April 27, 2010
Cinderella at Covent Garden
Debra Craine
★★★★★
There is nothing more exciting for a ballet lover than the arrival of a hot new talent. And there is nothing more emotional than saying farewell to a beloved star. The sea of flowers on stage at the end said it all: Miyako Yoshida, who made her last appearance with the Royal Ballet at Covent Garden in this performance of Cinderella, will be much missed.
We have been watching Yoshida, now 44, since she joined Sadler’s Wells Royal Ballet in the mid-1980s, a young Japanese dancer destined for success. She quickly was promoted to principal, and was much favoured by Peter Wright when he was running the company. You can see why. Her luminous classical lines and musical sensitivity, coupled with an astonishing and calm command of the stage, made her perfect ballerina material, especially in the Petipa ballets. When she joined the Royal Ballet at Covent Garden in 1995 she carved out a special place in our affections, and did so without the overt self-promotion of her more glamorous colleagues. Her supreme performances in Ondine and La Fille mal gardée proved that she was also the perfect Ashton ballerina.
Fifteen years later, it’s inconceivable that she’s retiring. As her final Cinderella showed, her dancing is as splendid as ever, as happy and flowing with the kind of ease that belies the rigorous demands of keeping on top of the classical technique. Ashton’s Cinders is one of Yoshida’s finest roles; it plays to the sweetness and joy she brings to the stage, along with the poise that makes her Act II ballroom scene, when Cinderella is transformed into a tutu heroine, so resplendent. And, almost uniquely among her peers, Yoshida’s dancing is so coloured by Prokofiev’s music as to be driven by its lush and harmonious imperatives.
Of course, it’s a fairytale ballet and it’s important to keep the fantasy alive. This Yoshida did beautifully, especially with Steven McRae as her partner (pictured). His Prince was wonderfully deferential, as if awed by her sheer feminine loveliness, and he never let his own dancing, strong as it was, outshine hers. Their ballroom duet was tender and felicitous, Yoshida finding room in every detail of Ashton’s choreography to express Cinderella’s whirlwind of emotions. With McRae’s Prince so clearly on her side, you just knew that this union was going to be blessed.
At the curtain calls,Yoshida was greeted with an avalanche of bouquets and a chorus of cheers. With typical modesty, she gave the audience a little wave and slipped off stage. Gone maybe, but not forgotten.
まずは、普段、あまりつかない５つ星（満点）がついていて安堵。自分が感動した公演に高い評価がつくのは、単純にうれしいですが、今回は「当然でしょ」てな感じでした。この公演については、たくさんの日本人ブロガーの方が記事にしていて、皆さん一様に深く感動されているのを拝読しましたが、タイムズ紙の記者も同じ心境だったようです。ただその批評文はなかなか味わい深いものでした。
著作権は放っておいて、とりあえず後ろに全文を添付しちゃいますが、「その通り、座布団３枚あげて」って感じです。
"There is nothing more exciting for a ballet lover than the arrival of a hot new talent. And there is nothing more emotional than saying farewell to a beloved star. The sea of flowers on stage at the end said it all: Miyako Yoshida, who made her last appearance with the Royal Ballet at Covent Garden in this performance of Cinderella, will be much missed."
「バレエ愛好家にとって、新たな素晴らしい才能と出会うことほどうきうきすることはないが、同様に、愛するスターに別れを告げることほど心揺さぶられることもない。舞台に積もった花々の海が全てを物語っていた。「シンデレラ」でコベントガーデンでのロイヤル・バレエ最終公演を飾った吉田都は、今後、大いに惜しまれることだろう。」
の冒頭で始まるこのエッセイは、１５年間、彼女をロイヤルバレエで見続けてきたのであろう批評家の深い愛惜の念に満ち溢れています。（詳しくは下記の全文引用を参照）
最後の結びは、
"Gone maybe, but not forgotten. "
翻訳家なら何と訳すのでしょうか。
私のせいぜいの訳は「去りぬ。されど、忘れぬ。」
ジーンと来ました。
(Quote from Times On Line)
April 27, 2010
Cinderella at Covent Garden
Debra Craine
★★★★★
There is nothing more exciting for a ballet lover than the arrival of a hot new talent. And there is nothing more emotional than saying farewell to a beloved star. The sea of flowers on stage at the end said it all: Miyako Yoshida, who made her last appearance with the Royal Ballet at Covent Garden in this performance of Cinderella, will be much missed.
We have been watching Yoshida, now 44, since she joined Sadler’s Wells Royal Ballet in the mid-1980s, a young Japanese dancer destined for success. She quickly was promoted to principal, and was much favoured by Peter Wright when he was running the company. You can see why. Her luminous classical lines and musical sensitivity, coupled with an astonishing and calm command of the stage, made her perfect ballerina material, especially in the Petipa ballets. When she joined the Royal Ballet at Covent Garden in 1995 she carved out a special place in our affections, and did so without the overt self-promotion of her more glamorous colleagues. Her supreme performances in Ondine and La Fille mal gardée proved that she was also the perfect Ashton ballerina.
Fifteen years later, it’s inconceivable that she’s retiring. As her final Cinderella showed, her dancing is as splendid as ever, as happy and flowing with the kind of ease that belies the rigorous demands of keeping on top of the classical technique. Ashton’s Cinders is one of Yoshida’s finest roles; it plays to the sweetness and joy she brings to the stage, along with the poise that makes her Act II ballroom scene, when Cinderella is transformed into a tutu heroine, so resplendent. And, almost uniquely among her peers, Yoshida’s dancing is so coloured by Prokofiev’s music as to be driven by its lush and harmonious imperatives.
Of course, it’s a fairytale ballet and it’s important to keep the fantasy alive. This Yoshida did beautifully, especially with Steven McRae as her partner (pictured). His Prince was wonderfully deferential, as if awed by her sheer feminine loveliness, and he never let his own dancing, strong as it was, outshine hers. Their ballroom duet was tender and felicitous, Yoshida finding room in every detail of Ashton’s choreography to express Cinderella’s whirlwind of emotions. With McRae’s Prince so clearly on her side, you just knew that this union was going to be blessed.
At the curtain calls,Yoshida was greeted with an avalanche of bouquets and a chorus of cheers. With typical modesty, she gave the audience a little wave and slipped off stage. Gone maybe, but not forgotten.
アクセス
トータル
ランキング
