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May 22, 2015

Superb and deeply meaningful: the Royal New Zealand Ballet’s Salute: Remembering WW1 impresses

Jack Yan/12.27

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Ross Brown

Above Dancer Joseph Skelton in the core image used for Salute: Remembering WW1.

Three years in the planning, the Royal New Zealand Ballet’s Salute: Remembering WW1 commemorated the Great War in a memorable, respectful, and meaningful way, with a mixed programme that saw two world premières tonight.
   Gareth Farr’s specially commissioned score for Andrew Simmons’ Dear Horizon opened proceedings, with what could be described as a cinematic theme with a strong melodic base as the action unfolded on stage. Tracy Grant Lord’s backdrop, of barbed wire barriers used in World War I, loomed over dancers lying on the stage, as a lone ballerino walked among them. Lighting came on gradually, Jason Morphett’s design using shadows and darkness to build tension. This sombre start gave way to a beautiful, haunting and contemporary choreography, with an underlying bleakness, as Simmons highlighted the loss suffered in war. Costumes were grey, further emphasizing the sense of despair and focusing us on the dancers’ movements. The solo cello by Rolf Gjelsten gave a sense of minimalism that contrasted other elements of the brassy, powerful Farr score. While composed for the ballet, and only complete with the action, it’s not hard to imagine the work released on its own for lovers of ballet and cinematic scores.
   An all-male cast of twelve followed in Soldiers’ Mass. The genius behind Jiří Kylián’s choreography was how it conveyed emotion: a highly energetic and graceful ballet where the dancers move in a unified way, into battle constantly, pulling each other from the front and yet, still confronting, then falling to, the enemy. The score, by Bohuslav Martinů, set to the text by Jiří Mucha, was played back, and one scene sees the men lip-synching proudly to the Czech lyrics, yet with a sense of what they knew would follow. The ballet finishes as it started, with 12 backs to us, each dancer dropping his shirt in another representation of death as well as the annexation of the Sudentenland by Hitler in World War II. Shirtless ballerinos, incidentally, seemed to elicit greater applause from the audience as they took their bows. This restaging was by Roslyn Anderson, who had helmed the 1998 RNZB production of Soldiers’ Mass, with lighting design by Kees Tjebbes.
   After the interval, Johan Kobborg’s Salute injected comedic moments into a classical ballet, set to the score by nineteenth-century composer Hans Christian Lumbye. It saw the return of live music after the recording in Soldiers’ Mass, performed by the New Zealand Army Band. These skilful musicians adapted themselves easily to the lighter atmosphere, with Sgts Riwai Hina and David Fiu, and Pvts Joseph Thomas and Tom Baker rearranging Lumbye’s music to the Band. Natalia Stewart’s costumes (jackets with epaulettes for the men, red peplums and plenty of tulle for the women) shone on stage in a very cheerful ballet involving different sets of dancers, highlighting different aspects of love, from shyness and confusion to overconfidence and partnership; as well as the inevitable farewells as men went off to war.
   The battle vignette, with the General leading the charge, was equally enjoyable, interspersed with the long waits the women endured back home, before the conclusion as the soldiers returned home. Created for the University of North Carolina School of the Arts in 2010, Kobborg intended it to be a reflection of what happens when young people come together; the RNZB dancers showed their expressiveness in a ballet that injected a light-heartedness to the evening. Salute was staged by Florica Stanescu, with Morphett again behind the lighting design, with a brightness and cheer in contrast to his earlier work.
   While the RNZB often picks the cheery production number to end on, it chose Neil Ieremia’s Passchendaele, a world première, which gave this reviewer initial fears that the infamous battle would leave audiences on a down note. The fear was unfounded, because of the scale of Ieremia’s ballet, involving 19 dancers, and the superb execution in dance of this tragic battle, notable for being the day on which more New Zealanders had died or had been wounded than on any other day. Dwayne Bloomfield, formerly of the New Zealand Army Band, composed the score, which the band performed: the moments of martial music signalled the flawed advance by the New Zealand Division under Gen Haig. The dancers moved with great pace at times, in groups, on- and off-stage, representing the power of the soldiers and artillery, through impossible conditions. At other moments they recalled memories of home, contrasting with the loss that families suffered. Geoff Tune’s backdrops, in red and black, signified the blood on the battlefields, and his first one hinted at skulls, shifting gradually to other scenes of burned trees and desolation. The end of Passchendaele was chilling, after the soldiers each fell, their loved ones releasing them, as knocks were heard around the St James, representing the messenger bringing home to 845 New Zealand families the worst news they could receive.
   Ieremia was ingenious in how his choreography brought so much emotion and energy to the performance that the house was left in admiration. The message was indeed cautionary, telling us about the human tragedies of war, but the RNZB and the NZAB brought it to life with such conviction that Passchendaele received the greatest applause of the evening. It was a high note after all, but one that was more absorbing. Salute: Remembering WW1 is a superb programme, and a fresh way of appreciating the messages in the ongoing centenary commemorations of New Zealanders fighting ‘the war to end all wars.’—Jack Yan, Publisher

Salute has been supported by the Lottery Grants Board, New Zealand Defence Force, Qantas, the Göthe-Institut, the Ministry for Culture and Heritage, national sponsor Vodafone, and Pub Charity. Dates are May 22–4 in Wellington; May 28–30 in Christchurch; June 3 in Dunedin; June 10 in Hamilton; June 13 in Takapuna; June 17–20 in Auckland; and June 24–5 in Napier. The Royal Ballet will feature the UK première of Passchendaele in November. Further information can be found on the Royal New Zealand Ballet’s website at rnzb.org.nz.

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May 12, 2015

David Gandy and Jodie Kidd lead Jaguar’s Mille Miglia line-up; Bentley fields 1930 Blower

Lucire staff/12.09

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Top The nine Jaguars taking place in this year’s Mille Miglia. Above Almost Bondian: the 1930 Bentley 4½-litre with a Vanden Plas Open Sports four-seat body and a supercharger by Amherst Villiers competing in the 2015 Mille Miglia.

British car makers are taking this year’s Mille Miglia seriously. Jaguar is taking part with a large heritage line-up, and has enlisted, once again, the help of model and motorhead David Gandy, who competes in an XK120 as he did two years ago along with Jodie Kidd, who must equal Gandy both in the modelling and motorhead stakes. Bentley will field an original 1930 4½-litre Blower, in an attempt to complete what it could not do back then: complete the race.
   Jaguar’s fleet consists of nine, including three C-types, three D-types, an XK120, an XK140, and, the most unusual of this group, a Mark VII—although one had won the Monte Carlo Rally in 1956. One of the C-types is NDU 289, which competed in the original Mille Miglia in 1953, driven that time by Mario Tadini and Franco Cortese. Jaguar engineer Mike Cross drives the car in the 2015 event.
   Other C-types are PUG 676, which was raced by Ian Appleyard, Jaguar founder Sir William Lyons’s son-in-law, this time driven by RAC motoring committee chairman Ben Cussons; and KSF 182, formerly raced by Jimmy Stewart and Jackie Stewart between 1953 and 1955, and owned now by Adam Lindemann, driven this time by five-time Le Mans winner, Derek Bell. The D-types are the ex-Ralph Lauren NCV 260, which had competed in the original Mille Miglias, driven by current owner Simon Kidston; RSF 303, the Ecurie Ecosse car that was second in Le Mans in 1957 and competed in the Mille Miglia in 1957 and 1958, driven by Jaguar design director Ian Callum and enthusiast Clive Beecham; 393 RW, the Reims winner for 1956 and the sixth-place-getter at Le Mans that year, setting the lap record, will be driven by Saturday Kitchen’s James Martin.
   One XK120, nicknamed Betsey, will be driven by Jodie Kidd and David Gandy, as noted: she had driven the car in the 2014 trial. The XK140, TAC 743, was once raced by David Hobbs; it will be driven by Elliot Gleave, a.k.a. Example, and his father Michael. The Mark VII will be driven by Charley Boorman.
   Bentley, meanwhile, will field a 1930 British racing green 4½-litre Blower with a Vanden Plas Open Sports four-seat body and a supercharger by Amherst Villiers—not unlike the one driven by James Bond. The Bentley Boys, the Hon Sir Henry ‘Tim’ Birkin and Bentley chairman Woolf Barnato (right, at Le Mans in 1929), were the first British drivers to compete in the Mille Miglia, using the No. 2 Birkin Blower, a 4½-litre supercharged model. However, they were unable to complete the race.
   Bentley is aiming to do what it could not 85 years ago, using an equivalent model and seeing if its director of royal and VIP relations, Richard Charlesworth can complete the race in the 2015 event. It is the Blower’s fifth entry.
   Between May 14 and 17, 2015, racers will depart from Brescia and drive 1,000 miles, including through Roma, and return to Brescia.



Top The XK120 to be driven by Jodie Kidd and David Gandy. Above The famed 393 RW Jaguar D-type, which set the lap record at Le Mans in 1956.

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May 8, 2015

Two world premières form part of the Royal New Zealand Ballet’s Salute, ahead of an international tour

Lucire staff/2.36

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Ross Brown

Top Neil Ieremia’s Passchendaele with RNZB dancer William Fitzgerald. Above Kirby Selchow dances Andrew Simmons’ Dear Horizon.

The Royal New Zealand Ballet has revealed more about Salute, its commemoration of World War I, that premières in Wellington on May 22, with a nationwide tour after its stint there. As revealed in Lucire earlier this month, two of the specially commissioned pieces having their world première in Wellington will also be seen abroad, with the Royal Ballet hosting the RNZB in November 2015 at the Royal Opera House. Leeds, Canterbury and Roma are on the list of stops for the tour, Francesco Ventriglia, the Royal New Zealand Ballet’s artistic director revealed today.
   The two premières, both commissions by the RNZB, are from choreographers Neil Ieremia and Andrew Simmons, set to scores by Dwayne Bloomfield and Gareth Farr, respectively. The world-class New Zealand Army Band will also collaborate on Salute, touring to each of the seven centres on the national tour.
   Ieremia’s Passchendaele, with the Bloomfield score, will also feature works by Auckland artist Geoff Tune, inspired by his artist grandfather’s World War I diaries and recent visits to Gallipoli and Passchendaele.
   Ieremia said in a release, ‘The grotesque and brutal nature of war robs humans of humanity—my intention is to do what little I can to remind us of our own. From the haunting journey through the music, to the refined expression in the dancers’ bodies, encapsulating the very human impact of war—this creative process has already left an indelible mark on my spirit. I feel I have grasped a very, very small insight into something that should never be forgotten.’
   Simmons’ Dear Horizon is a new commission and his fifth for the company, and features a specially commissioned score by Farr, written for the New Zealand Army Band and cellist Rolf Gjelsten of the New Zealand String Quartet.
   Simmons said, ‘It is a very special honour to have been asked to create something for the company as part of this commemorative programme. War cannot really be celebrated and fêted, however the human aspect and participation should always be remembered. I wanted to create a work that reflects upon emotions of those affected by conflict.’
   The set and costumes for Dear Horizon have been designed by Tracy Grant Lord, who also designed the RNZB’s Cinderella (2007) and Romeo and Juliet (2004).
   As detailed last month, the Salute programme also features Johan Kobborg’s Salute and Jiří Kylián’s Soldiers’ Mass.
   Salute has been supported by the Lottery Grants Board, New Zealand Defence Force, Qantas, the Göthe-Institut, the Ministry for Culture and Heritage, national sponsor Vodafone, and Pub Charity.
   Dates for Salute are May 22–4 in Wellington; May 28–30 in Christchurch; June 3 in Dunedin; June 10 in Hamilton; June 13 in Takapuna; June 17–20 in Auckland; and June 24–5 in Napier.
   Further information can be found on the Royal New Zealand Ballet’s website at rnzb.org.nz.

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April 27, 2015

Nepal earthquake advice and list of aid agencies

Lucire staff/11.35

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The horrors of the earthquake in Nepal will be known to most readers by now, with the latest death toll at 3,700 at the time of writing.
   The news has hit home more as one of the juniors on our team, Kayla Newhouse, was in Kathmandu on Saturday. She remains there with water and food at the American Club, and is one of the fortunate ones. We have very sporadic telephone and wifi contact with her, and those with loved ones there are urged to keep cellphone contact to a minimum as battery-charging is hard to come by.
   The barest reports we have directly received is that the area is ‘like a war zone’, and that only 20 per cent of scheduled flights are still going ahead.
   Please consider donating to some of the organizations undertaking relief efforts in Nepal or collecting money for them. Some of the below have been compiled by The New York Times.

Oxfam New Zealand—direct donation page
Oxfam USA—direct donation page
UNICEF
UNICEF New Zealand—direct donation page
UNICEF USA—donation page
United Nations World Food Programme—direct donation page
Save the Children—direct donation page
Médécins sans Frontières—links to donation pages
Doctors Without Borders
World Vision
Red Cross
American Jewish World Service
The Salvation Army USA
International Medical Corps
Handicap International
PayPal
Mercy Corps
Catholic Relief Services
Habitat for Humanity International
Global Giving
The American Jewish Joint Distribution Committee
Samaritan’s Purse
CARE
Lutheran World Relief
The Jewish Federations of North America
SOS: Children’s Villages International
MAP International
Our Sansar

   Our latest syndicated news report (in Italian, from Euronews) is below.

   Jost Kobusch filmed the video below (with understandably strong language) from the Everest Base Camp, when an avalanche hit on Saturday. He and his friend ran for their lives as rock and ice came down the mountain.

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April 22, 2015

The Royal Ballet announces its 2015–16 programme, including four world premières

Lucire staff/22.32

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Above Steven McRae as Florizel in Christopher Wheeldon’s The Winter’s Tale, which will be revived for the Royal Ballet’s 2015–16 season. Photograph copyright ©2014 by Johan Persson.


Above Kenneth MacMillan’s Romeo and Juliet, performed in 1965. Photograph copyright ©1965 by Leslie E. Spatt.

The Royal Ballet has announced its 2015–16 season under its director, Kevin O’Hare, with four world premières, including the first main-stage, full-length narrative ballet by artist-in-residence Liam Scarlett based on Mary Shelley’s Frankenstein; new one-act ballets from resident choreographer Wayne McGregor and artistic associate Christopher Wheeldon; and a new production of Carmen by principal guest artist Carlos Acosta.
   The first production of the season is Kenneth MacMillan’s production of Romeo and Juliet, originally created in 1965 for Lynn Seymour and Christopher Gable, and performed by Margot Fonteyn and Rudolf Nureyev at its première, which famously met with 43 curtain calls. It is the first work in the Royal Opera House Live Cinema Season for 2015–16.
   Acosta’s new adaptation of Carmen is set to the Bizet score with a new arrangement by Martin Yates. Acosta will dance the Don José and Escamillo roles at certain performances. Tim Hatley is behind the set and costume designs, and Peter Mumford has created the lighting. Scarlett’s Viscera, Jerome Robbins’ Afternoon of a Faun and George Balanchine’s Tchaikovsky pas de deux form the rest of the mixed programme, and part of the ROH Live Cinema Season.
   McGregor’s Raven Girl will be revived in October in a double bill with Alastair Marriott’s Connectome. In May 2016, McGregor premières a one-act ballet set to Nyx, a one-movement orchestral work by Esa-Pekka Salonen. The programme also features a revival of MacMillan’s The Invitation.
   In February 2016, the company premières a new ballet by Wheeldon set to a commissioned score by Mark-Antony Turnage, alongside a mixed programme featuring After the Rain and Within the Golden Hour. Designs are by Bob Crowley and lighting by Natasha Chivers.
   Wheeldon’s The Winter’s Tale will stage its first revival in April 2016. The original was nominated for an Olivier Award for Outstanding Achievement in Dance and won the Critics’ Circle Award for Best Classical Choreography. It has also been nominated for a South Bank Sky Arts Award for Dance.
   Scarlett’s full-length narrative ballet based on Frankenstein premières in May 2016, with a score by Lowell Liebermann with designs by John Macfarlane and lighting by David Finn. It will be broadcast live to cinemas on May 18, 2016.
   Mixed programmes of Frederick Ashton’s work will feature this season, the first being The Two Pigeons, created in 1961 for Lynn Seymour and Christopher Gable, appearing in November 2014, alongside Monotones I and II, set to Erik Satie’s Trois Gnossiennes and Trois Gymnopédies. It returns in January 2016 in a second double-bill alongside Rhapsody, created by Ashton for Lesley Collier and Mikhail Baryshnikov in honour of the Queen Mother on the occasion of her 80th birthday. It will be shown in cinemas on January 26, 2015.
   Peter Wright’s production of The Nutcracker, with design by Julia Trevelyan Oman, will be the Royal Ballet’s Christmas programme, while Wright’s Giselle returns in February.
   A summer tour to Japan is planned for 2016.
   As part of the Royal Ballet’s Linbury Studio Theatre programme, the Royal New Zealand Ballet is set to tour in the UK in November 2015, making its Royal Opera House début, performing a mixed programme, including a world première by Andrew Simmons. UK audiences will be delighted to see Anatomy of a Passing Cloud by Javier de Frutos, Selon Désir by Andonis Foniadakis, and Passchendaele by Neil Ieremia.
   Others to be hosted include Cas Public, which also makes a début at Linbury, presenting Symphonie Dramatique, inspired by Romeo and Juliet, and coinciding with the Royal Ballet’s production of Romeo and Juliet on the main stage.
   The Phoenix Dance Theatre will perform Until.With/Out.Enough, choreographed by Itzik Galili, a co-commission by the Royal Ballet. The company’s artistic director Sharon Watson will present TearFall in collaboration with the Wellcome Trust, exploring the complexities of crying, and Caroline Finn’s Bloom examines ‘a surreal universe with tragi-comic characters.’
   Former Royal Ballet and American Ballet Theatre principal Alessandra Ferri will make her Linbury début in Chéri, directed and choreographed by Martha Clarke, and inspired by the novella by Colette. Chéri will feature American Ballet Theatre principal Herman Cornejo.
   Will Tuckett’s Elizabeth will make its Linbury début, based on the life of Queen Elizabeth I, and featuring Carlos Acosta and Zenaida Yanowsky, set to a score by Martin Yates, derived from Elizabethan compositions by Dowland, Tallis and Morley.
   Keon Kessels succeeds Barry Wordsworth as music director; Wordsworth becomes principal guest conductor.
   Further information can be found at the Royal Opera House’s website at www.roh.org.uk.

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April 16, 2015

News in brief: Living Nature revives skin; Desigual, Alexa Meade team up; Cole Haan searches for the American Dream

Lucire staff/7.51

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From issue 34: Living Nature’s Skin Revive Exfoliant is a wonderful addition to the range that’s known for its 100 per cent certified natural ingredients (by BDIH in Germany), its safety on skin, and its ban on animal testing. There’s a nice scent here—as with Living Nature’s products, it’s not overbearing—along with gentle jojoba and candelilla beads that lift dead cells from the skin, stimulating renewal. Being natural, there will not be any damage to the skin and they’re biodegradable, unlike the plastic microbeads that make their way into the oceans. The hero ingredient, kumerahou, is rich in phytosaporins and provides antimicrobial protection. More at www.livingnature.com.
   Celebrating World Art Day on Wednesday, Desigual teamed up with artist Alexa Meade, who has painted on to the set of a photo shoot, including the models and the bags themselves. The company says it chose Meade as a collaborator because of her unconventional, edgy approach. She has painted on three scenarios as part of the collaboration.
   Another recent collaboration has been between Cole Haan and Happy Marshall Productions, on a film production called The American Dream Project. It partnered with FilmBuff to première the series on April 15, with Amazon, Dailymotion, Google Play, Apple Itunes, Ora TV, Vessel, Vimeo and YouTube, examining whether the American Dream still exists across the US and what it looks like today.
   British-born, New York-based filmmaker James Marshall and American photographer Todd Williams were armed with $250, travelling from New York to California through 15 states on Indian motorcycles, exchanging their work for food and shelter, and getting to know the people on the way. They stopped in eight towns and cities en route. ‘The generosity and kindness of the complete strangers I met has stuck with me the most. We are constantly told how dangerous it is out there and how different we are from each other. My experience was that people are mostly generous, kind and we have more in common than not,’ said Marshall.
   The trailer can be found at ColeHaan.com/americandream; the entire series can be found here and each episode also appears embedded below.

Episode 1: Braddock, Pa.

Braddock: Courage & Rebuilding from FilmBuff on Vimeo

Episode 2: Rendville, Ohio

Rendville: Working Together from FilmBuff on Vimeo

Episode 3: St Louis, Mo.

St Louis: Equality, Appreciation from FilmBuff on Vimeo

Episode 4: Iowa, part 1

Iowa: Part 1, Live to Fight Another Day from FilmBuff on Vimeo

Episode 5: Iowa, part 2

Iowa: Part 2, American-made, American Pride from FilmBuff on Vimeo

Episode 6: Wyoming

Wyoming: Faith & Resilience from FilmBuff on Vimeo

Episode 7: Taos, NM

Taos: Innovation from FilmBuff on Vimeo

Episode 8: Los Angeles, Calif.

Los Angeles: Life Philosophy from FilmBuff on Vimeo

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April 14, 2015

Lucire TV: Kimye baptize North; MTV Movie Awards’ highlights; Gemma Arterton on the red carpet at Olivier Awards

Lucire staff/11.44

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Olivier Awards

From top Gemma Arterton (Made in Dagenham) in Dsquared² on the red carpet at the Olivier Awards. Dame Judi Dench and Kevin Spacey with his award, recognizing his contribution to the London theatre. Best supporting actress winner Dame Angela Lansbury (Blithe Spirit).

After a five-day tour of their Armenian homeland, Kim Kardashian and husband Kanye West arrived in Israel, and had their daughter, North, baptized. The couple, along with Kardashian’s sister Khloë, had the service at St James’ Cathedral, a 12th-century Armenian church in the old walled city in Jerusalem, in what was described as a ‘minimalist’ ceremony. West wore white, while Kardashian wore a peach and beige ensemble.
   Gemma Arterton got plenty of notice at the Olivier Awards at the weekend, wearing a Dsquared² black dress with a plunging neckline. Arterton was nominated for her role in Made in Dagenham, but lost to Penelope Wilton, who won the best actress award for Taken at Midnight. But it was Dame Angela Lansbury who was the winner getting most of the attention at the end of the ceremony at the Gielgud Theatre in the West End: at 89, she took home the best support actress award for Blithe Spirit. Other celebrities walking the red carpet were nominees Gillian Anderson (A Streetcar Named Desire) and Nicole Scherzinger (Cats), and Kevin Spacey, who received an award for his contribution to the London theatre from Dame Judi Dench.
   Our final video today is from the 2015 MTV Movie Awards at the Nokia Theater in Los Angeles, hosted by Amy Schumer. Fashion highlights on the red carpet were from Jennifer López in a black blazer with a plunging neckline and Scarlett Johansson in hot pink. Shailene Woodley (with four awards), Robert Downey, Jr and Mark Ruffalo also feature. We’ll have our report from the pre-awards’ suites very shortly.

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Royal New Zealand Ballet’s Salute, commemorating the centenary of World War I, to première May 22

Lucire staff/0.45

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Ross Brown

Above Dancer Joseph Skelton.

One of the most anticipated ballets from the Royal New Zealand Ballet, since news of it was announced in 2014, will première in Wellington on May 22. Salute, which comprises four dance works to mark the centenary of World War I, will tour Christchurch, Dunedin, Hamilton, Takapuna, Auckland and Napier after its performances in the capital.
   â€˜This powerful programme themed around war, loss and hope is our tribute to those men and women who sacrificed so much, many of whom were the same ages as our young dancers,’ said RNZB artistic director Francesco Ventriglia.
   The company will be joined for three of the four works by the New Zealand Army Band, which will perform, among others, a new commission by composer Gareth Farr. The Band will tour with the RNZB to every venue.
   â€˜This dynamic mixed bill includes: a twentieth century masterpiece by legendary Czech choreographer Jiří Kylián; two world premières created for the company by NZ choreographers Andrew Simmons and Neil Ieremia; and the NZ première of a work by Johan Kobborg,’ said Ventriglia.
   â€˜Watching the four works taking shape is very exciting, and profoundly moving. I really believe this programme will resonate with all New Zealanders,’ said RNZB managing director Amanda Skoog.
   Soldiers’ Mass, by Czech choreographer Jiří Kylián with music by Bohuslav Martinů, is a commentary on the destructiveness of war, and is performed by 12 male dancers. It was originally created for Nederlands Dans Theater in 1980 and was first performed by the RNZB in 1998.
   New Zealand-born Andrew Simmons’ Dear Horizon is a new commission and his fifth for the company, and features a specially commissioned score by Farr, written for the New Zealand Army Band and cellist Rolf Gjelsten of the New Zealand String Quartet. Simmons’ Of Days was highly regarded by Lucire, and he had earlier created Through to You and A Song in the Dark. Now based in Dresden, he was formerly a dancer with the RNZB.
   Neil Ieremia, founder of Black Grace, has created Passchendaele for the RNZB, named for the battle in which more New Zealanders were killed and wounded than in any other. This World War I battle claimed the lives of some 600,000 on both sides of the conflict. This second première in Salute was inspired by music composed by former New Zealand Army Band member Dwayne Bloomfield.
   Finally, Johan Kobborg’s Salute, with music by Hans Christian Lumbye specially arranged for the New Zealand Army Band, should end the evening on a more light-hearted note, dealing with cadets who have not experienced war. Kobborg collaborated with Ethan Stiefel on the RNZB’s highly acclaimed Giselle, and created the comedic ballet Les Lutins.
   Salute has been supported by the Lottery Grants Board, New Zealand Defence Force, Qantas, the Göthe-Institut, the Ministry for Culture and Heritage, national sponsor Vodafone, and Pub Charity.
   Dates for Salute are May 22–4 in Wellington; May 28–30 in Christchurch; June 3 in Dunedin; June 10 in Hamilton; June 13 in Takapuna; June 17–20 in Auckland; and June 24–5 in Napier.
   Further information can be found on the Royal New Zealand Ballet’s website at rnzb.org.nz.

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