#Daniel Boud

[bitchtoss]

Gemma Ward photographed by Daniel Boud, 2023

[dance-world]

Adam Elmes - The Australian Ballet - photo by Daniel Boud

[lovelyballetandmore]

Lincoln Sharp | Photo by Daniel Boud

[hawkmoon269]

2005: The Edge gets arty at an exhibition by band photographer Anton Corbijn

Photograph: Daniel Boud/U2: A Diary by Matt McGee

[dianessunflower]

Fiona Tonkin's final time on the stage

In May-June 2023, Resident Choreographer Alice Topp created a diamond anniversary gift to commemorate The Australian Ballet. Paragon welcomed twelve of the company’s most iconic former dancers back to the stage to dance alongside current company dancers in an emotional tribute that honours the company’s 60-year history. Topp choreographed a particularly poignant pas de deux for former principal artist Fiona Tonkin (1980-1993), aged 62, and current principal Adam Bull, who was coached by Tonkin and retired after 22 years at the end of the Melbourne run.

First photo by Daniel Boud, three production photos by Dancetrain Magazine, black and white images by Pierre Toussaint, last photo by Christopher Rodgers-Wilson

[dustedmagazine]

Dirty Three — Love Changes Everything (Drag City)

Photo by Daniel Boud

If the title of this new Dirty Three album immediately conjures memories of the 1987 soft-pop single by Climie Fisher, fret ye not — Warren Ellis, Mick Turner and Jim White are sounding as raw and elemental as ever. It may be over a decade since their last album, 2012’s Toward the Low Sun, but each member of the band has been plenty busy in the interim. Ellis has been playing with the Bad Seeds and working on soundtracks with Nick Cave. Mick Turner has started a fantastic new band called Mess Esque. And Jim White has been playing with Marisa Anderson, Beings, Jess Ribeiro and Xylouris White. However, as soon as these three men come together, they bring their collective experience and intuitive interplay to bear.

“I” is a summoning, an explosive reunion, in which the three players jab and jostle loosely, testing the boundaries of their long-standing relationship. Turner’s guitar simmers with distortion and feedback, White threatens to play like a conventional rock drummer, and Ellis saws his way into the picture with his trademark searing, yearning tone. Then, in a sudden left-turn, “II” feels like some grave news has been unexpectedly delivered, its plaintive piano chords like eyebrows raised in concern. “III” carries the album to its midway point with an anxious, keening whine of violin and the insistent tick of hi-hats, while the piano tries to bring some sense of resolve. The guitar and violin tentatively circle each other, proposing and re-proposing a middle ground, only for the piece to gradually disassemble into silence.

“IV” is built around Turner’s eerie waltz-time guitar and Ellis’s ghostly violin scrapes, White offering up gentle washes of cymbal. It rarely raises above a whisper, but amounts to one of the most affecting stretches of music on the album. “V” opens in a similar vein to “III,” with White’s insistent hi-hat, then Ellis picks up the thread with a pizzicato figure and Turner lazily strums a couple of open-ended chords. Ellis kicks in his distortion pedal, White ups the density of his playing, and all three players are soon matching each other’s fire, only for the piece to ebb away in its closing moments.

Thankfully, “VI,” the 10-minute closer, provides a satisfying though slow-burning pay-off. It emerges from a snaking whorl of violin loops, the guitar and piano each staking a claim towards establishing a defining theme. At various points during the second half, the music threatens to take off into a more fiery, chaotic realm, only to recede into questioning placidity. Much like the rest of the music on this album, it goes nowhere and everywhere all at once, creating and re-creating a space that feels intimidatingly boundless.

Tim Clarke

[asat3683]

Quote from the review:

Michael Sheen as Antonio Salieri is simply outstanding, carrying some heavy vocal work for the entire duration of the performance with audible perfection.

📸: Daniel Boud

[qnewsau]

& Juliet gives Shakespeare a pop makeover in Sydney

New Post has been published on https://qnews.com.au/juliet-gives-shakespeare-a-pop-makeover-in-sydney/

& Juliet gives Shakespeare a pop makeover in Sydney

Tony-nominated jukebox musical & Juliet is finally bringing its blend of Shakespeare, pop music and queer joy to Sydney’s Lyric Theatre next week.

The smash hit stage show, written by Emmy-winning Schitt’s Creek writer/producer David West Read, takes Shakespeare’s Romeo and Juliet but flips the script on the love story with a huge twist.

Instead of the original tragic, downer ending, what if Juliet didn’t end it all over Romeo?

Tears, tantrums and hilarity ensue as a 20-something Juliet gets a second chance to explore the world – and her sexuality – on her terms.

The show features a songbook by Max Martin, the Swedish pop godfather behind hits by main pop girls including Britney Spears, Katy Perry, Kelly Clarkson and Pink.

& Juliet cleverly weaves the lyrics of Max’s beloved pop songs into Juliet’s journey.

Image: Daniel Boud

The musical premiered in Australia last year and is opening in Sydney for the first time on February 27.

For the Sydney production, rising star Lorinda May Merrypor is Juliet alongside established performers like Rob Mills, Amy Lehpamer and a scene-stealing Casey Donovan.

“I can’t wait to be back in my hometown and share the story, music, hope and joy that is & Juliet the musical,” Casey said.

“Sydney audiences are going to absolutely fall in love with this show.”

& Juliet performances start at Sydney’s Lyric Theatre on Tuesday, February 27. Tickets at ticketmaster.com.au

For the latest LGBTIQA+ Sister Girl and Brother Boy news, entertainment, community stories in Australia, visit qnews.com.au. Check out our latest magazines or find us on Facebook, Twitter, Instagram and YouTube.

[chasenews]

Richard Bell's Embassy comes to Tate Modern

Richard Bell, Embassy, 2013-ongoing. Installation view, 20th Biennale of Sydney, MCS, 2015. Image courtesy of the artist and MCA. Copyright: The artist. Photograph: Daniel Boud Until 18 June, Tate Modern will host Richard Bell’s travelling artwork Embassy. This installation, held jointly in the collections of Tate and the Museum of Contemporary Art Australia, consists of a canvas tent pitched on…

[dixvinsblog]

Fables et fabulistes - Daniel Allemand (contemporain)

Que de toute âme du paysNe connaissant Château-ThierryOn en boude la fableJ’y consens ; mais que sur le site Rue des FablesOn ne prenne goût à l’HistoireJ’ai très peine à y croire.Un fabuliste assoiffé et aphoneDans une pirouetteAvait perdu la fauneDe l’agneau et du loup ; du coq la girouette.Car c’est de La FontaineDe son eau de jouvenceQue l’on boit à grands traits et sans aucune peineSes rimes…

[fancyfeathers]

Or this

someone needs to sit me down and make me draw either the reader or Jane from the Society of Protection as these, it’s just so aesthetic. Plus the story has such musical inspiration from a lot of different shows including Phantom of the Opera and the Great Comet of 1812 that it would be so ahhhhhh!

[swanlake1998]

rina nemoto and jarryd madden photographed performing as odette and prince siegfried in swan lake act ii pas de deux by daniel boud

[shamelesstrashperfection]

In the Mood - A Love Letter to Wong Kar-Wai starring Rainbow Chan, Eugene Choi & Marcus Whale. Commissioned for Sydney Opera House, 2020

[lovelyballetandmore]

Lincoln Sharp | Photo by Daniel Boud

[dance-world]

Nathan Brook - The Australian Ballet - photo by Daniel Boud -  @daniel.boud

[books0977]

Ako Kondo and Chengwu Guo in Diana and Acteon pdd, Australian Ballet, April 2016. © Daniel Boud.

As for the divertissements that made up the first half of the program, Ako Kondo and Chengwu Guo danced Diana and Acteon in spectacular style.