And We Danced Episode 3 Credits

Total Page:16

File Type:pdf, Size:1020Kb

And We Danced Episode 3 Credits AND WE DANCED WildBear Entertainment, ABC TV and The Australian Ballet acknowledge the Traditional Owners of country throughout Australia and recognise their continuing connection to land, waters and culture. We pay our respects to their Elders past and present. EPISODE THREE Executive Producers Veronica Fury Alan Erson Michael Tear Development Producer Stephen Waller INTERVIEWEES Margot Anderson Dimity Azoury Peter F Bahen Lisa Bolte Adam Bull Ita Buttrose AC OBE Chengwu Guo David Hallberg Ella Havelka Steven Heathcote AM Marilyn Jones OBE Ako Kondoo David McAllister AC Graeme Murphy AO Stephen Page AO Lisa Pavane Colin Peasley OAM Marilyn Rowe AM OBE Amber Scott Hugh Sheridan Fiona Tonkin OAM Elizabeth Toohey Emma Watkins Michael Williams SPECIAL THANKS TO David McAllister AC David Hallberg Nicolette Fraillon AM 1 Artists of The Australian Ballet past and present Artists of Bangarra Dance Theatre past and present Orchestra Victoria Opera Australia Orchestra The Australian Ballet School Tony Iffland Janine Burdeu The Wiggles The Langham Hotel Melbourne Brett Ludeman, David Ward ARCHIVE SOURCES The Australian Ballet ABC Archives National Film and Sound Archive Associated Press Getty The Apiary The Wiggles International Arts Newspix Bolshoi Ballet American Ballet Theater FOOTAGE The Australian Ballet Year of Limitless Possibilities, 2020 Brand Film Artists of The Australian Ballet Valerie Tereshchenko, Robyn Hendricks, Dimity Azoury, Callum Linnane, Jake Mangakahia Choreography David McAllister AM Cinematography Brett Ludeman and Ryan Alexander Lloyd Produced by Robyn Fincham and Brett Ludeman Filmed on location at Mundi Mundi Station, via Silverton NSW The Living Desert Sculpture Park, Junction Mine, The Imperial Fine Accommodation, Broken Hill NSW. With thanks to 2019 Under 15s West Broken Hill Football Club Broken Hill Council, NSW Department of Industry - Lands and Water Aurora’s Wedding (1964) Choreography Marius Petipa Additional Choreography Dame Peggy van Praagh Music Pyotr Ilyich Tchaikovsky Scenery Design Warwick Armstrong Costume Design Kristian Fredrikson Lighting Design William Akers Featured Artists Kathleen Gorham and Garth Welch 2 Aesthetic Arrest (2004) Choreography Adrian Burnett Music John Adams Costume Design Jennifer Irwin Scenery Design Peter England Lighting Design John Rayment Alchemy (1996) Choreography Stephen Page Music David Page Costume Design Jennifer Irwin Scenery Design Fiona Foley Lighting Design Joseph Mercurio Vocals David Page, Leah Purcell, Kirk Page, Connie Mitchell and Ningali Electric and acoustic guitar Steve Francis. Indigenous language groups Umpila, Yugambeh and Walmadjarri Alice’s Adventures in Wonderland (2017) Choreography Christopher Wheeldon Composer Joby Talbot Orchestrations Christopher Austin and Joby Talbot Set and Costume Design Bob Crowley Set Design Associate Jaimie Todd Costume Design Associate Sukie Kirk Scenario Nicholas Wright Lighting Designs Natasha Katz Projection Designs Jon Driscoll and Gemma Carrington Puppet Concept and Design Toby Olié A production commissioned and first performed by The Royal Ballet and the National Ballet of Canada With Orchestra Victoria Conductor Nicolette Fraillon AM Concert Master Yi Wang Featured Artists Ako Kondo,Jacqueline Clark, Adam Bull, Ty King-Wall, Andrew Wright, Kevin Jackson, Luke Marchant, Jarryd Madden At The Edge of Night (1997) Choreography Stephen Baynes Music Sergei Rachmaninoff Costume and Scenery Design Michael Pearce Lighting Design Stephen Wickham Featured Artists Justine Summers and Robert Curran Beyond Twelve (2002), (2012) Choreography Graeme Murphy Music Maurice Ravel Set and Costume Design Alan Oldfield Lighting Design Christopher Maver, reproduced by Francis Croese Featured Artists Marc Cassidy, Nigel Burley, Steven Heathcote (2002 3 Jack Hersee, Calvin Hannaford, Brooke Lockett, Steven Heathcote (2012) Chroma (2014) Concept, Direction and Choreography Wayne McGregor Music Joby Talbot and Jack White Costume Design Moritz Junge Scenery Design John Pawson Lighting Design Lucy Carter Featured Artists Lana Jones and Daniel Gaudiello Cinderella (2015) Choreographer Alexei Ratmansky Music Sergei Prokofiev Costume and Scenery Design Jerome Kaplan Lighting Design Rachel Burke, reproduced by Graham Silver Projection Design Wendell K Harrington Featured Artist Ako Kondo Constant Variants (2018) Choreography Stephen Baynes Costume and Scenery Design Michael Pearce Lighting Design Jon Buswell Music Pyotr Ilyich Tchaikovsky Featured Artists Sharni Spencer and Brett Simon Coppélia (2001), (2016) Original Choreography Arthur Saint-Léon and Marius Petipa Additional Choreography Dame Peggy van Praagh Direction George Ogilvie Music Léo Delibes Costume and Scenery Design Kristian Fredrikson Lighting Design Christopher Maver Featured Artists David McAllister (2001) Ako Kondo Chengwu Guo (2016) Divergence (1994) Choreography Stanton Welch Costume Design Vanessa Leyonhjelm Lighting Design William Akers, Reproduced by Francis Croese Music Georges Bizet Footage from 1994 used sets designed by Benedict Anderson Don Quixote film (1973) Directed by Rudolf Nureyev and Sir Robert Helpmann Produced by John Hargreaves Choreography Rudolf Nureyev Based on the ballet Don Quixote by Marius Petipa Music Ludwig Minkus With State Orchestra of Victoria 4 Conductor John Lanchbery Cinematography Geoffrey Unsworth Edited by Anthony Buckley Presented by International Arts Featured Artists Rudolf Nureyev, Sir Robert Helpmann, Lucette Aldous, Marilyn Rowe A Little Bit of Don Quixote documentary (1973) Produced and Directed by Kay Roberts Edited by John Hutchards Produced by Artransa Park Studios Restoration and Remastering (1999) For The Australian Broadcast Corporation Head ABC Video Janine Burdeu, ABC Enterprises Producer Cheryl Forrest-Smith, Forrest-Smith Productions Don Quixote (1970) Choreography Marius Petipa (Rudolf Nureyev) Costume Design Barry Kay Scenery Design Anne Fraser Lighting Design William Akers Music Ludwig Minkus, arranged by John Lanchbery Dyad 1929 (2009) Choreography and Stage Concept Wayne McGregor Music Steve Reich Stage Concept and Lighting Design Lucy Carter Costume Design Moritz Junge Featured Artists Leanne Stojmenov and Remi Wortmeyer Faster (2017) Choreography David Bintley Music Matthew Hindson Costume Design Becs Andrews Scenery and Lighting Design Peter Mumford Filigree and Shadow (2015) Choreography Tim Harbour Music Ulrich Müller, Siegfried Rössert Costume Concept Tim Harbour Scenery Design Kelvin Ho Lighting Design Benjamin Cisterne Firebird (2009) Choreography Graeme Murphy Music Igor Stravinsky Costume and Scenery Design Leon Krasenstein Lighting Design Damien Cooper Creative Associate Janet Vernon Featured Artists Danielle Rowe and Kevin Jackson 5 Gaîté Parisienne (1984) Choreography Maurice Bejart Music Jacques Offenbach, arranged by Manuel Rosenthal Costume and Scenery Design T Bosquet Lighting Design J van der Hayden Featured Artist David McAllister Giselle (2001) Choreography Marius Petipa after Jean Coralli and Jules Perrot Scenario Theophile Gautier and Jules-Henri Vernoy de St Georges Production Dame Peggy van Praagh Music Adolphe Adam Set and Costume Design Kenneth Rowell Lighting Design William Akers Featured Artists Miranda Coney and David McAllister (2001) Nicole Rhodes, Steven Heathcote, Olivia Bell (2001) Giselle (2015) Choreography Marius Petipa after Jean Coralli Production Maina Gielgud Music Adolphe Adam Set and Costume Design Peter Farmer Lighting Design William Akers Reproduced by Francis Croese Featured Artists Reiko Hombo, Ako Kondo and Chengwu Guo Grand Tarantella (1985) Choreography Walter Bourke Music Louis Gottschalk, arranged by Hershy Kay Costume Design Walter Bourke Lighting Design William Akers Featured Artists Elizabeth Toohey and David McAllister In The Middle, Somewhat Elevated (1999) Choreography William Forsythe Music Thom Willems Costume, Scenery and Lighting Design William Forsythe La Bayadere (2014) Choreography Stanton Welch Music Ludwig Minkus, arranged by John Lanchbery Costume and Scenery Design Peter Farmer Lighting Design Francis Croese Costumes and scenery courtesy of Houston Ballet Featured Artist Ako Kondo La Bayadere, Kingdom of the Shades (2021) Choreography Marius Petipa Staged by David Hallberg Guest Repetiteur Kirsty Martin 6 Music Ludwig Minkus arranged by John Lanchbery Costume Design Alexis George La Fille mal gardée (1989) Choreography Sir Frederick Ashton Staged by Faith Worth, Scenario Jean Dauberva Music Ferdinand Herold, arranged by John Lanchbery Costume and Scenery Design Osbert Lancaster Lighting Design William Akers Featured Artists Fiona Tonkin and David McAllister Logos (2020) Choreography Alice Topp Music Ludovico Einaudi Costume Design Alice Topp Scenery and Lighting Design Jon Buswell Featured Artists Coco Mathieson and Callum Linnane Molto Vivace (2003) Choreography Stephen Baynes Music George Frideric Handel Costume Design Anna French Scenery Design Richard Robert Lighting Design Rachel Burke Nutcracker, The Story of Clara (2017) Choreography Graeme Murphy Artistic Associate Janet Vernon Concept Graeme Murphy and Kristian Fredrikson Music Pyotr Ilyich Tchaikovsky, arranged by Alan Smith and Peter Bandy Costume and Set Design Kristian Fredrikson Original Lighting Design John Drummond Montgomery Recreated by Francis Croese with Graeme Murphy and Graham Silver Film Collage Philippe Charluet Onegin (2012) Choreography John Cranko Reproduced by Anne Woolliams Music Pyotr Ilyich Tchaikovsky Arranged and Orchestrated by Kurt-Heinz Stolze Costume
Recommended publications
  • Me Israel Aestra JULU 3-QUGUSU 8 1979 Me Israel Assam Founoed Bu A.Z
    me Israel Aestra JULU 3-QUGUSU 8 1979 me Israel Assam FOunoeD bu a.z. ppopes JULU 3-aUGUSB 8 1979 Member of the European Association of Music Festivals Executive Committee: Asher Ben-Natan, Chairman Honorary Presidium: ZEVULUN HAMMER - Minister of Education and Culture Menahem Avidom GIDEON PATT - Minister of Industry, Trade and Tourism Gary Bertini TEDDY KOLLEK - Mayor of Jerusalem Jacob Bistritzky Gideon Paz SHLOMO LAHAT - Mayor of Tel Aviv-Yafo Leah Porath Ya'acov Mishori Jacob Steinberger J. Bistritzky Director, the Israel Festival. Director, The Arthur Rubinstein International Piano Master Competition. Thirty years of professional activity in Artistic Advisor — Prof. Gary Bertini the field of culture and arts, as Director of the Department of International The Public Committee and Council: Cultural Relations in the Ministry of Gershon Achituv Culture and Arts, Warsaw; Director of the Menahem Avidom Polish Cultural Institute, Budapest: Yitzhak Avni Director of the Frédéric Chopin Institute, Warsaw. Mr. Bistritzky's work has Mordechai Bar On encompassed all aspects of the Asher Ben-Natan Finance Committee: development of culture, the arts and mass Gary Bertini Menahem Avidom, Chairman media: promotion, organization and Jacob Bistritzky Yigal Shaham management of international festivals and Abe Cohen Micha Tal competitions. Organizer of Chopin Sacha Daphna competitions in Warsaw and International Meir de-Shalit Chopin year 1960 under auspices of Walter Eytan Festival Staff: U.N.E.S.C.O. Shmuel Federmann Assistant Director: Ilana Parnes Yehuda Fickler Director of Finance: Isaac Levinbuk Daniel Gelmond Secretariat: Rivka Bar-Nahor, Paula Gluck Dr. Reuven Hecht Public Relations: Irit Mitelpunkt Dr. Paul J.
    [Show full text]
  • Study Guide for Teachers and Students
    Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another.
    [Show full text]
  • Nutcracker – the Story of Clara the AUSTRALIAN BALLET EDUCATION
    TEACHER’S RESOURCE KIT SECONDARY SCHOOLS Nutcracker – The Story of Clara THE AUSTRALIAN BALLET EDUCATION Contents 05/ Synopsis 08/ The Creatives 10/ Spotlight on Nutcracker – The Story of Clara with Artistic Director David McAllister 11/ The Music 12/ Invitation to the Dance: Graeme Murphy on the origins of his Nutcracker 15/ Curricular activities TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 2 THE AUSTRALIAN BALLET EDUCATION Leanne Stojmenov. Photography Justin Ridler. Nutcracker – The Story of Clara Choreography Graeme Murphy Creative associate Janet Vernon Concept Graeme Murphy and Kristian Fredrikson Music Piotr Ilyich Tchaikovsky Set and costume design Kristian Fredrikson Original lighting design John Drummond Montgomery recreated by Francis Croese Film collage Philippe Charluet TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 3 THE AUSTRALIAN BALLET EDUCATION Leanne Stojmenov and Kevin Jackson. Photography Justin Ridler TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 4 THE AUSTRALIAN BALLET EDUCATION Nutcracker – The Story of Clara Amelia Soh, Natasha Kusen and artists of the Australian Ballet. Photography Daniel Boud SYNOPSIS ACT I During a sweltering Christmas Eve in Melbourne in the late During a troubled sleep Clara descends into hallucination. 1950s, the ageing Clara, once a famous Russian ballerina, She dreams that she encounters herself as a child and once struggles home through the scorching heat with her meagre again is terrified by shadows in the night. Then, as the clock shopping. All she can afford is a few provisions and a tiny strikes midnight on this final Christmas, she witnesses the death Christmas tree, which she places on a table. The music of of the man she loved and is caught in the destructive chaos of Tchaikovsky’s The Nutcracker from her radio fills her with the Russian Revolution.
    [Show full text]
  • Issue 17 Ausact: the Australian Actor Training Conference 2019
    www.fusion-journal.com Fusion Journal is an international, online scholarly journal for the communication, creative industries and media arts disciplines. Co-founded by the Faculty of Arts and Education, Charles Sturt University (Australia) and the College of Arts, University of Lincoln (United Kingdom), Fusion Journal publishes refereed articles, creative works and other practice-led forms of output. Issue 17 AusAct: The Australian Actor Training Conference 2019 Editors Robert Lewis (Charles Sturt University) Dominique Sweeney (Charles Sturt University) Soseh Yekanians (Charles Sturt University) Contents Editorial: AusAct 2019 – Being Relevant .......................................................................... 1 Robert Lewis, Dominique Sweeney and Soseh Yekanians Vulnerability in a crisis: Pedagogy, critical reflection and positionality in actor training ................................................................................................................ 6 Jessica Hartley Brisbane Junior Theatre’s Abridged Method Acting System ......................................... 20 Jack Bradford Haunted by irrelevance? ................................................................................................. 39 Kim Durban Encouraging actors to see themselves as agents of change: The role of dramaturgs, critics, commentators, academics and activists in actor training in Australia .............. 49 Bree Hadley and Kathryn Kelly ISSN 2201-7208 | Published under Creative Commons License (CC BY-NC-ND 3.0) From ‘methods’ to ‘approaches’:
    [Show full text]
  • 1X 86Min Feature Documentary Press Kit
    ELLA 1x 86min Feature Documentary Press Kit INDEX ! CONTACT DETAILS AND TECHNICAL INFORMATION………………………… P3 ! PROGRAM DESCRIPTIONS.…………………………………..…………………… P4-6 ! KEY CAST BIOGRAPHIES………………………………………..………………… P7-9 ! DIRECTOR’S STATEMENT………………………………………..………………… P10 ! PRODUCER’S STATEMENT………………………………………..………………. P11 ! KEY CREATIVES CREDITS………………………………..………………………… P12 ! DIRECTOR AND PRODUCER BIOGRAPHIES……………………………………. P13 ! PRODUCTION CREDITS…………….……………………..……………………….. P14-22 2 CONTACT DETAILS AND TECHNICAL INFORMATION Production Company WildBear Entertainment Pty Ltd Address PO Box 6160, Woolloongabba, QLD 4102 AUSTRALIA Phone: +61 (0)7 3891 7779 Email [email protected] Distributors and Sales Agents Ronin Films Address: Unit 8/29 Buckland Street, Mitchell ACT 2911 AUSTRALIA Phone: + 61 (0)2 6248 0851 Web: http://www.roninfilms.com.au Technical Information Production Format: 2K DCI Scope Frame Rate: 24fps Release Format: DCP Sound Configuration: 5.1 Audio and Stereo Mix Duration: 86’ Production Format: 2K DCI Scope Frame Rate: 25fps Release Formats: ProResQT Sound Configuration: 5.1 Audio and Stereo Mix Duration: 83’ Date of Production: 2015 Release Date: 2016 ISAN: ISAN 0000-0004-34BF-0000-L-0000-0000-B 3 PROGRAM DESCRIPTIONS Logline: An intimate and inspirational journey of the first Indigenous dancer to be invited into The Australian Ballet in its 50 year history Short Synopsis: In October 2012, Ella Havelka became the first Indigenous dancer to be invited into The Australian Ballet in its 50 year history. It was an announcement that made news headlines nationwide. A descendant of the Wiradjuri people, we follow Ella’s inspirational journey from the regional town of Dubbo and onto the world stage of The Australian Ballet. Featuring intimate interviews, dynamic dance sequences, and a stunning array of archival material, this moving documentary follows Ella as she explores her cultural identity and gives us a rare glimpse into life as an elite ballet dancer within the largest company in the southern hemisphere.
    [Show full text]
  • The Sleeping Beauty Untouchable Swan Lake In
    THE ROYAL BALLET Director KEVIN O’HARE CBE Founder DAME NINETTE DE VALOIS OM CH DBE Founder Choreographer SIR FREDERICK ASHTON OM CH CBE Founder Music Director CONSTANT LAMBERT Prima Ballerina Assoluta DAME MARGOT FONTEYN DBE THE ROYAL BALLET: BACK ON STAGE Conductor JONATHAN LO ELITE SYNCOPATIONS Piano Conductor ROBERT CLARK ORCHESTRA OF THE ROYAL OPERA HOUSE Concert Master VASKO VASSILEV Introduced by ANITA RANI FRIDAY 9 OCTOBER 2020 This performance is dedicated to the late Ian Taylor, former Chair of the Board of Trustees, in grateful recognition of his exceptional service and philanthropy. Generous philanthropic support from AUD JEBSEN THE SLEEPING BEAUTY OVERTURE Music PYOTR IL’YICH TCHAIKOVSKY ORCHESTRA OF THE ROYAL OPERA HOUSE UNTOUCHABLE EXCERPT Choreography HOFESH SHECHTER Music HOFESH SHECHTER and NELL CATCHPOLE Dancers LUCA ACRI, MICA BRADBURY, ANNETTE BUVOLI, HARRY CHURCHES, ASHLEY DEAN, LEO DIXON, TÉO DUBREUIL, BENJAMIN ELLA, ISABELLA GASPARINI, HANNAH GRENNELL, JAMES HAY, JOSHUA JUNKER, PAUL KAY, ISABEL LUBACH, KRISTEN MCNALLY, AIDEN O’BRIEN, ROMANY PAJDAK, CALVIN RICHARDSON, FRANCISCO SERRANO and DAVID YUDES SWAN LAKE ACT II PAS DE DEUX Choreography LEV IVANOV Music PYOTR IL’YICH TCHAIKOVSKY Costume designer JOHN MACFARLANE ODETTE AKANE TAKADA PRINCE SIEGFRIED FEDERICO BONELLI IN OUR WISHES Choreography CATHY MARSTON Music SERGEY RACHMANINOFF Costume designer ROKSANDA Dancers FUMI KANEKO and REECE CLARKE Solo piano KATE SHIPWAY JEWELS ‘DIAMONDS’ PAS DE DEUX Choreography GEORGE BALANCHINE Music PYOTR IL’YICH TCHAIKOVSKY
    [Show full text]
  • Royal Opera House Performance Review 2006/07
    royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 1 Royal Opera House Performance Review 2006/07 The Royal Ballet - The Royal Opera royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 2 Contents 01 TH E ROYA L BA L L E T PE R F O R M A N C E S 02 TH E ROYA L OP E R A PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 3 3 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 01 TH E ROYA L BA L L E T PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 4 4 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 GI S E L L E NU M B E R O F PE R F O R M A N C E S 6 (15 matinee and evening 19, 20, 28, 29 April) AV E R A G E AT T E N D A N C E 91% CO M P O S E R Adolphe Adam, revised by Joseph Horovitz CH O R E O G R A P H E R Marius Petipa after Jean Coralli and Jules Perrot SC E N A R I O Théophile Gautier after Heinrich Meine PRO D U C T I O N Peter Wright DE S I G N S John Macfarlane OR I G I N A L LI G H T I N G Jennifer Tipton, re-created by Clare O’Donoghue STAG I N G Christopher Carr CO N D U C T O R Boris Gruzin PR I N C I PA L C A S T I N G Giselle – Leanne Benjamin (2) / Darcey Bussell (2) / Jaimie Tapper (2) Count Albrecht – Edward Watson (2) / Roberto Bolle (2) / Federico Bonelli (2) Hilarion – Bennet Gartside (2) / Thiago Soares (2) / Gary Avis (2) / Myrtha – Marianela Nuñez (1) / Lauren Cuthbertson (3) (1- replacing Zenaida Yanowsky 15/04/06) / Zenaida Yanowsky (1) / Vanessa Palmer (1) royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 5 5 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 LA FI L L E MA L GA R D E E NU M B E R O F PE R F O R M A N C E S 10 (21, 25, 26 April, 1, 2, 4, 5, 12, 13, 20 May 2006) AV E R A G E AT T E N D A N C E 86% CH O R E O G R A P H Y Frederick Ashton MU S I C Ferdinand Hérold, freely adapted and arranged by John Lanchbery from the 1828 version SC E N A R I O Jean Dauberval DE S I G N S Osbert Lancaster LI G H T I N G John B.
    [Show full text]
  • Men's Glee Repertoire (2002-2021)
    MEN'S GLEE REPERTOIRE (2002-2021) Ain-a That Good News - William Dawson All Ye Saints Be Joyful - Katherine Davis Alleluia - Ralph Manuel Ave Maria - Franz Biebl Ave Maria - Jacob Arcadet Ave Maria - Joan Szymko Ave Maris Stella - arr. Dianne Loomer Beati Mortui - Fexlix Mendelssohn Behold the Lord High Executioner (from The Mikado )- Gilbert and Sullivan Blades of Grass and Pure White Stones -Orin Hatch, Lowell Alexander, Phil Nash/ arr. Keith Christopher Blagoslovi, dushé moyá Ghospoda - Mikhail Mikhailovich Ippolitov-Ivanov Blow Ye Trumpet - Kirke Mechem Bright Morning Stars - Shawn Kirchner Briviba – Ēriks Ešenvalds Brothers Sing On - arr. Howard McKinney Brothers Sing On - Edward Grieg Caledonian Air - arr. James Mullholland Come Sing to Me of Heaven - arr. Aaron McDermid Cornerstone – Shawn Kirchner Coronation Scene (from Boris Goudonov ) - Modest Petrovich Moussorgsky Creator Alme Siderum - Richard Burchard Daemon Irrepit Callidu- György Orbain Der Herr Segne Euch (from Wedding Cantata ) - J. S. Bach Dereva ni Mungu – Jake Runestad Dies Irae - Z. Randall Stroope Dies Irae - Ryan Main Do You Hear the Wind? - Leland B. Sateren Do You Hear What I Hear? - arr. Harry Simeone Down in the Valley - George Mead Duh Tvoy blagi - Pavel Chesnokov Entrance and March of the Peers (from Iolanthe)- Gilbert and Sullivan Five Hebrew Love Songs - Eric Whitacre For Unto Us a Child Is Born (from Messiah) - George Frideric Handel Gaudete - Michael Endlehart Git on Boa'd - arr. Damon H. Dandridge Glory Manger - arr. Jon Washburn Go Down Moses - arr. Moses Hogan God Who Gave Us Life (from Testament of Freedom) - Randall Thompson Hakuna Mungu - Kenyan Folk Song- arr. William McKee Hark! I Hear the Harp Eternal - Craig Carnahan He’s Got the Whole World in His Hands - arr.
    [Show full text]
  • The Australian Theatre Family
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sydney eScholarship A Chance Gathering of Strays: the Australian theatre family C. Sobb Ah Kin MA (Research) University of Sydney 2010 Contents: Epigraph: 3 Prologue: 4 Introduction: 7 Revealing Family 7 Finding Ease 10 Being an Actor 10 Tribe 15 Defining Family 17 Accidental Culture 20 Chapter One: What makes Theatre Family? 22 Story One: Uncle Nick’s Vanya 24 Interview with actor Glenn Hazeldine 29 Interview with actor Vanessa Downing 31 Interview with actor Robert Alexander 33 Chapter Two: It’s Personal - Functioning Dysfunction 39 Story Two: “Happiness is having a large close-knit family. In another city!” 39 Interview with actor Kerry Walker 46 Interview with actor Christopher Stollery 49 Interview with actor Marco Chiappi 55 Chapter Three: Community −The Indigenous Family 61 Story Three: Who’s Your Auntie? 61 Interview with actor Noel Tovey 66 Interview with actor Kyas Sheriff 70 Interview with actor Ursula Yovich 73 Chapter Four: Director’s Perspectives 82 Interview with director Marion Potts 84 Interview with director Neil Armfield 86 Conclusion: A Temporary Unity 97 What Remains 97 Coming and Going 98 The Family Inheritance 100 Bibliography: 103 Special Thanks: 107 Appendix 1: Interview Information and Ethics Protocols: 108 Interview subjects and dates: 108 • Sample Participant Information Statement: 109 • Sample Participant Consent From: 111 • Sample Interview Questions 112 2 Epigraph: “Happy families are all alike; every unhappy family is unhappy in its own way. Everything was in confusion in the Oblonsky’s house. The wife had discovered that the husband was carrying on an intrigue with a French girl, who had been a governess in their family, and she had announced to her husband that she could not go on living in the same house with him.
    [Show full text]
  • Remembering Edouard Borovansky and His Company 1939–1959
    REMEMBERING EDOUARD BOROVANSKY AND HIS COMPANY 1939–1959 Marie Ada Couper Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy 2018 School of Culture and Communication The University of Melbourne 1 ABSTRACT This project sets out to establish that Edouard Borovansky, an ex-Ballets Russes danseur/ teacher/choreographer/producer, was ‘the father of Australian ballet’. With the backing of J. C. Williamson’s Theatres Limited, he created and maintained a professional ballet company which performed in commercial theatre for almost twenty years. This was a business arrangement, and he received no revenue from either government or private sources. The longevity of the Borovansky Australian Ballet company, under the direction of one person, was a remarkable achievement that has never been officially recognised. The principal intention of this undertaking is to define Borovansky’s proper place in the theatrical history of Australia. Although technically not the first Australian professional ballet company, the Borovansky Australian Ballet outlasted all its rivals until its transformation into the Australian Ballet in the early 1960s, with Borovansky remaining the sole person in charge until his death in 1959. In Australian theatre the 1930s was dominated by variety shows and musical comedies, which had replaced the pantomimes of the 19th century although the annual Christmas pantomime remained on the calendar for many years. Cinemas (referred to as ‘picture theatres’) had all but replaced live theatre as mass entertainment. The extremely rare event of a ballet performance was considered an exotic art reserved for the upper classes. ‘Culture’ was a word dismissed by many Australians as undefinable and generally unattainable because of our colonial heritage, which had long been the focus of English attitudes.
    [Show full text]
  • Zanussi, L'ultima Scommessa Visti in Libano E Somalia Loi E I Suoi Parà
    18COM01A1806 18COM04A1806 FLOWPAGE ZALLCALL 11 21:26:01 06/17/97 ICOMMENTI l’Unità 17 Mercoledì 18 giugno 1997 INDUSTRIA UN’IMMAGINE DA... L’INTERVENTO Zanussi, Visti in Libano e Somalia l’ultima Loi e i suoi parà non erano scommessa una banda di violentatori LUIGI MARIUCCI MAURO MONTALI UTTI i sistemi maturi di rela- LI EPISODI di violenza av- mesiinSomaliaemièsempre zioni industriali si reggonosu venuti in Somalia sono parso (ma questo, ovviamente, tre pilastri: conflitto, con- semplicemente disgustosi. non conta molto) che i nostri sol- T trattazione, partecipazione. G Orrendo, non saprei quale dati tenessero un comportamen- In Italia invece il sistema è zoppo, altra parola usare, è lo stupro sulla to estremamente corretto. Co- poiché il tema della partecipazione ragazza. Spero che la magistratura munque, ero a Mogadiscio duran- è del tutto assente dalla scena delle vadafinoinfondocosìcomeilmini- te il periodo più «caldo» quando, relazioni industriali. Delle diverse stero della Difesa: quella gente ha cioè, furono uccisi, a freddo, i tre sperimentazioni succedutesi in ma- infangato l’esercito e il paese e me- soldati italiani durante un rastrel- teria non è restato pressoché nulla. rita, pertanto, se verranno appura- lamento d’armi nel tristemente Con buona pace dei rituali dibattiti te le responsabilità, una punizione famoso quartiere del Pastificio. in materia di attuazione dell’art. 46 esemplare. Che per una settimana fu perso. della Costituzione non si va infatti al Credo, però, che la brigata para- In quel periodo si consumò la rot- di là delle modeste pratiche di eser- cadutisti Folgore,nelsuocomples- tura con gli americani e con l’am- cizio dei diritti di informazione e so, sia una cosa ben diversa da miraglio Howe, il quale, essendo consultazione previsti dai contratti come è stata rappresentata in a capo della missione «Restore nazionali di categoria.
    [Show full text]
  • European Influences in the Fine Arts: Melbourne 1940-1960
    INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole.
    [Show full text]