Bolshoi Ballet Filmshows
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World Ballet Day 2014
GLOBAL FIRST: FIVE WORLD-CLASS BALLET COMPANIES, ONE DAY OF LIVE STREAMING ON WEDNESDAY 1 OCTOBER www.roh.org.uk/worldballetday The A u str a lia n B a llet | B o lsho i B a llet | The R o y a l B a llet | The N a tio n a l B a llet o f C a n a d a | S a n F r a n c isc o B a llet T h e first ev er W o r ld B a llet D a y w ill see an u n p rec ed en ted c ollab oration b etw een fiv e of th e w orld ‘s lead in g b allet c om p an ies. T h is on lin e ev en t w ill tak e p lac e on W ed n esd ay 1 O c tob er w h en eac h of th e c om p an ies w ill stream liv e b eh in d th e sc en es ac tion from th eir reh earsal stu d ios. S tartin g at th e b egin n in g of th e d an c ers‘ d ay , eac h of th e fiv e b allet c om p an ies œ The A u str a lia n B a llet, B o lsho i B a llet, The R o y a l B a llet, The N a tio n a l B a llet o f C a n a d a an d S a n F r a n c isc o B a llet œ w ill tak e th e lead for a fou r h ou r p eriod stream in g liv e from th eir h ead q u arters startin g w ith th e A u stralian B allet in M elb ou rn e. -
The Sleeping Beauty London Coliseum Wednesday 06 June – Saturday 16 June 2018 Tickets: from £14 Box Office: 020 7845 9300 Or
English National Ballet The Sleeping Beauty London Coliseum Wednesday 06 June – Saturday 16 June 2018 Tickets: from £14 Box Office: 020 7845 9300 or www.ballet.org.uk/sleeping-beauty • Maria Alexandrova to guest with English National Ballet for the first time • Lead Principal Alina Cojocaru debuts in the role of Princess Aurora with English National Ballet • Further debuts include Lead Principals Jurgita Dronina, Joseph Caley, Isaac Hernández, and Aaron Robison This summer English National Ballet presents Kenneth MacMillan’s The Sleeping Beauty at the London Coliseum (06 June - 16 June). Principal casting for The Sleeping Beauty sees Lead Principals Alina Cojocaru and Joseph Caley, Lead Principals Jurgita Dronina and Isaac Hernández, and Principals Shiori Kase and Cesar Corrales debut in the roles of Princess Aurora and Prince Désiré respectively. Lead Principal Erina Takahashi reprises the role of Princess Aurora, dancing alongside last year’s joint winner of the Emerging Dancer Award, Soloist Aitor Arrieta, who debuts in the role of Prince Désiré. Also debuting in the lead roles are Lead Principal Aaron Robison and Guest Artist, Maria Alexandrova. Bringing world class talent to UK audiences, the renowned ballet star’s performances in The Sleeping Beauty are her first with a UK Company. Born in Moscow, Alexandrova trained at the Moscow Choreographic Academy. She won Gold Medal at the Moscow International Ballet Competition in 1997 and joined the Bolshoi Ballet shortly after, becoming Principal in 2004. With stunning sets by Peter Farmer and elaborate costumes by Nicholas Georgiadas, this classical version of the fairy-tale ballet features Tchaikovsky’s ravishing score played live by English National Ballet Philharmonic. -
Introduction
Introduction The World Ballet Festival Returns for Summer 2018 From the 14th World Ballet FestivalPhoto: Kiyonori Hasegawa For more than 40 years now, the most talented and renowned dancers have come to Tokyo from around the world to perform in the World Ballet Festival, which will once again be held this summer. When it was first introduced in 1976 under the leadership of Tadatsugu Sasaki, it was very rare for the star ballerinas of different companies or countries to share a stage. Its first edition caused an international sensation by bringing together three legends, Margot Fonteyn from the UK, Maya Plisetskaya from the Soviet Union and Alicia Alonso from Cuba. Since then stars such as Jorge Donn, Patrick Dupond, Sylvie Guillem, Alessandra Ferri, Manuel Legris and Vladimir Malakhov have become regular participants, bringing the audiences to a storm of excitement every time and inspiring them to watch and compare all the dancers perform. The circle of energy created between audiences and artists in this festival produces an atmosphere that motivates dancers to perform to the best of their abilities, and has resulted in many legendary performances. Featuring the world's leading dancers, all from different artistic backgrounds and representing a wide variety of repertoire and styles, the festival also offers an opportunity to observe an overview of today's ballet scene. While there are now many similar festivals, the quality of both artists and audiences at the World Ballet Festival continues to be amongst the highest in the world. Ballet is an art form that unites finely tuned bodies and minds with sophisticated powers of expression, to create a deep and lasting impression on the audience members. -
Bolshoi Babylon
PORTFOLIO BOLSHOI PORTFOLIO The Bolshoi Theater in Moscow Bolshoi Babylon PHOTOS AND ESSAY BY NICK READ WITH HBO DOCUMENTARY FILMS 64 WORLD POLICY JOURNAL FALL 2015 65 PORTFOLIO BOLSHOI DMITRY BELIAKOV OSCOW—It’s January 2013, the end of the national holidays. The Mshops are groaning, and for most Muscovites, the living is easy. The city center is a magnet for disposable wealth and conspicu- Maria Alexandrova, principal ous consumption. At it’s heart, and increasingly dancer, prepares for a comeback after a full rupture out of step with its commercial surroundings, of her Achilles tendon. is the Bolshoi Theater—older than the United States itself, and more recently, a symbol of ev- erything communism did right, built by the state for the people. It is just 500 yards from the Kremlin, and reportedly a secret passage below ground connects the two institutions. For ordinary Russians, every child’s first visit to the theater is still a rite of passage. For their parents to see and be seen before the cur- tain rises is a ritual in upward mobility. The ushers—all ladies, all of a certain age, some of them with 50 years service for the Bolshoi behind them—call the new, upwardly mobile Russians “chandelier gazers.” Disdainful of Anastasia Meskov, first soloist, applies her own makeup the new generation’s lack of culture and re- before going on stage. spect, these babushkas know every act of every ballet or opera. They have seen it all. Or so they thought. ACID ATTACK On January 17, 2015, word spread that Sergei Filin, former lead dancer and current artistic director of the Bolshoi’s revered ballet compa- ny, had been attacked. -
Communiqué De Presse, Le 3 Février 2010
Press release Monday 15th February 2010 A live and high definition broadcast by CielEcran and a first in Europe: TTHHEE BBOOLLSSHHOOII BBAALLLLEETT LLIIVVEE FFRROOMM MMOOSSCCOOWW WEDNESDAY 31st MARCH 2010 AT 8pm (central European time) " Les Flammes de Paris " An exceptional event : A live evening from the Bolshoi Theatre of Moscow! The Bolshoi Theatre of Moscow, internationally known, will broadcast live for the first time in France, one of its most prestigious productions: “ Les Flammes de Paris ”. This ballet, never broadcasted in France in its entirety, will be visible in 80 cinemas in France and in Europe, live and in high definition. Les Flammes de Paris : One of the finest ballets of the Bolshoi repertoire Ballet in 2 acts Running time: 2h15 with intermission Choreographer - Alexei Ratmansky Composer: Boris Asafiev Music Director - Pavel Sorokin Orchestra: Symphonic Orchestra of the Bolshoi Theatre Scenographers - Ilya Utkin, Evgeny Monakhov Costume Designer - Yelena Markovskaya Lighting Designer - Damir Ismagilov Music dramaturgy conception - Yuri Burlaka Although this new version is directed by Alexei Ratmanski, "Les Flammes de Paris" was first presented by Vassili Vaynonen at the Bolshoi Theatre in 1933. Each of the projects of the Bolshoi Ballet has its very own character. "Les Flammes de Paris" is one of its most interesting and most unusual ballets. Indeed, this ballet does not belong to the classical ballet repertoire or the masterpieces of the Soviet period. "Les Flammes de Paris" was presented on the eve of the anniversary of the October Revolution. The ballet takes place during the great French Revolution and its main character is the revolutionary people. -
English National Ballet the Sleeping Beauty London Coliseum
English National Ballet The Sleeping Beauty London Coliseum Wednesday 06 June – Saturday 16 June 2018 Tickets: from £14 Box Office: 020 7845 9300 or www.ballet.org.uk/sleeping-beauty • Maria Alexandrova to guest with English National Ballet in The Sleeping Beauty This summer English National Ballet presents Kenneth MacMillan’s The Sleeping Beauty at the London Coliseum (06 June - 16 June). With stunning sets by Peter Farmer and elaborate costumes by Nicholas Georgiadas, this classical version of the fairy-tale ballet features Tchaikovsky’s ravishing score played live by English National Ballet Philharmonic. This revival of The Sleeping Beauty coincides with the recent anniversary of MacMillan’s death, and follows the Company’s performances of MacMillan’s masterpiece Song of the Earth in the autumn/winter. Bringing world class talent to UK audiences, English National Ballet’s performances of The Sleeping Beauty will see world-renowned ballet star, Maria Alexandrova, guest with the Company in the role of Princess Aurora. Born in Moscow, Alexandrova trained at the Moscow Choreographic Academy. She won Gold Medal at the Moscow International Ballet Competition in 1997 and joined the Bolshoi Ballet shortly after, becoming Principal in 2004. These performances mark the first time Alexandrova has danced with a UK Company. Alongside performances of The Sleeping Beauty, English National Ballet will host a range of workshops and events, aimed to provide a gateway into the world of ballet. Activities include on-stage workshops for all ages, Live Drawing, Family Events, and behind-the-scenes talks. For more details, see www.ballet.org.uk/whats-on Alexandrova’s performance dates and full Principal casting to be announced shortly. -
Features Performances People Premiere
IBSTAGE INTERNATIONAL SUMMER PROGRAM Barcelona Opera House 12th August - 31st August | 2019 The Royal Ballet - Lauren Cuthbertson and Vadim Muntagirov in Ashton's The Two Pigeons. © Emma Kauldhar by courtesy of the ROH Contents People Features 16 Maria Khoreva 22 Focus on the Role: EMMA KAULDHAR meets the Mariinsky Nikiya, Gamzatti, Solor Ballet's first soloist CATHERINE PAWLICK asks Natalia Osipova, Maria Alexandrova and Vladislav Lantratov 28 Héloïse Bourdon about their approach to the roles FRANÇOIS FARGUE meets the newly appointed premiere danseuse at the Paris Opera 78 Auditions: How to Get a Job VIKI WESTALL asks some graduates for advice Polina Semionova 50 Germaine Acogny on how best to survive and succeed GERARD DAVIS talks with the legendary IBStage Galas 2018 Senegalese dancer on an upcoming collaboration Performances © Sila Avvakum with the Pina Bausch Foundation 10 The Two Pigeons/ 67 Obituary Asphodel Meadows Scottish ballerina Elaine McDonald remembered. AMANDA JENNINGS appraises an early Liam Scarlett ballet and an Ashton classic 70 Herman Cornejo GERARD DAVIS catches up with the ABT 38 Les Patineurs principal in London AMANDA JENNINGS welcomes The Royal Ballet's varied triple bill Premiere 44 Tchaikovsky in Berlin Front cover: Mariinsky Ballet - 34 A Midsummer Night's Dream LUCY VAN CLEEF reviews performances by Maria Khoreva and Kimin Kim in The Nutcracker © Emma Kauldhar ALISON KENT rates Goyo Montero's the Shanghai Ballet and the Staatsballett Berlin latest creation in Nürnberg www.ibstage.com 6 Entre Nous 85 Auditions 87 Summer Courses 101 What's On 106 People Page >>> Dance Europe - February 2019 3 DANCE EUROPE Performances FOUNDED IN 1995 Mariinsky Ballet in Japan P.O. -
Bolshoi Ballet La Bayadère
CAL PERFORMANCES PRESENTS SYNOPSIS Thursday, June 4, 2009, 8pm Friday, June 5, 2009, 8pm Saturday, June 6, 2009, 2pm & 8pm Sunday, June 7, 2009, 3pm Zellerbach Hall Bolshoi Ballet Anatoly Iksanov, General Director of the Bolshoi Theatre Yury Burlaka, Artistic Director of the Bolshoi Ballet in La Bayadère Music by Ludwig Minkus Libretto by Marius Petipa & Sergei Khudekov Choreography by Marius Petipa New scenic version by Yuri Grigorovich Berkeley Symphony Orchestra Pavel Klinichev, conductor Scenes from productions by Vakhtang Chabukiani, Nikolai Zubkovsky and Konstantin Sergeyev Sets and costumes after sketches by designers of the first production (1877), Elena Fetisova © Bolshoi revived by Valery Firsov, Nikolai Sharonov (sets) and Nikolai Sviridchikov (costumes) Svetlana Zakharova and Nikolay Tsiskaridze Valery Levental, Supervisor, Set & Costume Revival La Bayadère Alexander Kopylov, Music Director Premiered November 25, 1991. ACT I Running time: three hours 30 minutes with two intervals. Young warriors led by Solor are hunting a tiger. Nikiya and other bayadères give the fakirs water Before entering the forest, Solor asks a fakir named from the sacred pool. Imperceptibly, Magedaveya Magedaveya to tell Nikiya, a bayadère, that he will tells Nikiya that Solor will come to see her. The Children in this production appear courtesy of San Francisco Ballet School, wait for her near the temple. bayadère is happy. Helgi Tomasson, Director, and Lola de Avila, Associate Director. The High Brahmin and priests are solemnly As darkness falls, Nikiya goes to meet her be- leaving the temple. The feast of worshipping fire loved. Their secret rendezvous is guarded by the begins. Fakirs and votaries of the temple, bay- fakir. -
Exit, in Flames 08
Dance Now Vol 17 No 3, Autumn 08 Exit, In Flames Alexei Ratmansky and the Bolshoi, by Ismene Brown Photo Marc Haegemann/Bolshoi Ballet THIS WINTER the Bolshoi Ballet ends five rollercoaster years under the directorship of Alexei Ratmansky (interview below), who is stepping down as artistic director in order to focus on his first love, choreography. His directorship began in controversy for Russians - he was young, an 'outsider' (he had never made it into the Bolshoi Ballet as a dancer), and he was full of 'Western' ideas. Most of all, Ratmansky didn't make Yuri Grigorovich his god, as by now the majority of Bolshoi personnel expected. They, after all, were all Grigorovich alumni and acolytes. It had been stated that Ratmansky's final production would be a new Sleeping Beauty this autumn to replace Grigorovich's version (cheers from us in the West), but we have long learned that when the Bolshoi announces something it is not a decision but merely a debating point. Ratmansky, it was said last spring, would move over to keep charge of the Bolshoi's momentum in 'new productions', while Yuri Burlaka governed day-to-day direction and the octogenarian former director Yuri Grigorovich would be back in charge of his productions of the classics. Such a broken-backed push-me-pull-you marriage between an immovable past and resistible change seemed unlikely to survive, and so it proved. The management’s retraction of the announced new Sleeping Beauty is proof of that. Meanwhile Grigorovich's favourite, the vain star dancer Nikolai Tsiskaridze had been sniping increasingly publicly about Ratmansky's directorship, turning up the heat once he was secure in the knowledge that Grigorovich was back inside the theatre. -
Danceinternational Journey to Soif
$7.50 • SUMMER 2014 INTERNATIONAL danceGinette Laurin’s Journey to Soif A New Danseur Noble Crazy Cabaret Girls Galleryspace La Monarca GLOBAL REPORTS: FLAMENCO MEN IN JEREZ, ROMEO AND JULIET IN WINNIPEG, BACKSTAGE AT THE BOLSHOI PMA No.40050848 INTERNATIONAL danceCLASSICAL AND CONTEMPORARY DANCE IN CANADA AND ABROAD SUMMER 2014 VOL. 42 No. 2 Publisher Vancouver Ballet Society Editor Kaija Pepper Shakespeare’s Romeo and Juliet features a female Copy Editor Margaret Jetelina lead who goes through an intense emotional jour- Web Administrator & Gabriele Walkow Social Media Manager ney within the story’s tight time frame. The es- Web Design Spry sential Juliet is about tempestuous first love, but Art Direction, Design Brenda Finamore the enriching details are up to the actress/balle- & Production rina playing her. Fulfillment The Oyster Group The two ballet productions I’ve seen so far this Printing Horseshoe Press Inc. year had memorable Juliets. The Royal Winnipeg Photo: Steven Lemay Steven Photo: Mailing Mail-O-Matic Ballet’s delicate heroine — in Rudi van Dantzig’s Advertising Kelsey Jorssen 1967 version — was made even more ethereal by pink satin pointe shoes, whether danced by Amanda Green, Elizabeth Lamont or Sophia Lee (yes, DANCE INTERNATIONAL is published quarterly by the Vancouver Ballet Society and is available by I saw all three casts, on tour in Vancouver). By contrast, on my recent visit membership in the society or by subscription. to Dresden, the Semperoper Ballett’s Julia Weiss — in Stijn Celis’ 2013 con- Opinions expressed within are those of the temporary telling — was a thrillingly grounded young woman in white shirt, authors and do not necessarily represent the shorts and shoes. -
Spoleto Festival Usa Program History 2013–1977
SPOLETO FESTIVAL USA PROGRAM HISTORY 2013–1977 Spoleto Festival USA Program History Page 2 2013 Opera *Matsukaze, music by Toshio Hosokawa; libretto by Hannah Dübgen; conductor, John Kennedy; director, Chen Shi-Zheng; set designer, Chris Barreca; costume designer, Elizabeth Caitlin Ward; lighting designer, Scott Zielinski; video designer, Olivier Roset; Dock Street Theatre Mese Mariano/Le Villi; Mese Mariano, music by Umberto Giordano; libretto by Salvatore Giacomo; Le Villi, music by Giacomo Puccini, libretto by Ferdinando Fontana; conductor, Maurizio Barbacini; director, Stefano Vizioli; set designer, Neil Patel; costume designer, Roberta Guidi di Bagno; lighting designer, Matt Frey; choreographer, Pierluigi Vanelli; Sottile Theatre Dance Jared Grimes; dancers, Jared Grimes, Robyn Baltzer, Dewitt Fleming Jr, Karida Griffith, Tony Mayes; Emmett Robinson Theatre Compagnie Käfig; artistic director and main choreographer, Mourad Merzouki; programs, Correria and Agwa; TD Arena Ballet Flamenco de Andalucía; artistic director and choreographer, Rubén Olmo; guest soloist, Pastora Galván; program, Noche Andaluza; TD Arena Lucky Plush Productions, creators/directors, Leslie Buxbaum Danzig and Julia Rhoads; original script, Leslie Buxbaum Danzig, Julia Rhoads, and ensemble; composition/sound design, Mikhail Fiksel; program, The Better Half; Emmett Robinson Theatre Shantala Shivalingappa; artistic director and choreographer, Shantala Shivalingappa; artistic consultant, Savitry Nair; program, Swayambhu, Emmett Robinson Theatre Theater *A Midsummer -
Perestroika Pirouettes and Glasnost Glissés: the Kirov and the Bolshoi Ballet, 1977-1991
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository PERESTROIKA PIROUETTES AND GLASNOST GLISSÉS: THE KIROV AND THE BOLSHOI BALLET, 1977-1991 Jennifer L. Buxton A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Russian, Eurasian, and East European Studies. Chapel Hill 2013 Approved by: Jacqueline M. Olich Donald J. Raleigh Radislav Lapushin © 2013 Jennifer L. Buxton ALL RIGHTS RESERVED ii ABSTRACT JENNIFER L. BUXTON: Perestroika Pirouettes and Glasnost Glissés: The Kirov and the Bolshoi Ballet, 1977-1991 (Under direction of Jacqueline M. Olich) This paper examines the developments of the Soviet art form of classical ballet during the twilight years of the Soviet Union. Throughout the Soviet era, art and politics were closely intertwined; the country’s ballet institutions served the government abroad, as cultural ambassadors, and at home, as educational representatives. As Gorbachev’s political and economic reforms progressed, state funded institutions sought to adapt to the ever- changing environment. Through an investigation of the activities of the two preeminent ballet theaters in the county, the Bolshoi Ballet in Moscow and the Kirov Ballet in Leningrad, this project explores how two cultural institutions navigated the dynamic landscape of perestroika and challenges the trope of Brezhnevite stagnation. Through the utilization of memoirs, periodicals, and secondary sources, my study illustrates how ballet artists in Moscow and Leningrad responded to the changes occurring outside of the theater during this time and complicates our perception of the otherwise improvisational nature of the Soviet Union’s last years.