Alexander Zaitsev Freelance Principal Dancer, Coach and Guest Teacher

Total Page:16

File Type:pdf, Size:1020Kb

Alexander Zaitsev Freelance Principal Dancer, Coach and Guest Teacher Alexander Zaitsev Freelance principal dancer, coach and guest teacher Alexander Zaitsev, born in Moscow, Russia, was trained at the Bolshoi Ballet School. In 1992, he graduated and had his first engagement with the Bolshoi Ballet under the direction of Juri Grigorovich. During this time, he danced with the company on tours all around the world. In 1995 he danced with the State Opera Dresden for one season and in 1996 he joined the Stuttgart Ballet. In 1997 Alexander Zaitsev received his Pedagogical Diploma of the Moscow Choreography Academy. In January 1999, he was promoted to Soloist with the Stuttgart Ballet, and then to Principal Dancer. With the company he has danced an extensive repertoire of leading roles in classical and contemporary works, as well as in many world premieres. He has also appeared with the Stuttgart Ballet on tours all around the world. Alexander Zaitsev receives numerous invitations to international galas with many Ballet Stars. Also has been a guest artist with the Royal Ballet Covent Garden, Tokyo Ballet, Bolshoi Ballet, Deutsche Oper Berlin, Korean National Ballet, Ballet Santiago de Chile, Latvian Ballet in Riga, Estonian Ballet in Tallinn, Leipzig Ballet. Since 2013 he has been invited as a guest ballet master to: Stuttgart Ballet, La Scala, Korean National Ballet, Estonian National Ballet, Tokyo Ballet, Perm Ballet Theater, Latvian National Ballet, Zürich Ballet, Gautier Dance Theater in Stuttgart, Musiktheater im Revier. Since 2014 working with Glen Tetley Legacy(GTL). Since 2017 member of GTL. As well assisting different choreographers: Bridget Breiner, Douglas Lee, Kevin O’Day, Pontus Lidberg Own Choreographies La Chanson - World Premiere “Young Choreographers“ Noverre-Society, July 17, 2003, Stuttgart Ballet Aria for two - World Premiere in Stuttgart, February 15, 2014 Satho - World Premiere in Riga, August 5, 2014, together with Thomas Lemperz PlaceofBirth Moscow,Russia Ballet Training 1984 - 1992 1992 - 1996 Engagements 1992 - 1995 1995 - 1996 1996 - Repertoire Bolshoi Ballet, Moscow Moscow Choreography Academy MGHI, Moscow: academical training as a Dance Educationalist Bolshoi Ballet, Grigorovich Compagnie State Opera Dresden Stuttgart Ballet Don Quijote (Maximiliano Guerra): Basilio La fille mal gardée (Sir Frederick Ashton): Colas, Alan La Sylphide (Peter Schaufuss): James, Gurn La Bayadere (Lois Ortigosa) Solor Giselle (Production: Reid Anderson, Valentina Savina): Albrecht, Peasan pdd Le Sacre du Printemps (Glen Tetley) Arena (Glen Tetley) Pierrot Lunaire (Glen Tetley) The Taming of The Shrew (John Cranko): Petrucchio Onegin (John Cranko): Lenski Romeo and Juliet (John Cranko): Mercutio, Benvolio Swan Lake (John Cranko): Benno, Companion of the Princess of Naples The Lady and the Fool (John Cranko): Bootface Initials R.B.M.E. (John Cranko): R, and E Poème de l ́extase (John Cranko) Sleeping Beauty (Marcia Haydée): Desire, Blue Bird Pas de deux, Prince of the West, Ali Baba Giselle (Reid Anderson and Valentina Savina): Albrecht, Peasant Pas de deux Kazimir’s Colours (Mauro Bigonzetti): male leading part Notations I - IV (Uwe Scholz): Solo Monotones (Sir Frederick Ashton) Rückkehr ins fremde Land (Jirí Kylián) Herman Schmerman (William Forsythe) Opus I (John Cranko) Solo (Hans van Manen) Suite (Uwe Scholz) Seventh Symphony (Uwe Scholz) The Concert (Jerome Robbins) Désir (James Kudelka) Now and Then (John Neumeier) A Streetcar Named Desire (John Neumeier): Shaw, Allans friend The Lady of the Camellias (John Neumeier) The Four Temperaments (George Balanchine): Melancholic Dances at a Gathering (Jerome Robbins): Role in Brown Gaite parisienne (M.Bejarts):Bim Skew-Whiff (Paul Lightfoot and Sol León) Slice to Sharp (Jorma Elo) Lachrymal (Douglas Lee) Cindys Gift (Douglas Lee) Hikarizatto (Itzik Galili) Dreamdeepdown (Kevin O ́Day) Lulu. A Monstre Tragedy (Christian Spuck): Schigolch,Eduard Schwarz Come neve al sole (Rolando D'Alesio) Les Bourgeois (Ben Van Cauwenbergh) I Fratelli (Mauro Bigonzetti):Rocco Nutcracker (Voynonen) Coppelia (Barishnikov) Franz Ring them Bells (Marco Goecke) Fanfare (Douglas Lee) End of Time (Ben Stievenson) Paquita (Marius Petipa) Le Corsaire (Marius Petipa) , Flammes de Paris , La Bayadere , Arlekinade : pas de deux Especially Created Roles Der Sandman (Christian Spuck): Natanaelle,male leading part Nautilus, Eden Eden, Yantra (Wayne McGregor) Red in 3 (Jorma Elo) Dummy Run, Miniatures, Nightlight, Viewing Room (Douglas Lee) Black Breath (Marco Goecke) Two at a time (Cayetano Soto) Judith (Louis Stiens) Exilium (Jean Grand-Maître) (Im)paired Ground (James Sutherland) The Difference Between Naked and Nude (Trey McIntyre) Gambling, x 5 (Nicolo Fonte) Melodious gimmick to keep the boys in line (Marc Spradling) .
Recommended publications
  • The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
    THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
    [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]
  • Olivier Munoz Is the New Principal and Artistic Director of the Maryland Youth Ballet
    Olivier Munoz is the new Principal and Artistic Director of the Maryland Youth Ballet. Prior, he was the Principal Teacher at Orlando Ballet School for 14 years. Mr. Munoz began his studies at the National Conservatory of Dance of Lyon, France then went to the International Ballet School of Rosella Hightower in Cannes, a Laureate of the Prix de Lausanne. He has performed internationally all the leading roles of the classical repertoire; was a former Principal for the English National Ballet, Cleveland Ballet, and Northern Ballet Theater; and a Principal Guest Artist with Teatro Alla Scala, Tokyo Ballet, The Bolshoi, Ballet Philippines, and Ballet Nuevo Mundo. Mr. Munoz is a certified Professor of Dance from the French Ministry of Culture in France and also an ABT Affiliate Teacher, award certified in all levels of the ABT curriculum. He has served on the panel of the National Foundation for the Advancements in The Arts, selection committee for grants for the dance department. Mr. Munoz was also involved with several movies: Blue Suede Shows for PBS 1998, Drew Carey Show in 1997, and Love in 4 Acts for PBS in 1995. He has choreographed for Cleveland Ballet, Orlando Ballet School, Geoffrey Beene fashion show, and the Orlando Symphony. Mr. Munoz has been a recognized coach for YAGP since 2011, awarded Best Teacher several times, and is a renowned International Guest Master Teacher. For several years, he has served on the panel of judges for YAGP regional and international competitions from which he selects students to award with scholarships to study. .
    [Show full text]
  • Tamara Rojo Artistic Director of the English National Ballet Tamara Began Dancing in Madrid at the Víctor Ullate School, Where
    Tamara Rojo Artistic Director of the English National Ballet Tamara began dancing in Madrid at the Víctor Ullate School, where she took part in an extensive repertoire of classical roles. She won a Gold Medal at the Paris International Dance Competition and the Special Jury Prize unanimously. Galina Samsova asked her to join the Scottish Ballet and she later received a personal invitation from Derek Deane to join the English National Ballet, where she became director after six months. She danced the whole range of leading roles with the company, including Juliet (Romeo and Juliet) and Clara (The Nutcracker), which Derek Deane created expressly for her. Tamara joined The Royal Ballet as Principal Dancer at the invitation of Sir Anthony Dowell. She is also a regular guest of the Mariinsky Ballet, La Scala Ballet, Tokyo Ballet, New National Theatre, Tokyo, the Cuban National Ballet, the National Ballet of China, the Lithuanian National Ballet, the Mikhailovsky Ballet, the Royal Swedish Ballet and the Finnish National Ballet. She has also performed at the prestigious World Ballet Festival in Tokyo and at galas all over the world. In 2010 she was recognised for her artistic excellence with the Laurence Olivier Award for the Best New Dance Production with Goldberg: the Brandstrup - Rojo Project. She has been awarded the Prince of Asturias Prize, the Gold Medal for Fine Arts and the Encomienda de Numero de Isabel la Catolica. Other recognitions include the Prix Benois de la Danse, The Times Dancer Revelation of the Year, the National Dance Critics Award, the Barclay’s Award for Outstanding Achievement in Dance, the Positano Dance Award, Léonide Massine Premi al Valore, the Italian Critics Award, the International Arts Medal and the Madrid Performance Award.
    [Show full text]
  • Giselle Saison 2015-2016
    Giselle Saison 2015-2016 Abonnez-vous ! sur www.theatreducapitole.fr Opéras Le Château de Barbe-Bleue Bartók (octobre) Le Prisonnier Dallapiccola (octobre) Rigoletto Verdi (novembre) Les Caprices de Marianne Sauguet (janvier) Les Fêtes vénitiennes Campra (février) Les Noces de Figaro Mozart (avril) L’Italienne à Alger Rossini (mai) Faust Gounod (juin) Ballets Giselle Belarbi (décembre) Coppélia Jude (mars) Paradis perdus Belarbi, Rodriguez (avril) Paquita Grand Pas – L’Oiseau de feu Vinogradov, Béjart (juin) RCS TOULOUSE B 387 987 811 - © Alexander Gouliaev - © B 387 987 811 TOULOUSE RCS Giselle Midis du Capitole, Chœur du Capitole, Cycle Présences vocales www.fnac.com Sur l’application mobile La Billetterie, et dans votre magasin Fnac et ses enseignes associées www.theatreducapitole.fr saison 2015/16 du capitole théâtre 05 61 63 13 13 Licences d’entrepreneur de spectacles 1-1052910, 2-1052938, 3-1052939 THÉÂTRE DU CAPITOLE Frédéric Chambert Directeur artistique Janine Macca Administratrice générale Kader Belarbi Directeur de la danse Julie Charlet (Giselle) et Davit Galstyan (Albrecht) en répétition dans Giselle, Ballet du Capitole, novembre 2015, photo David Herrero© Giselle Ballet en deux actes créé le 28 juin 1841 À l’Académie royale de Musique de Paris (Salle Le Peletier) Sur un livret de Théophile Gautier et de Jules-Henri Vernoy de Saint-Georges D’après Heinrich Heine Nouvelle version d’après Jules Perrot et Jean Coralli (1841) Adolphe Adam musique Kader Belarbi chorégraphie et mise en scène Laure Muret assistante-chorégraphe Thierry Bosquet décors Olivier Bériot costumes Marc Deloche architecte-bijoutier Sylvain Chevallot lumières Monique Loudières, Étoile du Ballet de l’Opéra National de Paris maître de ballet invité Emmanuelle Broncin et Minh Pham maîtres de ballet Nouvelle production Ballet du Capitole Kader Belarbi direction Orchestre national du Capitole Philippe Béran direction Durée du spectacle : 2h25 Acte I : 60 min.
    [Show full text]
  • WILLIAM KELLEY Conductor/Pianist
    WILLIAM KELLEY Conductor/Pianist Conductor and pianist William Kelley, a graduate of The Juilliard School, has performed for audiences across the United States and Europe in a range of repertoire from Baroque to jazz to opera and concert world premieres. In the 2020/21 season, Maestro Kelley assumes the position of Kapellmeister for Theater Bremen, where he will undertake several productions and new commissions. Kelley is currently Kapellmeister at Luzerner Theater in Luzern, Switzerland. He made his European conducting debut in 2017 with the Luzerner Sinfonieorchester in Mozart’s Die Zauberflöte. During the 2019/2020 season, he conducts Abraham’s Märchen im Grand Hotel, Carmen.maquia (a version for ballet), a world premiere by Manuel Renggli, Dschungel, Tchaikovsky’s Eugene Onegin, and Piazzolla’s tango operetta, María de Buenos Aires. In 2018, his debuts included a world premiere with the 21st Century Orchestra at the Lucerne Festival, Im Amt für Todesangelegenheiten, a concert with tenor Petr Nekoranec and the Czech Radio Symphony, and a return to the Luzerner Sinfonieorchester for Mozart's Don Giovanni. Previous performance highlights include several recitals with Czech tenor Petr Nekoranec, Schubert’s Winterreise with baritone Christopher Herbert for Trinity Wall Street’s Twelfth Night Festival, a residency with the New York Festival of Song (NYFOS) at the Caramoor Festival, and a production of Ravel’s L'enfant et les Sortilèges at The Juilliard School. In 2011, William made his Lincoln Center debut in recital with baritone Theo Hoffman which included the New York premiere of Jonathan Dove’s Three Tennyson Songs. Other highlights include Schubert’s Die schöne Müllerin on the Art de L’Autre concert series in Berlin, Germany.
    [Show full text]
  • Shifting Away from the Public to Miscellaneous:The Case of Korean
    Japan Border Review, No.Summary 8 (2018) Summary Shifting away from the Public to Miscellaneous: The Case of Korean Schools in Tokyo CHOI Safa There used to be 15 public Korean schools in Tokyo, Japan until March 1955. These schools were closed and restarted as miscellaneous schools from April 1955. Miscellaneous is a legal status of schools in Japan besides public and private. Due to this legal status Korean schools have been facing difficulties such as not receiving financial support from the Japanese government. The aim of this paper is to analyze how public Korean schools in Tokyo closed in March 1955 and turned into miscellaneous schools in April 1955. This research was conducted through historical review of documents from the official record, diaries, and newspapers. On 8th September 1951, the Treaty of San Francisco was concluded. Article 2-a of this treaty prescribed the change of territory between Japan and Korea, but there was no legal decision about the nationality of Korean residents in Japan. The Japanese government’s interpretation of Article 2-a was that Korean residents in Japan should not be allowed to keep their Japanese nationality. As a consequence the Japanese government declared an official notification changing the status of Korean residents from Japanese nationals to “Alien” in April 1952. The Ministry of Education intended to close public Korean schools and to end compulsory education for Korean residents in Japan. Moreover, in the mid-1950s, communist ideas were spreading among some Japanese schools and Korean schools in Tokyo. This led the Ministry of Education to make a law towards teachers to stop them teaching communist ideas, while at the same time, the Board of Education in Tokyo imposed six specific rules towards Korean schools in the Tokyo area to force these schools to comply with Japanese law.
    [Show full text]
  • John Neumeier
    JOHN NEUMEIER John Neumeier was born in 1942 in Milwaukee, Wisconsin, USA, where he also received his first dance training. He went on to study ballet both in Copenhagen and at the Royal Ballet School in London. He acquired a Bachelor of Arts degree in English Literature and Theater Studies from Marquette University, Wisconsin, where he created his first choreographic works. In 1963 John Cranko engaged him at the Stuttgart Ballet, where he progressed to solo dancer. In 1969 Ulrich Erfurth appointed Neumeier as Director of Ballet in Frankfurt. Since 1973 John Neumeier has been Artistic Director and Chief Choreographer of THE HAMBURG BALLET, since 1996 Ballettintendant (General Director). THE HAMBURG BALLET has become one of the leading ballet companies in the German dance scene and soon received international recognition. As a choreographer, Neumeier has continually focused on the preservation of ballet tradition, while giving his works a modern dramatic framework. His commitment to this end has manifested itself particularly in his revised versions of the classical “story ballets”. For his revolutionary choreographies on symphonies by Gustav Mahler he has received particular acclaim throughout the world. His latest creations for THE HAMBURG BALLET, Le Pavillon d’Armide and Orpheus, premiered in 2009, and Purgatorio, premiered in 2011. In 1975, Neumeier created the Hamburger Ballett-Tage, the Hamburg Ballet Festival, a climax and end to each season. In 1978 he founded The School of THE HAMBURG BALLET. In 1989 the school, together with the company, moved into its own Ballettzentrum (ballet center) provided by the city of Hamburg. Its facilities include nine studios and a boarding school for over thirty students.
    [Show full text]
  • Barbora Kohoutková
    BARBORA KOHOUTKOVÁ Barbora Kohoutková started ballet training at a very early age. She was chosen at the age of 4 by a pre-ballet school of the National Theater in Prague and got accepted to the Prague Dance Conservatory when she was 10 years old. Barbora started her professional career at the age of 17 in Helsinki as a Principal Dancer with the Finnish National Ballet (1996-2002). Before becoming a guest principal dancer she worked with the Bavarian State Ballet – Munich (2002-2003), Boston Ballet (2003-2004) and Hamburg Ballet-John Neumeier (2004-2008). In her career she has danced the most important roles of almost the entire classical repertoire in its original form and in productions by Ben Stevenson, Natalia Makarova, Rudolf Nureyev, Vladimir Bourmeister, Sylvie Guillem, Wayne Eagling, Toer van Schayk, Bruce Marks, Frederick Ashton, Mikhail Fokine… Besides the classical repertoire she also performed in choreographies by George Balanchine, Jiri Kylian, John Cranko, John Neumeier, Jorma Uotinen, Sir Kenneth MacMillan, Heinz Spoerli, Mark Morris… As a guest artist she has been performing in Essen, Helsinki, Milano, Moscow, Munich, Prague, Rome, St. Petersburg, Tokyo (World Ballet Festival 2002 and 2004), … Sadly, due to injuries, she had to cut short her beautiful career at the early age of 28. After having undergone multiple surgeries and stoically enduring much physical suffering, Barbora had to retire from the stage and began a rewarding career as a Ballet Master and teacher, occasionally still performing as a guest Principal. During the season 2009- 2010 she worked as Ballet Master at the National Theater in Prague.
    [Show full text]
  • Biography - Alexander Sinan Binder
    Biography - Alexander Sinan Binder Designated 1. Kapellmeister at Luzerner Theater German-Turkish conductor Alexander Sinan Binder studied orchestral conducting at Robert Schumann Hochschule Düsseldorf with Prof. Rüdiger Bohn and piano with Prof. Paolo Giacometti. Additionally he continued his Master of Music at Zürcher Hochschule der Künste with Prof. Johannes Schlaefli as part of the Swiss European Mobility Programme. Besides that he was chosen for the fellowship of Dirigentenforum des Deutschen Musikrates and currently is part of the fellowhsip programme Akademie Musiktheater heute of Deutsche Bank Stiftung. Alexander Sinan Binder enriched his artistic skills throughout the years in Masterclasses and Workshops with e.g. Maestro David Zinman, Maestro Bernard Haitink (passive), Maestro John Carewe, Maestro Yuri Simonov, Maestro Peter Eötvös, Maestro Colin Metters, Maestro Peter Gülke as well as his latest invitation to the Conducting Seminar with Maestro Stefan Asbury at Tanglewood Music Center. Engagements as assistant conductor led Alexander e.g. to Deutsche Oper am Rhein «Das Zauberwort», Warsaw Autumn Festival: European Workshop for Contemporary Music, «Mathis der Maler» as assistant of GMD Hermann Bäumer at Staatstheater Mainz, «Hänsel und Gretel» at Jeunesses Musicales Germany as assistant of GMD Patrick Lange, to Musiktheater im Revier Gelsenkirchen as assistant of GMD Rasmus Baumann, to Junge Deutsche Philharmonie as assistant of Ingo Metzmacher for the «Sax & Crime Tour 2018» and furthermore he assisted James Gaffigan with the
    [Show full text]
  • Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro Zone)
    edition ENGLISH n° 284 • the international DANCE magazine TOM 650 CFP) Pina Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro zone) € 4,90 9 10 3 4 Editor-in-chief Alfio Agostini Contributors/writers the international dance magazine Erik Aschengreen Leonetta Bentivoglio ENGLISH Edition Donatella Bertozzi Valeria Crippa Clement Crisp Gerald Dowler Marinella Guatterini Elisa Guzzo Vaccarino Marc Haegeman Anna Kisselgoff Dieudonné Korolakina Kevin Ng Jean Pierre Pastori Martine Planells Olga Rozanova On the cover, Pina Bausch’s final Roger Salas work (2009) “Como el musguito en Sonia Schoonejans la piedra, ay, sí, sí, sí...” René Sirvin dancer Anna Wehsarg, Tanztheater Lilo Weber Wuppertal, Santiago de Chile, 2009. Photo © Ninni Romeo Editorial assistant Cristiano Merlo Translations Simonetta Allder Cristiano Merlo 6 News – from the dance world Editorial services, design, web Luca Ruzza 22 On the cover : Advertising Pina Forever [email protected] ph. (+33) 09.82.29.82.84 Bluebeard in the #Metoo era (+39) 011.19.58.20.38 Subscriptions 30 On stage, critics : [email protected] The Royal Ballet, London n° 284 - II. 2020 Les Ballets de Monte-Carlo Hamburg Ballet: “Duse” Hamburg Ballet, John Neumeier Het Nationale Ballet, Amsterdam English National Ballet Paul Taylor Dance Company São Paulo Dance Company La Scala Ballet, Milan Staatsballett Berlin Stanislavsky Ballet, Moscow Cannes Jeune Ballet Het Nationale Ballet: “Frida” BALLET 2000 New Adventures/Matthew Bourne B.P. 1283 – 06005 Nice cedex 01 – F tél. (+33) 09.82.29.82.84 Teac Damse/Keegan Dolan Éditions Ballet 2000 Sarl – France 47 Prix de Lausanne ISSN 2493-3880 (English Edition) Commission Paritaire P.A.P.
    [Show full text]
  • Download Booklet
    CHAN 3042 BOOK 29/01/2016 14:55 Page 2 Pyotr Ilyich Tchaikovsky (1840–1893) Eugene Onegin KG A Opera in three acts Text by the composer and Konstantin Shilovsky after Alexander Pushkin’s verse novel Eugene Onegin English translation by David Lloyd-Jones Eugene Onegin....................................................Thomas Hampson baritone Tatyana......................................................................Kiri Te Kanawa soprano Lensky..........................................................................Neil Rosenshein tenor Prince Gremin....................................................................John Connell bass A Captain/Zaretsky....................................................Richard Van Allan bass Monsieur Triquet..............................................................Nicolai Gedda tenor Madame Larina..................................................Linda Finnie mezzo-soprano Filippyevna............................................Elizabeth Bainbridge mezzo-soprano Olga................................................................Patricia Bardon mezzo-soprano Pyotr Ilyich Tchaikovsky Orchestra and Chorus of Welsh National Opera Gareth Jones chorus master Sir Charles Mackerras 3 CHAN 3042 BOOK 29/01/2016 14:55 Page 4 COMPACT DISC ONE TimePage TimePage No. 5 Scene and Quartet Act I 8 ‘Mesdames, I hope that you’ll excuse me’ 1:4897 1 Introduction 2:3992 Lensky, Onegin, Madame Larina 9 ‘Now tell me, which of them’s Tatyana?’ 1:4297 Scene 1 Onegin, Lensky, Tatyana, Olga No. 1 Duet and Quartet 2 ‘Oh, did you hear the lovesick shepherd boy’ 5:0892 No. 6 Scene and Arioso Tatyana, Olga, Madame Larina, Nurse 10 ‘How perfect, how wonderful’ 2:14 098 No. 2 Chorus and Dance of the Peasants Lensky, Olga, Onegin, Tatyana 3 ‘My legs ache and can no longer run’ 2:3994 11 ‘How I love you, I adore you, Olga’ 3:16 099 Leader (John Hudson), Peasants, Madame Larina Lensky, Olga 4 ‘In a cottage by the water’ 2:0594 No. 7 Closing Scene Peasants 12 ‘Ah, here you are!’ 2:40100 No.
    [Show full text]