Artistic Director

Total Page:16

File Type:pdf, Size:1020Kb

Artistic Director Artistic Director Jean Grand-MaÎtre Dear Dance Lovers, Leonard Bernstein once said that “the more brutal the world becomes, the more beautiful the art must be, for beauty and truth are the mainspring of all significant art.” At Alberta Ballet, inspiring you to believe in all things wondrous is our mission. Our 53rd season’s programming has warmly embraced this vision as we eagerly invite the exotic, the spectacular and the magical to inhabit our stage. Join us as we feature the best dancers and the most astounding productions from around the planet to rock your world. It will be a season of mystical fairy tales (Nutcracker, Peter Pan and Swan Lake), legendary myths (Frankenstein), high adrenaline and power (Diavolo, Alberta Ballet Unleashed) and breathtaking exoticism (Taj Express). Come and flirt with adventure, unlock your mind and dare to feel all you can feel for true beauty never dies. Witness the living arts and challenge everything. SEATING MAP 19/20 SUBSCRIPTION PACKAGE PRICING Southern Alberta Jubilee Auditorium & Northern Alberta Jubilee Auditorium SUPER PACKAGE PREMIER PREMIER A ZONE B ZONE C ZONE D ZONE 6 Pack $706.80 $596.40 $481.20 $404.40 $308.40 $212.40 5 Pack $589.00 $497.00 $401.00 $337.00 $257.00 $177.00 4 Pack $471.20 $397.60 $320.80 $269.60 $205.60 $141.60 19/20 SUBSCRIPTION PACKAGE PERFORMANCE DATES PACKAGE TAJ EXPRESS FRANKENSTEIN DIAVOLO ALBERTA BALLET PETER PAN SWAN LAKE UNLEASHED Sept 25, 2019 Oct 23, 2019 N/A Feb 12, 2020 March 18, 2020 May 6, 2020 Wednesday 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM Sept 26, 2019 Oct 24, 2019 Jan 16, 2020 Feb 13, 2020 March 19, 2020 May 7, 2020 Thursday 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM Sept 27, 2019 Oct 25, 2019 Jan 17, 2020 Feb 14, 2020 March 20, 2020 May 8, 2020 Friday 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM CALGARY Saturday Sept 28, 2019 Oct 26, 2019 Jan 18, 2020 Feb 15, 2020 March 21, 2020 May 9, 2020 Matinée 2:00 PM 2:00 PM 2:00 PM 2:00 PM 2:00 PM 2:00 PM Saturday Sept 28, 2019 Oct 26, 2019 Jan 18, 2020 Feb 15, 2020 March 21, 2020 May 9, 2020 Evening 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM Oct 4, 2019 Nov 1, 2019 Tues. Jan 21, 2020 Feb 21, 2020 March 27, 2020 May 15, 2020 Friday 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM Oct 5, 2019 Nov 2, 2019 Wed. Jan 22, 2020 Feb 22, 2020 March 28, 2020 May 16, 2020 Saturday 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM 7:30 PM EDMONTON Don’t forget The Nutcracker: Subscribers always get a discount! THE NUTCRACKER SUPER PREMIER PREMIER A ZONE B ZONE C ZONE D ZONE Regular Price $149.00 $126.00 $102.00 $86.00 $66.00 $46.00 Subscriber Price $117.80 $99.40 $80.20 $67.40 $51.40 $35.40 Savings Of $31.20 $26.60 $21.80 $18.60 $14.60 $10.60 2019 NUTCRACKER PERFORMANCE DATES SUN MON TUES WEDS THUR FRI SAT Dec 5, 2019 Dec 6, 2019 Dec 7, 2019 7:00 PM 7:00 PM 1:00 & 6:00 PM Dec 8, 2019 1:00 & 6:00 PM EDMONTON Dec 13, 2019 Dec 14, 2019 7:00 PM 1:00 & 6:00 PM Dec 15, 2019 Dec 20, 2019 Dec 21, 2019 1:00 & 6:00 PM 7:00 PM 1:00 & 6:00 PM CALGARY Dec 22, 2019 Dec 23, 2019 Dec 24, 2019 1:00 PM 1:00 PM 1:00 PM VISIT WWW.ALBERTABALLET.COM/MYACCOUNT TO RENEW YOUR SUBSCRIPTION TODAY! SEATING MAP Southern Alberta Jubilee Auditorium & Northern Alberta Jubilee Auditorium Matinée Evening (Main Floor) Super Premier A Premier B A STAGE C B D C WC D WC Main Floor Main Floor Terrace Left Terrace Right Main Floor Centre 1st Balcony 1st Balcony Terrace Left Terrace Right 1st Balcony Centre 1st Balcony 1st Balcony Left Centre Right Centre nd 2 nd Balcony 2 Left Balcony Centre Right Centre 2nd Balcony Centre Please note: Programming, schedules, pricing, and seating are subject to change. Please refer to the subscription form or visit albertaballet.com for more information. SUBSCRIBERS ENJOY EXCLUSIVE BENEFITS THROUGHOUT THE SEASON! • Same seats for every show • 20% savings (versus regular priced tickets) • First access and locked-in pricing for all additional performances • Reduced ticket fees • No mailing fees • Free ticket exchanges within the same production • Alberta Ballet AccountManager – where you can renew your subscription, exchange performances and forward your tickets online • Dedicated Box Office team to serve you • Ability to return your tickets as a donation (and get a tax receipt) • Souvenir Ticket Stock • Free ticket replacements • Convenient payment plan • Subscriber gift • Subscriber newsletter • Invitations to special events …and more great offers throughout the season! PLUS, YOU GET FIRST ACCESS TO THESE ADD‑ON SHOWS: • The Nutcracker • Alberta Ballet School Year-End Performance Alberta Ballet dancers Reilley McKinlay & Kelley McKinlay Photographer: Paul McGrath Cover: Alberta Ballet dancer Mariko Kondo Photographer: Paul McGrath Styling: Kara Chomistek and Jessie Li Wardrobe courtesy of Echo Bridal Alberta Ballet CANADA 7 Alberta Ballet Welcomes SEPTEMBER GUEST CALGARY SEP 25-28 EDMONTON OCT 4-5 DIRECTOR: SHRUTI MERCHANT DIRECTOR OF CHOREOGRAPHY: VAIBHAVI MERCHANT DIRECT FROM MUMBAI BOLLYWOOD BRILLIANCE Taj Express explodes with the sounds of India and Bollywood, capturing the vibrant, expressive spirit of the world of Bollywood movies that have been entertaining billions of people in India for generations. The production is a high energy celebration of new India’s pop music, Bollywood culture, and deep traditions featuring colorful costumes, joyful dance, and thrilling live music. Taj Express is an energetic on-stage explosion of the very best that contemporary Bollywood has to offer. “ -STYLE BIRMINGHAM ” Alberta Ballet CANADA 9 ALBERTA BALLET IN CALGARY OCT 23-26 EDMONTON OCT 31-NOV 2 CHOREOGRAPHER: JEAN GRAND-MAÎTRE & Woman Created Monster “On a small table at the centre, a monster slouched, waits to be born.” ~ Mary Shelley A work of breathless horror, featuring the “most threatened the social values. Frankenstein also warns beautiful and moving” of all monsters, 18-year-old its readers of the importance of ethics in science and Mary Shelley’s astonishing literary masterpiece, of the responsibility we have towards each other’s Frankenstein, is celebrating its 200th birthday. well-being,” said Jean. Considered the first science-fiction novel ever written, “We were deeply inspired when we started fantasizing Shelley’s disturbing tale of man’s usurpation of science about how Shelley’s narrative would associate with and woman’s procreative power may have birthed the our present time. It became a much more interesting first genuine myth since the ancient Greeks. odyssey for us as designers to explore this aesthetic. We had a feeling it could be more powerful and “Did I request thee, maker, from my clay to mold would resonate more deeply with the audience.” me man? Why am I here and who am I?” asks the Monster, whose demented birthing leads us to make As for the dancing, Jean promises powerful the chilling realization that we may indeed exist in a performances featuring a mix of both contemporary world without God. and classical ballet styles – a combination Alberta Ballet dancers, as well as fans and followers of the A highly-anticipated world premiere, showcasing Company, have come to expect. six leading-edge designers, Jean Grand-Maître’s Frankenstein will feature a massive multi-media set “The monster’s movements will need to be hideously design, sophisticated state-of-the-art projections, and discombobulated, so that’s going to be interesting a powerful, haunting soundtrack. to choreograph. It’s going to be very athletic and dramatic,” he said. “For those who want to see a Jean and his illustrious team of designers will scary ballet for Halloween and experience a beautiful transpose Shelley’s terrifying “fairytale for adults” to production with exquisite designs, they’re going North America in 2019. For Jean, Shelley’s prophetic narrative seems even more achievable in our modern world than it would have two “Frankenstein also warns its readers of the centuries ago. importance of ethics in science and of the “The designers and I believe that by responsibility we have towards each other’s transposing this terrifying story to our present time we will have a more indelible effect on well-being” ~ Jean Grand-Maître our patrons. It will somehow connect stronger because of how the audience is going to relate to the to enjoy it. But if you’re someone who appreciates technology, the advance of artificial intelligence, stem Frankenstein on a more intellectual and literary level, cell research and cloning,” Jean said. “It also reinforces there’s going to be a lot of meat on the plate for the brilliance of this masterpiece. She was quite people who think of horror stories as more than just ahead of her time. In every way this book captured entertainment.” something that was of its time but was also eternal. Jean warns that this may not be a production suitable “Looking at the period when this was written, there for the whole family or even the faint of heart. His was all of this fear in society.
Recommended publications
  • Cesare Pugni: Esmeralda and Le Violon Du Diable
    Cesare Pugni: Esmeralda and Le Violon du diable Cesare Pugni: Esmeralda and Le Violon du diable Edited and Introduced by Robert Ignatius Letellier Cesare Pugni: Esmeralda and Le Violon du diable, Edited by Edited and Introducted by Robert Ignatius Letellier This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Edited and Introducted by Robert Ignatius Letellier and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3608-7, ISBN (13): 978-1-4438-3608-1 Cesare Pugni in London (c. 1845) TABLE OF CONTENTS Introduction ............................................................................................................................... ix Esmeralda Italian Version La corte del miracoli (Introduzione) .......................................................................................... 2 Allegro giusto............................................................................................................................. 5 Sposalizio di Esmeralda ............................................................................................................. 6 Allegro giusto............................................................................................................................
    [Show full text]
  • Scaramouche and the Commedia Dell'arte
    Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche.
    [Show full text]
  • Spring Performances Celebrate Class of 2018
    Fall 2018 Spring Performances Celebrate Class of 2018 The Morris and Elfriede Stonzek Spring Performances, presented last May, served as a fitting celebration of the 2018 graduating class and a wonderful way to kick off Memorial Day weekend. In keeping with tradition, the performances opened with a presentation of the fifteen seniors who would receive their diplomas the following week—HARID’s largest-ever graduating class. Alex Srb photo © Srb photo Alex The program opened with The Fairy Doll Pas de Trois, staged by Svetlana Osiyeva and Meelis Pakri. Catherine Alex Srb © Alex Doherty sparkled as the fairy doll, in an exquisite pink tutu, while David Rathbun and Jaysan Stinnett (cast as the two A scene from the Black Swan Pas de Deux, Swan Lake, Act III pierrots competing for her attention) accomplished the challenging technical elements of the ballet while endearingly portraying their comedic characters. The next work on the program was the premiere of It Goes Without Saying, choreographed for HARID by resident choreographer Mark Godden. Set to music by Nico Muhly and rehearsed by Alexey Kulpin, this work stretched the artistic scope of the dancers by requiring them to speak on stage and move in unison to music that is not always melodically driven. The ballet featured a haunting pas de Alex Srb photo © Srb photo Alex deux, performed maturely by Anna Gonzalez and Alexis Alex Srb © Alex Valdes, and a spirited, playful duet for dancers Tiffany Chatfield and Chloe Crenshaw. The Fairy Doll Pas de Trois The second half of the program featured Excerpts from Swan Lake, Acts I and III.
    [Show full text]
  • Swan Lake Audience Guide
    February 16 - 25, 2018 Benedum Center for the Performing Arts, Pittsburgh Choreography: Marius Petipa and Lev Ivanov ​ ​ Staging: Terrence S. Orr Music: Peter Ilyich Tchaikovsky Swan Lake Sponsors: The Benter Foundation, The Pittsburgh Foundation, Eden Hall Foundation, ​ Anonymous Donor February 16 - 25, 2018 Benedum Center for the Performing Arts | Pittsburgh, PA PBT gratefully acknowledges the following organizations for their commitment to our education programming: Allegheny Regional Asset District Henry C. Frick Educational Fund of The Buhl Anne L. and George H. Clapp Charitable Foundation Trust BNY Mellon Foundation Highmark Foundation Claude Worthington Benedum Foundation Peoples Natural Gas Eat ‘n Park Hospitality Group Pennsylvania Council on the Arts Edith L. Trees Charitable Trust Pennsylvania Department of Community ESB Bank and Economic Development Giant Eagle Foundation PNC Bank Grow up Great The Grable Foundation PPG Industries, Inc. Hefren-Tillotson, Inc. Richard King Mellon Foundation James M. The Heinz Endowments and Lucy K. Schoonmaker Cover Photo: Duane Rieder Artist: Amanda Cochrane 1 3 The Setting and Characters 3 The Synopsis 5 About Swan Lake ​ 6 The Origins of the Swan Lake Story ​ ​ 6 Swan Lake Timeline ​ 7 The Music 8 The Choreography 9 The Dual Role of Odette + Odile 9 Acts 1 & 3 10 Spotlight on the Black Swan Pas de Deux 10 The Grand Pas Explained 11 What’s a fouette? 11 Acts 2 & 4 12 Dance of the Little Swans 13 The White Act 13 Costumes and Scenic Design 13 Costumes By the Numbers 14 The Tutus 14 A Few Costume Tidbits! 15 Did You Know? Before She was the Black Swan 16 Programs at the Theater 17 Accessibility 2 The Setting The ballet takes place in and near the European castle of Prince Siegfried, long ago.
    [Show full text]
  • New National Theatre, Tokyo 2019/2020 Season
    PRESS RELEASE (FEB 2019) NEW NATIONAL THEATRE, TOKYO NEW NATIONAL THEATRE, TOKYO 2019/2020 SEASON BALLET & DANCE THE NATIONAL BALLET OF JAPAN New National Theatre, Tokyo (NNTT) announced the 2019/2020 Ballet & Dance Season, the final season under the Artistic Director, Noriko OHARA, which features 38 performances of 6 ballet works including 5 full-length narrative ballet, and 11 performances of 3 dance pieces. The Final Season for Noriko OHARA as Artistic Director of Ballet and Dance at the New National Theatre, Tokyo Noriko OHARA became the Ballet Mistress of the company in 1999, Assistant Director in 2010 before assumed office as the Artistic Director in September 2014. During these 20 years ever since the company was founded, she has nurtured and led the dancers for The National Ballet of Japan to become the leading company in Japan. This season's line-up sums up this company's best works thus far. The season will open in October with Kenneth MACMILLAN's "Romeo and Juliet", an exemplar of the dramatic ballet tradition. This will be followed by "Manon" in February and March. Both works will showcase the company's expressive richness and depth. Christmas season will feature Wayne EAGLING's "The Nutcracker and the Mouse King". Technically a very demanding piece, this dreamy fairy tale has real visual appeal which audiences of all ages will enjoy. Then, our "New Year Ballet" will feature what has been called "music for the eyes" in the form of George BALANCHINE's "Serenade", as well as pas de deux from "Raymonda" and "Le Corsaire".
    [Show full text]
  • Prix De Lausanne 2017 Finale - List of Potential Candidates
    Prix de Lausanne 2017 Finale - List of potential candidates N° Name / Age Nationality / Language 102 Hunter Lauren / 15.4 United States / E Schools: Peninsula School of Performing Arts, USA Classical Variation Le Corsaire, Odalisques pas-de-trois, 2nd variation - Adolph Adam - Joseph Mazilier Contemporary Variation Bach Suite II - Johan Sebastian Bach - John Neumeier 104 Fujimoto Yuika / 15.7 Japan / J Schools: Koike Ballet Studio, Japan Classical Variation La Bayadère, 1st soloist variation - Léon Minkus - Marius Petipa Contemporary Variation A Cinderella Story - Sergej Prokofjew - John Neumeier 107 Seymour Jessi / 15.11 Australia / E Schools: Alegria School of Ballet, Australia Classical Variation Don Quixote, Cupid from the dream - Léon Minkus - Marius Petipa Contemporary Variation Requiem - Gregorian Choir - John Neumeier 111 Lee Sunmin / 16.4 South Korea / K Schools: Seoul Arts High School, South Korea; KNB Ballet Academy, South Korea Classical Variation Sleeping Beauty, Lilac Fairy variation from Prologue - Piotr Tchaïkovsky - Marius Petipa Contemporary Variation Nocturnes - Frédéric Chopin - John Neumeier 114 Henrique Rafaela / 16.8 Brazil / P Schools: Especial Academia de Ballet, Brazil; Danzaria Estudio de Danza, Brazil Classical Variation Le Corsaire, Odalisques pas-de-trois, 2nd variation - Adolph Adam - Joseph Mazilier Contemporary Variation Préludes CV - Lera Auerbach - John Neumeier 120 Ionescu Diana Georgia / 16.11 Romania / E Schools: Tanz Akademie Zü•rich, Switzerland Classical Variation Paquita, First girl's variation
    [Show full text]
  • World Premiere of New Work By
    MET BOX OFFICE OPENS SUNDAY, MARCH 24 – Page 2 WORLD PREMIERE OF NEW WORK BY ALEXEI RATMANSKY AND COMPANY PREMIERES OF DEUCE COUPE BY TWYLA THARP AND JANE EYRE BY CATHY MARSTON TO HIGHLIGHT AMERICAN BALLET THEATRE’S 2019 SPRING SEASON, MAY 13–JULY 6, 2019, AT METROPOLITAN OPERA HOUSE ROBERTO BOLLE TO GIVE FAREWELL PERFORMANCE WITH ABT ON JUNE 20 BROOKLYN MACK TO APPEAR AS GUEST ARTIST BOX OFFICE OPENS SUNDAY, MARCH 24 AT NOON American Ballet Theatre’s 2019 Spring season at the Metropolitan Opera House, May 13–July 6, will feature a World Premiere work by ABT Artist in Residence Alexei Ratmansky in programs dedicated entirely to his works in honor of the choreographer’s 10th year with the Company. The eight-week season will also include the Company Premieres of Deuce Coupe by Twyla Tharp and the full-length Jane Eyre by Cathy Marston. Tickets for ABT’s 2019 Spring season at the Metropolitan Opera House go on sale at the box office on Sunday, March 24 at 12 Noon. Principal Dancers for the 2019 Metropolitan Opera House season are Stella Abrera, Roberto Bolle, Isabella Boylston, Misty Copeland, Herman Cornejo, David Hallberg, Sarah Lane, Hee Seo, Christine Shevchenko, Daniil Simkin, Cory Stearns, Devon Teuscher and James Whiteside. Brooklyn Mack will appear as a Guest Artist during the Spring season. 2019 Spring Gala Performance and World Premiere American Ballet Theatre’s 2019 Spring Gala on Monday evening, May 20 will pay tribute to the 10th Anniversary year of Alexei Ratmansky as ABT Artist in Residence. Ratmansky, who was named ABT’s first Artist in Residence in 2009, has created 15 (more) MET BOX OFFICE OPENS SUNDAY, MARCH 24 – Page 2 works for the Company.
    [Show full text]
  • Alexander Glazunov
    FROM: AMERICAN BALLET THEATRE 890 Broadway New York, New York 10003 (212) 477-3030 Kelly Ryan ALEXANDER GLAZUNOV When Tchaikovsky died in 1893, Marius Petipa began to search for composers for his ballets. One of those to whom he turned was Alexander Glazunov, who was not yet thirty, but who had been one of the most gifted protégés of Rimsky-Korsakov and who already enjoyed a considerable international reputation. The results of their collaborations were three ballets: the three-act Raymonda in 1898, Glazunov’s first work for the theater, and Les Ruses d’amour and The Seasons, composed in 1898 and 1898, respectively, and produced in 1890, after which Glazunov composed nothing else for the theater. Glazunov was born in 1865 in St. Petersburg into a cultivated family. His talent was evident early, and he began to study the piano at age nine and to compose at age 11. In 1879, he met the composer Mily Balakirev who recommended studies with Nikolai Rimsky-Korsakov, with whom his formal lessons advanced rapidly. At age 16, Glazunov completed his First Symphony, which received its premiere in 1882 led by Balakirev, followed by a performance of his First String Quartet. His talent gained the attention of the arts patron and amateur musician Mitrofan Belyayev, who championed Glazunov’s music, along with that of Rimsky-Korsakov, Anatoly Lyadov, among others, and took Glazunov on a tour of western Europe, during which he met Franz Liszt in Weimar. In 1889, Glazunov led a performance of his Second Symphony in Paris at the World Exhibition.
    [Show full text]
  • RICCARDO DRIGO: PAGES of BALLET CUPELMASTER’S BIOGRAPHY Panova E
    124 Вестник Академии Русского балета им. А. Я. Вагановой. №3 (62), 2019 УДК 78.072 РИККАРДО ДРИГО: СТРАНИЦЫ БИОГРАФИИ БАЛЕТНОГО КАПЕЛЬМЕЙСТЕРА Панова Е. В., Томашевский И. В. 1, 2 1 Российский государственный педагогический университет им. А. И. Герцена, ул. Малая Посадская, д. 26, Санкт-Петербург, 198097, Россия. 2 Михайловский театр оперы и балета, пл. Искусств, 1, Санкт-Петербург, 191011, Россия. Статья посвящена биографии капельмейстера Императорского театра в Санкт-Петербурге Риккардо Дриго. Рассматриваются обсто- ятельства создания им оригинальной музыки балетных спектаклей и редакций произведений других авторов. Дается характеристика много- аспектной деятельности итальянского маэстро в российском музыкаль- ном театре рубежа XIX−XX веков. На основе архивных материалов и публикаций периодических изданий воссоздаются и вводятся в обиход отечественного искусствознания ранее неизвестные факты его жизни. Ключевые слова: Риккардо Дриго, Мариус Петипа, музы- кальный театр в России рубежа XIX−XX веков, балетные дирижеры Императорских театров. RICCARDO DRIGO: PAGES OF BALLET CUPELMASTER’S BIOGRAPHY Panova E. V., Tomashevskii I. V. 1, 2 1 The Herzen State Pedagogical University of Russia, 26, Malaya Posadskaya St., Saint Petersburg, 198097, Russian Federation. 2 The Mikhailovsky Theatre, 1, Ploshchad Iskusstv (Arts Square), Saint Petersburg 191011, Russian Federation. The article is devoted to the biography of the Saint-Petersburg Imperial theatre conductor and composer Riccardo Drigo. The author is considering the conditions of creating him original ballet music and making the new versions of works by other composers. The important intention of the article is to characterize the multidimensional activity of Italian maestro in the Russian musical theatre at the turn of the 19th and 20th centuries. There are also a number of facts of his life that were never explored by Russian art history before.
    [Show full text]
  • Vera Krasovskaya
    Vera Krasovskaya A DANCE JOURNEY FROM PETERSBURG TO LENINGRAD Translated from the Russian by Vera Siegel UNIVERSITY PRESS OF FLORIDA Gainesville· Tallahassee· Tampa· Boca Raton Pensacola . Orlando . Miami . Jacksonville . Ft. Myers 1 A Remembrance qfVcIganova I I I am very glad that today the name Vaganova is attached to more and more schools. When I came to America fifteen years ago I heard only the name Cecchetti. Now more people know Vaganova, and she is taking the place in the world where she belongs. Introduction: Agrippina T7czganova and Her Times LYNN GARAFOLA Agrippina Vaganova lived her life in the shadow of his- tory. Great events shaped her world-from the Russian Revolution in I9I7 to the great purges of the I930S. As a newcomer to St. Petersburg's Imperial Ballet, she danced for the venerable Marius Petipa and over the years appeared in a score of his ballets, becoming a living treasury of what critics by I9IO were calling the "old ballet." She found her true calling only after the revolution, when she began to teach at the former Im- perial Ballet School. Here she formed the first gener- ation of Soviet ballerinas and successfully wed the prerevolutionary technique to postrevolutionary artis- xiv xv Introduction Agrippina vaganova and Her Times tic needs. She witnessed the outpouring of creative energy that followed the following season she danced one of the fairies in The Sleeping Beauty, the revolution and the gradual containment of that energy before political at­ next year another, and then in 1904-5 she added several roles to her reper­ tacks that climaxed in the purges of the 1930S, when she headed the former tory-the pas de trois in Paquita, Clemence in Ra},lnonda, and the lead in Imperial company, soon to be renamed the Kirov Ballet.
    [Show full text]
  • Swan Lake: Similarities & Differences
    SWAN LAKE: SIMILARITIES & DIFFERENCES The original sources of the story of Swan Lake have long been disputed. The general outline for the plot of the ballet is thought to have been taken from a tale by the German author Johann Karl August Musäus, ‘Der geraubte Schleier’ (The Stolen Veil). The Russian folktale “The White Duck” also bears some resemblance to the story of the ballet and may have been another possible source however, there is no clear consensus. Another theory is that the original choreographer, a bohemian Czechoslovakian called Julius Reisinger, created the story. Some suggest it was Vladimir Petrovich Begichev, director of the Moscow Imperial Theatre, who was responsible for the creation of the story of Swan Lake. It was Begichev who commissioned Tchaikovsky to write the score, for the sum of 800 rubles in May 1875. Based on a basic outline of the requirement of reach section of the dance, provided to him by Reisinger, Tchaikovsky completed the work within a year. The Moscow world premiere was performed at the Bolshoi Theatre in March 1877. It is however, Marius Petipa and Lev Ivanov’s successful revival of Swan Lake at the Marinsky Theatre in St Petersburg in 1895 – which included a revision of Tchaikovsky’s score by Riccardo Drigo - that is often thought of as the most notable and best-known of the early performances of this classic ballet. There have been countless reinterpretations and redesigns, including many performances of Swan Lake featuring alternative endings, ranging from tragic to romantic and whilst every production has made some departure from the original, whether it overt or discreet, the 1895 edition is still seen as ‘the’ traditional Swan Lake, and is the version upon which most stagings have been based.
    [Show full text]
  • The Metropolitan Opera House at Lincoln Center Abt.Org
    Kevin McKenzie, Artistic Director American Ballet Theatre Metropolitan Opera House Lincoln Center Plaza New York, NY 10023 May 13—July 6 Box office opens March 24 Prices start at $25 For tickets visit abt.org or The Metropolitan Opera House Box Office Lincoln Center Plaza T 212.362.6000 MAY 13 — All photos by Patrick Fraser JULY 6 THE METROPOLITAN OPERA HOUSE AT LINCOLN CENTER 2019 ABT.ORG “NOBODY IN RECENT DECADES HAS DONE MORE 10 TO MAKE (AND TRANSFORM) DANCE HISTORY.” —The New York Times American Ballet Theatre’s Spring 2019 season YEARS offers a celebration of Alexei Ratmansky’s unprecedented ten-year tenure as ABT Artist in Residence with performances of Harlequinade, Songs of Bukovina, On the Dnieper, Whipped Cream, The Sleeping Beauty and a new World Premiere. Ratmansky’s diverse repertoire of work has been lauded as “exemplifying classical style” (Alastair Macaulay, The New York Times) and “abounding in invention” (Apollinaire Scherr, The Financial Times). TMA Stella Abrera, Herman Cornejo, Cassandra Trenary, James Whiteside, Sarah Lane, Christine Shevchenko, Catherine Hurlin and Thomas Forster OF RATMANSKY R MAY 13 — WHIPPED CREAM MAY 24—29 Choreography by Alexei Ratmansky Music by Richard Strauss HARLEQUINADE THARP TRIO MAY 13—18 MAY 30—JUNE 3 Choreography by Marius Petipa RATMANSKY TRIO Choreography by Twyla Tharp Music by Riccardo Drigo MAY 21—23 Music by Johannes Brahms, Staging and Additional Choreography Franz Joseph Haydn, The Beach Boys by Alexei Ratmansky Choreography by Alexei Ratmansky and Philip Glass Music by Leonid
    [Show full text]