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2.Documentals, Pel.Lícules, Concerts, Ballet, Teatre
2.DOCUMENTALS, PEL.LÍCULES, CONCERTS, BALLET, TEATRE..... L’aparició del format DVD ha empès a que molts teatres, televisions, productores, etc hagin decidit reeeditar programes que havien contribuït a popularitzar i divulgar diferents aspectes culturals. També permet elaborar documents que en altres formats son prohibitius, per això avui en dia, hi ha molt a on triar. En aquest arxiu trobareu: -- Documentals a) dedicats a Wagner o la seva obra b) dedicats a altres músics, obres, cantants, directors, ... -- Grabacions de concerts i recitals a) D’ obres wagnerianes b) D’ altres obres i compositors -- Pel.lícules que ens acosten al món de la música -- Ballet clàssic -- Teatre clàssic Associació Wagneriana. Apartat postal 1159 Barcelona Http://www. associaciowagneriana.com. [email protected] DOCUMENTALS A) DEDICATS A WAGNER O LA SEVA OBRA 1. “The Golden Ring” DVD: DECCA Film de la BBC que mostre com es va grabar en disc La Tetralogia en 1965, dirigida per Georg Solti. El DVD es centre en la grabació del Götterdämmerung. Molt recomenable 2. Sing Faster. The Stagehands’Ring Cycle. DVD: Docurama Filmat per John Else presenta com es va preparar el montatge de la Tetralogia a San Francisco. Interesant ja que mostra la feina que cal realitzar en diferents àmbits per organitzar un Anell, però malhauradament la producció escenogrficament és bastant dolenta. 3. “Parsifal” DVD: Kultur. Del director Tony Palmer, el que va firmar la biografia deplorable del compositor Wagner, aquest documental ens apropa i allunya del Parsifal de Wagner. Ens apropa en les explicacions de Domingo i ens allunya amb les bestieses de Gutman. Prescindible. B) DEDICATS A ALTRES MÚSICS, OBRES, CANTANTS, DIRECTORS, .. -
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. -
ドン・ジョヴァンニ Don Giovanni Opera C010 2001 初演
ドン・ジョヴァンニ Don Giovanni Opera C010 2001 初演 衣裳デザイン： Costume Design : Zaira de VINCENTIIS ザイーラ・デ・ヴィンチェンティース 衣裳デザイナー。演劇作品に携わり、1980 年代から『魔笛』 Costume Designer, previously worked in Drama, became active in Opera 『エルナーニ』などイタリア中心にオペラで活躍。 starting in the 1980s, worked on the “The Magic Flute” and “Ernani” in 90 年代はミュージカル分野でも活躍。 Italy. She has also worked with musicals. 作曲： Ｗ.Ａ. モーツァルト Music : Wolfgang Amadeus MOZART 演出： ロベルト・デ・シモーネ Stage Director : Robert de SIMONE 衣裳製作：テアターサービス社 (ウイーン） Costumes : Theaterservice, Inc.(Vienna) ドン・ジョヴァンニ DON GIOVANNI アイテム Items -1. プルポアン ジャケット Pourpoint (Doublet) 厚手フェルト・綿ローン・顔料ペイントよごし Thick Felt・A Cotton Loan Fabric・Pigments for stains -２．七分丈ズボン Short Trousers ジャケットと同素材 Same Materials as Above -３．ケープ Cape ジャケットと同素材 Same Materials as Above ベニヤ板・塗装 ・ *小道具 - ゴンドラ Props - Gondola (一般小道具) Plywood Paints (ゴンドラ製作： タフゴング Tuffgong) マノン Manon Opera 2001 初演 C010 Production・Scenery・Costume Design: 演出・装置・衣裳デザイン： ジャン=ピエール・ポネル Jean-Pierre PONNELLE 演出家、舞台美術家。メトロポリタン歌劇場をはじめ世界中の Director and Stage Designer. He produced many beautiful productions 著名歌劇場で活躍。オペラ、バレエ界で美しい作品を残した。 of Opera and Ballet. He worked at many world famous theatres such as the New York Metropolitan Opera. 作曲：ジュール＝エミル＝フレデリク・マスネ Music : Jules-Emile-Frédéric MASSENET 衣裳製作：ウイーン国立歌劇場衣裳工房 Costumes : Wiener Staatsoper Costumes ネットウィッグ製作：アトリエヒノデ Net Wigs: Atelier HINODE マノン ＭＡＮＯＮ アイテム Items -1．18 世紀風ドレス 18th Century Style Dress モワレ サテン Moirè Satin -2．ストマッカー装飾 Stomacher- Decoration 手作りオーガンザ バラつぼみ・スパンコール Handmade Organza Rose Buds・Sequins -3. アンガジャット 袖先飾 engageantes ポリエステルレース・手作りバラ飾り Polyester Lace・Handmade rose ornaments -4. ネットヘッド Net Head ポリエチレン ナイロン Polyethylene Nylon *小道具 - 椅子 Props- Chair (一般小道具) 木・ベルベット Wood・Velvet 魔笛 Die Zauberflöte Opera 1998 初演 C009 美術・衣裳デザイン： Scenery・Costume Design: ヘニング・フォン・ギールケ Henning Von GIERKE 独学で絵画を学び、画家や舞台美術家として世界的に活躍し、 Stage Designer, who lives in Munich. -
Il Teatro Mariinskij a Ravenna Trilogia D'autunno
Trilogia d’autunno Il Teatro Mariinskij a Ravenna TRILOGIA D’AUTUNNO Teatro Alighieri 2-8 ottobre 2014 La xxv edizione di Ravenna Festival si chiude con una nuova “Trilogia d’autunno” che ha come protagonisti il Balletto – e l’Orchestra Giovanile – del Teatro Mariinskij di San Pietroburgo, senza dubbio tra le più celebrate compagini di danza classica nel mondo, la cui eccellenza non è mai stata messa in discussione negli oltre 150 anni della sua storia. È infatti in quella che è stata definita la “Venezia del Nord”, che si conserva uno dei tesori più preziosi della Russia: il balletto. A San Pietroburgo, la meravigliosa città fondata da Pietro il Grande sulla foce della Neva, è nata infatti la leggendaria compagnia di balletto che, da qui, Balletto del Teatro Mariinskij continua a proporre al mondo il meglio della danza classica, come se la bellezza architettonica e l’aria aristocratica della più europea delle grandi città russe si riflettessero nello stile del di San Pietroburgo Mariinskij, tutto armonia di forme e linee. A new “Autumn Trilogy” closes the xxv edition of Ravenna Festival with the Mariinsky Ballet and Youth Orchestra, Orchestra Giovanile del Teatro Mariinskij from St. Petersburg, the undisputed stars of international classical ballet, whose excellence has never been questioned in over 150 years of history. direttore Boris Gruzin It is in Petersburg, the “Venice of the North”, that ballet, a most precious Russian treasure, has been preserved: this wonderful city, founded by Peter the Great at the mouth of the Neva, gave birth to the legendary company that continues to offer the world the best of classical ballet, as if the architectural beauty and aristocratic air of the most European of Russia’s large cities were reflected in the harmonious style and shapes of the Mariinsky 2, 3, 7 ottobre ore 20.30 theatre. -
Kirov Academy of Washington D.C
V.1.01 W A S H I N G T O N, D. C. KIROV ACADEMY OF WASHINGTON D.C. “Creating a World of Beauty through Heavenly Art” 2 3 [ Our Vision ] CONTENTS The Kirov Academy is dedicated to artistic and academic excellence and to the investment of a moral education in our 2 Table of Contents students. Founded on universal principles of love, respect, 3 Our Vision and service, The Kirov Academy believes in the importance of the arts and culture in creating a world of beauty and 4 Founders effectuating positive change. 5 Advisory Board 6 History of Kirov Academy 8 Ballet Curriculum Our mission is to inspire students to excel by drawing on the exceptional traditions of the past, and by applying their own 12 Music Curriculum unique talents to become the best they can be. 16 Academy Curriculum 18 Student Life 20 Summer Program 22 Admissions 23 Scholarships 24 Awards 26 Alumni 4 5 [ Founders ] CREATING A WORLD OF BEAUTY THROUGH HEAVENLY ART Sergei Dorensky Sergei Dorensky is known as one of the most outstanding pianists and teachers of the former Soviet Union. Sergei Dorensky has been awarded numerous international prizes over the years and eventually went on to develop his career outside the Soviet Union. Sergei Dorensky was also named “People’s Artist of Russia” in 1989 and received the Order for Merit to the Fatherland in 2008. The vision of the Founders of the Academy, the late Rev. Dr. Sun Myung Moon and Dr. Hak Ja Gary Graffman Han Moon, can be understood in the calligraphy. -
Why I Despair of the Kirov 96
Daily Telegraph 1996 Why I despair of the Kirov Photo Roberto Frankenberg Russia’s greatest ballerina Altynai Asylmuratova tells Ismene Brown about the chaos that denies her the roles she deserves “I don’t think that Russians dance better than other nationalities any more” IT IS a dowdy Marseilles hotel room with a grey Formica table on which are a bottle of ketchup, a half-eaten apple, some pots of Playdoh - and a thick bouquet of crimson roses, incongruously glamorous in this cheap setting. So is the woman sitting at the table with me. She is extraordinary, with a dark, delicate face, sapphire and diamond earrings that look very real, and a worldwide reputation in her sphere that few have equalled. She is the Kirov’s greatest ballerina, the equal of Sylvie Guillem in the world’s eyes - and yet she earns £200 a month and has to plead for work at her own theatre. Her country has gone mad for money, she thinks - no one knows what ballet means to them any more. Meeting Altynai Asylmuratova was a shock. I was not expecting that an artist whose performances are among the richest pleasures that life has to offer should be a tired, drained woman losing hope for the future of the once-great Kirov Ballet. Even as she is about to dance in the company’s Christmas Nutcracker season, which opens at the London Coliseum tonight, Asylmuratova expressed the utmost contempt for her artistic director Oleg Vinogradov. New of bizarre events has been emerging from St Petersburg this year. -
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. -
Jacquline Rafferty Bio Copy 2
Jacqueline Faith Rafferty: Artistic Director Jacqueline Rafferty started her ballet training at the age 7 at Magda Aunon School of Classical Ballet in Fort Lauderdale, Florida. Ms. Aunon is a nationally famed ballet instructor and has students in several national ballet companies including Boston Ballet’s principal dancer Kathleen Breen-Combes whom Jacqueline trained with from the age of 8. At 11 years old Miss. Rafferty was accepted into the preparatory program at University of North Carolina School of the Arts under the directorship of Dayna Fox. Jacqueline trained there for two years before entering the full dormitory program at UNCSA at 13. After attending the Kirov Academy of Ballet summer program on scholarship the following year Miss. Rafferty was invited to stay for the full academic year on artistic scholarship. Jacqueline completed her sophomore and junior years of high school at the Kirov Academy of Ballet, Washington D.C. under the directorship of Oleg Vinogradov who was also the Artistic Director of the famed Kirov Ballet, Russia. Miss. Rafferty returned to the University of North Carolina School of the Arts to graduate in 2000. That year she performed leading roles in ballets such as Paquita under Nina Danilova and Balanchine's The Four Temperaments under direction of Melissa Hayden, Prima Ballerina for New York City Ballet under George Balanchine. After graduation Miss. Rafferty joined the Alabama Ballet and danced many leading roles in ballets including Dracula, Romeo and Juliet, The Nutcracker, Giselle, and Swan Lake. In 2001 Jacqueline competed at the national level final of the Youth America Grand Prix. -
Valerie Lawson Looks at the Many Dance Versions of This Irrepressible Tale
Kelvin Coe and Lucette Aldous in Frederick Ashton’s Cinderella, 1972 Photography Gregory Weight CINDERELLA GOES TO THE BALLET Valerie Lawson looks at the many dance versions of this irrepressible tale. © Valerie Lawson Robert Helpmann and Frederick Ashton in Frederick Ashton’s Cinderella, 1972 Photography Paul Cox She’s been a Hollywood star, a medieval princess, between a fairytale fantasy and Prokofiev’s magnificent wife. The Prokofievs’ separation took place three a padded and masked doll and a feisty feminist who but often sombre composition. months before Hitler’s army invaded the Soviet Union, prefers a valet to a prince. She’s gone to the ball in and thoughts of a fairytale ballet were put aside as a hot air balloon and a white Harley Davidson, though Tchaikovsky was once tempted to write a Cinderella Prokoviev worked on the kind of music, that would, her usual mode of transport is a pumpkin coach. Her score, but nothing came of it. Perhaps if he had, the as he put it, “resonate at the front”. story is told to the music of Mozart, Johann Strauss, ballet may then and there have joined The Sleeping Rossini, Glazunov and von Weber, but more often Beauty, Swan Lake and The Nutcracker as one of the Prokoviev finished the score for Cinderella in 1944. The to that of Prokofiev. Covered in ashes, she sits by perennial classics. Instead, the Imperial Russian premiere the following year was not only a success, but the hearth, taunted by her stepsisters, before her version of Cinderella was not a success. -
The Ajkun Ballet Theatre Artists
THE AJKUN BALLET THEATRE ARTISTS DR. CHIARA AJKUN – Artistic Director One of the most well-known and trusted ballet professionals in the world, Dr. Chiara Ajkun is the artistic director of the Ajkun Ballet Theatre and oversees the professional company, the ballet school and the financial aid fund for dancers. Award-winning choreographer, teacher of classical ballet and dance medicine pioneer, Chiara works for dance companies and ballet schools in Australia, Europe, North America and South America. Thanks to her leadership, Ajkun Ballet Theatre has performed for millions of people in theaters, television and online platforms, provided thousands of dollars in dance education and has created a world network of dance companies promoting youth employment and empowerment. Chiara is a tireless advocate for diversity, multiculturalism and equality embodied by the many philanthropic programs she created. Her accomplishments as a global cultural leader have established Chiara Ajkun as one of the most respected and admired public figures today. Who is Chiara Ajkun? Chiara was born in Mantova, a historic city in the northern region of Lombardy (Italy), in the landmark “Palazzo Valentini” (1830) home to her family. She comes from a distinguished lineage of patrons of the arts, tracing back 1200 years, that proudly advanced women education. Her mother Daniela, dance professor and university's chancellor, and her late father Demetrio, an academic, raised her with an emphasis on education and the arts. Chiara also credits her grandparents Umberto and Rina for her love of classical music and opera which she calls “the soundtrack of my childhood”. Her sister Valentine is an author and professor at the University of Padua. -
KIM ASSISTANT PROFESSOR School of Dance, Ballet Program College of Fine Arts, University of Utah Office: 801 581-6323 E-Mail: [email protected]
1 JAY (JONG-HOON) KIM ASSISTANT PROFESSOR School of Dance, Ballet Program College of Fine Arts, University of Utah Office: 801 581-6323 E-mail: [email protected] EDUCATION 2011 Master of Fine Arts - University of Utah - Salt Lake City, Utah Ballet, Teaching, and Choreography 1997 Bachelor of Arts - Sejong University - Seoul, Korea Dance and Physical Science EDUCATION – Non-Academic 2016 AMERICAN BALLET THEATRE - New York, New York ABT® National Training Curriculum Certified Teacher in Pre-Primary through Level 3 2000-2001 KIROV ACADEMY OF BALLET - Washington D.C. Ballet, Men’s Technique, Repertoire, Partnering, Character Dance, Historical Court Dance 1994-1996 CHANG-MU DANCE CONSERVATORY - Seoul, South Korea Ballet, Contemporary Dance, Laban Technique 1990-1993 KWANG-JU ARTS HIGH SCHOOL - Kwang-Ju, South Korea Ballet, Contemporary, Modern, Korean Traditional Dance, Korean Music 1986-1990 DANCE ARTS INSTITUTE - Kwang-Ju, South Korea Ballet, Modern, Korean Traditional Dance 2 TEACHING POSITIONS 2009-present UNIVERSITY OF UTAH - School of Dance/Department of Ballet - Salt Lake City, Utah Assistant Professor 2012-present Associate Instructor 2011-2012 2009-2016 L2D - Kaysville, Utah Ballet Director of pre-professional Ballet Program comprised of 15 levels of classes Instructed Ballet Technique levels 1-8, Pointe, Repertoire, and Summer Ballet Intensives 2007-2008 ACADEMY OF NEVADA BALLET THEATRE - Las Vegas, Nevada Ballet Master for Academy of Nevada Ballet Theatre Youth Company Faculty for Academy taught Ballet Technique and Ballet Repertoire -
Catalogue 2018
CATALOGUE 2018 Cast The Arthaus Musik classical music catalogue features more than 400 productions from the beginning of the 1990s until today. Outstanding conductors, such as Claudio Abbado, Lorin Maazel, Giuseppe Sinopoli and Sir Georg Solti, as well as world-famous singers like Placido Domingo, Brigitte Fassbaender, Marylin Horne, Eva Marton, Luciano Pavarotti, Cheryl Studer and Dame Joan Sutherland put their stamp on this voluminous catalogue. The productions were recorded at the world’s most renowned opera houses, among them Wiener Staatsoper, San Francisco Opera House, Teatro alla Scala, the Salzburg Festival and the Glyndebourne Festival. Unitel and Arthaus Musik are proud to announce a new partnership according to which the prestigious Arthaus Musik catalogue will now be distributed by Unitel, hence also by Unitel’s distribution partner C Major Entertainment. World Sales: All rights reserved · credits not contractual · Different territories · Photos: © Arthaus · Flyer: luebbeke.com Tel. +49.30.30306464 [email protected] Unitel GmbH & Co. KG, Germany · Tel. +49.89.673469-630 · [email protected] www.unitel.de OPERA ................................................................................................................................. 3 OPERETTA ......................................................................................................................... 35 BALLET ............................................................................................................................... 36 CONCERT...........................................................................................................................