DOCSLIB.ORG

Hamburg Ballet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

2007 Spring Season Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer presents Death in Ven ice A Dance of Death by John Neumeier A free adaptation of the novella by Thomas Mann The Hamburg Ballet Approximate BAM I h:1iVey Ineater IfdWpyIl6,1,."a-, P/~~ f/:f" running time: Feb 7-10,2007 at 7:30pm two hours and 30 minutes, Music by Johann Sebastian Bach and Richard Wagner one intermission Choreography and staging by John Neumeier Scenic design by Peter Schmidt Costume design by John Neumeier and Peter Schmidt Lighting concept by John Neumeier Concert piano Elizabeth Cooper BAM 2007 Spring Season is sponsored by Bloomberg. Forest City Ratner Companies is the presenting sponsor for Death in Venice. BAM Dance receives major support from The Harkness Foundation for Dance and Mertz Gilmore Foundation, with additional support from Mary L. Griggs & Mary Griggs Burke Foundation, and Capezio-Bal/et Makers Dance Foundation. Hamburg Ballet Ballettintendant (Artistic Director) John Neumeier Managing Director Ulrike Schmidt Principal Dancers Silvia Azzoni , Helene Bouchet, Joime Boulogne, Laura Cazzaniga , Heather Jurgensen, Barbora Kohoutkova , Anna Polikarpova Thiago Bordin, Otto Bubenieek, Carsten Jung, Alexander Riabko , Lloyd Riggins, Ivan Urban Soloists Carolina Aguero, Kusha Alexi, Georgina Broadhurst, Catherine Dumont, Niurka Moredo Peter Dingle, Dario Franconi, Amilcar Moret Gonzalez, Arsen Megrabian, Stefano Palmigiano, Yohan Stegli, Sebastien Thill Corps de Ballet Anja Behrend, Odette Borchert, Florencia Chinellato, Skye Harrison, Stella Kanatouri, Irina Krouglikova, Anna Laudere, Carolina Mancuso, Stephanie Minier, Yuka Oishi, Anna Rabsztyn , Lucia Solari , Patricia Tichy, Lisa Todd , Miljana Vracaric , Chelsea Winter, Mariana Zanotto, Dina Zaripova Joseph Aitken, Anton Alexandrov, Silvano Ballone, Antonin Comestaz, Christopher Orkan Dann, Emil Faskhoutdinov, Vladimir Hayryan, Yaroslav Ivanenko, Yosuke Kusano, Percevale Perks, Edvin Revazov, Konstantin Tselikov, Kiran West Apprentices Marissa Jimenez, Anna-Lena Wieg, Matias laconianni Students of The School of The Hamburg Ballet Ben Shitrit, Alexandr Trusch Ballet Masters Eduardo Bertini, Leslie McBeth, Radik Zaripov Choreologist Sonja Tinnes Production Manager Eduardo Bertini Production Coordinator Vladimir Kocic Musical Coordinator Richard Hoynes Pianist Ondrej Rudcenko Stage Manager Ulrich Ruckdeschel Tour Manager Katharina Benthaak Assistant to the Ballettintendant Birgit Pfitzner Press and Public Relations Friedrich Carl Technical Manager Mathias Kranzusch Stage Werner Maul, Jorn Fischer, Reinhard Kaestner Property Jurgen Tessmann Lighting Ralf Merkel Electricians Andreas Rudloff, Bernd Hanschke, Alexander Janew, Karl-Heinz Wohlgemuth Sound Jorg Behrens, Jochen Schefe Wardrobe Mistress Heike Bulk Wardrobe Susann Hawel, Diana Rakers , Hanna Scheffler, Christel Weiland Make-up and Hair Edith Moritz, Horst-Walter Ross , Ilona Doring Physiotherapist Monika Brandt Death in Venice-Casting February 7, 8 & 10, 2007 Gustav von Aschenbach, the great Choreographer Lloyd Riggins His Assistant, his Mother, Tadzio's Mother Laura Cazzaniga His "Frederick the Great" Ivan Urban His "La Barbarina" Helene Bouchet His Concepts Silvia Azzoni , Alexandre Riabko His Sketches Sebastien Thill , Anja Behrend , Odette Borchert, Georgina Broadhurst, Stella Kanatouri , Carolina Mancuso, Stephanie MinIer, Yuka Oishi , Lucia Solari , Lisa Todd , Mariana Zanotto , Joseph Aitken , Silva no Ballone, Christopher Orkan Dann , Emil Faskhoutdinov, Yaroslav Ivanenko, Stefano Palmigiano, Yohan Stegli A younger Aschenbach Konstantin Tselikov A Photographer Vladimir Kocie The Wanderer, The Gondolier, A Dancing Couple, Dionysos, The Hairdresser, The Guitarist Otto Bubenfeek, Amilcar Moret Gonzalez Tadzio Edvin Revazov His three sisters Stella Kanatouri , Carolina Mancuso, Lisa Todd Jaschu, Tadzio's friend Thiago Bordin Guests at the Hotel des Bains Niurka Moredo, Carsten Jung, Anja Behrend , Catherine Dumont, Irina Krouglikova , Anna Laudere , Anna Rabsztyn , Patricia Tichy, Miljana Vracarie , Dina Zaripova , Silva no Ballone, Antonin Comestaz , Peter Dingle, Emil Faskhoutdinov, Dario Franconi , Yaroslav Ivanenko, Stefano Palmigiano, Sebastien Thill Boys on the beach Joseph Aitken , Anton Alexandrov , Silvano Ballone, Yohan Stegli , Alexandr Trusch , Konstantin Tselikov, Kiran West Bacchanal Anja Behrend , Catherine Dumont, Anna Laudere , Anna Rabsztyn , Patricia Tichy , Joseph Aitken , Peter Dingle, Emil Faskhoutdinov, Stefano Palmigiano, Sebastien Thill Those that ca rry the Dead Christopher Orkan Dann, Matias laconianni , Vladimir Kocie, Yosuke Kusano Death in Venice-Casting February 9, 2007 Gustav von Aschenbach, the great Choreographer Lloyd Riggins His Ass istant, his Mother, Tadzio's Mother Heather Jurgensen His "Frederick the Great" Ivan Urban His "La Barbarina" Kusha Alexi His Concepts Helene Bouchet, Emil Faskhoutdinov His Sketches Sebastien Thill , Anja Behrend , Odette Borchert, Georgina Broadhurst, Stella Kanatouri , Carolina Mancuso, Stephanie Minier, Yuka Oishi , Lucia Solari , Lisa. Todd , Mariana Zanotto , Joseph Aitken , Silvano Ballone, Antonin Comestaz, Christopher Orkan Dann , Yaroslav Ivanenko, Yohan Stegli , Kiran West A younger Aschenbach Anton Alexandrov A Photographer Vladimir Kocic The Wa nderer, The Gondolier, A Dancing Couple, Dionysos, The Hairdresser, The Guita rist Carsten Jung, Stefano Palmigiano Tadzio Edvin Revazov His three sisters Stella Kanatouri , Carolina Mancuso, Lisa Todd Jaschu, Tadzio's friend Thiago Bordin Guests at the Hotel des Bains Niurka Moredo, Dario Franconi , Anja Behrend , Catherine Dumont, Irina Krouglikova , Anna Laudere , Anna Rabsztyn , Patricia Tichy, Miljana Vracaric , Dina Zaripova , Silva no Ballone, Antonin Comestaz , Christopher Orkan Dann , Peter Dingle, Vladimir Hayryan , Yaroslave Ivanenko, Percevale Perks , Sebastien Thill Boys on the beach Joseph Aitken , Anton Alexandrov, Silvano Ballone, Yohan Stegli , Alexandr Trusch , Konstantin Tselikov , Kiran West Bacchanal Anja Behrend , Catherine Dumont, Anna Laudere , Anna Rabsztyn , Patricia Tichy , Joseph Aitken , Antonin Comestaz , Peter Dingle, Yaroslav Ivanenko, Sebastien Thill Those that carry the Dead Matias laconianni , Vladimir Kocic , Yosuke Kusano , Ben Shitrit Death in Venice-Synopsis PART I I Fame and Creation His name and fame firmly established, the great choreographer Gustav von Aschenbach begins work on a new ballet based on the Pruss ian King Frederick the Great. Aschenbach is the acclaimed master of formal symmetry and structure-his ballets are modern classics. But now, the artist's fear of not finishing, of failure, clouds his vision . Panic impedes creation. The "Frederick Project" should be his masterpiece, but his concept becomes more and more obscure and confused . Unconscious memories of his poetic, impulsive dead mother distract him from his work. The court ba llerina "La Barbarina" and Frederick the Great-characters of his creative imagination-appear, seeming to demand choreographic form and immortality. A crisis ... II On the Brink of Exhaustion Frustrated and exhausted Aschenbach abandons his work. An encounter with a mysterious stranger arouses his thirst for travel. III A Sensation of Swimming-The Journey to Venice The desire to get away overcomes him. He travels to Venice. A strangely familiar gondolier brings Aschenbach across the Lagoon to the Lido. IV The Silent Encounter-Hotel des Bains In the lobby, the elegant Venetian society promenades. Their glances of recognition and obvious awareness of his celebrity intensify Aschenbach 's discomfort. Two effeminate young men dance outrageously with each other, then flirt with Aschenbach. Irritated he begins to leave. Tadzio, a strikingly beautiful young man, enters barefoot. The youth engages Aschenbach 's attention, fires his imagination. He stays ... PART II V In Elysium-On the Lido The beach. Aschenbach observes the playful activities of Tadzio and his companions. The sun seems to turn his attention from intellectual to sensory perception . Tadzio's smile overwhelms Aschenbach . Inspired by Tadzio's presence, he choreographs a pas de deux of true emotional love. VI A Dionysian Dream Aschenbach falls asleep on the beach . An orgiastic dream overtakes him: bodies, tumu lt, and frenzied erotic dance. He gives himself over to the Other God . Unnerved and shattered, Aschenbach awakens. VII Metamorphosis With a hairdressing gown draped over him , Aschenbach leans back in the chair: "We are only so old as we feel in our hearts and minds. A man in your position has a right to his natural hair color," says the barber. VIII Dance of Death-Cholera in Venice A street musician gives a vulgar pe rformance in the hotel ga rden . The player is brutal and bold , dangerous and relentless . Hotel guests fall ill-and die. IX The Pure Sound of the Piano: Decision and Farewell Nevertheless, Gustav von Aschenbach decides to stay. He lets go of his art, his artistry, and destroys his creations. His "Frederick the Great" will remain unfinished ... X Liebestod Aschenbach turns from art to life-and death in Venice . 27 Death in Venice-Music I Fame and Creation Johann Sebastian Bach Das Musikalische Opfer (1747) BWV 1079 Thema Regium (flute) Ricercar a 3 Richard Wagner Elegie (1859/1882) Johann Sebastian Bach Das Musikalische Opfer (1747) BWV 1079 Canon perpetuus super Thema Regium Canon a 2 cancrizans Canon a 2 violini
Recommended publications
  • Benjamin Britten and Luchino Visconti: Iterations of Thomas Mann's Death in Venice James M

    Benjamin Britten and Luchino Visconti: Iterations of Thomas Mann's Death in Venice James M

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Benjamin Britten and Luchino Visconti: Iterations of Thomas Mann's Death in Venice James M. Larner Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES BENJAMIN BRITTEN AND LUCHINO VISCONTI: ITERATIONS OF THOMAS MANN’S DEATH IN VENICE By JAMES M. LARNER A Dissertation submitted to the Interdisciplinary Program in the Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2006 The members of the Committee approve the Dissertation of James M. Larner defended on 17 April 2006. Caroline Picart Professor Directing Dissertation Jane Piper Clendinning Outside Committee Member William Cloonan Committee Member Raymond Fleming Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is lovingly dedicated to my wife Janet and my daughter Katie. Their patience, support, and love have been the one constant throughout the years of this project. Both of them have made many sacrifices in order for me to continue my education and this dedication does not begin to acknowledge or repay the debt I owe them. I only hope they know how much I appreciate all they have done and how much I love them. iii ACKNOWLEDGEMENTS I wish to thank the four members of my dissertation committee for their role in the completion of this document. The guidance of Kay Picart as director of the committee was crucial to the success of this project.
  • Wayne Mcgregor | Random Dance

    Wayne Mcgregor | Random Dance

    WAYNE MCGREGOR | RANDOM DANCE FEBRUARY 13, 2014 OZ SUPPORTS THE CREATION, DEVELOPMENT AND PRESENTATION OF SIGNIFICANT CONTEMPORARY PERFORMING AND VISUAL ART WORKS BY LEADING ARTISTS WHOSE CONTRIBUTION INFLUENCES THE ADVANCEMENT OF THEIR FIELD. ADVISORY BOARD Amy Atkinson Karen Elson Jill Robinson Anne Brown Karen Hayes Patterson Sims Libby Callaway Gavin Ivester Mike Smith Chase Cole Keith Meacham Ronnie Steine Jen Cole Ellen Meyer Joseph Sulkowski Stephanie Conner Dave Pittman Stacy Widelitz Gavin Duke Paul Polycarpou Betsy Wills Kristy Edmunds Anne Pope Mel Ziegler A MESSAGE FROM OZ Welcome and thank you for joining us for our first presentation as a new destination for contemporary performing and visual arts in Nashville. By being in the audience, you are not only supporting the visiting artists who have brought their work to Nashville for this rare occasion, you are also supporting the growth of contemporary art in this region. We thank you for your continued support. We are exceptionally lucky and very proud to have with us this evening, one of the worlds’ most inspiring choreographic minds, Wayne McGregor. An artist who emphasizes collaboration and a wide range of perspectives in his creative process, McGregor brings his own brilliant intellect and painterly vision to life in each of his works. In FAR, we witness the mind and body as interconnected forces; distorted and sensual within the same frame. As ten stunning dancers hyperextend and crouch, rapidly moving through light and shadow to a mesmerizing score, the relationship between imagination and movement becomes each viewer’s own interpretation. An acronym for Flesh in the Age of Reason, McGregor’s FAR investigates self-understanding and exemplifies the theme from Roy Porter’s novel by the same name, “that we outlive our mortal existence most enduringly in the ideas we leave behind.” Strap in.
  • Bolshoi Theater

    Bolshoi Theater

    FOR IMMEDIATE RELEASE Contact: Dick Caples Tel: 212.221.7909 E-mail: [email protected] Lar Lubovitch awarded the 20th annual prize for best choreography by the Prix Benois de la Danse at the Bolshoi Theater. He is the first head of an American dance company ever to be so honored. New York, NY, May 23, 2012 – Last night at the Bolshoi Theater in Moscow, Lar Lubovitch was awarded the 20th annual prize for best choreography by the Prix Benois de la Danse. Lubovitch is the first head of an American dance company ever presented with the award. He was honored for his creation of Crisis Variations, which premiered at the Baryshnikov Arts Center in New York City on November 9, 2011. The work, for seven dancers, is set to a commissioned score by composer Yevgeniy Sharlat, and the score was performed live at its premiere by the ensemble Le Train Bleu, under the direction of conductor Ransom Wilson. To celebrate the occasion, the Lar Lubovitch Dance Company performed the duet from Meadow for the audience of 2,500 at the Bolshoi. The dancers in the duet were Katarzyna Skarpetowska and Brian McGinnis. The laureates for best choreography over the previous 19 years include: John Neumeier, Jiri Kylian, Roland Petit, Angelin Preljocaj, Nacho Duato, Alexei Ratmansky, Boris Eifman, Wayne McGregor, Sidi Larbi Cherkaoui, and Jorma Elo. Other star performers and important international figures from the world of dance received prizes at this year’s award ceremony. In addition to the award for choreography given to Lubovitch, the winners in other categories were: For the best performance by a ballerina: Alina Cojocaru for the role of Julie in “Liliom” at the Hamburg Ballet.
  • La Couleur Du Temps – the Colour of Time Salzburg Whitsun Festival 29 May – 1 June 2020

    La Couleur Du Temps – the Colour of Time Salzburg Whitsun Festival 29 May – 1 June 2020

    SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli La couleur du temps – The Colour of Time Pauline Viardot-Garcia (1821 – 1910) Photo: Uli Weber - Decca Salzburg Whitsun Festival 29 May – 1 June 2020 (SF, 30 December 2019) The life of Pauline Viardot-Garcia – singer, musical ambassador of Europe, outstanding pianist and composer – is the focus of the 2020 programme of the Salzburg Whitsun Festival. “The uncanny instinct Cecilia Bartoli has for the themes of our times is proven once again by her programme for the 2020 Salzburg Whitsun Festival, which focuses on Pauline Viardot. Orlando Figes has just written a bestseller about this woman. Using Viardot as an example, he describes the importance of art within the idea of Europe,” says Festival President Helga Rabl-Stadler. 1 SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli Pauline Viardot not only made a name for herself as a singer, composer and pianist, but her happy marriage with the French theatre manager, author and art critic Louis Viardot furthered her career and enabled her to act as a great patron of the arts. Thus, she made unique efforts to save the autograph of Mozart’s Don Giovanni for posterity. Don Giovanni was among the manuscripts Constanze Mozart had sold to Johann Anton André in Offenbach in 1799. After his death in 1842, his daughter inherited the autograph and offered it to libraries in Vienna, Berlin and London – without success. In 1855 her cousin, the pianist Ernst Pauer, took out an advertisement in the London-based journal Musical World. Thereupon, Pauline Viardot-García bought the manuscript for 180 pounds.
  • DEATH in VENICE by THOMAS MANN Viviane Ramos De Freitas

    DEATH in VENICE by THOMAS MANN Viviane Ramos De Freitas

    THE PLACE OF DESIRE IN THE CIVILIZATION: DEATH IN VENICE BY THOMAS MANN Viviane Ramos de Freitas Orientador: Prof. Dr. Gregory Dart ABSTRACT This work establishes a dialogic exchange between Thomas Mann’s novella Death in Venice and Freud’s text “Civilization and its discontents”. The work examines the ways in which the Freudian developments on the opposition between the individual’s instincts and civilization underlie the protagonist’s conflicts in Death in Venice. Mann wrote Death in Venice between 1911 and 1912, more than a decade before “Civilization and its discontents” was published. Yet Mann’s hero, the 53-year-old artist Gustav von Aschenbach, seem to embody the modern civilized man divided by the neurotic conflict described by Freud. Moreover, this text explores the ways in which Eros is bound up with Death in Mann’s novella, in which homoerotic desire appears tied to disease, degradation, and death. By focusing on the Freudian theories on Eros and the death drive, as well as on the Nietzschean opposition between the Dionysian and Apollonian artistic worlds, the text aims to examine the imbrications between desire and art, desire and death, desire and civilization in Death in Venice. Keywords: Art. Civilization. Death drive. Eros. Homoerotic desire. RESUMO Este trabalho estabelece um dialogo entre a novela Morte em Veneza, de Thomas Mann e o texto “O mal-estar na civilização”, de Sigmund Freud. O trabalho examina de que formas as elaborações freudianas a respeito da oposição entre as pulsões do indivíduo e a civilização está refletida nos conflitos do protagonista de Morte em Veneza.
  • Glen Tetley: Contributions to the Development of Modern

    Glen Tetley: Contributions to the Development of Modern

    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. GLEN TETLEY: CONTRIBUTIONS TO THE DEVELOPMENT OF MODERN DANCE IN EUROPE 1962-1983 by Alyson R. Brokenshire submitted to the Faculty of the College of Arts and Sciences Of American University In Partial Fulfillment of The Requirements for the Degree Of Masters of Arts In Dance Dr.
  • The Paris Opera Ballet and the 2019 Pensions Dispute

    The Paris Opera Ballet and the 2019 Pensions Dispute

    Notes from the Field: Work | Strike | Dance Notes from the Field Work | Strike | Dance: The Paris Opera Ballet and the 2019 Pensions Dispute By Martin Young Fig. 1: Paris Opera dancers perform in front of the Palais Garnier against the French government’s plan to overhaul the country’s retirement system, in Paris, on December 24, 2019. (Photo by Ludovic Marin/AFP via Getty Images). The day before Christmas Eve 2019, 27 of the Paris Opera’s ballet dancers, alongside a large contingent of the orchestra, staged a 15 minute excerpt of Swan Lake on the front steps of the Palais Garnier. This performance was part of a wave of strike action by French workers against major proposed pension reforms which had, since the start of December, already seen the closure of schools, rail networks, and attractions like the Eiffel Tower, and drawn hundreds of thousands of people into taking part in protests in the streets. As reports of the labour dispute, which would become the longest running strike in France’s history, spread around the world, footage of the Swan Lake performance gained a disproportionate prominence, circulating virally as one of the 131 Platform, Vol. 14, No. 1 & 2, Theatres of Labour, Autumn 2020 key emblematic images of the action. That ballet dancers might become the avatars of struggling workers, and that workers’ struggle might become the perspective through which to view a ballet performance, is an unexpected situation to say the least. As Lester Tomé writes, ballet is ‘a high-art tradition commonly characterized as elitist and escapist, seemingly antipodal to Marxist principles’ (6).
  • Prix De Lausanne 2017 Finale - List of Potential Candidates

    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
  • Dance Program and Ephemera Collection, 1909-1987

    Dance Program and Ephemera Collection, 1909-1987

    http://oac.cdlib.org/findaid/ark:/13030/kt1b69p38p No online items Guide to the Dance Program and Ephemera Collection, 1909-1987 Processed by Processed by Linda Akatsu, Emma Kheradyar, William Landis, and Maria Lechuga, 1997-2001. Guide completed by Adrian Turner, 2002. © 2003 The Regents of the University of California. All rights reserved. Guide to the Dance Program and MS-P026 1 Ephemera Collection, 1909-1987 Guide to the Dance Program and Ephemera Collection, 1909-1987 Collection number: MS-P26 Special Collections and Archives The UCI Libraries University of California Irvine, California Processed by: Processed by Linda Akatsu, Emma Kheradyar, William Landis, and Maria Lechuga, 1997-2001. Guide completed by Adrian Turner, 2002. Date Completed: 2002 Encoded by: Andre Ambrus © 2003 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Dance program and ephemera collection, Date (inclusive): 1909-1987 Collection number: MS-P026 Extent: 10.3 linear feet (25 boxes and 5 oversize folders) Repository: University of California, Irvine. Library. Special Collections and Archives. Irvine, California 92623-9557 Abstract: This collection comprises printed materials, primarily dance programs, documenting significant international dancers, dance companies, festivals, performances, and events. The bulk of this collection comprises materials on 20th century American and European ballet performers and companies, such as the American Ballet Theatre, Ballet Russes and related companies. The collection also contains dance programs documenting world and folk genres, and international dance styles, primarily Indian, Japanese, and Spanish. A small group of printed ephemera documents various dance festivals, dance companies, and individuals such as Isadora Duncan, George Balanchine, Mary Wigman, and others.
  • Ballet Notes the Seagull March 21 – 25, 2012

    Ballet Notes the Seagull March 21 – 25, 2012

    Ballet Notes The SeagUll March 21 – 25, 2012 Aleksandar Antonijevic and Sonia Rodriguez as Trigorin and Nina. Photo by Cylla von Tiedemann. Orchestra Violins Trumpets Benjamin Bowman Richard Sandals, Principal Concertmaster Mark Dharmaratnam Lynn KUo, Robert WeymoUth Assistant Concertmaster Trombones DominiqUe Laplante, David Archer, Principal Principal Second Violin Robert FergUson James Aylesworth David Pell, Bass Trombone Jennie Baccante Csaba Ko czó Tuba Sheldon Grabke Sasha Johnson, Principal Xiao Grabke • Nancy Kershaw Harp Sonia Klimasko-LeheniUk LUcie Parent, Principal Celia Franca, C.C., FoUnder Yakov Lerner Timpany George Crum, MUsic Director EmeritUs Jayne Maddison Michael Perry, Principal Ron Mah Karen Kain, C.C. Kevin Garland Aya Miyagawa Percussion Mark MazUr, Acting Artistic Director ExecUtive Director Wendy Rogers Filip Tomov Principal David Briskin Rex Harrington, O.C. Joanna Zabrowarna Kristofer Maddigan MUsic Director and Artist-in-Residence PaUl ZevenhUizen Orchestra Personnel Principal CondUctor Violas Manager and Music Magdalena Popa Lindsay Fischer Angela RUdden, Principal Administrator Principal Artistic Coach Artistic Director, • Theresa RUdolph Koczó, Jean Verch YOU dance / Ballet Master Assistant Principal Assistant Orchestra Valerie KUinka Peter Ottmann Mandy-Jayne Personnel Manager Johann Lotter Raymond Tizzard Senior Ballet Master Richardson Beverley Spotton Senior Ballet Mistress • Larry Toman Librarian LUcie Parent Aleksandar Antonijevic, GUillaUme Côté, Cellos Greta Hodgkinson, Jiˇrí Jelinek, Zdenek Konvalina*,
  • John Neumeier

    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.
  • Prix De Lausanne 2020 Jury Members and Interlude International Ballet Competition – Auditorium Stravinski

    Prix De Lausanne 2020 Jury Members and Interlude International Ballet Competition – Auditorium Stravinski

    Press release Prix de Lausanne 2020 Jury members and Interlude International ballet competition – Auditorium Stravinski Lausanne, December 2nd, 2019: the 48th Prix de Lausanne jury panel will be presided by Frédéric Olivieri, Director of the Scala in Milan and Prize Winner of the Prix de Lausanne 1977. Among the artistic collaborators, Nicolas Le Riche, Etoile of the Paris Opera Ballet and actual Director of the Royal Swedish Ballet, will be the coach for the male candidates’ variations. During the Interlude, the performance will be the 3rd edition of the Partner School Choreographic Project, choreographed by Mauro Bigonzetti, with 26 of the world’s best students reunited in Montreux for a unique creation, as well as a performance by dancers from the Royal Ballet School of London. The registration for the 2nd edition of the Summer Intensive – European Preselection open this week. The 2020 jury presided by Frédéric Olivieri The nine jury members of the Prix de Lausanne 2020 are: Frédéric Olivieri (President), Yorgos Loukos (Vice-President), Zenaida Yanowsky, Nadia Deferm, Jaimie Persson, Zhongjing Fang, Bernice Coppieters, Philippe Cohen and Sebastian Vinet. « I am very honoured to have Frédéric Olivieri as the 2020 Prix de Lausanne jury President! As a 1977 Prize Winner and as the Director of the prestigious ballet company and school ‘La Scala de Milan’, he has the expertise and experience that it takes to be an inspirational leader.» (Kathryn Bradney, Artistic and Executive Director of the Prix de Lausanne) An Etoile joins the Prix de Lausanne artistic collaborators Nicolas Le Riche, Etoile of the Paris Opera Ballet and actual Director of the Royal Swedish Ballet, will be the coach of the male candidates’ variations.