DOCSLIB.ORG

View Our Full Membership Brochure

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
View Our Full Membership Brochure ABOUT BALLET MIDWEST Founded in 1977, Topeka’s Ballet Midwest is comprised of 57 company dancers and 38 junior company dancers. The company presents a full- length classical ballet each spring. Over 100 local auxiliary dancers join the company to present a full-length Nutcracker Ballet in December, a holiday tradition for northeast Kansas residents. Ballet Midwest is committed to preserving the art of ballet, sharing a passion for dance and educating all generations through experiences such as a free full-length Nutcracker performance for area MIDWEST fourth-graders and other area organizations, school BalletArtistry & Passion in Motion tours, performances for businesses and community events, hosting master classes for students from Get Involved any area studio, and more. • Become a member. Every level of membership includes at least one complimentary season ticket. For over forty years, Ballet Midwest has provided Donations of $500 or more receive special perks first-class performance opportunities for area such as admission to our VIP room. All donations dancers and advanced training for the serious are welcome! • Volunteer. Join the fun! Help backstage or dance student that are typically not available in with special events, fundraising, and various similarly sized communities. Ballet Midwest is a administrative tasks. Join the Ballet Midwest 501(c)(3) non-profit incorporation run by a board of family! directors. We appreciate the amazing support of our • Keep up on the latest news. Follow us on community as we partner together to preserve the Facebook and Instagram. Share our events with art of classical and contemporary ballet. your family and friends! CONTACT US 4300 SW Huntoon • Topeka, KS 66604 • (785) 272-5991 [email protected] • balletmidwest.net Facebook @BalletMidwest • Instagram @balletmidwest Ballet Midwest Photography courtesy of Wichers Photography. 2019-20 Season 2019-20 Season Don Quixote Topeka Performing Arts Center Saturday, April 18 at 7:30pm My First Ballet The Nutcracker Sunday, April 19 at 1:30pm Ballet Midwest is excited to dance the premiere performance of Don Quixote in Northeast Kansas. This Spanish-themed ballet is fun for the whole family! Join the man of La Mancha as he encounters a cast of colorful characters while searching for adventure. Since it’s origin, Don Quixote has delighted audiences all over the world. Don’t miss this feel-good ballet that ends in a glorious celebration of love, chivalry and eternal friendship. Tickets available in february! adult $20 . Senior $16 • Child $12 • family pack $55 December 13-15, 2019 Don Quixote April 18, 2020 The Nutcracker Ballet My First Ballet Topeka Performing Arts Center Topeka Performing Arts Center Friday, December 13 at 7:30pm Saturday, December 14 at 1:30pm & 7:30pm Saturday, April 18 at 1:30pm Sunday, December 15 at 1:30pm Ballet Midwest celebrates our 5th anniversary of Join Clara at a Christmas Eve party where she our newest tradition! My First Ballet is a narrated, receives a toy Nutcracker that comes to life. one-hour performance featuring familiar Experience the magic as the Nutcracker battles a characters, perfect for children in preschool Mouse King, then takes Clara on an unforgettable and early elementary school. The performance journey through the snow to a Magical Kingdom includes an after-party with lots of free fun: face of Enchantment. You don’t want to miss this Topeka painting, cookies, games, photo opportunities, holiday tradition! meet the dancers, and more! Tickets available in October! Tickets available in february! adult $20 . Senior $16 • Child $12 • family pack $55 April 18-19, 2020 all ages $10 • ticket price includes all party activities.
Load more

Recommended publications
  • Don Quixote Press Release 2019
    January 2019 Carlos Acosta’s celebrated production of Don Quixote returns Friday 15 February – Thursday 4 April 2019 Live Cinema relay: Tuesday 19 February 2019 #ROHDonQ Federico Bonelli and Sarah Lamb in Don Quixote, ©ROH/Johan Persson, 2013 Carlos Acosta’s vibrant dance production of Miguel de Cervante’s classic tale Don Quixote returns to the Royal Opera House this Spring. Created specially for The Royal Ballet in 2013, this stunning production tells the story of the bumbling knight Don Quixote and his ever-faithful squire Sancho Panza, and their efforts to help the young lovers Kitri and Basilio. This revival features exciting debuts from Lauren Cuthbertson, Yasmine Naghdi and Mayara Magri as Kitri and Matthew Ball, Alexander Campbell and Marcelino Sambé as Basilio. Don Quixote For all Royal Opera House press releases visit www.roh.org.uk/for/press-and-media includes a number of spectacular solos and pas de deux as well as outlandish comedy and romance as the dashing Basilio steals the heart of the beautiful Kitri. Don Quixote will be live streamed to cinemas on Tuesday 19 February as part of the ROH Live Cinema Season. Carlos Acosta previously danced the role of Basilio in many productions of Don Quixote. He was invited by Kevin O’Hare Director of The Royal Ballet, to re-stage this much-loved classic in 2013. Acosta’s vibrant production evokes sunny Spain with designs by Tim Hatley who has also created productions for the National Theatre and for musicals including Dreamgirls, The Bodyguard and Shrek. Acosta’s choreography draws on Marius Petipa’s 1869 production of this classic ballet and is set to an exuberant score by Ludwig Minkus arranged and orchestrated by Martin Yates.
    [Show full text]
  • Full Production and Guest Artist Details Don Quixote
    Full Production and Guest Artist Details Don Quixote A THRILLING TALE OF HANDSOME BULLFIGHTERSAND UNBRIDLED PASSION Bursting with gravity-defying jetes, fearless lifts, and impressive fouette turns, Nina Ananiashvili’s exuberant Don Quixote features Spanish matadors and spirited ballerinas performing some of the most technically demanding choreography in classical ballet. The chivalrous noble, Don Quixote, sets off on an adventure with his loyal squire, Sancho Panza, while lovers Kitri and Basilio battle against all odds to unite in true love. Based on Cervantes' iconic Spanish novel, Don Quixote is a must-see ballet for all the family—a glorious dance spectacle packed with virtuoso dancing, stunning costumes, a fanciful storyline and a lively cast of characters. Choreography Marius Pepita, Alexander Gorsky Additional Choreography Nina Ananiashvili Music Ludwig Minkus Set & Costume Design Thomas Mika Lighting Design Billy Chan Live Accompaniment City Chamber Orchestra of Hong Kong Conductor Judith Yan GRAND THEATRE, HONG KONG CULTURAL CENTRE Live Accompaniment OPENING NIGHT 30 OCT 2020 Fri 7:30pm 31 OCT–1 NOV 2020 Sat–Sun 2:30pm & 7:30pm $1,000 (Limited VIP Tickets), $680, $480, $280, $140 Suitable for ages 3 and above The Nutcracker THE WORLD’S MOST POPULAR HOLIDAY BALLET This sparkling Christmas tradition receives a new lease on life in Terence Kohler’s beloved production, returning once again to Hong Kong! Join Clara and Fritz on their unforgettable journey as they valiantly battle the villainous Rat King, and the Nutcracker Prince
    [Show full text]
  • Study Guide Table of Contents Pre-Performance Activities and Information
    For Grades K - 12 STUDY GUIDE TABLE OF CONTENTS PRE-PERFORMANCE ACTIVITIES AND INFORMATION TEKS Addressed 3 Attending a ballet performance 5 The story of The Nutcracker 6 The Science Behind The Snow 13 The Artists Who Created Nutcracker: Choreographers 16 The Artists Who Created Nutcracker: Composer 17 The Artists Who Created Nutcracker: Designer 18 Animals Around The World 19 Dancers From Around The World 21 Look Ma, No Words 22 Why Do They Wear That? 24 Ballet Basics: Fantastic Feet 25 Ballet Basics: All About Arms 26 Houston Ballet: 1955 To Today 27 Appendix A: Mood Cards 28 Appendix B: Set Design 29 Appendix C: Costume Design 30 Appendix D: Glossary 31 Program Evaluation 33 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Identify different countries from around the world; • Describe the science behind the snow used in The Nutcracker; • Describe at least one dance from The Nutcracker in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §112.11. SCIENCE, KINDERGARTEN (6) Force, motion, and energy. The student knows that energy, force, and motion are related and are a part of their everyday life §117.112. MUSIC, GRADE 3 (1) Foundations: music literacy. The student describes and analyzes musical sound. §117.109. MUSIC, GRADE 2 (1) Foundations: music literacy. The student describes and analyzes musical sound. (6) Critical evaluation and response. The student listens to, responds to, and evaluates music and musical performances. §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures.
    [Show full text]
  • Swan-Lake-Study-Guide-2017-18.Pdf
    Swan Lake Study Guide 2017---18-18 Presented By the Department of Community Engagement Table of Contents The Quintessential Ballet 3 Milwaukee Ballet’s Swan Lake 4 Choreographic Birds of a Feather – Petipa, Ivanov & Pink 5 Did You Know? – Matthew Bourne 14 Behind the Music – Pyotr Tchaikovsky 15 Appendix A: Being A Good Audience Member 16 Sources and Special Thanks 17 2 The Quintessential Ballet Welcome to the Study Guide for Swan Lake , perhaps the world’s most widely recognized ballet aside from The Nutcracker . It has been called the “quintessential ballet” (quintessential means the purest and most perfect or the embodiment of, in this case, ballet!) and is often the show that pops into people’s minds when the word ballet is mentioned. Since its premiere in Moscow, Russia, it has been presented in over 150 versions by more than 100 companies in at least 25 different countries. That’s a lot of swans! Swan Lake didn’t start out successfully – which is surprising, considering its fame today. It premiered on February 20, 1877, and although Tchaikovsky’s spectacular music was used from the beginning, the choreography, originally done by Julius Reisinger, was less than stellar. A critic who was at the performance wrote, "Mr. Reisinger’s dances are weak in the extreme.... Incoherent waving of the legs that continued through the course of four hours - is this not torture? The corps de ballet stamp up and down in the same place, waving their arms like a windmill’s vanes - and the soloists jump about the stage in gymnastic steps." Ouch! Unfortunately Reisinger failed to mesh his choreography with the psychological, beautiful music Tchaikovsky created.
    [Show full text]
  • Don Quixote RUDOLF NUREYEV
    s i r a P e d l a n o i t a n a r é p O : o t o h P © Don Quixote RUDOLF NUREYEV > BALLET 2012 HDTV Ballet in one prologue and three acts after various FILMED AT Opéra national de Paris episodes from the novel by Miguel de Cervantès IN December 2012 Music by Ludwig Minkus TV DIRECTOR François Roussillon Choreography and staging by Rudolf Nureyev RUNNING TIME 1 x 120’ after Marius Petipa Don Quixote artistic information DESCRIPTION “The Knight of the Sad Face” and his faithful squire, Sancho Panza, are mixed up in the wild love affairs of the stunning Kitri and the seductive Basilio in a richly colourful, humorous and virtuoso ballet. Marius Petipa’s Don Quixote premiered in Moscow in 1869 with music by Ludwig Minkus and met with resounding success from the start. The novelty lay within its break from the supernatural universe of romantic ballet. Written as if it were a play for the theatre, the work had realistic heroes and a solidly structured plot and scenes. The libretto and the choreography were handed down without interruption in Russia, but Petipa’s version remained unknown in the west for a long time. In 1981, Rudolf Nureyev introduced his own version of the work into the Paris Opera’s repertoire. While retaining the great classical pages and the strong, fiery dances, the choreographer gave greater emphasis to the comic dimension contriving a particularly lively and light-hearted production. In 2002, Alexander Beliaev and Elena Rivkina were invited to create new sets and costumes specially for the Opera Bastille.
    [Show full text]
  • Coppelia-Teacher-Resource-Guide.Pdf
    Teacher’s Handbook 1 Edited by: Carol Meeder – Director of Arts Education February 2006 Cover Photo: Jennifer Langenstein – Pittsburgh Ballet Theatre Principal Dancer Aaron Ingley – Pittsburgh Ballet Theatre Corps de Ballet Dancer Ric Evans – Photographer 2 Introduction Dear Educator, We have often thanked you, the academic community and educators of our children, for being partners with us in Arts Education. We have confirmed how the arts bring beauty, excitement, and insight into the experience of everyday living. Those of us who pursue the arts as the work of our lives would find the world a dark place without them. We have also seen, in a mirror image from the stage, how the arts bring light, joy, and sparkle into the eyes and the lives of children and adults in all walks of life. Pittsburgh Ballet Theatre strives not only to entertain but to demonstrate the significance and importance of presenting our art in the context of past history, present living, and vision for the future. In this quest we present traditional ballets based on classic stories revered for centuries, such as Coppelia and Cinderella; and contemporary ballets by artists who are living, working, and creating everyday, such as our jazz program Indigo In Motion and the premiers we have done to the music of Sting, Bruce Springsteen, and Paul Simon. In this way we propel our art into the future, creating new classics that subsequent generations will call traditional. It is necessary to see and experience both, past and present. It enhances our life and stirs new ideas. We have to experience where we came from in order to develop a clear vision of where we want to go.
    [Show full text]
  • Redalyc.Angélica Y Marcela, Leandra Y Fiammetta. Mujeres Ariostescas
    La Colmena ISSN: 1405-6313 [email protected] Universidad Autónoma del Estado de México México García -Zamorategui, Karina Angélica y Marcela, Leandra y Fiammetta. Mujeres ariostescas en el Quijote La Colmena, núm. 85, enero-marzo, 2015, pp. 47-53 Universidad Autónoma del Estado de México Toluca, México Disponible en: http://www.redalyc.org/articulo.oa?id=446344305005 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Angélica y Marcela, Leandra y Fiammetta. Mujeres ariostescas en el Quijote Angelica and Marcela, Leandra and Fiammetta. Ariostan women in Don Quixote KARINA GARCÍA-ZAMORATEGUI* Resumen: Este análisis muestra diversas semejanzas entre los personajes feme- ninos del poema épico Orlando furioso, de Ludovico Ariosto, y el Quijote, de Miguel de Cervantes. Además, se observan coincidencias en las estructuras lite- rarias en las que actúan esos personajes. Por un lado, el discurso de la ‘víctima bella’, en ambas obras con la forma de soliloquio —de Angélica en la del italiano y de Marcela en la del español—. Por otro, hay una especie de colección de mani- fiestos sobre las mujeres puestos en una de las narraciones enmarcadas que cada autor analizado escribió en medio de su respectiva obra maestra. enero-marzo de 2015 pp. 47-53 ISSN 1405-6313 Palabras clave: literatura universal; Renacimiento italiano; siglos de oro; poe- 85 MENA sía épica; novela; Miguel de Cervantes Saavedra; Ludovico Ariosto; análisis L O C A comparativo L Abstract: This analysis shows some similarities between female characters in epic poem Orlando furioso, by Ludovico Ariosto, and Don Quixote, by Miguel de Cervantes.
    [Show full text]
  • Kirov Ballet & Orchestra of the Mariinsky Theatre
    Cal Performances Presents Tuesday, October 14–Sunday, October 19, 2008 Zellerbach Hall Kirov Ballet & Orchestra of the Mariinsky Theatre (St. Petersburg, Russia) Valery Gergiev, Artistic & General Director The Company Diana Vishneva, Irma Nioradze, Viktoria Tereshkina Alina Somova, Yulia Kasenkova, Tatiana Tkachenko Andrian Fadeev, Leonid Sarafanov, Yevgeny Ivanchenko, Anton Korsakov Elena Bazhenova, Olga Akmatova, Daria Vasnetsova, Evgenia Berdichevskaya, Vera Garbuz, Tatiana Gorunova, Grigorieva Daria, Natalia Dzevulskaya, Nadezhda Demakova, Evgenia Emelianova, Darina Zarubskaya, Lidia Karpukhina, Anastassia Kiru, Maria Lebedeva, Valeria Martynyuk, Mariana Pavlova, Daria Pavlova, Irina Prokofieva, Oksana Skoryk, Yulia Smirnova, Diana Smirnova, Yana Selina, Alisa Sokolova, Ksenia Tagunova, Yana Tikhonova, Lira Khuslamova, Elena Chmil, Maria Chugay, Elizaveta Cheprasova, Maria Shirinkina, Elena Yushkovskaya Vladimir Ponomarev, Mikhail Berdichevsky, Stanislav Burov, Andrey Ermakov, Boris Zhurilov, Konstantin Zverev, Karen Ioanessian, Alexander Klimov, Sergey Kononenko, Valery Konkov, Soslan Kulaev, Maxim Lynda, Anatoly Marchenko, Nikolay Naumov, Alexander Neff, Sergey Popov, Dmitry Pykhachev, Sergey Salikov, Egor Safin, Andrey Solovyov, Philip Stepin, Denis Firsov, Maxim Khrebtov, Dmitry Sharapov, Vasily Sherbakov, Alexey Timofeev, Kamil Yangurazov Kirov Ballet of the Mariinsky Theatre U.S. Management: Ardani Artists Management, Inc. Sergei Danilian, President & CEO Made possible, in part, by The Bernard Osher Foundation, in honor of Robert
    [Show full text]
  • One Aim/One Vision: the Bolshoi Ballet in Still Photography
    ave maria university presents One Aim/One Vision: The Bolshoi Ballet in Still Photography CANIZARO LiBRARY March 27-May 9, 2010 Marc Haegeman is a dance writer and photographer based in Belgium. He is a European correspondent for DanceView and Danceviewtimes (Washington DC) and writes the Russian Profile in Dance International (Vancouver). His reviews, features and interviews have also been published in The Dancing Times (London), Dance Now (London), Ballet2000 (Milan), Brolga (Australia), Ballet Magazine (Moscow), and Nezavisimaya Gazeta (Moscow). As Photographer he contributes to dance magazines worldwide, to souvenir program books of Moscow's Bolshoi Ballet and several web sites, including the personal web pages of Russian dancers, Svetlana Zakharova, Natalia Osipova, Daria Pavlenko, Nina Ananiashvili and Dmitry Gudanov, among others. His photos also illustrate the book by Isis Wirth, Despues de Giselle. Estética y Ballet en el Siglo XXI (Valencia, 2007). For more information about the photographer and his work please view: http://www.for-ballet-lovers-only.com. This exhibition has been made possible thanks to the cooperation of the Bolshoi Theatre. marc haegeman All photos © 2010 Marc Haegeman at Bolshoi Theatre. All Rights Reserved. LA SYLPHIDE: Staging produced by Johan Kobborg, principal dancer with London's Royal Ballet. Choreography by August Bournonville. Production and new choreography by Johan Kobborg. Sets and costumes by Peter Farmer. Lighting by Damir Ismagilov. 1 | Ekaterina Krysanova (the Sylphide) and Yan Godowsky (James). 2 | Ekaterina Krysanova (the Sylphide) and Yan Godowsky (James). 3 | Ekaterina Krysanova (the Sylphide). 4 | Vyacheslav Lopatin (James). 5 | Irina Zibrova (Madge, the witch) and artists of the Bolshoi Ballet.
    [Show full text]
  • Balanchine's Don Quixote
    Ballet Notes Balanchine’s Don Quixote June 2007 2 Balanchine’s Don Quixote Choreography: George Balanchine Staged by: Suzanne Farrell © Music: Nicolas Nabokov Used by arrangement with European American Music Distributors LLC, U.S. and Canadian agent for M.P. Belaieff Musikverlag, publisher and copyright owner. Set Design: Zack Brown Costume Design: Holly Hynes Lighting Design: Brad Fields Produced in association with: The Suzanne Farrell Ballet Company Balanchine’s Don Quixote is a gift from Roger and Kevin Garland. Cover: Heather Ogden and Hazaros Surmeyan. Left: Suzanne Farrell in rehearsal. 3 4 Synopsis …everything a man does he does for his ideal woman. quickly thwarted, however, by violent clashes with real- You live only one life and you believe in something and ity. He is held up to ridicule at the court of the Duke I believe in a little thing like that. and Duchess, tossed about like a rag doll, assaulted George Balanchine, Life Magazine, August 1965 with swords, and “grief-stricken to find himself so injured by those for whom he had done so much good.” Secluded in his study, a gentleman late in his life, by the name of Alonso Quixano the Good, surrounds him- In spite of his frequent, humiliating setbacks, Don self with gigantic books of chivalry. Fairly devouring the Quixote exhibits a vigour and a richness of invention; tales of adventure, peril and romance, he has come to we wonder at his endless courage in the face of pre- inhabit the life of a knight-errant of yore and “every- posterous circumstance, his inextinguishable will to thing our adventurer thought, saw, or imagined seemed survive — flourish — on his crusade.
    [Show full text]
  • Don Quixote: High Art Or Kitsch?
    laberinto An Electronic Journal of Early Modern Hispanic Literatures and Cultures Special Issue: Cervantes In His 400th Anniversary In China vOlUmE 10, 2017 LABERINTO JOURNAL 10 (2017) EDITORS Juan Pablo Gil-Osle Arizona State University Daniel Holcombe Clemson University EDITOR ASSISTANT María José Domínguez Arizona State University EDITORIAL BOARD Frederick de Armas Barbara Simerka Christopher Weimer Bruce R. Burningham Marina Brownlee Enrique García Santo-Tomás Steven Wagschal Julio Vélez-Sainz Lisa Voigt Laberinto is sponsored by the Arizona Center for Medieval and Renaissance Studies (ACMRS), affiliated with the Spanish Section at the School of International Letters and Cultures (SILC), Arizona State University, and published in Tempe, Arizona. www.laberintojournal.com https://acmrs.org/publications/journals/laberinto/about Arizona Board of Regents © Table of Contents Articles and Talks Why Cervantes in China?: Hyperreality and Cevantine Cultural encounters in Beijing 2016 (Tang Xianzu, Shakespeare, Cervantes, and Borges) Juan Pablo Gil-Osle, Arizona State University…………………….3 Salvador Dalí’s Don Quixote: High Art or Kitsch? William Daniel Holcombe, Clemson University…………………13 Mammoth Woolly Migrations: Transhumance, Extinction, and the Cervantine Shepherd Margaret Marek, Illinois College…………………………………27 Transcendental metagenre travelers: a background of the reception of Cervantes’ Don Quixote in Spain and France Vicente Pérez de León, University of Glasgow Véronique Duché, University of Melbourne……………………53 “ . And things that go
    [Show full text]
  • Coppélia - the Ballet Presented by Cincinnati Ballet October 21-23, 2016 Coppélia Premiered on 25 May 1870 at the Théâtre Impérial L'opéra, in Paris
    Coppélia - The Ballet Presented by Cincinnati Ballet October 21-23, 2016 Coppélia premiered on 25 May 1870 at the Théâtre Impérial l'Opéra, in Paris Choreography: Kirk Peterson Music: Leo Delibes, performed by Cincinnati Symphony Orchestra Carmon DeLeone, Conductor Artists: Cincinnati Ballet Company Dancers Lesson Plans prepared by Dr. Beverly Croskery, Ph.D. Table of Contents I. The Lesson Lesson at a Glance Plan Overview, Instructional Objectives, page 2 II. General information About the Composer, Leo Delibes page 2 III. Coppelia:The Ballet - Synopsis\ page 3 IV. The Nutcracker – The Ballet Synopsis pages 3-5 V. The Activities pages 5-8 VI. Ohio Academic Standards (Common Core) pages 9-11 Dance, Art, Theatre, Language Arts, Music, Social Studies Assessment (Attached separately) 1 I. THE LESSON Lesson at a Glance: Grade Band: K--12 Integrated Subjects: Dance, Theatre, English Language Arts, Social Studies Lesson Overview/Objectives The lesson introduces the student to the place of fairy tales in historical ballet and how a story can be told using dance, music and pantomime to tell a story. The student will also learn of the historical significance of the Coppelia Ballet and other world events that took place at the time of its creation. A Comparison to the Nutcracker will be made and the students will have an opportunity to create their own movements for the stories. Other activities to encourage creativity and critical thinking are included. II. GENERAL INFORMATION ABOUT THE COMPOSER Clément Philibert Léo Delibes (French: [dəlib]; 21 February 1836 – 16 January 1891) was a French composer of the Romantic era (1815–1910), specialised in ballets, operas, and other works for the stage.
    [Show full text]