DOCSLIB.ORG

Grand Jete 2020 Repertoire List

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Grand Jete 2020 Repertoire List GRAND , MARCH 21-22, 2020 JETE PRESENTED BY SOUTH CAROLINA ' S PREMIER A~~...JSC Governor's School .. for the Arts and Humanities STUDENT BALLET COMPETITION ~ Pre-Competitive (Females, Ages 10-12) Coppelia (L. Delibes/St. Leon) All Variations (except Swanilda Variation from Act lll) Don Quixote (L. Minkus/ M. Petipa, A. Gorsky) Cupid Variation Fairy Doll (R.Drigo/Legat) Variation Flames of Paris (A.Asafyev/V. Vainonen) Variation Flower Festival in Genzano (E. Helsted/A. Bournonville) Variation Giselle (A.Adam, F. Burgmuller/J.Perrot, J. Coralli, M. Petipa) Peasant Pas de Deux - variation: 1, 2 (alternative version) Harlequinade (R. Drigo/M. Petipa) Variation La Fille Mal Gardee (P. Hertel, F. Herold/ A. Gorsky, B.Nijinska) Variation of Lise Le Corsaire (A.Adam, C. Pugni, R. Drigo/M. Petipa) Odalisque Variations Paquita (L. Minkus/ M. Petipa ) All Variations (except Principal Variation) Raymonda (A. Glazunov/M. Petipa) All Variations (except Principal Variations of Act ll and Act lll) Swan Lake (P. Tchaikovsky/M. Petipa) Pas de Trois Variations Sleeping Beauty (P. Tchaikovsky/ M. Petipa) Fairies Variations from the Prologue (except Lilac Fairy) Princess Florine Variation *NOTE: Aurora Variations are NOT allowed in this category. Talisman (R.Drigo, C. Pugni / M. Petipa, P. Gusev) Variation of Niriti [Pre Competitive students are allowed to modify and /or simplify the variations to fit their technical level.] Pre-Competative (Males, Ages 10-12) Coppelia (L. Delibes/St. Leon, A. Gorsky) Franz Variation Flower Festival in Genzano (E. Helsted/ A. Bournonville) Variation Giselle (F. Burgmuller/ J.Coralli/M. Petipa) Peasant Pas de Deux Variation Harlequinade (R. Drigo/M. Petipa) Variation La Fille Mal Gardée (P.Hertel, F. Herold/ A. Gorsky) Variation of Colin Paquita (L. Minkus/ M. Petipa ) Variation from Pas de Trois Sleeping Beauty (P. Tchaikovsky/ M. Petipa) Blue Bird Variation Swan Lake (P. Tchaikovsky/M. Petipa) Variation from Pas de Trois The Nutcracker (P. Tchaikovsky/ M. Petipa, V. Vainonen) Cavalier Variation [Pre Competitive students are allowed to modify and /or simplify the variations to fit their technical level.] Junior Division (Females, Ages 13-15) Coppelia (L. Delibes/St. Leon) All Variations Diana & Acteon (B. Pugni/A. Vaganova) Variation of Diana Don Quixote (L. Minkus/ M. Petipa, A. Gorsky) All Variations Esmeralda (C.Pugni/M. Petipa) All Variations Fairy Doll (R. Drigo/S. Legat) Variation Flames of Paris (B.Asafiev/ V. Vainonen) Variation Flower Festival in Genzano (E. Helsted/ A. Bournonville) Variation Giselle (A. Adam, F. Burgmuller/ J. Perrot, J. Coralli, M. Petipa) Giselle Variation from Act I Peasant Pas - Variation: 1, 2 (alternative version). Harlequinade (R. Drigo/M. Petipa) Variation La Bayadere (L.Minkus, M.Petipa) Gamzatti Variation from Act II Shades Variations Please Note: Gamzatti Temple Variation (Choreography – N Makarova) – is NOT Permitted La Fille Mal Gardee (P. Hertel, F. Herold/ A. Gorsky) Variation of Lise Laurencia (A. Krein/V. Chabukiani) Variation Le Corsaire (A.Adam, C. Pugni, R. Drigo/M. Petipa) Pas D'Esclave Variation Le Jardin Anime Variations (Gulnare, Medora) Odalisque Variations Les Sylphides (Chopiniana) (F. Chopin/M. Fokine) All Variations Napoli (H. Paulli, E. Helsted, N. Gade, H. Lumbye / A. Bournonville) All Variations Paquita (L. Minkus/.M. Petipa ) All Variations (Please note: Paquita Etoile is not accepted for competition, unless under 2:30 minutes) Raymonda (A. Glazunov/M. Petipa) All Variations Satanella (B. Pugni/M. Petipa) Variation Sleeping Beauty (P. Tchaikovsky/ M. Petipa) All Fairies Variations Princess Florine Variation Aurora Variations from Act I and Act II (under 2:30 minutes) Aurora Wedding Variation Swan Lake (P. Tchaikovsky/M. Petipa, L. Ivanov, Gorsky) Pas de Trois Variations Odette Variation from Act II Talisman (R. Drigo/M. Petipa) Variation of Niriti The Awakening of Flora (R. Drigo/M. Petipa) All Variations The Cavalry Halt (J. Armsheirmer/M. Petipa) Variation The Nutcracker (P. Tchaikovsky/V. Vainonen) Variation Junior Division (Males, Ages 13-15) Coppelia (L. Delibes/St. Leon, A. Gorsky) Franz Variation Don Quixote (L. Minkus/ M. Petipa) Basil Variation Esmeralda (C. Pugni/M.Petipa) All Variations Flames of Paris (B.Asafiev/ V.Vainonen) Phillipe Variation Flower Festival in Genzano (E. Helsted/ A. Bournonville) Variation Giselle (A. Adam, F. Burgmuller/ J. Perrot, J. Coralli, M. Petipa) Peasant Pas de Deux Variation Grand Pas Classique (D. Auber/ V. Gzovsky) Variation Harlequinade (R. Drigo/M. Petipa) Variation La Bayadère (L. Minkus/ M. Petipa, V. Chaboukiani) Solor Variation Golden Idol Variation La Fille Mal Gardée (P.Hertel, F. Herold/ A. Gorsky) Variation of Colin La Sylphide (H. Levenskiold/ A. Bournonville) All Variations Le Corsaire (A.Adam, C. Pugni, R. Drigo/M. Petipa) Pas D”Esclave Variation Pas de Deux Variation (Conrad/Slave) Paquita (L. Minkus/.M. Petipa) Variation from Pas de Trois Raymonda (A.Glazunov/ M.Petipa/Y.Grigorovich) Variation Satanella (C. Pugni / M. Petipa) Variation Sleeping Beauty (P. Tchaikovsky/ M. Petipa) Blue Bird Variation Prince Désiré Variation Swan Lake (P. Tchaikovsky/M. Petipa) Pas de Trois Variation The Nutcracker (P. Tchaikovsky/ M. Petipa, V. Vainonen) Cavalier Variation [Junior Division students are allowed to modify and /or simplify the variations to fit their technical level.] Senior Division (Females, Ages 16-19) Coppelia (L. Delibes/St. Leon) All Variations Diana & Acteon (C. Pugni/A. Vaganova) Variation of Diana Don Quixote (L. Minkus/ M. Petipa, A. Gorsky) Kitri Variations Queen of Dryads Variation Grand Pas Variations Esmeralda (C. Pugni/M. Petipa) All Variations Flames of Paris (B.Asafiev/ V. Vainonen) Variation Flower Festival in Genzano (E. Helsted/ A. Bournonville) Variation Giselle (A.Adam, F. Burgmuller/ J. Perrot, J. Coralli, M. Petipa) Giselle Variation from Act I Peasant Pas de Deux Variation: 1, 2 (alternative version) Grand Pas Classique (D. Auber/ V. Gzovsky) Variation Harlequinade (R. Drigo/M. Petipa) Variation La Bayadere (L.Minkus/M.Petipa) Shades Variations Gamzatti Variation from act II Nikia Variation (Nikia Variation is not accepted for competition unless under 2:30 minutes) Please Note: Gamzatti Temple Variation (Choreography – N Makarova) – is Not permitted La Fille Mal Gardee (P. Hertel, F.Herold/ A. Gorsky) Variation of Lise Laurencia (A. Krein/V. Chabukiani) Variation Le Corsaire (A.Adam, C. Pugni, R. Drigo/M. Petipa) Medora Variation Pas d'Esclave Variation Le Jardin Anime Variations (Gulnare, Medora) Odalisque Variations Les Sylphides (Chopiniana) (F. Chopin/M. Fokine) All Variations Napoli (H. Paulli, E. Helsted, N. Gade, H. Lumbye / A. Bournonville) All Variations Paquita (L. Minkus/.M. Petipa ) All Variations (Please note: Paquita Etoile is not accepted for competition, unless under 2:30 minutes) Pas de Quatre (C. Pugni/J. Perrot/A. Dolin) All Variations Pharaoh’s Daughter (C.Pugni/P. LaCotte) All Variations Raymonda (A.Glazunov/ M.Petipa) All Variations Satanella (C. Pugni / M. Petipa) Variation Sleeping Beauty (P. Tchaikovsky/ M. Petipa) Lilac Fairy Variation Princess Aurora Variations form Act I, Act II, Act III Princess Florine Variation (Please note: Aurora variation from Act I and Act II is not accepted for competition, unless under 2:30 minutes) Swan Lake (P. Tchaikovsky/M. Petipa, L. Ivanov/Y. Grigorovich) Pas de Trois Variations Odette Variation from act II Black Swan Variation Talisman (R.Drigo, C. Pugni / M. Petipa, P. Gusev) Variation of Niriti The Awakening of Flora (R. Drigo/M. Petipa) All variations The Cavalry Halt (J. Armsheirmer/M. Petipa) Variation The Nutcracker (P. Tchaikovsky/V. Vainonen) Variation Walpurgis Nacht (B. Gounod/L. Lavrovsky) Variation Senior Division (Males, Ages 16-19) Coppelia (L. Delibes/St. Leon, A. Gorsky) Franz Variation Diana and Acteon (C. Pugni/ A. Vaganova) Acteon Variation Don Quixote (L. Minkus/ M. Petipa) Basil Variation Esmeralda (C. Pugni/ M. Petipa) All Variations Flames of Paris (B.Asafiev/ V.Vainonen) Phillipe Variation Flower Festival in Genzano (E. Helsted/ A. Bournonville) Variation Giselle A. Adam, F. Burgmuller/ J. Perrot, J. Coralli, M. Petipa) Peasant Pas de Deux Variation Albrecht Variation from act II Grand Pas Classique (D. Auber/ V. Gzovsky) Variation Harlequinade (R. Drigo/M. Petipa) Variation La Bayadère (L. Minkus/ M. Petipa, V. Chaboukiani) Solor Variation Golden Idol Variation La Fille Mal Gardée (P.Hertel, F. Herold/ A. Gorsky) Variation of Colin La Sylphide (H. Levenskiold/ A. Bournonville) All Variations La Vivandière (C. Pugni/ S. Léon, F. Cerrito) Variation Le Corsaire (A.Adam, C. Pugni, R. Drigo/M. Petipa) Pas d’ Esclave Variation Pas de Deux Variation (Conrad/Slave) Napoli (H. Paulli, E. Helsted, N. Gade, H. Lumbye /A. Bournonville) All Variations Paquita (L. Minkus/ M. Petipa ) Pas de Trois Variation Grand Pas Variation (Lucien) Raymonda (A.Glazunov/ M.Petipa/Y.Grigorovich) Variation Satanella (C. Pugni / M. Petipa) Variation Sleeping Beauty (P. Tchaikovsky/ M. Petipa) Blue Bird Variation Prince Désiré Variation Swan Lake (P. Tchaikovsky/M. Petipa) Pas de Trois Variation Prince Siegfried Variation Talisman (R.Drigo, C. Pugni / M. Petipa, P. Gusev) Variation of Vayou The Nutcracker (P. Tchaikovsky/ M. Petipa, V. Vainonen Cavalier Variation .
Load more

Recommended publications
  • Miranda Weese Joins Boston Ballet As New Children's Ballet Master And
    MEDIA CONTACTS: Jill Goddard, 617.456.6236, [email protected] Sarah Gledhill, 617.456.6264, [email protected] MIRANDA WEESE JOINS BOSTON BALLET AS NEW CHILDREN’S BALLET MASTER AND BOSTON BALLET SCHOOL FACULTY MEMBER FORMER PRINCIPAL DANCER WITH NEW YORK CITY BALLET AND PACIFIC NORTHWEST BALLET BRINGS WEALTH OF EXPERIENCE September 21, 2017 (BOSTON, MA) – Boston Ballet welcomes Miranda Weese, former principal dancer with New York City Ballet and Pacific Northwest Ballet, as the new Children’s Ballet Master. “I was always a big fan of Miranda Weese as a dancer and truly enjoyed her work onstage,” said Artistic Director Mikko Nissinen. “She is dedicated to teaching future generations of dancers and I am pleased to welcome her to the Boston Ballet family.” Weese will work with Boston Ballet School’s students for Company productions including this season’s Mikko Nissinen’s The Nutcracker (auditions for Boston Ballet School students begin Sep 23), Romeo & Juliet, The Sleeping Beauty, and La Sylphide. As a faculty member with Boston Ballet School, she will teach intermediate levels in the Classical Ballet Program and the female levels of the Pre-Professional Program. “Boston Ballet School students will learn and grow so much under Miranda’s tutelage,” said Margaret Tracey, Director of Boston Ballet School. “I am thrilled that she is joining our dedicated and hard-working team.” From San Bernardino, California, Weese trained at Laguna Dance Theatre and School of American Ballet. She danced with New York City Ballet from 1991 through 2007, as an apprentice, corps, soloist, and principal dancer. Her repertoire includes leading roles in George Balanchine’s Apollo, Concerto Barocco, Divertimento No.
    [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 Dear Educators in the Winter Show of Oregon Ballet Theatre’S Student Performance Series (SPS) Students Will Be Treated to an Excerpt from Swan Lake
    STUDENT PERFORMANCE SERIES STUDY GUIDE / Feburary 21, 2013 / Keller Auditorium / Noon - 1:00 pm, doors open at 11:30am SWAN LAKE Dear Educators In the winter show of Oregon Ballet Theatre’s Student Performance Series (SPS) students will be treated to an excerpt from Swan Lake. It is a quintessential ballet based on a heart-wrenching fable of true love heroically won and tragically Photo by Joni Kabana by Photo squandered. With virtuoso solos and an achingly beautiful score, it is emblematic of the opulent grandeur of the greatest of all 19th-Century story ballets. This study guide is designed to help teachers prepare students for their trip to the theatre where they will see Swan Lake Act III. In this Study Guide we will: • Provide the entire synopsis for Christopher Stowell’sSwan Lake, consider some of the stories that inspired the ballet, Principal Dancer Yuka Iino and Guest Artist Ruben Martin in Christopher and touch on its history Stowell’s Swan Lake. Photo by Blaine Truitt Covert. • Look closely at Act III • Learn some facts about the music for Swan Lake • Consider the way great dances are passed on to future generations and compare that to how students come to know other great works of art or literature • Describe some ballet vocabulary, steps and choreographic elements seen in Swan Lake • Include internet links to articles and video that will enhance learning At the theatre: • While seating takes place, the audience will enjoy a “behind the scenes” look at the scenic transformation of the stage • Oregon Ballet Theatre will perform Act III from Christopher Stowell’s Swan Lake where Odile’s evil double tricks the Prince into breaking his vow of love for the Swan Queen.
    [Show full text]
  • QCF Examinations Information, Rules & Regulations
    Specifications for qualifications regulated in England, Wales and Northern Ireland incorporating information, rules and regulations about examinations, class awards, solo performance awards, presentation classes and demonstration classes This document is valid from 1 July 2018 1 The Royal Academy of Dance (RAD) is an international teacher education and awarding organisation for dance. Established in 1920 as the Association of Operatic Dancing of Great Britain, it was granted a Royal Charter in 1936 and renamed the Royal Academy of Dancing. In 1999 it became the Royal Academy of Dance. Vision Leading the world in dance education and training, the Royal Academy of Dance is recognised internationally for the highest standards of teaching and learning. As the professional membership body for dance teachers it inspires and empowers dance teachers and students, members, and staff to make innovative, artistic and lasting contributions to dance and dance education throughout the world. Mission To promote and enhance knowledge, understanding and practice of dance internationally by educating and training teachers and students and by providing examinations to reward achievement, so preserving the rich, artistic and educational value of dance for future generations. We will: communicate openly collaborate within and beyond the organisation act with integrity and professionalism deliver quality and excellence celebrate diversity and work inclusively act as advocates for dance. Examinations Department Royal Academy of Dance 36 Battersea Square London SW11 3RA Tel +44 (0)20 7326 8000 [email protected] www.rad/org.uk/examinations © Royal Academy of Dance 2017 ROYAL ACADEMY OF DANCE, RAD, and SILVER SWANS are registered trademarks® of the Royal Academy of Dance in a number of jurisdictions.
    [Show full text]
  • Historie a Vývoj Baletní Scény Mariinského Divadla
    Univerzita Hradec Králové Pedagogická fakulta Katedra ruského jazyka a literatury Historie a vývoj baletní scény Mariinského divadla Diplomová práce Autor: Bc. Andrea Plecháčová Studijní program: N7504 – Učitelství pro střední školy Studijní obor: Učitelství pro střední školy – základy společenských věd Učitelství pro střední školy – ruský jazyk a literatura Vedoucí práce: Mgr. Jaroslav Sommer Oponent práce: prof. PhDr. Ivo Pospíšil, DrSc. Hradec Králové 2020 Prohlášení Prohlašuji, že jsem tuto diplomovou práci vypracovala (pod vedením vedoucího diplomové práce) samostatně a uvedla jsem všechny použité prameny a literaturu. V Hradci Králové dne … ………………………… Bc. Andrea Plecháčová Poděkování Ráda bych poděkovala svému vedoucímu panu Mgr. Jaroslavu Sommerovi za odborné vedení a cenné rady při vypracovávání diplomové práce. Dále děkuji paní Mgr. Jarmile Havlové za pomoc při korektuře gramatické stránky práce. Anotace PLECHÁČOVÁ, Andrea. Historie a vývoj baletní scény Mariinského divadla. Hradec Králové: Pedagogická fakulta Univerzity Hradec Králové, 2020. 66 s. Diplomová práce. Práce se zaměřuje na historii a vývoj baletní scény Mariinského divadla po současnost. Věnuje se také nejslavnějším osobnostem a inscenacím baletní scény Mariinského divadla v Petrohradě. Klíčová slova: balet, divadlo, Petrohrad, umění, Leningrad, Kirovovo divadlo opery a baletu, Mariinské divadlo. Annotation PLECHÁČOVÁ, Andrea. History and Development of the Mariinsky Ballet. Hradec Králové: Faculty of Education, University of Hradec Králové, 2020. 66 pp. Diploma Dissertation Degree Thesis. The thesis focuses on the history and development of the ballet stage of the Mariinsky Theatre up to the present. It is also dedicated to the most outstanding personalities and stagings of the Mariinsky Theatre in Petersburg. Keywords: ballet, theatre, Saint Petersburg, art, Leningrad, Kirov Theatre, The Mariinsky Theatre.
    [Show full text]
  • Spotlight Ballet Rules* Ballet Students Who Will Be Attending a Dance
    Spotlight Ballet Rules* Ballet students who will be attending a dance program away from home and outside of Southern California during the Spotlight year and whose parent(s) still live in Southern California may participate in Spotlight as long as they attend auditions, rehearsal and final performance if advancing to Grand Finale Performance. Proof of study will be required from dance program. You may not be an apprentice or full time member of a professional ballet company and participate in Spotlight. What’s required of me for my Ballet Preliminary 1 video audition? All students begin with a Preliminary 1 video audition. Those scoring highest will advance to Preliminary 2 live auditions in February 2019. Those scoring highest after Preliminary 2 will advance to the Semifinals Please record yourself performing one solo from the required list below If selected to advance to Preliminary 2, you will perform two solos for your live audition. You can change your variations if you advance to Preliminary 2 In choosing a variation for your video recording, we encourage you to choose a solo that best reflects your current stage of technical and artistic abilities. It is not necessary to perform an Etoile or Principal variation if you are not quite ready to tackle it. Choose a solo variation that best fits where you are in your studies and allows you to shine! Some examples of soloist variations that might be good choices are: Princess Florine from The Sleeping Beauty Act lll or any of The Sleeping Beauty fairies, the Peasant pas de deux from Giselle (Act I) or Cupid from Paquita, Friends of Kitri from Don Quixote (Act I), Fairy Doll, Harlequinade, Odalisques from Le Corsaire (Act I), Flames of Paris or the pas de trois from Swan Lake (Act I).
    [Show full text]
  • Kinematyczna Analiza Elementu “Grand Pas De Chat”
    Kinematic analysis of the “Grand pas de chat” element J. Gorwa1, L. B. Dworak1, J. Jurkojć2, R. Michnik2, D. Tejszerska2 1 Department of Biomechanics, University School of Physical Education in Poznan 2 Department of Applied Mechanics. Silesian University of Technology, Gliwice 1. Introduction Current research shows that some of dancing movements, specially during the landing phase (during the eccentric phase of muscle work related to amortization) produce high values of the vertical component of ground reaction force, able to reach the level of 9.4 BW (Picon, 2002; Dworak, 2004; Gorwa et al. 2008). Serious injuries often happen during these phases of jumps. As reported by Luke et al. (2000), Solomon et al. (1995, 1996), Liederbach in: Brownstein and Bronner (1984), the largest percentage of post-traumatic injuries that occur in the circles of professional dancers are chronic injuries such as: inflammatory conditions of soft tissues, overload injuries, muscle strains and tears. Various authors report on different location and percent share of injuries (Micheli, (1983), Brown and Kaufer, (1971); DeMann, (1994); Solomon, (1986); Świderska, (1995)), Gorwa (2008). Nevertheless, the ankle joint, the foot, the spine, the hip and the knee joints are regions that are mentioned most frequently. Since correct technique is a factor that significantly lowers the risk of injuries, and the degree of control of movement habits, that is the appropriate execution of a particular sports technique, determines the force values observed during the landing phase (Rutkowska-Kucharska et al. (2004)), the authors of this study assessed the kinematic values as well as recorded the technique of performing the „grand pas de chat” classical dance element .
    [Show full text]
  • Swan Lake 3Rd Act, Pas De Deux, the Black Swan, Variation
    #RosetaMauri2017 Spotlight on variations! Swan Lake 3rd act, pas de deux, the Black Swan, variation MALE VARIATION By Carlos Labiós I have chosen this variation, because in my opinion is the variation par excellence for the male dancer. It has everything that is requested at the technical and acting level. The dancer has to have a very refined technique for this variation in terms of the jump and the spin, as well as an exquisite elegance at the moment of performing the steps. The dancer must possess a perfect control of the jump plus a perfect double tour en l'air, especially for the final part of the variation, since there is a series of tours en l'air facing the audience, in which the technique using the 5th position while jumping is very important. In terms of stamina, is not very complicated since the variation allows the dancer to breath enough. Let's not forget that we are playing the Prince! He is still thinking about the lake where he met Odette. He has already ruled out marrying any other princess. But, now, he is enthusiastic about Odile, although he hasn’t lost his nobility, which is reflected upon the variation. Musically it is a perfect variation for the male dancer technique, with pauses, with weight, with a perfect push to use the jump and with a melody that I personally adore. I love both the beginning and the middle part with the jumps to the second and arabesque, and especially the grand finale with the tour en l'air and the final pirouettes.
    [Show full text]
  • JUNE 3-13 Baumgartner Center for Dance on Demand Milwaukeeballet.Org
    JUNE 3-13 Baumgartner Center for Dance On Demand milwaukeeballet.org THE 2020-21 SEASON IS SPONSORED BY DONNA & DONALD BAUMGARTNER Lahna Vanderbush. Photo Timothy O’Donnell This program was supported in part by a grant from Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts. LETTER FROM THE ARTISTIC DIRECTOR Dear friends, Welcome to Encore, which we proudly present in our lovely home, Baumgartner Center for Dance. I’ve curated cherished works from our archives to celebrate all we have accomplished together this season, despite the challenges. Thank you for joining our celebration. The classical variations in this program span the most beloved scenes in the ballet world: Don Quixote, Raymonda, Giselle. You will also enjoy excerpts from both a luminary and a rising star in contemporary dance: Trey McIntyre returns with A Day in the Life and Aleix Mañé shares his ExiliO, which won our international Genesis competition. In this program, we also celebrate our friend Jimmy Gamonet, who passed earlier this year from COVID-19. Jimmy is most notable for his longtime tenure as Miami City Ballet’s founding resident choreographer and ballet master. He staged three of his works here, the most well-known being Nous Sommes, which we warmly present as an affectionate tribute to his memory. On behalf of the entire organization, I would like to thank our season sponsors, Donna and Donald Baumgartner, as well as United Performing Arts Fund, for their unwavering support. We will announce our upcoming season in only a few short weeks and hope you will join us at Marcus Performing Arts Center this fall.
    [Show full text]
  • ABSTRACTS Keywords: Ballet, Performance, Music, Musical
    ABSTRACTS Yuri P. Burlaka PAQUITA GRAND PAS AND LE CORSAIRE GRAND PAS: COMPARATIVE ANALYSIS The article explores the origin of creation and the production history of such masterpieces as Grand pas from Paquita and Grand pas Le Jardin Animé from Le Corsaire by Marius Petipa. The analysis proves the fact that with the invention of these choreographic structures the Romantic Pantomime Ballet turn into the Grand Ballet of the second half of the 19th century. In Petipa’s mature works the plot of the ballet is revealed not only in pantomime but through dance as well. Keywords: Marius Petipa, Paquita, Le Corsaire, history of Russian Ballet, ballet dramaturgy. Anna P. Grutsynova MOSCOW DON QUIXOTE: ON THE WAY TO ST. PETERSBURG The article is devoted to one of M. Petipa’s the most famous ballets called Don Quixote which was shown in Moscow and St. Petersburg versions in 1869 and 1871 respectively. The primary Moscow choreography is in a focus. Musical dramaturgy of the ballet is analyzed as well as connections between musical dramaturgy and drama plot are traced. Besides, the article contains a brief comparative analysis of music from Moscow and St. Petersburg choreographies of Don Quixote. Keywords: ballet, performance, music, musical dramaturgy, libretto, Don Quixote, M. Petipa, L. Minkus. Grafi ra N. Emelyanova P. TCHAIKOVSKY’S AND M. PETIPA’S THE SLEEPING BEAUTY IN K. SERGEYEV’S AND YU. GRIGOROVITCH’S VERSIONS The article is focused on preservation of the classical ballet heritage. An example of this theme is The Sleeping beauty ballet by M. Petipa and P. Tchaikovsky in K.
    [Show full text]
  • Boston Ballet School Presents Annual Next
    MEDIA CONTACT: Jill Goddard, 617.456.6236, [email protected] BOSTON BALLET SCHOOL PRESENTS ANNUAL NEXT GENERATION PERFORMANCE FEATURING CHRISTOPHER WHEELDON’S THE AMERICAN, MARIUS PETIPA’S RAYMONDA, AND A NEW WORK BY IGOR BURLAK May 2, 2018 (BOSTON, MA) – Boston Ballet School (BBS) proudly presents its ninth annual Next Generation performance featuring Christopher Wheeldon’s The American, Act III of Raymonda by Marius Petipa with additional choreography by Boston Ballet Artistic Director Mikko Nissinen, and a new work by BBS faculty member Igor Burlak. The program opens with Les Passages, which features dancers of all levels of the Pre-Professional program in pieces choreographed by BBS faculty members. This one-night-only performance takes place June 6 at the Boston Opera House. “Next Generation shines a spotlight on the incredible young talent that we have the pleasure of developing,” said Boston Ballet Artistic Director Mikko Nissinen. “Boston Ballet School is dedicated to providing the highest quality of training of dancers to ensure the success of our students who will contribute their many gifts to this living art form.” Boston Ballet School’s Pre-Professional program is committed to training top talent who aspire to professional careers with Boston Ballet and other major companies. Currently, over 20 percent of Boston Ballet’s dancers are graduates of the Pre-Professional program, and 95 percent of Trainee graduates secure jobs with professional ballet companies, a percentage that has increased annually. “This program showcases the next generation of talented and dedicated dancers. Each piece was specifically selected to highlight the individual strengths of our students and emphasize our rigorous curriculum,” said Boston Ballet School Director Margaret Tracey.
    [Show full text]
  • Giselle Center for Performing Arts
    Governors State University OPUS Open Portal to University Scholarship Center for Performing Arts Memorabilia Center for Performing Arts 1-20-2001 Giselle Center for Performing Arts Follow this and additional works at: http://opus.govst.edu/cpa_memorabilia Recommended Citation Center for Performing Arts, "Giselle" (2001, 2008). Center for Performing Arts Memorabilia. Book 168. http://opus.govst.edu/ cpa_memorabilia/168 This Book is brought to you for free and open access by the Center for Performing Arts at OPUS Open Portal to University Scholarship. It has been accepted for inclusion in Center for Performing Arts Memorabilia by an authorized administrator of OPUS Open Portal to University Scholarship. For more information, please contact [email protected]. fOR PffiFORMINC HRT5 Governors State University Presents Moscow Festival Ballet GISELLE SATURDAY, JANUARY 20,2001 8:00 PM 2000/2001 Season sponsored in part by a grant from the: I MOSCOW FESTIVAL BALLET GISELLE Sergei Radchenko, Artistic Director Act I: A Rhineland Village PRINCIPAL DANCERS Giselle, a peasant girl, has fallen in love with Count Albrecht, who has led her to believe that he is a villager named Loys. Her superstitious Natalia Arkiphova mother, Berthe, hoping that Giselle will marry the forester Hilarion, Mikhail Bessmertnov Marina Rzhannikova warns her against Loys, to whom she has taken an instinctive dislike. Dmitry Dmitriev Natalia Kungurtseva Yuri Vetrov Tatiana Andreyeva In order to discourage Giselle's love for 'Loys', Berthe further recounts Vyacheslav Aksenov the legend of the Wilis - ghosts of young girls who have been jilted Irina Kovaleva Valery Shumilov and die before their wedding day: to avenge themselves, they dance to Renata Petrova Alexander Rupyshev death any man who crosses their paths between midnight and dawn.
    [Show full text]