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
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DANCER of the WEEK – Dominic North Fri 5 August
DANCER OF THE WEEK – Dominic North Fri 5 August Matthew Bourne’s Sleeping Beauty is in Singapore this week at the Esplanade Theatre before heading to Shanghai, China next week. Nick Kyprianou, our Audience Engagement Coordinator got the chance to speak to Dominic this week. Dominic has been with New Adventures since 2004 and has generated quite a following worldwide, performing in many principal roles for the Company. He was first seen in Swan Lake as a Swan and is currently performing as Leo in Sleeping Beauty. You can also catch Dominic as Angelo in cinemas worldwide in the 2015 film recording of The Car Man. Later this year, Dominic will also be playing the role of Julian Craster, who leading lady Victoria Page falls in love with, in the World Premiere of Matthew’s production of The Red Shoes, inspired by the Powell and Pressburger film. A young Dominic being jazzy! When did you start taking dance classes? I started dancing when I was about 9 I think. My twin sister was already taking classes, then this new girl joined the school and started dancing in the same class as her. I fancied her and thought that dance was a good way in. The relationship ended when we went to different secondary schools, it was very sad – haha! Where did your formal training take place? I was at the Nydza School of Dance in Bingley, just outside of Bradford, from when I started dancing until I was 18. I then auditioned for full time dance courses at Laines Theatre Arts, Bird College, Central School of Ballet and Northern School of Contemporary Dance. -
2014-2015 Fine Arts Mid-Season Brochure
Deana Martin Photo credit: Pat Lambert The Fab Four NORTH CENTRAL COLLEGE Russian National SEASON Ballet Theatre 2015 WINTER/SPRING Natalie Cole Robert Irvine 630-637-SHOW (7469) | 3 | JA NUARY 2015 Event Price Page # January 8, 9, 10, 11 “October Mourning” $10, $8 4 North Central College January 16 An Evening with Jazz Trumpeter Art Davis $20, $15 4 January 18 Chicago Sinfonietta “Annual Tribute to Dr. Martin Luther King Jr.” $58, $46 4 January 24 27th Annual Gospel Extravaganza $15, $10 4 Friends of the Arts January 24 Jim Peterik & World Stage $60, $50 4 January 25 Janis Siegel “Nightsongs” $35, $30 4 Thanks to our many contributors, world-renowned artists such as Yo-Yo Ma, the Chicago FEbrUARY 2015 Event Price Page # Symphony Orchestra, Vienna Boys Choir, Wynton Marsalis, Celtic Woman and many more have February 5, 6, 7 “True West” $5, $3 5 performed in our venues. But the cost of performance tickets only covers half our expenses to February 6, 7 DuPage Symphony Orchestra “Gallic Glory” $35 - $12 5 February 7 Natalie Cole $95, $85, $75 5 bring these great artists to the College’s stages. The generous support from the Friends of the February 13 An Evening with Jazz Vocalist Janice Borla $20, $15 5 Arts ensures the College can continue to bring world-class performers to our world-class venues. February 14 Blues at the Crossroads $65, $50 5 February 21 Béla Fleck and Abigail Washburn $65, $50 6 northcentralcollege.edu/shows February 22 Robin Spielberg $35, $30 6 Join Friends of the Arts today and receive exclusive benefits. -
Download This Composer Profile Here
Composer Profile: Pyotr Ilyich Tchaikovsky Tchaikovsky's 1812 Overture was Pyotr Ilyich Tchaikovsky composed to commemorate the Battle was born on May 7, of Borodino, fought in September 1812, F Tchaikovsky called his own work “very 1840, in Vyatka, Russia. loud and noisy and completely without THE A 4 1 artistic merit, obviously written without Tchaikovsky died in St. CTS warmth or love”. Petersburg on First performed in 1877, Swan Lake November 6, 1893. was Tchaikovsky’s first ballet score. 2 Considering its success today, it's Tchaikovsky is most celebrated hard to believe that it wasn’t an for his ballets, specifically Swan immediate hit – but the story of Lake, The Sleeping Beauty and Odette, a princess turned into a The Nutcracker. 5 swan by an evil sorcerer's curse, was 3 an initial box office failure. Notable pieces: To support his early musical 1812 Overture career, Tchaikovsky took work as a music critic. Among the The Nutcracker Ballet targets of his critical ire were Swan Lake Schumann, who he thought Piano Concerto No. 1 was a poor orchestrator, and Symphony No. 5 Brahms. “Inspiration is a guest that does not willingly visit the lazy.” –Tchaikovsky Tchaikovsky was a composer I'mPy oOtrne! during the Romantic period Tchaikovsky Tchaikovsky trained for, and became a civil servant in Russia. At Because of the unique time the time, a musical profession period in which he didn’t convey the sort of social composed, and his unique status that was acceptable to his ability to merge Western family’s respected position. Music music concepts with instructors and chamber musicians traditional Russian ones, it were looked down upon, so in 1859 was difficult for him to he embarked on his public service Throughout his career he receive unanimous praise. -
A Closer Look at the Effects of Matthew Bourne╎s Swan Lake
Dance Department Best Student Papers Dance Spring 2015 Transcending Conventions: A Closer Look at the Effects of Matthew Bourne’s Swan Lake Khayla J. Golucke Loyola Marymount University, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/dance_students Part of the Dance Commons Repository Citation Golucke, Khayla J., "Transcending Conventions: A Closer Look at the Effects of Matthew Bourne’s Swan Lake" (2015). Dance Department Best Student Papers. 7. https://digitalcommons.lmu.edu/dance_students/7 This Article is brought to you for free and open access by the Dance at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Dance Department Best Student Papers by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Transcending Conventions: A Closer Look at the Effects of Matthew Bourne’s Swan Lake Khayla J. Golucke DANC 281 History of Dance Theatre Professor Dr. Jill Nunes Jensen Loyola Marymount University February 6, 2015 Golucke 1 The ballet Swan Lake has proven itself to not only be visually enchanting and beautifully choreographed, but also a timeless story, becoming one of the most well known classical ballets of all time. It has endured constant retellings and re-imaginings, but the original story’s core revolves around the transcendent value of true love, beginning of course with a prince who falls in love with a princess, though she is under a spell that turns her into a swan in the daytime. Reminiscent of other such classical ballets as Sleeping Beauty, only the prince has the power to break the spell, while the princess awaits her fate beautifully, and in the case of Swan Lake, tragically. -
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. -
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. -
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. -
Classical Music Learning Guide for Swan Lake
Classical Music Distance Learning Guide Distance Learning Guide This guide is designed to help you: • Introduce the story and artistry of Swan Lake to students. • Introduce students to classical music in a fun an engaging way. Contributors: Vanessa Hope, Director of Community Engagement DeMoya Brown, Community Engagement Manager Table of Contents About Swan Lake Artistic & Production Team………………………………………………………….……….…………...….3 The Swan Lake Story ………………………………………………………………...………………….….4 The Swan Lake Creators………………………………………..……………………...…………………....5 The History of Swan Lake……………………………………………………….…………………………..6 Set Design ……...…………………………………...………………...……………………………………...7 Characters…………………………………………………………………….……………………………….8 Introduction to Classical Music ………………………………………………………………………………………9 Music of Swan Lake …………………………………………………………………………………..10—11 Music Activities………………………………………………………………………………………...12—14 Community Engagement Mission Intrinsic to The Washington Ballet’s mission to bring the joy and artistry of dance to the nation’s capital, our community engagement programs provide a variety of opportunities to connect children and adults of all ages, abilities and backgrounds to the art of dance. We aspire to spark and enhance a love for dance, celebrate our cultural diversity and enrich the lives of our community members. To learn more visit: www.washingtonballet.org The Washington Ballet’s Community Engagement programs are supported by: DC Commission on the Arts and Humanities John Edward Fowler Memorial Foundation Howard and Geraldine Polinger -
Ballet Terms Definition
Fundamentals of Ballet, Dance 10AB, Professor Sheree King BALLET TERMS DEFINITION A la seconde One of eight directions of the body, in which the foot is placed in second position and the arms are outstretched to second position. (ah la suh-GAWND) A Terre Literally the Earth. The leg is in contact with the floor. Arabesque One of the basic poses in ballet. It is a position of the body, in profile, supported on one leg, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line along the body. Attitude A pose on one leg with the other lifted in back, the knee bent at an angle of ninety degrees and well turned out so that the knee is higher than the foot. The arm on the side of the raised leg is held over the held in a curved position while the other arm is extended to the side (ah-tee-TEWD) Adagio A French word meaning at ease or leisure. In dancing, its main meaning is series of exercises following the center practice, consisting of a succession of slow and graceful movements. (ah-DAHZ-EO) Allegro Fast or quick. Center floor allegro variations incorporate small and large jumps. Allonge´ Extended, outstretched. As for example, in arabesque allongé. Assemble´ Assembled or joined together. A step in which the working foot slides well along the ground before being swept into the air. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes. -
Chicago Symphony Orchestra Riccardo Muti Zell Music Director
PROGRAM ONE HUNDRED TWENTY-FOURTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, October 2, 2014, at 8:00 Friday, October 3, 2014, at 1:30 Saturday, October 4, 2014, at 8:30 Riccardo Muti Conductor Christopher Martin Trumpet Panufnik Concerto in modo antico (In one movement) CHRISTOPHER MARTIN First Chicago Symphony Orchestra performances Performed in honor of the centennial of Panufnik’s birth Stravinsky Suite from The Firebird Introduction and Dance of the Firebird Dance of the Princesses Infernal Dance of King Kashchei Berceuse— Finale INTERMISSION Tchaikovsky Symphony No. 3 in D Major, Op. 29 (Polish) Introduction and Allegro—Moderato assai (Tempo marcia funebre) Alla tedesca: Allegro moderato e semplice Andante elegiaco Scherzo: Allegro vivo Finale: Allegro con fuoco (Tempo di polacca) The performance of Panufnik’s Concerto in modo antico is generously supported by the Adam Mickiewicz Institute as part of the Polska Music program. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS by Phillip Huscher Andrzej Panufnik Born September 24, 1914, Warsaw, Poland. Died October 27, 1991, London, England. Concerto in modo antico This music grew out of opus 1.” After graduation from the conserva- Andrzej Panufnik’s tory in 1936, Panufnik continued his studies in response to the rebirth of Vienna—he was eager to hear the works of the Warsaw, his birthplace, Second Viennese School there, but found to his which had been devas- dismay that not one work by Schoenberg, Berg, tated during the uprising or Webern was played during his first year in at the end of the Second the city—and then in Paris and London. -
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. -
RUSSIAN NATIONAL BALLET SWAN LAKE: Wednesday, January 22, 2020; 7:30 Pm the SLEEPING BEAUTY: Thursday, January 23, 2020; 2 & 7:30 Pm Media Sponsor
RUSSIAN NATIONAL BALLET SWAN LAKE: Wednesday, January 22, 2020; 7:30 pm Media Sponsor THE SLEEPING BEAUTY: Thursday, January 23, 2020; 2 & 7:30 pm A Columbia Artists Production Direct from Moscow, Russia RUSSIAN NATIONAL BALLET COMPANY OF 50 Artistic Director: Elena Radchenko Company Biography The Russian National Ballet Theatre was founded in Moscow during the transitional period of Perestroika in the late 1980s, when many of the great dancers and choreographers of the Soviet Union’s ballet institutions were exercising their new- found creative freedom by starting new, vibrant companies dedicated not only to the timeless tradition of classical Russian Ballet but to invigorate this tradition as the Russians began to accept new developments in the dance from around the world. The company, then titled the Soviet National Ballet, was founded by and incorporated graduates from the great Russian choreographic schools of Moscow, St. Petersburg and Perm. The principal dancers SWAN LAKE Photo: Alexander Daev of the company came from the upper ranks of the great ballet companies and academies of Russia, and the companies of Riga, Kiev and even Warsaw. Today, the Russian National Ballet Theatre SWAN LAKE is its own institution, with over 50 dancers of singular instruction and vast experience, many of whom have been with the company Full-length Ballet in Four Acts since its inception. Music by Pyotr Ilyich Tchaikovsky Choreography by Marius Petipa, Lev Ivanov and Yuri Grigorovich In 1994, the legendary Bolshoi principal dancer Elena Radchenko Restaging by Elena Radchenko, assistant Alexander Daev was selected by Presidential decree to assume the first permanent Synopsis by Vladimir Begichev and Vasily Geltser artistic directorship of the company.