DOCSLIB.ORG

HARID Announces New Scholarship Initative for Male Students Winter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
HARID Announces New Scholarship Initative for Male Students Winter Spring 2015 HARID Announces New Scholarship Initative for Male Students The HARID Conservatory recently announced an exciting initiative to support the training of male dancers. HARID’s new Marcelo Gomes Scholarship Program will provide a number of qualified finalists the opportunity to attend HARID’s four-week Summer School on full scholarship. During the Summer School, they will compete for a grand prize: the Marcelo Alex Srb © Alex Gomes Scholarship. The Scholarship will support the winner’s continued studies at the school during the following academic year. HARID director, Gordon Wright, stated, “We are pleased to name this new scholarship initiative in honor of Marcelo Gomes, one of HARID’s most-distinguished alumni. Marcelo has enjoyed an esteemed career as a principal artist with American Ballet Theatre in New York City. He is revered worldwide for his technical Marcelo Gomes (Class of 1996), principal, expertise, artistic sensibility, and his exceptional American Ballet Theatre Photo: MIRA, American Ballet Theatre © abilities as a partner. Being named the winner of Alex Srb © Alex a scholarship bearing Marcelo’s name will be a tremendous honor and a feather in the cap of any young male dancer.” If you would like to help underwrite this important scholarship program, please contact Annabel Russell or Gordon Wright at HARID. Winter Performances HARID’s Winter Performances, presented last December 13 and 14, once again offered a varied program of classical ballet, character dance, and modern dance. In an Excerpt from Esmeralda, five female dancers in bold black, red, and gold tutus Alex Srb © Alex displayed their classical ballet technique with a Gypsy flair. Their dancing, accented by the use of tambourines, portrayed a sense of excitement and abandonment. IN THIS ISSUE Danielle Armstrong’s newest modern-dance piece, Ever After, was wonderfully performed by a cast of five couples. The use of intricate partnering was a great learning experience 1 New Scholarship for the dancers and added many interesting visual images. The piece was set to original Initative music composed by HARID accompanist, David Schanzer. 2 Spring Performances The Mazurka from Coppelia was staged by HARID’s character dance instructor Bertha 2 Support HARID While Valentin. Set in a village square, the dance is a joyful celebration of the harvest. The You Shop dancers, in elegant, burgundy costumes, performed with energy and aplomb. 3 HARID’s Class of 2015 HARID’s holiday tradition, Divertissements from The Nutracker, Act II, once again served as 3 Summer School the program finale. The Russian Trepak and Chinese Tea dances were newly choreographed Recruitment by faculty member Meelis Pakri, who also staged the Grand Pas de Deux. The other 4 Great Give Palm dances—Spanish Chocolates, Arabian Coffee, Dance of the Mirlitons, and Waltz of the Beach County Flowers—were expertly staged by Victoria Schneider and Svetlana Osiyeva. As always, 4 Alumni Spotlight the ballet was well rehearsed and beautifully performed by the dancers. The Spring Performances Are Coming! This year’s Spring Performances will be held on May 22, 23, and 24 at the Countess de Hoernle Theater in Boca Raton. An ambitious, varied program is planned. Paquita was first staged in Russia by Marius Petipa in 1847. Needless to say, the ballet has passed the test of time! HARID will open its spring program with a version of Paquita adapted for our students by faculty members Svetlana Osiyeva and Victoria Schneider. It includes a corps de ballet, a number of soloists, and a pas de deux—an excellent vehicle in which to showcase the talent found in each of the school’s levels of study. The waltz or garland dance from the first act ofThe Sleeping Beauty will provide an additional opportunity for the dancers to demonstrate their classical ballet training. In the complete ballet, the waltz takes place during a celebration of Princess Aurora’s sixteenth birthday. It is danced to Tchaikovsky’s enchanting music. Victoria Schneider has staged this charming dance for the upcoming performances. Former artistic director of Colorado Ballet, Martin Fredmann, has kindly granted Mark Godden’s Miroirs HARID permission to present his ballet A Little Love in May. Created for three Photo: Guillermo Galindo © couples, this contemporary ballet is set to five songs performed by Nina Simone. It is being staged for HARID by faculty member Meelis Pakri who performed the ballet numerous times as a principal dancer with Colorado Ballet. HARID’s resident choreographer, Mark Godden, visited the school again this winter and, for the first time, staged one of his existing ballets for the Spring Performances. (Godden traditionally creates a new work for the students each year.) Miroirs was created for and first performed by Canada’s Royal Winnipeg Ballet. Set to Maurice Ravel’s suite for solo piano (of the same title), the ballet includes five movements and features a solo, a duo, a trio, and several other small groupings of dancers. Do not miss the American premiere of this captivating work! Tickets for the Spring Performances are available online at www.harid.edu/performances. They may also be ordered by telephone at 561-998-8038, or purchased at HARID’s ticket office located at 2285 Potomac Road in Boca Raton (Monday – Friday, 9:00 a.m. – 1:00 p.m.). Please join us at this year’s Spring Performances! Please Support Our Dancers YoungArts Foundation Winners Although all HARID students receive full-tuition Two of HARID’s seniors have been named winners in scholarships, the Conservatory must charge fees the 2015 National YoungArts competition. Andrea for housing, meals, and dance supplies. To ensure Fabbri and Hayden Slaff (who are also Rudolf Nureyev that talent remains the sole criterion for admission, Education Fellowship recipients) were selected HARID provides more than $100,000 in financial aid as winners after participating in the YoungArts annually to students whose families cannot afford competition in Miami this past winter. Founded in these fees. Over the years, hundreds of students have 1981, the National YoungArts Foundation recognizes received such assistance and, without it, many of our and supports America’s most talented 15–18 year olds most-notable alumni could not have completed their in the visual, literary, and performing arts. studies at the school. The funds used to provide student financial aid are raised each year through HARID’s annual-fund SUPPORT HARID WHILE YOU SHOP! campaign. The success of the campaign is vital to HARID’s mission. Please help make HARID’s annual- Amazon will donate .5% of your online purchases to HARID. fund campaign a success by making a generous, tax- Please follow this link and add The HARID Conservatory as your deductible contribution at this time. benefitting organization:www.smile.amazon.com . Then, Your support will be greatly appreciated. each time you shop, you will be supporting our talented dancers. (And, it will cost you nothing!) Page 2 | Spring 2015 | The HARID Conservatory | 561.997.2677 | www.harid.edu | [email protected] Summer School Recruitment This past winter, more than three-hundred-fifty young dancers applied for admission to HARID’s Summer School by attending auditions conducted in eighteen cities across the United States. Just sixty-two of the candidates have been accepted and those fortunate few will move into HARID’s residence hall in June to spend four rewarding weeks studying with the faculty. In addition, they will enjoy many of South Florida’s special activities and attractions. HARID’s annual Summer School serves as an extended audition for the academic year. Throughout the program, the students will vie for an opportunity to become a member of HARID’s 2015–16 incoming class. HARID’s Class of 2015 Eleven talented dancers will receive their diplomas at HARID’s Commencement and Awards Dinner in May. The trustees, faculty, and staff are proud and happy to congratulate Coco Alvarez-Mena, Iago Bresciani, Kristin Cowger, Fiona Dassum, Julia Doering, Andrea Fabbri, Morgan Froehlich, Nika Jurich, Bryce Mitchell, Hayden Slaff, and Kelsey Tierney as they prepare to graduate and move on to a new stage of their young lives. Best wishes to the Class of 2015! National Honor Society Alex Srb © Alex Inducts New Members HARID’s Class of 2015 (incomplete) Five new members were inducted into The HARID Conservatory Chapter of the National Honor Society on March 25. Congratulations to Livia Bedwell, An Inspiring New Benefit Morgan Froehlich, Natalia Lascano, Ingrid Thoms, and Rebecca Trionfo. The criteria for NHS membership for Contributors are outstanding scholarship, leadership, service, and character. On the final Saturday of each semester, HARID’s students gather in Studio C (the school’s largest practice space) and present an informal demonstration of the work they have accomplished in their character, modern, Spanish, and jazz classes. Traditionally, attendance at the demonstrations has been limited to the students, faculty and staff members, and the families of any local students. Invariably, the work presented during these class demonstrations is extremely impressive. For this reason, it has been determined that others should have an opportunity to enjoy it. This year, an invitation for two to attend HARID’s end-of-semester class demonstrations (the first is in mid-January; the second is in mid-May) has been established as an annual-fund benefit at the $250+ level. Please support our young artists by giving generously to HARID’s annual-fund campaign and take advantage of this 2015 National Honor Society inductees inspiring new benefit. You will not be disappointed! [email protected] | www.harid.edu | 561.997.2677 | The HARID Conservatory | Spring 2015 | Page 3 Visit From An Alumnus Jacob’s Pillow, Here He Comes On March 8, the dancers attended “Stars of International Ballet”, a gala performance presented by Festival of the Arts HARID dancer, Iago Bresciani, has been awarded a full Boca at Mizner Park.
Load more

Recommended publications
  • Class Descriptions
    The Academy of Dance Arts 1524 Centre Circle Downers Grove, Illinois 60515 (630) 495-4940 Email: [email protected] Web Site: www.theacademyofdanceartshome.com DESCRIPTION OF CLASSES All Class Days and Times can be found on the Academy Class Schedule ______________________________________________________________________________________________________________________________________________________________________________________________________________________________ BALLET PROGRAM AND TECHNIQUE CLASSES Ballet is the oldest formal and structured form of dance given the reverence of being the foundation of ALL The Dance Arts. Dancers build proper technical skills, core strength and aplomb, correct posture and usage of arms, head and foremost understand the basics in technique. Students studying Ballet progress in technique for body alignment, pirouettes, jumps, co-ordination skills, and core strength. Weekly classes are held at each level with recommendations for proper advancement and development of skills for each level. Pre-Ballet Beginning at age 5 to 6 years. Students begin the rudiments of basic Ballet Barre work. Focus is on the positions of the feet, basic Port de bras (carriage of the arms), body alignment, and simple basic steps to develop coordination skills and musicality. All this is accomplished in a fun and nurturing environment. Level A Beginning at age 6 to 8 years. Slowly the demanding and regimented nature of true classical Ballet is introduced at this level with ballet barre exercises and age/skill level appropriate center work per Academy Syllabus. When Students are ready to advance to the next level, another Level-A Ballet or B-Ballet class will be recommended per instructor. Level B Two weekly classes are required as the technical skills increase and further steps at the Barre and Center Work and introduced.
    [Show full text]
  • Marcelo Gomes to Guest with the Semperoper Ballett Dresden
    Marcelo Gomes to guest with the Semperoper Ballett Dresden PRESS RELEASE Extraordinary Brazilian dancer to make his Semperoper debut Dresden, 2 May 2019. The company of the Semperoper Ballett welcomes one of the leading lights of the current generation of dancers to his first appearance in Dresden debut: Marcelo Gomes, Principal Dancer of the American Ballet Theatre until 2017 and Guest Artist of the Sarasota Ballet for the 2018-2019 season. The multi-award winning dancer has accepted the invitation of Ballet Director Aaron S. Watkin to the Semperoper Dresden to perform the role of Prince Siegfried in Watkin’s version of »Swan Lake« on 24, 27 and 29 May as well as Oberon in Frederick Ashton’s choreography »The Dream« on 22 and 26 June. Marcelo Gomes will be in Dresden from 7 May. During his stay he will be available for interviews. Born in Manaus, Brazil, Marcelo Gomes began his dance training in Rio de Janeiro at the age of five. After completing his dance studies in the USA, during which time he enjoyed early successes, he attended the Paris Opera Ballet School for one year before performing with leading companies worldwide. From 1997 to 2017 Marcelo Gomes joined the American Ballet Theatre, where he was promoted to soloist in 2000 and, two years later, to Principal Soloist. Marcelo Gomes has captivated audiences at all the world’s top dance venues in frequent guest appearances and with his own choreographies. His extraordinary artistic achievements have been recognized with the Prix Benois de la Danse as well as numerous other awards, so in January 2016 with the Dance Magazine’s Dancer of the Year Ward, one of the highest honors in the field.
    [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]
  • 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]
  • Dance Department Information Guide
    2017-2018 Celebrating 35 Years of Dance Education Dance Department Information Guide Dr. Sandra Reed, Principal Marlena Duncan, Dance Department Chair Lisa Brown, Dance Faculty Carleigh Dunbar, Dance Faculty Power Academic and Performing Arts Complex 1120 Riverside Drive ** Jackson, MS 39202 Main Office: (601) 960-5387 Fax: (601) 968-5157 Website: http://www.jackson.k12.ms.us/power 1 Table of Contents Table of Contents/Important Contact Information 2 National Standards Vision/ School Mission, Vision, & Motto/ 3 Dance Dept. Mission, Vision, & Motto 4 About Power APAC School/Arts Program 5 Where are They Now? 6 Welcome Back Letter 7 Calendar of Events 8 Dress Code (Explanation of Dress Grade) 9 Explanation of Daily Participation Grade 10 Syllabus (Dance Fee)/Policy & Procedure/Portfolio Requirements 11-14 Levels of Dance 15-16 Dance Contract(s) 17-18 Theatre Etiquette 19 JPS ANTI-BULLYING POLICY 20-21 A Cubed Membership/Information 22-23 General Parental Permission Form 24 Emergency Contact Information 25 Adopters 26 DANCE FACULTY EMAIL ADDRESSES Marlena Duncan, Dance Chair [email protected] Lisa Brown, Dance Faculty [email protected] Carleigh Dunbar, Dance Faculty TBD Please check the website: http://www.jackson.k12.ms.us/power for a directory of all faculty, administration, and staff for updated news, school calendars, tutoring and testing schedules, etc. School number (601) 960-5387 The following information is subject to change due to APAC Arts Departmental requirements and will adhere to all JPS policies and procedures outlined in the Student Handbook & Code of Conduct. 2 National Standards for Arts Education Vision: The arts have been an inseparable part of the human journey; indeed, we depend on the arts to carry us toward the fullness of our humanity.
    [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]
  • Winter Performances Delivered an Exciting and Varied Program
    Spring 2014 Winter Performances Delivered an Exciting and Varied Program Those who attended HARID’s Winter Performances last December 14 and 15 were treated to a varied program that included classical ballet, character dance, and modern dance. Classical Divertissements showcased Alex Srb © Alex the students’ classical ballet technique in a series of variations from The Fairy Doll, Don Quixote, and Paquita. Faculty member Svetlana Osiyeva choreographed the opening adagio and finale, which seamlessly tied the various solo dances together with beautiful ensemble work. Srb Alex © Classical Divertissements HARID’s premiere of Krakowiak, a Polish character dance from the opera ‘A Life For the Tsar’, was immaculately staged by Bertha Valentin. Seven couples paraded and danced elegantly in striking, burgundy costumes on loan from Canada’s Royal Winnipeg Ballet. Modern-dance teacher Danielle Armstrong created another engaging new work for the performances. Alex Srb © Alex Silver Lining, set to Bach’s ‘Goldberg Variations’ featured several of HARID’s advanced students, along with an ensemble of younger dancers. Their movements created a mood of simple pleasure and happiness, which was enhanced by Paul Safran’s stage lighting. HARID’s holiday tradition, Divertissements from The Nutracker, Act II, once again served as the program finale. Impressive new choreography by faculty member Donald Tolj added much excitement to Arabian Coffee, Chinese Tea, and the Russian Trepak. Waltz of the Flowers was— as always—beautifully staged by Victoria Schneider, and Svetlana Osiyeva’s staging Alex Srb © Alex of the Grand Pas de Deux demonstrated the elegance and purity that is unique to IN THIS ISSUE classical ballet.
    [Show full text]
  • (With) Shakespeare (/783437/Show) (Pdf) Elizabeth (/783437/Pdf) Klett
    11/19/2019 Borrowers and Lenders: The Journal of Shakespeare and Appropriation ISSN 1554-6985 V O L U M E X · N U M B E R 2 (/current) S P R I N G 2 0 1 7 (/previous) S h a k e s p e a r e a n d D a n c e E D I T E D B Y (/about) E l i z a b e t h K l e t t (/archive) C O N T E N T S Introduction: Dancing (With) Shakespeare (/783437/show) (pdf) Elizabeth (/783437/pdf) Klett "We'll measure them a measure, and be gone": Renaissance Dance Emily Practices and Shakespeare’s Romeo and Juliet (/783478/show) (pdf) Winerock (/783478/pdf) Creation Myths: Inspiration, Collaboration, and the Genesis of Amy Romeo and Juliet (/783458/show) (pdf) (/783458/pdf) Rodgers "A hall, a hall! Give room, and foot it, girls": Realizing the Dance Linda Scene in Romeo and Juliet on Film (/783440/show) (pdf) McJannet (/783440/pdf) Prokofiev’s Romeo and Juliet: Some Consequences of the “Happy Nona Ending” (/783442/show) (pdf) (/783442/pdf) Monahin Scotch Jig or Rope Dance? Choreographic Dramaturgy and Much Emma Ado About Nothing (/783439/show) (pdf) (/783439/pdf) Atwood A "Merry War": Synetic's Much Ado About Nothing and American Sheila T. Post-war Iconography (/783480/show) (pdf) (/783480/pdf) Cavanagh "Light your Cigarette with my Heart's Fire, My Love": Raunchy Madhavi Dances and a Golden-hearted Prostitute in Bhardwaj's Omkara Biswas (2006) (/783482/show) (pdf) (/783482/pdf) www.borrowers.uga.edu/7165/toc 1/2 11/19/2019 Borrowers and Lenders: The Journal of Shakespeare and Appropriation The Concord of This Discord: Adapting the Late Romances for Elizabeth the
    [Show full text]
  • September 4, 2014 Kansas City Ballet New Artistic Staff and Company
    Devon Carney, Artistic Director FOR IMMEDIATE RELEASE CONTACT: Ellen McDonald 816.444.0052 [email protected] For Tickets: 816.931.2232 or www.kcballet.org Kansas City Ballet Announces New Artistic Staff and Company Members Grace Holmes Appointed New School Director, Kristi Capps Joins KCB as New Ballet Master, and Anthony Krutzkamp is New Manager for KCB II Eleven Additions to Company, Four to KCB II and Creation of New Trainee Program with five members Company Now Stands at 29 Members KANSAS CITY, MO (Sept. 4, 2014) — Kansas City Ballet Artistic Director Devon Carney today announced the appointment of three new members of the artistic staff: Grace Holmes as the new Director of Kansas City Ballet School, Kristi Capps as the new Ballet Master and Anthony Krutzkamp as newly created position of Manager of KCB II. Carney also announced eleven new members of the Company, increasing the Company from 28 to 29 members for the 2014-2015 season. He also announced the appointment of four new KCB II dancers, which stands at six members. Carney also announced the creation of a Trainee Program with five students, two selected from Kansas City Ballet School. High resolution photos can be downloaded here. Carney stated, “With the support of the community, we were able to develop and grow the Company as well as expand the scope of our training programs. We are pleased to welcome these exceptional dancers to Kansas City Ballet and Kansas City. I know our audiences will enjoy the talent and diversity that these artists will add to our existing roster of highly professional world class performers that grace our stage throughout the season ahead.
    [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]
  • FRIDAY, JANUARY 25, 2019 Phoenix Art Museum EVENING EVENTS
    FRIDAY, JANUARY 25, 2019 Phoenix Art Museum EVENING EVENTS 6:30 pm Cocktails | Greenbaum Lobby 7:30 pm The Making of The Firebird | Great Hall 8:00 pm Dinner and Dancing | Great Hall HONORARY CHAIRS Billie Jo & Judd Herberger The Phoenix-Scottsdale landscape was changed forever Chair: Adrienne Schiffner in 1948 when Bob and Katherine “Kax” Herberger moved Co-Chairs: Barbara Ottosen & Daryl Weil their young family here from Minnesota. Soon, the couple began giving the growing city what it needed to Gala Committee be vibrant: Art. Ellen Andres-Schneider, Joan Berry, Salvador Bretts- “Kax” was an artist and collector. She and Bob wanted Jamison, Carol Clemmensen, Jacquie Dorrance, Mary their sons, Gary and Judd, to enjoy the arts, and Ehret, Barbara Fenzl, Susie Fowls, Stephanie Goodman, encouraged their support of arts groups. Molly Greene, Kate Groves, Linda Herold, Gwen Hillis, Keryl Koffler, Jan Lewis, Sharron Lewis, Linda Lindgren, Over the past 70 years, the Herberger family has Miranda Lumer, Betty McRae, Janet Melamed, Richard launched and supported many of the Valley’s arts Monast, Doris Ong, Camerone Parker McCulloch, Carol organizations including, the Herberger Theater Schilling, Leslie Smith, Colleen Steinberg, Ellen Stiteler, Center, Phoenix Art Museum, Phoenix Theatre, Valley Vicki Vaughn, Ruth & John Waddell, Nancy White Shakespeare Festival, Arizona Opera, The Phoenix Symphony, Valley Youth Theatre, Childsplay, and our own Artistic Director: Ib Andersen Ballet Arizona. In addition, Billie Jo and Judd have been Executive Director: Samantha Turner major supporters of the Scottsdale Waterfront’s Canal Convergence, Release the Fear, and Kids Read USA. Development Staff: Jami Kozemczak, Natalie Salvione, Elyse Salisz and Ellen Bialek “Mother taught us that involving young people in the arts is most important,” says Judd.
    [Show full text]