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The Prima Ballerinas of the Kirov
Philippe Jordan MD CLINIC 23 23 Elystan St, SW33NT.London. Feb 2017 THE PRIMA BALLERINAS OF THE KIROV Диана Вишнёва DIANA VISHNEVA C A T A L O G U E PHILIPPE JORDAN France 1962 The Wandering Banker, Moscow. To survive in the harsh reality of Moscow, the financier Philippe Jordan spends his evenings drawing Indians, creating ballerinas, and meeting oligarchs. And it helps! Philippe is quite an unconventional banker. During working hours he is deals with derivatives, futures and options, but in his private time he makes paintings on glass, and art from paper. “It seemed to me that there was always some magic at the Ballet: the music played, the notes came alive, the ballerinas flew in the air” Philippe was born in Strasbourg, and his stepfather, Robert Grossmann, not only was the vice- mayor of the town of Strasbourg, but also a long-term associate of Nicolas Sarkozy – “the man who thirty years ago taught the future French president the art of public speaking.” The former president of France also has one of Jordan’s works: a courier delivered it, and after a few days, Philippe received a letter of thanks. Unconventional by nature, again in 2010, Philippe invited his friend in Moscow, the French author Michel Houellebecq, who once compared Philippe’s works to those of Giorgio de Chirico. The story of their friendship is downright amazing. After reading the novel "The Map and the Territory," Jordan was shocked - the book’s main character was so much like him. He, like Jordan, met with Abramovich. And also painted a portrait of Houellebecq. -
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. -
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 -
Ballet, Culture and Elite in the Soviet Union on Agrippina Vaganova’S Ideas, Teaching Methods, and Legacy
Ballet, culture and elite in the Soviet Union On Agrippina Vaganova’s Ideas, Teaching Methods, and Legacy Magdalena L. Midtgaard Magdalena Midtgaard VT 2016 Examensarbete, 15 hp Master program, Idéhistoria 120 hp Balett, kultur och elit i Sovjetunionen Om Agrippina Vaganovas idéer, undervisningsmetoder och arv Magdalena Midtgaard vt. 2016 Abstract. Balettutbildning har varit auktoritär och elitistisk i århundraden. Med utgångspunkt i Agrippina Vaganova och hennes metodiska systematisering av balettundervisning diskuteras frågor om elit, lärande och tradition inom balettundervisning. Vaganova var en länk mellan tsartidens Ryssland och det nya Sovjet och bidrog aktivt till att balett som konstform, trots sin aristokratiska bakgrund, fördes vidare och blev en viktig kulturpolitiskt aktivitet i Sovjet. Med underlag i texter av Bourdieu och Said diskuteras elit, kulturellt kapital och elitutbildning för att förklara några av de politiska och samhällsmässiga mekanismer som bidragit till balettens unika position i Sovjet. För att placera Vaganova som pedagog i förhållande till balettundervisning och balett genom tiden, presenteras korta informativa kapitel om baletthistoria, och utveckling och spridning av Vaganovas metod, både i Sovjet/Ryssland och i andra länder. Key words: Classical ballet, Vaganova, ballet education, elite education, cultural politics in the Soviet Union My sincere thanks to Sharon Clark Chang for proof reading and correcting my English, and to Louise Midtgaard and Sofia Linnea Berglund for valuable thoughts on Vaganova and ballet pedagogy and education in general. 2 Contents 1. Introduction p. 5 1.1 Sources and method p. 6 1.2 Theoretical perspectives on elite culture p. 7 2. Background p. 8 2.1 A short history of ballet p. -
Merry Christmas and Happy New Year!
Merry Christmas and Happy New Year! NO. 51 (1843) САНКТ-ПЕТЕРБУРГ-ТАЙМС WEDNESDAY, DECEMBER 24, 2014 WWW.SPTIMES.RU JULIA REMIZOVA / FOR SPT / FOR JULIA REMIZOVA Skaters slip and slide on the rink in Pionerskaya Ploschad set up as part of a holiday fair that opened on Dec. 19 and will remain open until Jan. 11. The city offi- THE IRONY OF SKATE cially opened the holiday season on Dec. 20 with the lighting of the tree in Dvortsovaya Ploschad as locals prepare for the upcoming New Year celebrations. NEWS NEWS Will Russia’s Facebook Ban FEATURE Economic Woes How to Hurt Other Disappear Countries? Forever The St. Petersburg Times learns how it’s done. Weakening ruble causes Social media website blocks Page 16. recession fears. Page 5. pro-Navalny page. Page 3. News www.sptimes.ru | Wednesday, December 24, 2014 ❖ 2 World’s Biggest Clock Unveiled ALL ABOUT TOWN Wednesday, Dec. 24 people regret their decision to come By Irina Titova English teachers looking to bring in and try to match their intellectual THE ST. PETERSBURG TIMES the holidays with grammatical cor- prowess against yours. The official presentation of the world’s rectness are encouraged to attend biggest clock, which was made at Rus- the British Book Center’s EFL Saturday, Dec. 27 sia’s oldest watch-making factory Ra- Seminar this evening conducted by Get cultural and material simultane- keta located in St. Petersburg’s suburb Evgeniy Kalashnikov, the British ously during the free classical music Petrodvorets, was held in the famed Council regional teacher trainer. concert at the Galeria shopping mall Central Children’s Department Store Register for the event, which begins in the heart of the city. -
Nikolay Grishko, Ballet-Shoe Maker Extraordinaire Russian Festivals In
FEBRUARY 2009 www.passportmagazine.ru Nikolay Grishko, ballet-shoe maker extraordinaire Russian Festivals in February Teddy Boys in Russia How to register a car Contents 4 Calendar 8 Russian festivals 10 Editor’s Choice Previews of some of February’s best events 10 14 Art History Antonina Sofronova’s sad yet creative life 16 Film The Russian Film Industry in Crisis 18 Careers An American who learnt to fl y and is not Flying Oligarchs talks about his job 18 21 Book Review “Ten Things To Do Before You Die” by Jenny Downham 22 City Beat A look at Russia’s Teddy Boys; the Stilyagi Tolstoy’s Moscow House 26 Weekend Getaway Vilnius 22 29 Ballet Nikolay Grishko, maker of superb ballet shoes 30 Recreation Ice Fishing 31 Flintstone Fred tries to send a money transfer 32 Recreation 29 Camp Counselors USA (CCUSA) Program 34 Restaurant Review Benihana, a cool Japanese restaurant in Moscow 36 Wine Tasting Sicilian wines 42 Out & About We remember some of January’s best events 43 44 How-To How to register a car 46 Legal column 47 Distribution List 48 Directory 44 Moscow’s main railway stations Letter from the Publisher Th is month Passport introduces several new sections. A “How-To” section has been added, aimed at explaining how-to do a few things here that can be insurmountable problems. For example, how to get your car registered. A new “Russian Festivals” section explores festivals that we should know about, yet somehow don’t; like Sretenie, Maslenitsa, and Th e Fatherland Defender’s Day! Our calendar section is now extended to include a little more that is going on in this city. -
St. Petersburg's Historic Mariinsky Ballet Makes Rare Appearance At
St. Petersburg’s historic Mariinsky Ballet makes rare appearance at BAM, Jan 15—25 Repertory of full-length classics and contemporary ballets represents three centuries of Russian ballet Added performances of Cinderella on Jan 20 and Chopin: Dances for Piano on Jan 25 Bloomberg Philanthropies is the 2014-2015 Season Sponsor BAM and the Mariinsky Theatre present Mariinsky Ballet Musical direction by Valery Gergiev BAM Howard Gilman Opera House (30 Lafayette Ave) Jan 15—25 Tickets start at $30 Swan Lake (Jan 15 at 7pm†, Jan 16, 21—23 at 7:30pm) Music by Pyotr Tchaikovsky Choreography by Marius Petipa and Lev Ivanov (1895) Revised choreography and stage direction by Konstantin Sergeyev (1950) †Premium Package: $350 (includes center orchestra seating and post-show champagne reception with Valery Gergiev) Cinderella (Jan 17 at 7:30pm, Jan 18 at 3pm, Jan 20 at 7:30PM) Music by Sergei Prokofiev Choreography by Alexei Ratmansky (2002) Chopin: Dances for Piano (Jan 24 at 7:30pm & Jan 25 at 3pm) Music by Frédéric Chopin Choreography by Michel Fokine, Jerome Robbins, and Benjamin Millepied Chopiniana (Chopin/Fokine) (1908) In the Night (Chopin/Robbins) (1970) Without (Chopin/Millepied) (2011) Brooklyn, NY/December 11, 2014—Responsible for producing some of the dance world’s most influential artists—Pavlova, Nijinsky, Balanchine, Nureyev, Baryshnikov—the Mariinsky Ballet and Orchestra make a rare appearance at BAM January 15 through 25 with a series of full-length classics and contemporary ballets. Representing three centuries of Russian ballet, the residency opens with two full-length works—the Tchaikovsky classic Swan Lake, with choreographed by Petipa and Ivanov, revised by Sergeyev; and Prokofiev’s Cinderella from contemporary ballet choreographer Alexei Ratmansky. -
Music by Pyotr Tchaikovsky Mariinsky Ballet Musical Direction by Valery
BAM 2015 Winter/Spring Season #MariinskyBAM Brooklyn Academy of Music The Mariinsky Theatre Alan H. Fishman, Valery Gergiev, Chairman of the Board General and Artistic Director, State Academic Mariinsky Theatre William I. Campbell, Frederick Iseman, Vice Chairman of the Board Chairman, Mariinsky Foundation of America Adam E. Max, Donald M. Kendall, Vice Chairman of the Board Chairman Emeritus Karen Brooks Hopkins, Michael D. White, President Vice Chairman Joseph V. Melillo, Executive Producer SwanBAM and the Mariinsky Theatre present Lake Season Sponsor: Music by Pyotr Tchaikovsky Mariinsky Ballet Musical direction by Valery Gergiev BAM engagement made possible by: BAM Howard Gilman Opera House Jan 15 at 7pm (conducted by Valery Gergiev); Jan 16 & 21—23 at 7:30pm Leadership support for the Mariinsky Residency at Running time: three hours and 10 minutes, BAM provided by Frederick Iseman including two intermissions VTB Bank is the Principal Partner of the Mariinsky Theatre. Sberbank and Yoko Nagae Ceschina are Libretto by Vladimir Begichev and Vasily Geltzer Principal Sponsors. Choreography by Marius Petipa and Lev Ivanov (1895) Revised choreography and stage direction by Support for the Signature Artists Series provided by the Howard Gilman Foundation Konstantin Sergeyev (1950) Set design by Igor Ivanov Major support for the Mariinsky Residency at BAM provided by Renova Costume design by Galina Solovyova Leadership support: The Harkness Foundation for Dance The SHS Foundation Swan Lake—Casting Odette-Odile Viktoria Tereshkina (1/15, 1/23) -
Bertrand Norman
a documentary film by Bertrand Norman 77 minutes, color, 2006 Russian, English & French w/English subtitles FIRST RUN FEATURES The Film Center Building, 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 / Fax (212) 989-7649 www.firstrunfeatures.com SYNOPSIS In the grand tradition of the Ballet Russes comes Bertrand Normand's portrait of five Russian ballerinas from the Mariinski Theatre, formerly known as the Kirov. Behind any great ballerina lies the discipline and rigour that comes from decades of training and practice; and Russia's pre-eminent dancers - superstars such as Nijinsky, Baryshnikov and Pavlova - established the reputation of Russian dancers as the best in the world. The dancers profiled in Ballerina are uniquely individual - tough, insightful and exceptionally talented; onstage they reveal no hint of the sweat, pain and hard work of the rehearsal studio. From Swan Lake to Romeo and Juliet, from the backstage studio to performing on stages around the world, Ballerina captures the sublime beauty of ballet, in all its resplendent glory. The classic ballerina exercises an art that is becoming rare, a profession as demanding that it is not well known. She fascinates because her fate seems so fragile. But there is a country where she still shines as resplendently as ever, Russia. Land of absolutes, the cult of beauty, wideness and nostalgia, also the land of a forgotten femininity: Russia is the land of the ballerina par excellence . Director Bertrand Normand, director and lover of ballet, has for a long while been impressed by the singularity the Russian Ballerinas. He went to St Petersburg looking for what makes these dancers unique. -
Tradition Reigns at Gala Des Étoiles Du Ballet Russe
Tradition reigns at Gala des Étoiles du ballet russe By Victor Swoboda, Special to the GazetteJanuary 10, 2014 Yulia Makhalina of the Mariinsky Ballet and Mikhailovsky Ballet’s Mikhail Venschikov will be duet partners in the Gala des Étoiles du ballet russe. Photograph by: Gala des Étoiles du ballet russe MONTREAL — Montreal dance fans who are still lamenting the demise of the Gala des Étoiles a few years ago might find solace in a star-filled performance next Friday. Called the Gala des Étoiles du ballet russe, the show features 10 leading soloists trained in the bravura Russian school of classical dance. Their home companies in Russia and Ukraine include storied names like the Bolshoi and the Mariinsky. Unlike the Gala des Étoiles, this event has no black-tie dinner-dance and the venue is Outremont Theatre rather than Place des Arts; the program nonetheless hearkens to the 19th-century warhorses that made up much of the bills in the early years of the Gala des Étoiles: Sleeping Beauty, Raymonda, Giselle, La Bayadère and Swan Lake all get their due. Indeed, performing the Act II adagio from Swan Lake will be Yulia Makhalina, who danced here in 1988 in the third Gala des Étoiles (called Don des Étoiles back then). At the time, she was a 20-year-old member of the Mariinsky Ballet, better known in the West as the Kirov. Makhalina quickly became one of the company’s brightest lights, dancing all of the main classical ballet roles. Now the doyenne of the Mariinsky’s roster of www.rusartcom.ru| [email protected] | [email protected] off.+ 7 (495) 621 28 45 | fax + 7 (495) 623 29 56 | mob. -
Post-Soviet Primas: Challenging Archive and Repertoire
Post-Soviet Primas: Challenging Archive and Repertoire Cover Page Footnote The uthora would like to acknowledge Professor Mary Buckley, who reviewed this essay prior to publication; her input was invaluable and has materially strengthened this article. This article is available in PARtake: The ourJ nal of Performance as Research: https://scholar.colorado.edu/partake/vol2/iss2/6 Nikulina: Post-Soviet Primas: Challenging Archive and Repertoire Introduction Emerging as an independent art form in the eighteenth century, ballet carved out a space within theatre arts for shaping, releasing and advocating for one’s emotions and personal experiences. At the same time, over the course of its history, ballet became closely associated with state authority, as state ballet schools and theatres became the primary institutions for ballet training and performance in many nations. Perhaps nowhere has this link between the state and ballet been as pronounced as in Russia, where ballet has occupied a distinguished space of state-sponsored art throughout Russia’s Imperial, Soviet and Post- Soviet periods. With this distinction as a historically state-supported institution, but at the same time renowned for its leading artists, Post-Soviet ballet represents a unique case study that contests the binary academic framing of ballet in Russia as either an independent art form with its own social, cultural and political messages, or as a fully-dependent medium of state propaganda. Critically, in this generally accepted dualistic theorization of ballet, dance scholars, critics, and choreographers have sometimes overlooked the perspective of the performers. As I show in this work, narratives of leading Post-Soviet female ballet artists offer a unique and fundamentally different understanding of Russian classical ballet and its contested position between archive and repertoire. -
If a Job Is Worth Doing It Is Worth Doing Well
STRATEGIES FOR BUSINESS IN MOSCOW If a job is worth doing it is worth doing well A PROPOS I love all of Moscow, but there are definitely parts of However, stones have a tendency to crumble. There the city where my heart starts beating faster – places is no way of knowing what would have become of this where I feel at home. One of these places is the city historic and cultural center had the city government not center, where I spent my childhood. We lived on made a decision to renovate the center. Stoleshnikov Pereulok and my brother and I went to the I’m talking, of course, about a large-scale program aimed famous School №179. We used to go to the Alexander at restoring objects that are a part of the city’s cultural Garden to play with our friends: we would ride bikes in heritage. This project is currently in progress. The center the summer and go sledding in the winter, sliding down of Moscow is undergoing a real renovation boom. Suffice the hills right in front of the majestic Kremlin walls. it to say that there are currently over 400 historical and Of course, the center of Moscow is special to everyone cultural buildings covered in scaffolding, and this number who has ever visited Russia. It contains everything that is growing. A special Moscow Government committee is draws people from all over the world to the Russian adding more and more objects to the list of architectural capital: The Red Square with the Kremlin and St.