Don Quixote End Credits

Total Page:16

File Type:pdf, Size:1020Kb

Don Quixote End Credits Don Quixote Robert Helpmann Sancho Panza Ray Powell Basilio Rudolf Nureyev Lorenzo - The Inn Keeper Francis Croese Kitri - His Daughter Lucette Aldous Gamache - A Rich Nobleman Colin Peasley Street Dancer Marilyn Rowe Espada Kelvin Coe Two Girl Friends Gailene Stock Carolyn Rappell Six Matadors Ronald Bekker John Meehan Rex McNeil Rodney Smith Joseph Janusaites Frederic Werner Gypsy Dancers Alan Alder Paul Saliba Gypsy King & Queen Ronald Bekker Susan Dains Two Gypsy Girls Julie da Costa Leigh Rowles Dulcinea Lucette Aldous Queen of the Dryads Marilyn Rowe Cupid Patricia Cox Leading Fandango Couple Janet Vernon Gary Norman and Artists of the Australian Ballet. Associate Producer Pat Condon Art Director William Hutchinson Camera Operator Peter Macdonald Editor Anthony Buckley Production Manager Hal McElroy Assistant Directors Bryan Ashbridge Wallace Potts The Australian Ballet Co-Artistic Directors Dame Peggy van Praagh D.B.E. Sir Robert Helpmann C.B.E. Administrator to the Australian Ballet Peter F. Bahen The Elizabethan Trust Melbourne Orchestra Leader Reginald Stead By Kind Permission of The Australian Elizabethan Theatre Trust. Music Recorded at Armstrong Studios - Melbourne Recording Produced by Brian B. Culverhouse Music Co-Ordinators Alan Barker Alan Abbott Second Unit Operator Bill Grimmond Focus Pullers John Campbell John Haddy Continuity Lynne McEncroe Second Assistant Directors John Moulton Michael Faloon Production Secretary Pom Oliver Key Grip Noel Menzies Gaffer Tony Tegg Sound Recordist Ken Hammond Music Editor Bob Hathaway Dubbing Mixer Gordon McCallum Wardrobe Supervisor Ron Williams Make-up Artiste Peggy Carter Hairdresser Jose Perez Milliner Noel Jenkins Director of Publicity Noel Pelly Ballet Mistress Heather Macrae Assistant to Production Designer Martin Kamer Assistant to Art Director Tim Hutchinson Property Supervisor Bill Passmore Art Dept. Co-Ordinator David Copping Soft Furnishings Gerry Polkinghorn Construction Manager Reg Bevear Property Buyer Tom Markus Titles by G.S.E. Ltd. The Producer wishes to acknowledge with thanks the help and co-operation received from The Department of Civil Aviation Trans Australian Airlines Made by International Arts Inc. Pty. Ltd. In Association with Australian International Finance Corp. Pty. Ltd. and The Australian Ballet Foundation. (DVD credit only) Restoration and Remastering For the Australian Broadcasting Corporation Head ABC Video Janine Burdeu ABC Enterprises Producer Cheryl Forrest-Smith Forrest-Smith Productions Film Restoration and Archival Brian Rollason Digital Video Mastering Audio Restoration and Remix Michael Gissing CEDAR and DSP Digital City Studios On-Line Ian Pietsch Centre Video Productions Music performed by The State Orchestra of Victoria Formerly known as The Elizabethan Trust Melbourne Orchestra The END Filmed in Melbourne, Victoria, Australia. Post Production at Pinewood Studios, London, England. International Arts Inc Pty Ltd © 1999.
Recommended publications
  • HIS MAJESTY's THEATRE Ephemera PR14837
    HIS MAJESTY’S THEATRE Ephemera PR14837 To view items in the Ephemera collection, contact the State Library of Western Australia CALL NO. DESCRIPTION PR14837/1 His Majesty’s Theatre 2004 : centenary events. Booklet. 2004 PR14837/2 “The Gondoliers”: Gilbert and Sullivan season. Booklet. 1966 PR14837/3 Espana Viva! A celebration of the year of Spain. 1p. 1992 PR14837/4 West Australian Opera: Carmen. Card. 1992 PR14837/5 West Australian Opera: Mozart the marriage of Figaro. Flyer. July 30, Aug. 1, 3, 6, 8, 10 PR14837/6 West Australian Opera: Don Pasquale. Flyer. 1992 PR14837/7 Bright futures: State Arts Sponsorship Scheme Awards. Fold-out card. 2004 PR14837/8 His Majesty’s Theatre. 4p. Undated PR14837/9 His Majesty’s Theatre Honours… Booklet. 2004 PR14837/10 Citations for recipients of the award Charles Court, His Majesty’s Theatre honours Rolf Harris, His Majesty’s Theatre honours Jill Perryman, His Majesty’s Theatre honours Edgar Metcalfe, His Majesty’s Theatre honours Lucette Aldous, His Majesty’s Theatre honours Gregory Yurisich, His Majesty’s Theatre honours Sir Charles Court. 8p. 2004 PR14837/11 Centenary 2004 His Majesty’s Theatre. 100th birthday ceremony. 4p. 2004 PR14837/12 His Majesty’s Theatre. Community Programmes. 1p. Undated PR14837/13 Lunchtime concerts at the Maj. Fold-out leaflet. Apr-July 2004 PR14837/14 Morning melodies. Fold-out leaflet. Season 1 2004 PR14837/15 Morning melodies. Fold-out leaflet. Season 2 2004 PR14837/16 His Majesty’s Theatre Cavalcade. Flyer. 2004 PR14837/17 Cabaret soiree. Fold-out leaflet. Season 2 2004 PR14837/18 West Australian Opera presents Vincenzo Bellini’s Norma.
    [Show full text]
  • Documenting Australian Dance Walter Stringer's Dance Photography
    Documenting Australian Dance Walter Stringer's Dance Photography In the second of a series of articles looking at recent additions to the National Library's dance holdings as part of the Keep Dancing! project, Michelle Potter delves into the W.E Stringer Collection and discovers a man with a passion for dance alter Stringer, pioneer Australian dance W photographer, still remembers the first professional dance performance he ever saw. It was a triple bill by Diaghilev's Ballets Russes company. He saw it in London at the Coliseum Theatre and on the program was Michel Fokine's exotic and glamorous Scheherazade. The year was about 1919 and he was just a young boy, but the memory of that performancehaunts him to this day. He still thinks of it as the most memorable production he has everseen. Stringer, born in 1907 in a suburb of Dublin, Ireland, did not take his first dance photographs until he migrated to Australia with his family when he was 16. His parents set up was allowed backstage during Walter Stringer (b. 1907) house in Melbourne and Stringer's performances and often also shot Graeme Murphy in Daphnis and Chloe first photographs were taken secretly from the auditorium during dress cibachrome photograph; 25.3 x 20.1 cm (P554/SD/22) from the stalls in a Melbourne theatre rehearsals. W.F. Stringer Collection in 1940 during performances Stringer's output as a photographer, From the Pictorial Collection by Colonel de Basil's Ballets now housed in the National Library Russes company. They marked the as the W.F.
    [Show full text]
  • Publications
    Michelle Potter: Publications Michelle Potter: Publications Books and articles (peer reviewed works are marked with an asterisk *) ‘Robert Helpmann: Behind the scenes with the Australian Ballet, 1963–1965.’ Dance Research (Edinburgh), 34:1 (Summer 2016), forthcoming* ‘Elektra: Helpmann uninhibited.’ In Richard Cave and Anna Meadmore (eds),The many faces of Robert Helpmann (Alton: Dance Books, 2016), forthcoming Dame Maggie Scott: A Life in Dance (Melbourne: Text Publishing, 2014), 368 pp, colour and b & w illustrations, ISBN 9781922182388 (also published as a e-book ISBN 9781925095364) Meryl Tankard: an original voice (Canberra: Dance writing and research, 2012), 210 pp, unillustrated, ISBN 9780646591445 ‘Merce Cunningham’, ‘Rudolf Nureyev’. America’s Irreplaceable Dance Treasures (Washington, DC: Dance Heritage Coalition, 2012)* http://www.danceheritage.org/cunningham.html; http://www.danceheritage.org/nureyev.html ‘The Dandré-Levitoff Russian Ballet 1934–1935: Australia and beyond.’ Dance Research (Edinburgh), 29:1 (Summer 2011), pp. 61–96* ‘People, patronage and promotion: the Ballets Russes tours to Australia, 1936–1940.’ Ballets Russes: the art of costume (Canberra: National Gallery of Australia, 2010), pp. 182–193* ‘Tributes: Impressions—Irina Baronova; The fire and the rose—Valrene Tweedie.’ Brolga (Canberra), 29 (December 2008), pp. 6–16 ‘Archive bündeln: Das Beispiel Australien.’ trans. Franz Anton Cramer. Tanz und ArchivePerspectiven für ein kulturelles Erbe, ed. Madeline Ritter, series Jahresmitteilungen von Tanzplan Deutschland (Berlin: Tanzplan Deutschland, 2008), pp. 50–53* ‘Arnold Haskell in Australia: did connoisseurship or politics determine his role?’ Dance Research (Edinburgh), 24:1(Summer 2006), pp. 37–53* ‘Chapter 7: In the air: extracts from an interview with Chrissie Parrott.’ Thinking in Four Dimensions: Creativity and Cognition in Contemporary Dance, eds.
    [Show full text]
  • Remembering Edouard Borovansky and His Company 1939–1959
    REMEMBERING EDOUARD BOROVANSKY AND HIS COMPANY 1939–1959 Marie Ada Couper Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy 2018 School of Culture and Communication The University of Melbourne 1 ABSTRACT This project sets out to establish that Edouard Borovansky, an ex-Ballets Russes danseur/ teacher/choreographer/producer, was ‘the father of Australian ballet’. With the backing of J. C. Williamson’s Theatres Limited, he created and maintained a professional ballet company which performed in commercial theatre for almost twenty years. This was a business arrangement, and he received no revenue from either government or private sources. The longevity of the Borovansky Australian Ballet company, under the direction of one person, was a remarkable achievement that has never been officially recognised. The principal intention of this undertaking is to define Borovansky’s proper place in the theatrical history of Australia. Although technically not the first Australian professional ballet company, the Borovansky Australian Ballet outlasted all its rivals until its transformation into the Australian Ballet in the early 1960s, with Borovansky remaining the sole person in charge until his death in 1959. In Australian theatre the 1930s was dominated by variety shows and musical comedies, which had replaced the pantomimes of the 19th century although the annual Christmas pantomime remained on the calendar for many years. Cinemas (referred to as ‘picture theatres’) had all but replaced live theatre as mass entertainment. The extremely rare event of a ballet performance was considered an exotic art reserved for the upper classes. ‘Culture’ was a word dismissed by many Australians as undefinable and generally unattainable because of our colonial heritage, which had long been the focus of English attitudes.
    [Show full text]
  • Media Kit the Australian Ballet 2016 Media Kit
    MEDIA KIT THE AUSTRALIAN BALLET 2016 MEDIA KIT MEDIA RELEASE Symphony in C is a parade of bite-size classical and contemporary 2016 Season Packages are available from 9am Thursday 24 The Australian Ballet announces ballet delights. The mixed bill begins with the black and white September in Sydney, Melbourne and Adelaide. an explosive new season, blending symmetry of a George Balanchine extravaganza. The gala line- up to follow is a suite of perfect ballet moments to show the art NOTES TO EDITORS timeless classics and contemporary form at its radiant best. Highlights include the world premiere of two new works by emerging choreographers and rising stars Founded in 1962, The Australian Ballet is one of the world’s leading of The Australian Ballet, Alice Topp and Richard House. This ballet companies delivering extraordinary performances for over works, including the Australian 50 years. A commitment to artistic excellence, a spirited style work is exclusive to Sydney and opens in April, as the classical counterpoint to Vitesse. and a willingness to take risks have defined the company from premiere of the Nijinsky masterpiece, its earliest days, both onstage and off. The company exists to the return of much-loved classics Romance moves centre stage, when Houston Ballet brings the inspire, delight and challenge audiences through the power and world’s most famous love story, Romeo and Juliet, to Melbourne. quality of its performances. Coppélia, Swan Lake, Romeo and Juliet, Artistic Director Stanton Welch, concurrently a Resident Choreographer with The Australian Ballet, is a master of story In addition to 70 acclaimed dancers, The Australian Ballet and world premiere works by rising and spectacle.
    [Show full text]
  • Don Quixote RUDOLF NUREYEV
    s i r a P e d l a n o i t a n a r é p O : o t o h P © Don Quixote RUDOLF NUREYEV > BALLET 2012 HDTV Ballet in one prologue and three acts after various FILMED AT Opéra national de Paris episodes from the novel by Miguel de Cervantès IN December 2012 Music by Ludwig Minkus TV DIRECTOR François Roussillon Choreography and staging by Rudolf Nureyev RUNNING TIME 1 x 120’ after Marius Petipa Don Quixote artistic information DESCRIPTION “The Knight of the Sad Face” and his faithful squire, Sancho Panza, are mixed up in the wild love affairs of the stunning Kitri and the seductive Basilio in a richly colourful, humorous and virtuoso ballet. Marius Petipa’s Don Quixote premiered in Moscow in 1869 with music by Ludwig Minkus and met with resounding success from the start. The novelty lay within its break from the supernatural universe of romantic ballet. Written as if it were a play for the theatre, the work had realistic heroes and a solidly structured plot and scenes. The libretto and the choreography were handed down without interruption in Russia, but Petipa’s version remained unknown in the west for a long time. In 1981, Rudolf Nureyev introduced his own version of the work into the Paris Opera’s repertoire. While retaining the great classical pages and the strong, fiery dances, the choreographer gave greater emphasis to the comic dimension contriving a particularly lively and light-hearted production. In 2002, Alexander Beliaev and Elena Rivkina were invited to create new sets and costumes specially for the Opera Bastille.
    [Show full text]
  • The Late John Lanchbery Was Commissioned by Rudolf Nureyev to Arrange the Score for His Production of Don Quixote
    Olivia Bell, 2007 Photography David Kelly MUSIC NOTE The late John Lanchbery was commissioned by Rudolf Nureyev to arrange the score for his production of Don Quixote. Here, Lanchbery explains his approach to the music. Conductor John Lanchbery, 1997 Photography Jim McFarlane In Russia in the second half of the 19th century, unadventurous, and just occasionally uninteresting. Like the scores for all 19th-century ballets that have the growth and popularity of the arts resulted in the His unending fund of melody was at its best in waltz- stayed in the Russian repertoire, Don Quixote has long immigration of a number of non-Russian musicians time, obviously because of his early life in Vienna; ago been tinkered with, added to and subtracted from who served a useful purpose until such time as the when in doubt he wrote in this rhythm, and it is fun to without mercy. When Nureyev commissioned me to do great Russian school of composers came into force. note that in his tragic ballet La Bayadère, a story of a completely new version of it for (coincidentally) the fatal snake-bite, unrequited love and a haunted temple Vienna Opera House in 1966, I therefore suffered no In the ballet of the time the music had above all to be in mythological India, the best musical moment is pangs of conscience in trying to improve the hotch- melodic, easily remembered, and simple in its form when a corps de ballet of beautiful Hindu lady-ghosts potch which has survived as Minkus’ score. I adapted and rhythmic pattern.
    [Show full text]
  • Bridge & Prof Training Brochure
    Professional Training Program & Post-Secondary Bridge Program Victoria · British Columbia · Canada I came from Japan two years ago to Victoria Academy of Ballet’s Bridge program, to improve my technique, musicality, and artistic expression. The teachers were wonderful and I learned so much. As a Bridge student I had lots of performance experience with Ballet Victoria and I learned about the professional world of dance. I am now an apprentice with Ballet Victoria and strongly recommend the academy to anyone wanting a professional dance career. — Risa Kobayashi Bridge Program graduate 2011, currently with Ballet Victoria company The Victoria Academy of Ballet provides students with the necessary foundation to embark on a career in professional dance. Our strong curriculum, outstanding faculty, and personal attention to each student define our academy. The Academy develops versatile dancers with focus, an inquiring intellect, strong self- confidence, and an outstanding work ethic. Do you have the courage, determination, and passion to become the dancer you dream to be? 1 Professional Training Program Our Professional Training Program provides talented, serious dancers (ages 12–18) with an intensive program coordinated with their academic schooling. Through cooperative planning with designated secondary schools, students attend our dance classes from 2:30 pm to 7 pm, allowing time for homework and other activities. The Cecchetti-based curriculum develops students’ musicality, technical proficiency, and artistic sensitivity. Classes include ballet, pointe, repertoire, contemporary, jazz, Pilates, dance history, anatomy, and nutrition. Students regularly participate in Cecchetti exams and competitions, consistently achieving outstanding results. Students are nurtured in an atmosphere of encouragement and dedication to excellence, with personalized programs and coaching.
    [Show full text]
  • Elizabethan Trust ·· News 300Eng8 Sepg8mber'74 No 12 Contentr Editor: Margaret Leask
    elizabethan trust ·· news 300enG8 sepG8mber'74 no 12 contentr Editor: Margaret Leask The Stuttgart Ballet 3 Interview - Stella Adler and Ron Burrows 4 Fringe Engl ish in Brisbane - Albert Hunt and Richard Fotheringham 6 Puppetry News - The Marionette Theatre of Australia 8 London Scene - Gordon Beattie 9 Theatre in Canberra, Then and Now - Anne Godfrey-Smith 10 Dance Footnotes - Leonard Linden 12 Three Rooms, Harbour View - the ITI at the A.E.T.T: 13 Australian National Playwrights Conference 13 The Poets of Pleasure at N.I.D.A. - Maxlffland 14 Lucette Aldous 16 Melbourne Scene - BarryBalmer 18 Books 19 Australian Elizabethan Theatre Trust Conference 19 The Facts about the Elizabethen Trust Orchestras - Ken Mackenzie·Forbes20 Music - The War Requiem Twelve Years Later 21 Committees' Diary 21 Elizabeth Sweeting talks about Theatre Administration 22 New Opera South Austral ia - Stuart Thompson 24 Stageworld 25 R~o~s W Showguide 27 lHE N~TIONAL 1N5TITUrE IIIIID OF [)R,Al\MTIC ART at the University of New South Wales forme Sydney, Australia offers: Three year full-time training courses NEW for the Professional Theatre in ACTING BLOOD TECHNICAL PRODUCTION Blood is urgently required by the Red Cross Blood Transfusion Service. Help DESIGN save a life - giving blood is simple and harmless. A few minutes of your time Ther~ is a one year post-graduate could mean a lifetime to somebody student director's course for people else. ENROL NOW! already experienced in professional, university or amateur theatre. Sydney - 153 Clarence Street. (telephone 290 2555); Enquiries should be addressed to: Melbourne - 114 Flinders Street.
    [Show full text]
  • The Australian Ballet 1 2 Swan Lake Melbourne 23 September– 1 October
    THE AUSTRALIAN BALLET 1 2 SWAN LAKE MELBOURNE 23 SEPTEMBER– 1 OCTOBER SYDNEY 2–21 DECEMBER Cover: Dimity Azoury. Photography Justin Rider Above: Leanne Stojmenov. Photography Branco Gaica Luke Ingham and Miwako Kubota. Photography Branco Gaica 4 COPPÉLIA NOTE FROM THE ARTISTIC DIRECTOR Dame Peggy van Praagh’s fingerprints are on everything we do at The Australian Ballet. How lucky we are to have been founded by such a visionary woman, and to live with the bounty of her legacy every day. Nowhere is this legacy more evident than in her glorious production of Coppélia, which she created for the company in 1979 with two other magnificent artists: director George Ogilvie and designer Kristian Fredrikson. It was her parting gift to the company and it remains a jewel in the crown of our classical repertoire. Dame Peggy was a renowned Swanilda, and this was her second production of Coppélia. Her first was for the Borovansky Ballet in 1960; it was performed as part of The Australian Ballet’s first season in 1962, and was revived in subsequent years. When Dame Peggy returned to The Australian Ballet from retirement in 1978 she began to prepare this new production, which was to be her last. It is a timeless classic, and I am sure it will be performed well into the company’s future. Dame Peggy and Kristian are no longer with us, but in 2016 we had the great pleasure of welcoming George Ogilvie back to the company to oversee the staging of this production. George and Dame Peggy delved into the original Hoffmann story, layering this production with such depth of character and theatricality.
    [Show full text]
  • 1 Giselle the Australian Ballet
    THE AUSTRALIAN BALLET GISELLE 1 Lifting them higher Telstra is supporting the next generation of rising stars through the Telstra Ballet Dancer Award. Telstra and The Australian Ballet, partners since 1984. 2018 Telstra Ballet Dancer Award Winner, Jade Wood | Photographer: Lester Jones 2 THE AUSTRALIAN BALLET 2019 SEASON Lifting them higher Telstra is supporting the next generation of rising stars through the Telstra Ballet Dancer Award. Telstra and The Australian Ballet, partners since 1984. 1 – 18 MAY 2019 | SYDNEY OPERA HOUSE Government Lead Principal 2018 Telstra Ballet Dancer Award Winner, Jade Wood | Photographer: Lester Jones Partners Partners Partner Cover: Dimity Azoury. Photography Justin Ridler Above: Ako Kondo. Photography Lynette Wills Richard House, Valerie Tereshchenko and Amber Scott. Photography Lynette Wills 4 THE AUSTRALIAN BALLET 2019 SEASON NOTE FROM THE ARTISTIC DIRECTOR Giselle has a special place in The Australian Ballet’s history, and has been a constant in our repertoire since the company’s earliest years. The superstars Margot Fonteyn and Rudolf Nureyev danced it with us in 1964, in a production based on the Borovansky Ballet’s. Our founding artistic director, Peggy van Praagh, created her production in 1965; it premiered in Birmingham on the company’s first international tour, and won a Grand Prix for the best production staged in Paris that year. It went on to become one of the most frequently performed ballets in our repertoire. Peggy’s production came to a tragic end when the scenery was consumed by fire on our 1985 regional tour. The artistic director at the time, Maina Gielgud, created her own production a year later.
    [Show full text]
  • Culture and Customs of Australia
    Culture and Customs of Australia LAURIE CLANCY GREENWOOD PRESS Culture and Customs of Australia Culture and Customs of Australia LAURIE CLANCY GREENWOOD PRESS Westport, Connecticut • London Library of Congress Cataloging-in-Publication Data Clancy, Laurie, 1942– Culture and customs of Australia / Laurie Clancy. p. cm. Includes bibliographical references and index. ISBN 0–313–32169–8 (alk. paper) 1. Australia—Social life and customs. I. Title. DU107.C545 2004 306'.0994 —dc22 2003027515 British Library Cataloguing in Publication Data is available. Copyright © 2004 by Laurie Clancy All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2003027515 ISBN: 0–313–32169–8 First published in 2004 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10 9 8 7 6 5 4 3 2 1 To Neelam Contents Preface ix Acknowledgments xiii Chronology xv 1 The Land, People, and History 1 2 Thought and Religion 31 3 Marriage, Gender, and Children 51 4 Holidays and Leisure Activities 65 5 Cuisine and Fashion 85 6 Literature 95 7 The Media and Cinema 121 8 The Performing Arts 137 9 Painting 151 10 Architecture 171 Bibliography 185 Index 189 Preface most americans have heard of Australia, but very few could say much about it.
    [Show full text]