Swan Lake Audience Guide
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The Angel Cried out (1887) | Angel Vopiyashe 2:57
PYOTR ILYICH TCHAIKOVSKY (1840–1893) All-Night Vigil, Op. 52 (1881) An Essay in Harmonizing liturgical chants Vsenoshchnoye bdeniye Opït garmonizatsiy bogosluzehbnïh pesnopeniy 1. Bless the Lord, O My Soul | Blagoslovi, dushe moya, Ghospoda 6:48 2. Kathisma: Blessed is the Man | Kafizma: Blazhen muzh 3:20 3. Lord, I Call | Ghospodi, vozzvah 0:58 4. Gladsome Light | Svete tihiy 2:25 5. Rejoice, O Virgin | Bogoroditse Devo 0:44 6. The Lord is God | Bog Ghospod 1:02 7. Praise the Name of the Lord | Hvalite imia Ghospodne 4:00 8. Blessed Art Thou, O Lord | Blagosloven yesi, Ghospodi 4:29 9. From My Youth | Ot yunosti moyeya 1:42 10. Having Beheld the Resurrection of Christ | Voskreseniye Hristovo videvshe 2:14 11. Common Katavasia: I Shall Open My Lips | Katavasiya raidovaya: Otverzu usta moya 5:17 12. Theotokion: Thou Art Most Blessed | Bogorodichen: Preblagoslovenna yesi 1:21 13. The Great Doxology | Velikoye slavosloviye 6:40 14. To Thee, the Victorious Leader | Vzbrannoy voyevode 0:55 15. Hymn in Honour of Saints Cyril and Methodius (1885) | Gimn v chest Sv. Kirilla i Mefodiya 2:44 16. A Legend, Op. 54 No. 5 (1883) | Legenda 3:12 17. Jurists’ Song (1885) | Pravovedcheskaya pesn 2:02 18. The Angel Cried Out (1887) | Angel vopiyashe 2:57 Latvian Radio Choir SIGVARDS KĻAVA, conductor he Latvian Radio Choir, led by Sigvards Kļava, presents a second album of sacred works by TPeter Tchaikovsky for choir. As with the first, its centrepiece is an extensive multi-movement composition – in this case, the All-Night Vigil. -
Registration Packet 2015-16
! Registration Packet 2015-16 Faculty Artur Sultanov, Artistic Director Mr. Sultanov was born and raised in St. Petersburg, Russia. He trained at Vaganova Ballet Academy and at age 17, joined the Kirov ballet where he danced a classical repertoire. Artur has also performed with Eifman Ballet as a Soloist. In 2000 he moved to San Francisco to join Alonzo King’s Lines Ballet. In 2003 Artur joined Oregon Ballet Theatre. His principal roles at OBT include the Prince in Swan Lake, Ivan in Firebird, and the Cavalier in the Nutcracker, among others. Mr. Sultanov has performed on the stages of the Metropolitan Opera House, Kennedy Center, Bolshoi Ballet Theatre, and the Mariisnky Theatre in his native city of St. Petersburg. In addition to being an accomplished dancer, Mr. Sultanov has also taught extensively throughout his professional career. In the past eight years, Mr. Sultanov has taught and choreographed for the school of Oregon Ballet Theatre and Lines Contemporary Ballet School of San Francisco. His vast experience also includes holding master workshops in the Portland Metro Area, Seaside, OR, Vancouver and Tacoma, Washington. Artur Sultanov is excited to be a part of the Portland dance community and is looking forward to inspiring a new generation of dancers. Vanessa Thiessen Vanessa Thiessen is originally from Portland, OR. She trained at the School of Oregon Ballet Theatre, with James Canfield, and continued on to dance for Oregon Ballet Theatre from 1995-2003. At OBT she danced leading roles in Gissele and Romeo and Juliet. After moving to San Francisco in 2003, she danced with Smuin Ballet, ODC Dance, Amy Seiwert’s Imagery, Opera Parallele and Tanya Bello’s Project b. -
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. -
Cesare Pugni: Esmeralda and Le Violon Du Diable
Cesare Pugni: Esmeralda and Le Violon du diable Cesare Pugni: Esmeralda and Le Violon du diable Edited and Introduced by Robert Ignatius Letellier Cesare Pugni: Esmeralda and Le Violon du diable, Edited by Edited and Introducted by Robert Ignatius Letellier This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Edited and Introducted by Robert Ignatius Letellier and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3608-7, ISBN (13): 978-1-4438-3608-1 Cesare Pugni in London (c. 1845) TABLE OF CONTENTS Introduction ............................................................................................................................... ix Esmeralda Italian Version La corte del miracoli (Introduzione) .......................................................................................... 2 Allegro giusto............................................................................................................................. 5 Sposalizio di Esmeralda ............................................................................................................. 6 Allegro giusto............................................................................................................................ -
Conference Program
CORPS de Ballet International 11th Annual Teacher Conference July 22-26, 2009 Hosted by The School for Classical & Contemporary Dance Texas Christian University Fort Worth, Texas Ballet Pedagogy as Embodied Practice: The Art and Craft of Teaching Valse-Fantaisie, by George Balanchine ©The George Balanchine Trust. Dancer: Tess Bernard From DanceTCU Spring Concert: Effortless (April 2008) Photography: Marty Sohl Photograph 11th Annual Teacher Conference July 22-26, 2009 Ballet Pedagogy as Embodied Practice: The Art and Craft of Teaching Hosted by: The School for Classical & Contemporary Dance at TCU Conference Guest Presenters Kim Abel Master Teacher Jennifer Jackson Lecturer, University of Surrey Choreography teacher – Royal Ballet School Upper Division Raymond Lukens Artistic Associate, ABT/ NYU Masters Program Jacqueline Kennedy Onassis School at ABT Faculty Ben Stevenson, O.B.E. Artistic Director, Texas Ballet Theater Choreographer, Master Teacher Lifetime Achievement Award (LAA) to Sandra Noll Hammond Artist, Author, Pedagogue, Scholar Other Presenters: Distinguished Members of CORPS de Ballet International Sandra Allen, Brigham Young University David Curwen, Western Michigan University Molly Faulkner, Ph.D., Palomar College Sharon Garber, Western Michigan University Christine Knoblauch-O’Neal, Washington University St. Louis Mishele Mennett, DeSales University Sandra Noll Hammond, University of Hawaii (retired) Anuschka Roes, Canada’s National Ballet School Conference Partners: Texas Christian University School for Classical & Contemporary Dance at TCU, Ellen Shelton, Director TCU College of Fine Arts, Dr. Scott Sullivan, Dean Fort Worth Convention and Visitors Bureau The Dance Council The Dance Shop Texas Ballet Theater School, Kathy Warakomsky, Principal American Repertory Ensemble, David Justin, Artistic Director July 23, 2009 Dear CORPS de Ballet members, guests and friends, It is a great thrill to welcome each of you to the 11th Annual CORPS de Ballet International Teacher Conference at Texas Christian University. -
BSM Show Order Sheet
Show 1 Artist (If Cover, put original Costume Show Song (Full Title) Hair Tights Style/Color Shoes Order Class artist then Description performed by) Red and black Tan slip-on jazz Incredibles Mash Incredibles 2 stretchy jumpsuit 1 Production Up Soundtrack with mask and High Ponytail NA shoes with boot covers gloves Creative Black sequin High bun with Light suntan footed 2 Movement "All Shook Up" Billy Joel leotard with glitter flower bow on right tights Pink ballet shoes (Friday) dot tulle tutu side High Ponytail- Pre-Ballet 1 Pink leotard and 3 Fly to your Heart Selena Gomez shorts with pink Flowers pinned on Light suntan footed Pink ballet shoes right side by hair tights (M2) tutu elastic Girls- Tan split sole Pre-Jazz 2/3 Teal unitard with High ponytail with Light suntan footed jazz shoes 4 Shining Star Jump5 (Monday) silver skirt teal headband tights Boys- Black slip-on jazz shoes Senior Hip Hop Madame Gandhi, Pink shirt and green Black hip hop 5 Future is Female High ponytail N/A Troupe Kesha, Cardi B leggings sneakers Creative pink polka dot High Ponytail with Light suntan footed 6 Lollipop The Chordettes hair bow on right Pink ballet shoes Movement costume tights (Tuesday) side Petite The Jackson 5, Red sequin High ponytail with Light suntan Tan split sole jazz 7 I Want You Back Performed by Performance spandex unitard bun wrap convertible shoes Team TWICE Pre-Tap 1 From the Princess Girls- Mint sequin High ponytail, Light suntan footed Girls-Black buckle/ 8 Dig A Little Deeper and the Frog leotard with mint flower clip pinned (Monday -
Scaramouche and the Commedia Dell'arte
Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche. -
The Nutcracker
American Ballet Theatre Kevin McKenzie Rachel S. Moore Artistic Director Chief Executive Officer Alexei Ratmansky Artist in Residence HERMAN CORNEJO · MARCELO GOMES · DAVID HALLBERG PALOMA HERRERA · JULIE KENT · GILLIAN MURPHY · VERONIKA PART XIOMARA REYES · POLINA SEMIONOVA · HEE SEO · CORY STEARNS STELLA ABRERA · KRISTI BOONE · ISABELLA BOYLSTON · MISTY COPELAND ALEXANDRE HAMMOUDI · YURIKO KAJIYA · SARAH LANE · JARED MATTHEWS SIMONE MESSMER · SASCHA RADETSKY · CRAIG SALSTEIN · DANIIL SIMKIN · JAMES WHITESIDE Alexei Agoudine · Eun Young Ahn · Sterling Baca · Alexandra Basmagy · Gemma Bond · Kelley Boyd Julio Bragado-Young · Skylar Brandt · Puanani Brown · Marian Butler · Nicola Curry · Gray Davis Brittany DeGrofft · Grant DeLong · Roddy Doble · Kenneth Easter · Zhong-Jing Fang · Thomas Forster April Giangeruso · Joseph Gorak · Nicole Graniero · Melanie Hamrick · Blaine Hoven · Mikhail Ilyin Gabrielle Johnson · Jamie Kopit · Vitali Krauchenka · Courtney Lavine · Isadora Loyola · Duncan Lyle Daniel Mantei · Elina Miettinen · Patrick Ogle · Luciana Paris · Renata Pavam · Joseph Phillips · Lauren Post Kelley Potter · Luis Ribagorda · Calvin Royal III · Jessica Saund · Adrienne Schulte · Arron Scott Jose Sebastian · Gabe Stone Shayer · Christine Shevchenko · Sarah Smith* · Sean Stewart · Eric Tamm Devon Teuscher · Cassandra Trenary · Leann Underwood · Karen Uphoff · Luciana Voltolini Paulina Waski · Jennifer Whalen · Katherine Williams · Stephanie Williams · Roman Zhurbin Apprentices Claire Davison · Lindsay Karchin · Kaho Ogawa · Sem Sjouke · Bryn Watkins · Zhiyao Zhang Victor Barbee Associate Artistic Director Ormsby Wilkins Music Director Charles Barker David LaMarche Principal Conductor Conductor Ballet Masters Susan Jones · Irina Kolpakova · Clinton Luckett · Nancy Raffa * 2012 Jennifer Alexander Dancer ABT gratefully acknowledges Avery and Andrew Barth for their sponsorship of the corps de ballet in memory of Laima and Rudolph Barth and in recognition of former ABT corps dancer Carmen Barth. -
Wsd 2018/19 Uniform Policy
WSD 2018/19 UNIFORM POLICY Proper dance attire must be neat and form fitted so that proper body alignment can be observed. Students are expected to attend ALL classes in full WSD uniform. Proper footwear, in good condition, is required in each class. Jewellery is not allowed, except for small pierced earrings. Students are not permitted to wear undergarments with their uniform, with the exception of bras. Bra straps must be clear or concealed and match the colour of the uniform. Students who arrive wearing clothing that does not adhere to the outlined specifications may be asked to change or observe class on that day. Please note: Students may be required to purchase an alternate colour or style of dance tights for Performance purposes. CLASS LEVEL LEOTARD, TIGHTS, SHOES & OPTIONAL DANCEWEAR Ballet Pre-School, Levels 1, 2, and 3 Pink WSD Tank or Camisole style leotard Pink dance tights, Pink ballet slippers with elastic securely sewn, Pink WSD headband Pink ballet skirt, Pink dance sweater (optional) Levels 4 & up, all Levels of Black WSD Tank or Camisole style leotard ITP & PPP Pink dance tights, Pink ballet slippers (leather or canvas) with elastic securely sewn Black ballet skirt, Black dance sweater, Black WSD headband (optional, unless otherwise specified) Levels 6 & up, Senior ITP & PPP Black WSD Faculty approved dance shorts (optional) Please note: Students enrolled in Russian Ballet Exam classes are required to wear a tank style WSD leotard (bra straps are not to be visible under any circumstance) and leather ballet slippers for -
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. -
SWAN LAKE Dear Educators in the Winter Show of Oregon Ballet Theatre’S Student Performance Series (SPS) Students Will Be Treated to an Excerpt from Swan Lake
STUDENT PERFORMANCE SERIES STUDY GUIDE / Feburary 21, 2013 / Keller Auditorium / Noon - 1:00 pm, doors open at 11:30am SWAN LAKE Dear Educators In the winter show of Oregon Ballet Theatre’s Student Performance Series (SPS) students will be treated to an excerpt from Swan Lake. It is a quintessential ballet based on a heart-wrenching fable of true love heroically won and tragically Photo by Joni Kabana by Photo squandered. With virtuoso solos and an achingly beautiful score, it is emblematic of the opulent grandeur of the greatest of all 19th-Century story ballets. This study guide is designed to help teachers prepare students for their trip to the theatre where they will see Swan Lake Act III. In this Study Guide we will: • Provide the entire synopsis for Christopher Stowell’sSwan Lake, consider some of the stories that inspired the ballet, Principal Dancer Yuka Iino and Guest Artist Ruben Martin in Christopher and touch on its history Stowell’s Swan Lake. Photo by Blaine Truitt Covert. • Look closely at Act III • Learn some facts about the music for Swan Lake • Consider the way great dances are passed on to future generations and compare that to how students come to know other great works of art or literature • Describe some ballet vocabulary, steps and choreographic elements seen in Swan Lake • Include internet links to articles and video that will enhance learning At the theatre: • While seating takes place, the audience will enjoy a “behind the scenes” look at the scenic transformation of the stage • Oregon Ballet Theatre will perform Act III from Christopher Stowell’s Swan Lake where Odile’s evil double tricks the Prince into breaking his vow of love for the Swan Queen. -
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.