Activity 2: Name That Ballet

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Activity 2: Name That Ballet Ballet Bank: Swan Lake Romeo and Juliet Coppelia La Bayadere The Nutcracker Cinderella Don Quixote Sleeping Beauty Giselle 1. Ever wish your favorite doll could walk and talk just like you? Well, in this ballet, Doctor Coppelius wishes to do just that by taking the soul of a poor town boy named Franz. He is fooled, however, by the clever Swanhilda who dresses up like his beloved doll and plays along with his game in order to save Franz. Name This Ballet: __________________________________________________ 2. This funny COVID-19 ballet cartoon is depicting a famous scene from this ballet. Name This Ballet: __________________________________________________ 3. This ballet was Pyotr Ilyich Tchaikovsky’s very first ballet to ever compose. He was so excited to compose the ballet that he wrote and orchestrated it in less than a year… and remember, this was before fast working technology and internet! Name This Ballet: __________________________________________________ 4. This ballet is based off of a famous novel by author Miguel de Cervantes and was originally choreographed by Marius Petipa to music by Ludwig Minkus. It was first brought to the United States in the early 1900s by the famous ballerina, Anna Pavlova and her company. Name This Ballet: __________________________________________________ 5. Considered to be the symbol of classical ballet, this story is one of heartache. The main character dies of a broken heart and joins the Wilis, a group of ghostly women who have all died of broken hearts and spend their days haunting their ex-lovers. Name This Ballet: __________________________________________________ 6. This ballet was seen as a failure when it first premiered in 1892 in Saint Petersburg, Russia. Now, however, it is the most performed ballet in the world and is very popular in America around the holiday season. Name This Ballet: __________________________________________________ 7. The main character in this fairytale ballet obviously needs to take some lessons in how to tie her ballet shoe ribbons so they don’t fall off so easily… Name This Ballet: __________________________________________________ 8. This romantic and tragic ballet is based off of a famous play written by William Shakespeare about a family feud between two houses and how true love is stronger than hatred. Name This Ballet: __________________________________________________ 9. This ballet is about a princess who is cursed at birth to prick her finger on her sixteenth birthday and die. Luckily for her, the Lilac Fairy is able to intervene so that the princess would only fall into a deep sleep to one day be awakened by true love’s kiss. Name This Ballet: __________________________________________________ .

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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.
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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.
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LA BAYADÈRE Tweet Your Thoughts About Tonight’S Performance Before It Starts, During the Intervals Or Afterwards with #Rohbayadere BALLET in THREE ACTS
THE ROYAL BALLET DIRECTOR KEVIN O’HARE CBE OM CH DBE Approximate timings FOUNDER DAME NINETTE DE VALOIS FOUNDER CHOREOGRAPHER Live cinema relay begins at 7.15pm; ballet begins at 7.30pm SIR FREDERICK ASHTON OM CH CBE FOUNDER MUSIC DIRECTOR CONSTANT LAMBERT Act I 59 minutes PRIMA BALLERINA ASSOLUTA Interval DAME MARGOT FONTEYN DBE Act II 38 minutes Interval Act III 21 minutes The performance will end at approximately 10.20pm LA BAYADÈRE Tweet your thoughts about tonight’s performance before it starts, during the intervals or afterwards with #ROHbayadere BALLET IN THREE ACTS POINTE SHOES APPEAL CHOREOGRAPHY NATALIA MAKAROVA AFTER MARIUS PETIPA MUSIC LUDWIG MINKUS Each year The Royal Ballet dances through more than 6,000 pairs ORCHESTRATED BY JOHN LANCHBERY of pointe shoes. A gift of £5 to the Pointe Shoes Appeal could buy PERFORMED BY ARRANGEMENT WITH JOSEF WEINBERGER LTD ON BEHALF OF EDITIONS MARIO BOIS, PARIS enough ribbon for five pairs. Donate online. PRODUCTION CONCEIVED AND DIRECTED BY NATALIA MAKAROVA roh.org.uk/pointe SET DESIGNER PIER LUIGI SAMARITANI COSTUME DESIGNER YOLANDA SONNABEND LIGHTING DESIGNER JOHN B. READ STAGING OLGA EVREINOFF BALLET MASTER JONATHAN HOWELLS 2018/19 LIVE CINEMA SEASON INCLUDES: BALLET MISTRESS SAMANTHA RAINE ASSISTANT BALLET MISTRESS SIAN MURPHY THE NUTCRACKER MONDAY 3 DECEMBER 2018 PRINCIPAL COACHING CARLOS ACOSTA, ALEXANDER AGADZHANOV, THE QUEEN OF SPADES TUESDAY 22 JANUARY 2019 LESLEY COLLIER LA TRAVIATA WEDNESDAY 30 JANUARY 2019 DON QUIXOTE TUESDAY 19 FEBRUARY 2019 CONDUCTOR BORIS GRUZIN LA FORZA
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Soirée Petipa Vignette De Couverture Marins Petipa
Soirée Petipa Vignette de couverture Marins Petipa. Opéra de Bordeaux DE/J_ BORDEAUX SOIREE PETIPA Ballet de l'Opéra de Bordeaux Paquita (grand pas) Huit danseuses : Nathalie Anglard, Silvie Daverat, Sophie Guyomard, Stefania Sandrin, Barbara Vignaud, Carole Dion, Corba Mathieu, Maud Rivière Couples : Céline Da Costa, Petulia Chirpaz Hélène Ballon, Celia Millan Viviana Franciosi, Sandrine Gouny Première Variation : Emmanuelle Grizot Deuxième Variation : Aline Bellardi Troisième Variation : Christelle Lara Quatrième Variation : Sandra Macé Raymonda (J*™ acte) Czardas Solistes : Viviana Franciosi Giuseppe Delia Monica (24, 25, 29 avril), Gilles Martin (27, 28 avril) Couples : Petulia Chirpaz, Céline Da Costa, Maud Rivière (24, 25, 29 avril), Corba Mathieu (27, 28 avril), Carole Dion, Sandrine Gouny, Chantai Perpignan, Stefania Sandrin, Sophie Guyomard Gilles Martin ou Giuseppe Delia Monica, Salvatore Gagliardi, Johannes Haider, Alexis Malovik, Christophe Nicita, Omar Taïebi, Sébastien Riou, Emiliano Piccoli Première Variation (variation d'Henriette) : Christelle Lara Deuxième Variation (variation de Clémence) : (24, 25, 29 avril) : Emmanuelle Grizot, Silvie Daverat, Barbara Vignaud (27, 28 avril) : Sandra Macé, Celia Millan, Hélène Ballon Pas de dix Nathalie Anglard, Hélène Ballon, Aline Bellardi, Barbara Vignaud Brice Bardot, Jean-Jacques Herment, Konstantin Inozemtzev, Gregory Milan Opéra de Bordeaux Ballet de l'Opéra de Bordeaux Directeur artistique : Charles Jude Soirée Petipa Paquita (grand pas) Don Quichotte (pas de deux du 3ème acte)
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DOSSIER DE PRESSE #Montpellierdanse #SMD1819 Montpellierdanse @Montpellierdans Montpellier.Danse Vimeo.Com/Montpellierdanse
DOSSIER DE PRESSE #montpellierdanse #SMD1819 MontpellierDanse @MontpellierDans montpellier.danse vimeo.com/montpellierdanse CONTACT PRESSE Maïwenn Rebours T : 04 67 60 06 12 [email protected] LA DANSE CONTEMPORAINE FAIT PARTIE DE NOTRE IDENTITÉ “La danse n’a plus rien à raconter : elle a beaucoup à dire !” disait Maurice Béjart. Les possibilités du corps sont insoupçonnées et, en allant vers l’insoupçonné du corps, le danseur actualise sa liberté créatrice. Il cherche “du nouveau”. Et lorsqu’il voyage, l’artiste approche les étoiles car son art ouvre la voie à l’échange le plus sensible, le plus harmonieux, et le plus généreux qui soit. Elément fondateur de la politique culturelle de la Ville et de la Métropole de Montpellier, la danse a fortement contribué à installer notre image de capitale culturelle, bien au-delà de nos frontières. Régulièrement, nous accueillons ici les grandes signatures mondiales et des créations qui ont fait date ont été présentées dans le cadre du Festival ou de la Saison Montpellier Danse. La danse contemporaine fait aussi partie de notre identité. Comme s’il existait un “made in Montpellier”. De novembre 2018 à mars 2019, la Saison Montpellier Danse propose des spectacles époustouflants qui feront assurément battre nos cœurs. Toute l’année, sont proposés à l’Agora, cité internationale de la danse, des événements ouverts à tous en lien avec les spectacles : projections, conférences, répétitions publiques avec les artistes en résidence mais aussi des ateliers qui permettent aux amoureux de la danse de pouvoir pratiquer simplement leur passion aux côtés des artistes programmés. Et bien… dansons maintenant ! Philippe Saurel Président de Montpellier Méditerranée Métropole Maire de la Ville de Montpellier Bernard Travier Vice-président de Montpellier Méditerranée Métropole, Délégué à la Culture © DR © 1 ENTREZ DANS LA DANSE… La 38e édition du Festival Montpellier Danse a connu une nouvelle fois le succès.
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Grishko® Stage
GRISHKO® STAGE ow that so much knowledge has been accumulated on the subject within our company over the long years, we are fully capable of making recommenda- tions as to how to make sure the cos- Ntumes look good on stage, and the selected mate- rials match the purpose and the proposed budget. Our regular customers include not only separate individuals but also a great number of renowned theatres, such as the Kremlin Ballet Theater (Mos- cow), New National Theatre Foundation (Tokyo), the Slovak National Theater, the Istanbul State Op- era and Ballet, the Irkutsk State Opera and Ballet Theater, the Tomsk New Opera, etc.. When placing an order, a customer is free to de- cide whether to buy necessary fabrics and materi- als on his/her own beforehand or to choose them from the finest Grishko® selection of Italian tulle FACTORY and fabrics. Upon request, our costume designer can offer a draft design of a costume embroidered with gold thread typically regarded as an essential element of costume design. Please kindly note that this look-book includes only brief reference to the costume options avail- able for order. All the specific order details can be discussed and negotiated separately, on a case- by-case basis, in any preferred way. Grishko® theatrical costume facto- № ry, situated in the historical center of Moscow, is known practically by ev- 3ery Russian theater performer; for it is a place which has already for two decades been creating unique cos- tumes for performance as well as for rehearsals. The act of creating a theatrical cos- tume is a very special art which might be rather sophisticated for some unless an incredible amount of years of practice have been devoted to it.
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LA BAYADÈRE the Grand Romantic Ballet Set in India, Featuring Spectacular Sets and Virtuoso Performances
PRESS RELEASE LA BAYADÈRE The grand Romantic ballet set in India, featuring spectacular sets and virtuoso performances. The Czech National Ballet is preparing the premiere of a new version of LA BAYADÈRE. The famous late-Romantic ballet to Ludwig Minkus’s music, telling the story of a beautiful Indian temple dancer, characterised by exquisite sets and replete with virtuoso performances, has been frequently staged at leading dance venues worldwide and hence is now becoming part of our company’s repertoire too. The story of ill-fated love, featuring spectacular sets and colourful costumes, is a real treat for those with a penchant for grand classical works, as well as a great challenge for the Czech National Ballet itself. A new version of La Bayadère is being prepared by the Mexican choreographer Javier Torres and his staging team, already familiar to Czech audiences from the highly acclaimed and popular production of The Sleeping Beauty. ‘Dramatic stories in which a tragic earthly love is lost by death and then redeemed in a spiritual world were particularly fashionable in Petipa’s era because they followed the ideal of unreachable love that characterised the Romantic period. It was also popular to set these stories in faraway lands little known by the audiences because it added a touch of the exotic and mystery. It is evident that to those audiences it was more appealing to see a serious yet sensual production that involved temple dancers than one with western nuns. Moreover, the lack of common knowledge about these faraway cultures gave the artists of the period the liberty to produce works in fairy-tale fashion without worrying if some aspects in them would be completely illogical.
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Bolshoi Ballet La Bayadère
CAL PERFORMANCES PRESENTS SYNOPSIS Thursday, June 4, 2009, 8pm Friday, June 5, 2009, 8pm Saturday, June 6, 2009, 2pm & 8pm Sunday, June 7, 2009, 3pm Zellerbach Hall Bolshoi Ballet Anatoly Iksanov, General Director of the Bolshoi Theatre Yury Burlaka, Artistic Director of the Bolshoi Ballet in La Bayadère Music by Ludwig Minkus Libretto by Marius Petipa & Sergei Khudekov Choreography by Marius Petipa New scenic version by Yuri Grigorovich Berkeley Symphony Orchestra Pavel Klinichev, conductor Scenes from productions by Vakhtang Chabukiani, Nikolai Zubkovsky and Konstantin Sergeyev Sets and costumes after sketches by designers of the first production (1877), Elena Fetisova © Bolshoi revived by Valery Firsov, Nikolai Sharonov (sets) and Nikolai Sviridchikov (costumes) Svetlana Zakharova and Nikolay Tsiskaridze Valery Levental, Supervisor, Set & Costume Revival La Bayadère Alexander Kopylov, Music Director Premiered November 25, 1991. ACT I Running time: three hours 30 minutes with two intervals. Young warriors led by Solor are hunting a tiger. Nikiya and other bayadères give the fakirs water Before entering the forest, Solor asks a fakir named from the sacred pool. Imperceptibly, Magedaveya Magedaveya to tell Nikiya, a bayadère, that he will tells Nikiya that Solor will come to see her. The Children in this production appear courtesy of San Francisco Ballet School, wait for her near the temple. bayadère is happy. Helgi Tomasson, Director, and Lola de Avila, Associate Director. The High Brahmin and priests are solemnly As darkness falls, Nikiya goes to meet her be- leaving the temple. The feast of worshipping fire loved. Their secret rendezvous is guarded by the begins. Fakirs and votaries of the temple, bay- fakir.
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13 Russian Ballet in the Age of Petipa Lynn Garafola
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La Bayadère Wednesday–Sunday, October 30 – November 3
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National Ballet Theater of Odessa
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AZ EURÓPAI SZÍNPADI TÁNC TÖRTÉNETE a Magyar Táncművészeti Főiskola Tankönyv- És Jegyzetsorozata
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