Swan Lake 3Rd Act, Pas De Deux, the Black Swan, Variation

Total Page：16

File Type：pdf, Size：1020Kb

#RosetaMauri2017 Spotlight on variations! Swan Lake 3rd act, pas de deux, the Black Swan, variation MALE VARIATION By Carlos Labiós I have chosen this variation, because in my opinion is the variation par excellence for the male dancer. It has everything that is requested at the technical and acting level. The dancer has to have a very refined technique for this variation in terms of the jump and the spin, as well as an exquisite elegance at the moment of performing the steps. The dancer must possess a perfect control of the jump plus a perfect double tour en l'air, especially for the final part of the variation, since there is a series of tours en l'air facing the audience, in which the technique using the 5th position while jumping is very important. In terms of stamina, is not very complicated since the variation allows the dancer to breath enough. Let's not forget that we are playing the Prince! He is still thinking about the lake where he met Odette. He has already ruled out marrying any other princess. But, now, he is enthusiastic about Odile, although he hasn’t lost his nobility, which is reflected upon the variation. Musically it is a perfect variation for the male dancer technique, with pauses, with weight, with a perfect push to use the jump and with a melody that I personally adore. I love both the beginning and the middle part with the jumps to the second and arabesque, and especially the grand finale with the tour en l'air and the final pirouettes. The dancer can grow a lot with this variation, because he has to use the maximum of his technique and he can improve his acting as well, since it is not easy to execute these steps perfectly and maintain a noble and rested mood. I loved to play this role on the stage especially in Mexico, since the stage was built on a real lake. With a wonderful landscape of the moon illuminating the scene. The first time I worked this solo it was when I was studying at English National Ballet School, coached by Antony Dowson, a wonderful teacher. These are excellent examples to me: Carlos Acosta, just amazing technique.... jumps...ect… amazing! Peter Schaufuss, another genius. Another way to end the variation with tours. .

Copy Link

Recommended publications

Coppelia-Teacher-Resource-Guide.Pdf
Teacher’s Handbook 1 Edited by: Carol Meeder – Director of Arts Education February 2006 Cover Photo: Jennifer Langenstein – Pittsburgh Ballet Theatre Principal Dancer Aaron Ingley – Pittsburgh Ballet Theatre Corps de Ballet Dancer Ric Evans – Photographer 2 Introduction Dear Educator, We have often thanked you, the academic community and educators of our children, for being partners with us in Arts Education. We have confirmed how the arts bring beauty, excitement, and insight into the experience of everyday living. Those of us who pursue the arts as the work of our lives would find the world a dark place without them. We have also seen, in a mirror image from the stage, how the arts bring light, joy, and sparkle into the eyes and the lives of children and adults in all walks of life. Pittsburgh Ballet Theatre strives not only to entertain but to demonstrate the significance and importance of presenting our art in the context of past history, present living, and vision for the future. In this quest we present traditional ballets based on classic stories revered for centuries, such as Coppelia and Cinderella; and contemporary ballets by artists who are living, working, and creating everyday, such as our jazz program Indigo In Motion and the premiers we have done to the music of Sting, Bruce Springsteen, and Paul Simon. In this way we propel our art into the future, creating new classics that subsequent generations will call traditional. It is necessary to see and experience both, past and present. It enhances our life and stirs new ideas. We have to experience where we came from in order to develop a clear vision of where we want to go.
[Show full text]
Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes's Coppélia by Arthur E. Lafex Submitted To
Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia By Copyright 2013 Arthur E. Lafex Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Music. ________________________________ Chairperson Alicia Levin ________________________________ Paul R. Laird ________________________________ David Alan Street Date Defended: April 15, 2013 The Thesis Committee for Author (Arthur E. Lafex) certifies that this is the approved version of the following thesis: Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia ________________________________ Chairperson Alicia Levin Date approved: April 15, 2013 ii Abstract Léo Delibes (1836-1891) wrote ballet scores that have inspired composers and have entertained generations of ballet lovers. His scores have been cited for their tunefulness, appropriateness for their narrative, and for their danceability. However, Delibes remains an obscure figure in music history, outside the musical canon of the nineteenth century. Likewise, his ballet music, whose harmonic resources are conventional and whose forms are variants of basic structures, has not received much scholarly and theoretical attention. This thesis addresses Delibes’s music by examining his ballet score for Coppélia, its support of narrative and also its support of dance. Chapter 1 begins with a historical view of ballet and ballet music up to the time of Delibes. Following a biographical sketch of the composer, a review of aspects of the score for Giselle by his mentor, Adolphe Adam (1803-1856) establishes a background upon which Delibes’s ballets can be considered.
[Show full text]
The Nutcracker an Introduction
The Nutcracker An Introduction A Royal Opera House Education Resource 1 Contents Introduction 3 The Characters 4 Setting the Scene 5 The Story 6 Petipa and Ivanov 14 The Nutcracker past and present 15 What was expected of a ballet composer? 18 Dance: look for ... 20 Listen to ... Introducing the music 26 The Overture 27 Design: look for ... 35 Things to do and discuss 38 Formations and patterns 44 2 Introduction This pack is prepared for pupils from Key Stage 2 upwards, and most of the material is aimed at Key Stages 2 and 3. However, he approach adopted is equally appropriate to older students and the list of ‘Things to do and discuss’ contains tasks to challenge all, including 'A' level students. The teacher is invited to select and/or adapt according to the needs of the situation. Pupils attending a live performance of the ballet should be familiar with the story and, ideally, should be introduced to a number of 'anchor points' - features to notice and moments to listen for. For convenience, tasks and activities are often grouped around a specific art form, but it is important to stress that ballet involves several art forms. Listening without the visual dimension, or focusing on design elements independently of the music and the dance, are valuable approaches in raising pupils' awareness but they should be regarded as means to an end. In ballet the whole is much more than the sum of the parts. To make most effective use of this pack it may well be necessary to copy and disseminate the material among specialist or other teacher colleagues.
[Show full text]
Spotlight on Male Variations by Henning Albrechtsen
#RosetaMauri2017 Spotlight on Male variations By Henning Albrechtsen Giselle, variation of Prince Albrecht, II Act Requires a danseur noble appearance throughout. High airy double cabrioles, sharp double tours and effortless pirouettes. Watch Mikhail Baryshnikov for inspiration Sleeping Beauty, variation of Prince Desire, III act Requires a danseur noble appearance throughout. High airy and strong double caprioles, double assembles en tournant and double tours as well as secure manege, jumps and a good stamina. Watch Roberto Bolle for inspiration Sleeping Beauty, Blue Bird variation Requires a lot of natural ballon to perform the amazing assembles, and on top beautiful use of the bird-like soft arms. Watch Yuri Soloviev for a historic inspiration from the 1960’s Nutcracker, variation of the great pas de deux (tarantella) Requires a prince like manner throughout the entire solo, in his entire attitude and posture. Deep and secure landings after double tours and double assembles Watch Jonathan Cope for inspiration Don Quixote, Basilio variation Requires a very energetic and daredevil natural appearance. Fast and flawless pirouettes as well as double tours. Have to be able to perform tricks, to perform convincing Basil from Don Quixote. Watch Julio Bocca for inspiration Le Corsaire, variation Requires a dancer with a muscular torso (performed shirtless) and very masculine appearance. Need to possess airy “helicopter jumps”, strong multiple pirouettes and a very flexible back, as well as good leg extension in arabesque. Watch Ángel Corella for inspiration Swan Lake, III act, pas de deux, the black swan variation Requires a natural prince like dancer with danseur noble-like manners in all its presentation.
[Show full text]
Grand Jete 2020 Repertoire List
GRAND , MARCH 21-22, 2020 JETE PRESENTED BY SOUTH CAROLINA ' S PREMIER A~~...JSC Governor's School .. for the Arts and Humanities STUDENT BALLET COMPETITION ~ Pre-Competitive (Females, Ages 10-12) Coppelia (L. Delibes/St. Leon) All Variations (except Swanilda Variation from Act lll) Don Quixote (L. Minkus/ M. Petipa, A. Gorsky) Cupid Variation Fairy Doll (R.Drigo/Legat) Variation Flames of Paris (A.Asafyev/V. Vainonen) Variation Flower Festival in Genzano (E. Helsted/A. Bournonville) Variation Giselle (A.Adam, F. Burgmuller/J.Perrot, J. Coralli, M. Petipa) Peasant Pas de Deux - variation: 1, 2 (alternative version) Harlequinade (R. Drigo/M. Petipa) Variation La Fille Mal Gardee (P. Hertel, F. Herold/ A. Gorsky, B.Nijinska) Variation of Lise Le Corsaire (A.Adam, C. Pugni, R. Drigo/M. Petipa) Odalisque Variations Paquita (L. Minkus/ M. Petipa ) All Variations (except Principal Variation) Raymonda (A. Glazunov/M. Petipa) All Variations (except Principal Variations of Act ll and Act lll) Swan Lake (P. Tchaikovsky/M. Petipa) Pas de Trois Variations Sleeping Beauty (P. Tchaikovsky/ M. Petipa) Fairies Variations from the Prologue (except Lilac Fairy) Princess Florine Variation *NOTE: Aurora Variations are NOT allowed in this category. Talisman (R.Drigo, C. Pugni / M. Petipa, P. Gusev) Variation of Niriti [Pre Competitive students are allowed to modify and /or simplify the variations to fit their technical level.] Pre-Competative (Males, Ages 10-12) Coppelia (L. Delibes/St. Leon, A. Gorsky) Franz Variation Flower Festival in Genzano (E. Helsted/ A. Bournonville) Variation Giselle (F. Burgmuller/ J.Coralli/M. Petipa) Peasant Pas de Deux Variation Harlequinade (R. Drigo/M.
[Show full text]
Celebration: the Art of the Pas De Deux 35
Celebration: The Art of the Pas de Deux 35 Miami City Ballet CELEBRATION: THE ART OF THE PAS DE DEUX Charleston Gaillard Center May 25, 6:30pm Martha and John M. Rivers Performance Hall Artistic Director and Moderator Lourdes Lopez Conductor Gary Sheldon Piano Ciro Fodere and Francisco Rennó Spoleto Festival USA Orchestra 1 hour, 30 minutes | Performed without an intermission Afternoon of a Faun (1953) Choreography Jerome Robbins Music Claude Debussy Staging Jean-Pierre Frohlich Set and Lighting Design Jean Rosenthal Lighting Recreation Les Dickert Costume Design Irene Sharif Scenic Supervision Arnold Abramson Dancers Unity Phelan and Chase Finlay* Pause Other Dances (1976) Choreography Jerome Robbins Music Frédéric Chopin Staging Isabelle Guérin Costume Design Santo Loquasto Lighting Design Jennifer Tipton Lighting Recreation Les Dickert Dancers Simone Messmer and Renan Cerdeiro Piano Francisco Rennó Pause In the Night (1970) Choreography Jerome Robbins Music Frédéric Chopin Staging Miami City Ballet Costume Design Anthony Dowell Lighting Design Jennifer Tipton Lighting Recreation Les Dickert Dancers Emily Bromberg and Kleber Rebello Unity Phelan and Chase Finlay* Katia Carranza and Reyneris Reyes Piano Ciro Fodere The 2018 dance series is sponsored by BlueCross BlueShield of South Carolina. Support provided by The Jerome Robbins Foundation. Sponsored by Eastern Distribution. This performance is made possible in part through funds from the Spoleto Festival USA Endowment, generously supported by BlueCross BlueShield of South Carolina, Wells Fargo, and Bank of America. *Guest artists from New York City Ballet. 36 Celebration: The Art of the Pas de Deux Program Notes About the Choreographer Afternoon of a Faun JEROME ROBBINS (choreographer) is world renowned for Music: Prélude à l’Après-midi d’un Faune by Claude Debussy his work as a choreographer of ballets as well as his work as a director and choreographer in theater, movies, and television.
[Show full text]
Collection of Classical Ballet Variations
A Collection Of Classical Ballet Variations Book One Written In SUTTON•DANCE•WRITING® This book is dedicated to Lila Zali Barbara Stewart & The Ballet Pacifica A Collection of Classical Ballet Variations www.dancemelody.com A Collection Of Classical Ballet Variations Dance Instructors: Dance Writers: Nana Gollner, Valerie Sutton, Former Ballerina of Inventor, The Original Ballet Russe Sutton Dance Writing Irina Kosmovska, Kathy Kahn Former Soloist of Choreographer, Dancer The Ballet Russe and Teacher De Monte Carlo Mary Catherine Kaminski Lila Zali, Certified Teacher, Former Soloist of Sutton Dance Writing The Original Ballet Russe De Monte Carlo Dance Writing® Copyist: Dancing Writing® Editors: Lorraine Spada, Certified Teacher, Susan White, Sutton Dance Writing Certified Teacher, Sutton Dance Writing Dance Illustrations: Iris Berry Rogers, Gene Vandervoort Certified Teacher, Sutton Dance Writing The • Sutton • Movement • Writing • Press A Collection Of Classical Ballet Variations Written In SUTTON • DANCE • WRITING® Copyright © 1983 By The Center For Sutton Movement Writing, Inc. ALL RIGHTS RESERVED. Pan American and Universal Copyrights Secured ISBN Number 0-914336-19-3 NOTICE This book is copyrighted in the United States of America and in all countries signatory to the Pan American and Universal Copyright Conventions. No part of it may be reproduced in any way unless my written permission has been obtained. Valerie J. Sutton Book Designed by Jayne Gunderson Layout Production by M. Ashley Watson Printed and Published in the United States of America Dance Writing® is a trademark belonging to the The Center For Sutton Movement Writing, Inc., a non-profit, tax exempt, educational membership organization. Published by The Sutton Movement Writing Press The Center for Sutton Movement Writing P.O.
[Show full text]
The Nutcracker” by Pyotr Ilyich Tchaikovsky at the Hippodrome Theatre Through December 15
“The Nutcracker” By Pyotr Ilyich Tchaikovsky At the Hippodrome Theatre through December 15 By James Cooper TCHAI—COUGH—SKY Pyotr Ilyich Tchaikovsky’s “The Nutcracker” is a classical dance piece beloved throughout the world. Adapted from E.T.A. Hoffman’s “The Nutcracker and the Mouse King,” the story blends nicely with Tchaikovsky’s music, which fills the entire Hippodrome Theatre. While the music pulls the audience into a magical world, however, the dancing is mostly a bore. There are multiple instances where the dancers simply paint an emotion with their movements rather than truly experience it. There’s a difference between exhibiting emotion and just illustrating emotion through movement. The former evokes emotion throughout the audience and the latter just shows the audience what this emotion looks like. During the Christmas party scene at the beginning of the show, there is an overall sense that the dancers are rushing. The agile dancers aren’t taking their moments and consequently exaggerate their emotions and take the audience out of the ballet mentally. For instance, this rushing causes the dancers to miss their marks and fall off the musical beat. This rhythmic error causes the audience to stray from life within the Russian castle and feel they aren’t truly witnessing a life-size nutcracker dance with a little girl at a Christmas party. The exaggerated emotions and missed beats create a disconnect between the performers and those watching. Though it may be increasingly exaggerated at times, the dancing does have its breathtaking moments. When Drosselmeyer is giving out gifts to the small children at the party, a dancer portraying a doll in a red dress succeeds in evoking emotion by moving as if she were a stiff Barbie doll; her ability to stiffen her legs makes one smile in awe.
[Show full text]
Don Quixote Part 2 Pasitos Pre Ballet
Don Quixote Part 2 History and Costumes Don Quixote Original Choreography: Marius Petipa Music: Leon Minkus First Performance: 1869 Even though Petipa is credited with the original production, the ballet in some form or another has been alive for 250 years, with the first version of the ballet being recorded in 1740 by dancer and choreographer Franz Hilverding in Vienna, Austria. Timofei Stukolkin as Don Quixote 1871 Eugenia Sokolova as Kitri Vera Trefilova as the Street Dancer 1900 Don Quixote, Bolshoi Ballet Featuring Sophie Fedorova (circa 1900) Original Choreography: Marius Petipa Marius Petipa (1818–1910) was the greatest choreographer of the second half of the nineteenth century. Born in Marseille, France, Petipa was trained by his father. He moved to St. Petersburg, Russia in 1847, where he worked as a ballet master and dancer. In 1869, Petipa retired from dancing and became the sole ballet master of the Imperial Theater, St. Petersburg, a position he held until 1903. The Daughter of Pharaoh (1862) was Petipa's ﬁrst major choreographic work. Others include Don Quixote (1869), La Bayadère (1877), The Sleeping Beauty (1890), and Raymonda (1898), as well as many dances for operas. Petipa was also responsible for restaging ballets by other choreographers; his versions have become the basis for most subsequent productions. These include Le Corsaire (1863), Paquita (1881), Coppélia (1884), Giselle (1884), and Swan Lake (with Lev Ivanov, 1895), among others. What is a choreographer? - A person who creates dances. Follow this link to the music of Kitri’s variation and choreograph your own dance. Ask someone to film you dancing and share your choreography with us at [email protected] Kitri and Basilio Costumes Costumes are important because they help identify the characters in the story.
[Show full text]
Spring Production Friday, May 12Th 7:30Pm Saturday, May 13Th 7:30Pm
Spring Production FRIDAY, MAY 12TH 7:30PM SATURDAY, MAY 13TH 7:30PM Down On The Farm Saturday, May 13th 11:00am & 3:00pm University Of South Florida College of the Arts THE Directory NEW TAMPA DANCE THEATRE / DANCE THEATRE OF TAMPA Board of Directors and Staff....................4 Company Member Biographies.......P20-23 Director’s Letter......................................9 Trainee Members...................................24 New Tampa Dance Theatre....................10 Guest Artist Biographies........................25 Ballet Program...............................P11-12 Summer Training....................................26 Modern Program...................................13 Naturewalk 11am.............................P27-28 Jazz, Tap, Hip Hop Programs..........P14-16 Naturewalk 3pm..............................P29-30 Summer Concert...................................17 Messages........................................31 Commitment to Community..................18 Our Philosophy........................................32 Membership.......................................19 Important Dates......................................33 Production Design & Staff......................34 NTDT/DTT 10701 Cross Creek Blvd Tampa, Fl 33647 813.994.6838 Board of Directors Company Dancers Dyane Elkins IronWing Gabrielle Barnes Connie M. Elkins Skylar Barnes Jack Hickey Samantha Bermundez Troy IronWing Conrad Channell Kristine Morgan Alice Cheng Danielle Desruisseaux Artistic Director Camille Diaz Dyane Elkins IronWing Emily Greeson Krista Guerne Resident
[Show full text]
Century Classical Repertoire Variations Is Shown Below
The Margot Fonteyn International Ballet Competition 2020 Classical Repertoire Variations th th The list of approved 19 century and 20 century Classical Repertoire variations is shown below. Candidates should select and rehearse ONE choice of variation provided from the list below prior to the competition. Candidates who have previously participated in the Genée International Ballet competition must not repeat the same variation for the Margot Fonteyn International Ballet Competition. th Females – 19 Century Variations Music for variations Furthermore, please find below some YouTube links to help you identify the music for each variation. These are provided for your information only and are not recommended sources or tempi for the variations. The time listed next to the link indicates the starting point of the variation. Sleeping Beauty Prologue Fairy Variation III 2/4 (miettes qui tombent) D major allegro moderato https://www.youtube.com/watch?v=pvC4MRTVJeU 2:02 Sleeping Beauty Prologue Fairy Variation V 2/4 F major, allegro molto vivace https://www.youtube.com/watch?v=pvC4MRTVJeU 4:10 Raymonda Act I Variation I 2/4 allegretto D flat major https://www.youtube.com/watch?v=O3pBiUHhdGA 52:03 Raymonda Act I Variation II 6/8 allegretto A major https://www.youtube.com/watch?v=O3pBiUHhdGA 53:47 Raymonda Act II Variation II 6/8 allegretto B major https://www.youtube.com/watch?v=O3pBiUHhdGA 1:21:40 Raymonda Act III Variation I 6/8 prestissimo D major https://www.youtube.com/watch?v=O3pBiUHhdGA 2:11:24 La Bayadère Act III 1st Girl 2/4 allegro D
[Show full text]
Programme 3 Round 30.10.2020 В 12:00
29.10.2020 19:00 1 XVI Открытый российский конкурс артистов балета им. Екатерины Максимовой "Арабеск-2020" Programme 3 round 30.10.2020 в 12:00 № Lot Competitor Title Time (min) 1 2 Tamila Shishkalova , junior, A.Glazunov. "Raymonda", Variation, In the Dream. 2,00 Russia,Voronezh Choreographer M.Petipa 2 4 Uliana Moksheva , junior, R.Drigo. "Le Corsaire", Pas de deux of Medora and the Slave, 7,40 Russia,Perm Act II. Choreographer M.Petipa 30 Rasmus Ahlgren , senior, Finland 3 7 Bogdan Pleshakov , junior, P.Tchaikovsky. "The Nutcracker", Variation of Prince, Act II. 1,00 Russia,Moscow Choreographer V.Vainonen 4 8 Viktoria Snigur , junior, Russia,Perm L.Minkus. "Don Quichotte", Pas de deux of Kitri and Basil, Act 9,00 IV. Choreographer A.Gorsky 21 Marat Safin , senior, Russia,Perm 5 9 Ivan Sorokin , junior, Russia,Moscow L.Delibes. "Coppelia", Variation of Frantz, Act III. 1,30 Choreographer A.Gorsky 6 10 Darya Chugunova , junior, L.Minkus. "Don Quichotte", Variation of soloist from Grand pas, 1,00 Russia,Perm Act IV. Choreographer A.Gorsky 7 11 Diana Tovtyn , junior, Russia,Perm A.Adam. "Le Corsaire", Variation of the Odalisques. 1,10 Choreographer M.Petipa 8 16 Anastasia Kaplina , junior, N.Paganini, C.Pugni. "Satanilla", Variation of Satanilla. 2,30 Russia,Ufa Choreographer M.Petipa 9 22 Kamilla Ismagilova , senior, L.Minkus. "Don Quichotte", Pas de deux of Kitri and Basil, Act 12,30 Russia,Kazan IV. Choreographer A.Gorsky 26 Subedey Dangyt , senior, Russia,Kyzyl 10 24 Natalia Pivkina , senior, P.Oldenburgsky. "Le Corsaire", Variation of the Slave Girl, Act I.
[Show full text]