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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............................................................................................................................ -
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. -
Boston Ballet School Presents Annual Next
MEDIA CONTACT: Jill Goddard, 617.456.6236, [email protected] BOSTON BALLET SCHOOL PRESENTS ANNUAL NEXT GENERATION PERFORMANCE FEATURING CHRISTOPHER WHEELDON’S THE AMERICAN, MARIUS PETIPA’S RAYMONDA, AND A NEW WORK BY IGOR BURLAK May 2, 2018 (BOSTON, MA) – Boston Ballet School (BBS) proudly presents its ninth annual Next Generation performance featuring Christopher Wheeldon’s The American, Act III of Raymonda by Marius Petipa with additional choreography by Boston Ballet Artistic Director Mikko Nissinen, and a new work by BBS faculty member Igor Burlak. The program opens with Les Passages, which features dancers of all levels of the Pre-Professional program in pieces choreographed by BBS faculty members. This one-night-only performance takes place June 6 at the Boston Opera House. “Next Generation shines a spotlight on the incredible young talent that we have the pleasure of developing,” said Boston Ballet Artistic Director Mikko Nissinen. “Boston Ballet School is dedicated to providing the highest quality of training of dancers to ensure the success of our students who will contribute their many gifts to this living art form.” Boston Ballet School’s Pre-Professional program is committed to training top talent who aspire to professional careers with Boston Ballet and other major companies. Currently, over 20 percent of Boston Ballet’s dancers are graduates of the Pre-Professional program, and 95 percent of Trainee graduates secure jobs with professional ballet companies, a percentage that has increased annually. “This program showcases the next generation of talented and dedicated dancers. Each piece was specifically selected to highlight the individual strengths of our students and emphasize our rigorous curriculum,” said Boston Ballet School Director Margaret Tracey. -
Giselle Center for Performing Arts
Governors State University OPUS Open Portal to University Scholarship Center for Performing Arts Memorabilia Center for Performing Arts 1-20-2001 Giselle Center for Performing Arts Follow this and additional works at: http://opus.govst.edu/cpa_memorabilia Recommended Citation Center for Performing Arts, "Giselle" (2001, 2008). Center for Performing Arts Memorabilia. Book 168. http://opus.govst.edu/ cpa_memorabilia/168 This Book is brought to you for free and open access by the Center for Performing Arts at OPUS Open Portal to University Scholarship. It has been accepted for inclusion in Center for Performing Arts Memorabilia by an authorized administrator of OPUS Open Portal to University Scholarship. For more information, please contact [email protected]. fOR PffiFORMINC HRT5 Governors State University Presents Moscow Festival Ballet GISELLE SATURDAY, JANUARY 20,2001 8:00 PM 2000/2001 Season sponsored in part by a grant from the: I MOSCOW FESTIVAL BALLET GISELLE Sergei Radchenko, Artistic Director Act I: A Rhineland Village PRINCIPAL DANCERS Giselle, a peasant girl, has fallen in love with Count Albrecht, who has led her to believe that he is a villager named Loys. Her superstitious Natalia Arkiphova mother, Berthe, hoping that Giselle will marry the forester Hilarion, Mikhail Bessmertnov Marina Rzhannikova warns her against Loys, to whom she has taken an instinctive dislike. Dmitry Dmitriev Natalia Kungurtseva Yuri Vetrov Tatiana Andreyeva In order to discourage Giselle's love for 'Loys', Berthe further recounts Vyacheslav Aksenov the legend of the Wilis - ghosts of young girls who have been jilted Irina Kovaleva Valery Shumilov and die before their wedding day: to avenge themselves, they dance to Renata Petrova Alexander Rupyshev death any man who crosses their paths between midnight and dawn. -
Swan-Lake-Study-Guide-2017-18.Pdf
Swan Lake Study Guide 2017---18-18 Presented By the Department of Community Engagement Table of Contents The Quintessential Ballet 3 Milwaukee Ballet’s Swan Lake 4 Choreographic Birds of a Feather – Petipa, Ivanov & Pink 5 Did You Know? – Matthew Bourne 14 Behind the Music – Pyotr Tchaikovsky 15 Appendix A: Being A Good Audience Member 16 Sources and Special Thanks 17 2 The Quintessential Ballet Welcome to the Study Guide for Swan Lake , perhaps the world’s most widely recognized ballet aside from The Nutcracker . It has been called the “quintessential ballet” (quintessential means the purest and most perfect or the embodiment of, in this case, ballet!) and is often the show that pops into people’s minds when the word ballet is mentioned. Since its premiere in Moscow, Russia, it has been presented in over 150 versions by more than 100 companies in at least 25 different countries. That’s a lot of swans! Swan Lake didn’t start out successfully – which is surprising, considering its fame today. It premiered on February 20, 1877, and although Tchaikovsky’s spectacular music was used from the beginning, the choreography, originally done by Julius Reisinger, was less than stellar. A critic who was at the performance wrote, "Mr. Reisinger’s dances are weak in the extreme.... Incoherent waving of the legs that continued through the course of four hours - is this not torture? The corps de ballet stamp up and down in the same place, waving their arms like a windmill’s vanes - and the soloists jump about the stage in gymnastic steps." Ouch! Unfortunately Reisinger failed to mesh his choreography with the psychological, beautiful music Tchaikovsky created. -
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. -
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 -
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. -
Aleksandra Balashova Papers 1912-1975
AMHERST CENTER FOR RUSSIAN CULTURE Aleksandra Balashova Papers 1912-1975 Summary: The Aleksandra Balashova Papers reflect a short period of life of a well known Russian ballerina. They consist of photographs and letters mostly from her life in exile. Quantity: 0.25 linear feet Containers: 1 document manuscript box Processed: August 2012 By: Tanya Chebotarev Listed: September 2012 By: Tanya Chebotarev Finding Aid: September 2012 Prepared by: Tanya Chebotarev Edited by: Stanley Rabinowitz, Director, Center for Russian Culture Access: There is no restriction on access to the Aleksandra Balashova Papers for research use. Particularly fragile items may be restricted for preservation purposes. Copyright: Requests for permission to publish material from the Aleksandra Balashova Papers should be sent to the Director of the Amherst Center for Russian Culture. It is the responsibility of the researcher to identify and satisfy the holders of all copyrights. © 2012 Amherst Center for Russian Culture Page 1 Aleksandra Balashova Papers INTRODUCTION Historical Note Alexandra Balashova was born in Moscow in 1887. She graduated from the Bolshoi Ballet School in 1905. She was a beautiful and dramatically expressive dancer and made her debut at the age of 19 as Tsar-Maiden in Humpbacked Horse. She soon became a principal dancer in such roles like Aurora (Sleeping Beauty), Medora (Le Corsaire), Kitri (Don Quixote), Swanilda (Coppelia), Raymonda (Raymonda), Nikia (La Bayadere) and Odette-Odile (Swan Lake). Her partner in many performances was Mikhail Mordkin. She was married to a wealthy Moscow capitalist A.K. Ushkov and left Russia in 1921. Their mansion at Prechistenka 20 in Moscow soon became home of the Isadora Duncan Dance School. -
Check out Our Website
Poway Center for the Performing Arts November 25 – 27, 2016 Come join us for ballet instruction – all levels, all ages Check out our website: www.newwestballet.com Fostering a love of dance since 1979. Come join us for ballet instruction. First class is free! Mark Your Calendar for These Upcoming Events Youth American Grand Prix (YAGP): Feb. 10th-12th, 2017 Coppélia: Spring 2017 Annual School Recital: Summer 2017 For more information regarding these exciting events, please visit our website at www.newwestballet.com or call us at (760) 525-6738 [email protected] ~ www.newwestballet.com ~ (760) 525-6738 1215 Linda Vista Dr. STE B, San Marcos, CA 92078 New West Ballet Theatre Presents Music by Pyotr Ilyich Tchaikovsky Based on original choreography by Eugenia M. Keefer Artistic Directors: Coral M. Burni Christina Wurz Choreography & Staging: Stage Managers: Coral M. Bruni Leslie Kerr Christina Wurz Holly Meserve Heather LaForge Brook Gunn Sohaila Studio Director: Volunteer Coordinator: Jennifer Crumrine Kathy McAdoo New West Ballet Theatre is a 501c(3) non-profit educational corporation. All donations are tax deductible. Financial assistance is available. The Story of The Nutcracker The Nutcracker is undoubtedly the most popular ballet in the United States. Each year it is performed by hundreds of ballet schools and companies. The ballet was first performed in 1892 by the Maryinsky Theatre in St. Petersburg, Russia. The ballet is based on a story by E.T.A Hoffman called “The Nutcracker and the Mouse King” and P. Tchaikovsky composed the music which is now so famous. This first Nutcracker Ballet was choreographed by Lev Ivanov following a libretto by Marius Petipa. -
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. -
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.