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People Features Performances
People 8 Viktoria Tereshkina CATHERINE PAWLICK catches up with the Mariinsky ballerina in St Petersburg 26 Gillian Lynne and Miracle in the Gorbals VIKI WESTALL meets up with the veteran choreographer in Birmingham 60 Ciro Tamayo LUCÍA CHILIBROSTE interviews Ballet de Uruguay’s outstanding dancer 67 1st Job CARLOS PONS GUERRA skypes Tamara Chilirojo - aka Kevin García Montagut - in New York City Features 25 Comment: Company Saved But Few Rejoice BRUCE MICHELSON analyses a less than satisfactory outcome 32 Critics’ Choice Dance Europe’s writers, along with guest critics, select the highs and lows from last season 65 Tanzmesse DWAYNE HOLLIDAY gets a taste of the mega dance event in Düsseldorf 68 Positano WENDY PERRON reports on this year’s Positano Performances Premia la Danza Léonide Massine 14 Coppélia DEBORAH WEISS and MIKE DIXON weigh up 70 Shawbrook different casts in ENB’s revival of Ronald Hynd’s DIARMAID O’MEARA visits a terpsichorean production hideaway in Ireland contents contents 18 Push GERARD DAVIS savours a hypnotic marriage 6 ENTRE NOUS 73 AUDITIONS AND JOBS 20 Julidans DAVIDE COCCHIARA considers some of the 81 INTERNATIONAL DIARY highlights in this year’s Amsterdam festival 83 DANCE ON SCREEN 23 Biarritz 85 EXHIBITIONS AND EVENTS FRANÇOIS FARGUE reports on an alliance formed by three French companies 86 PEOPLE PAGE Front cover: Mariinsky Ballet - Viktoria Tereshkina as Juliet in Romeo and Juliet Photos: Erik Tomasson; Andrew Ross; Dance Europe → Photo: E. Kauldhar/Dance Europe. DANCE EUROPE October 2014 3 Performances DANCE EUROPE Founded in 1995 ISSN: 1359-9798 30 Solo for Two MIKE DIXON on Osipova and Vasiliev outside P.O. -
THE PARIS OPERA (L'opéra) a Documentary by Jean-Stéphane Bron
Presents THE PARIS OPERA (L'OPÉRA) A Documentary by Jean-Stéphane Bron France, Switzerland / 2016 / Documentary / French with English Subtitles 111 min / DCP 5.1 / 1.85 / Color Opens October 18th in New York City & October 20th in Los Angeles Film Movement Contacts: Genevieve Villaflor | Press & Publicity | (212) 941-7744 x215 | [email protected] Clemence Taillandier | Theatrical | (212) 941-7715 | [email protected] Maxwell Wolkin | Non-Theatrical & Festivals | (212) 941-7744 x211 | [email protected] Assets: Official US Trailer: TBD Downloadable hi-res images: TBD SYNOPSIS Autumn 2015. At the Paris Opera, Stéphane Lissner is putting the finishing touches to his first press conference as director. Backstage, artists and crew prepare to raise the curtain on a new season with Schönberg’s Moses and Aaron. But the announcement of a strike and arrival of a bull in a supporting role complicate matters. At the same time, a promising young Russian singer begins at the Opera’s Academy. In the hallways of Opera Bastille, his destiny will cross paths with that of Bryn Terfel, one of the greatest voices of his time. As the season progresses, more and more characters appear, playing out the human comedy in the manner of a documentary Opera. But this comedy is set against a tragic backdrop when terrorist attacks plunge Paris into mourning. Even though the show must go on at all costs, there is no end of trouble for the new director. Star choreographer Benjamin Millepied jumps ship soon after taking over as director of ballet at Palais Garnier. Preparations for Richard Wagner’s six-hour opera Die Meistersinger reunite the company. -
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. -
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. -
Russia Uncovered: Moscow & St Petersburg
For Expert Advice Call A unique occasion deserves a unique experience. 01722 744 695 https://www.weekendalacarte.co.uk/special-occasion-holidays/destinations/russia/russia-uncovered/ Russia Uncovered: Moscow & St Petersburg Break available: May - September 7 Night Break Highlights With private tours from start to finish you will come away from this holiday having explored two of its greatest cities; St ● Private Hermitage tour with exclusive early access avoiding Petersburg, the Venice of the North, and the Capital Moscow with the queues the dramatic Kremlin at its heart with a day in the countryside at ● Private tour of Peter Paul Fortress with the Romanov family the "Russian Vatican". Experience and contrast the aristocratic tombs beauty of St Petersburg and the confident modern city of Moscow ● Private tour of the beautiful Peterhof Palace with its with as many of the Palaces, Museums and cultural delights as fountains, returning by Hydrofoil you wish as we can tailor-make all our breaks to you. With the ● Private Tour of Catherine's & Paul's palaces with traditional Bolshoi Ballet based in Moscow and the Mariinsky in St Russian tasting menu lunch Petersburg add in a world class ballet performance and you will ● Private River and Canal Floodlight Night Tour to see St indeed come home full to the brim with cultural wonders. This Petersburg Palaces & Cathederals ● private tour allows you to beat the queues into all the historic Private Moscow city floodlight tour ● Private Kremlin tour and visit the Diamond fund sites, to have exclusive early access to the Hermitage so you ● Visit the amazing Moscow Metro with private guide can enjoy its treasures without the crowds, and the ability to ● Visit the Russian Vatican, Sergiev Posad with private guide go at your own pace. -
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. -
Wayne Mcgregor | Random Dance
WAYNE MCGREGOR | RANDOM DANCE FEBRUARY 13, 2014 OZ SUPPORTS THE CREATION, DEVELOPMENT AND PRESENTATION OF SIGNIFICANT CONTEMPORARY PERFORMING AND VISUAL ART WORKS BY LEADING ARTISTS WHOSE CONTRIBUTION INFLUENCES THE ADVANCEMENT OF THEIR FIELD. ADVISORY BOARD Amy Atkinson Karen Elson Jill Robinson Anne Brown Karen Hayes Patterson Sims Libby Callaway Gavin Ivester Mike Smith Chase Cole Keith Meacham Ronnie Steine Jen Cole Ellen Meyer Joseph Sulkowski Stephanie Conner Dave Pittman Stacy Widelitz Gavin Duke Paul Polycarpou Betsy Wills Kristy Edmunds Anne Pope Mel Ziegler A MESSAGE FROM OZ Welcome and thank you for joining us for our first presentation as a new destination for contemporary performing and visual arts in Nashville. By being in the audience, you are not only supporting the visiting artists who have brought their work to Nashville for this rare occasion, you are also supporting the growth of contemporary art in this region. We thank you for your continued support. We are exceptionally lucky and very proud to have with us this evening, one of the worlds’ most inspiring choreographic minds, Wayne McGregor. An artist who emphasizes collaboration and a wide range of perspectives in his creative process, McGregor brings his own brilliant intellect and painterly vision to life in each of his works. In FAR, we witness the mind and body as interconnected forces; distorted and sensual within the same frame. As ten stunning dancers hyperextend and crouch, rapidly moving through light and shadow to a mesmerizing score, the relationship between imagination and movement becomes each viewer’s own interpretation. An acronym for Flesh in the Age of Reason, McGregor’s FAR investigates self-understanding and exemplifies the theme from Roy Porter’s novel by the same name, “that we outlive our mortal existence most enduringly in the ideas we leave behind.” Strap in. -
Queerness in French Baroque Opera: the Relationship Between Achilles and Patroclus in Jean Baptiste Lully’S Achille Et Polyxène
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 5-7-2021 Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène Jason Thompson [email protected] Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Thompson, Jason, "Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène" (2021). Master's Theses. 210. https://digscholarship.unco.edu/theses/210 This Dissertation/Thesis is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2021 JASON TRAVIS THOMPSON ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School QUEERNESS IN FRENCH BAROQUE OPERA: THE RELATIONSHIP BETWEEN ACHILLES AND PATROCLUS IN JEAN-BAPTISTE LULLY’S ACHILLE ET POLYXÈNE A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Jason Travis Thompson College of Performing and Visual Arts School of Music Music History and Literature May 2021 This Thesis by: Jason Travis Thompson Entitled: Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène has been approved as meeting the requirement for the Degree of Master of Music in the College of Performing and Visual Arts in the School of Music, Program of Music History and Literature. -
The Mariinsky Ballet & Orchestra
Thursday, October 1, 2015, 8pm Friday, October 2, 2015, 8pm Saturday, October 3, 2015, 2pm & 8pm Sunday, October 4, 2015, 3pm Zellerbach Hall The Mariinsky Ballet & Orchestra Gavriel Heine, Conductor The Company Diana Vishneva, Nadezhda Batoeva, Anastasia Matvienko, Sofia Gumerova, Ekaterina Chebykina, Kristina Shapran, Elena Bazhenova Vladimir Shklyarov, Konstantin Zverev, Yury Smekalov, Filipp Stepin, Islom Baimuradov, Andrey Yakovlev, Soslan Kulaev, Dmitry Pukhachov Alexandra Somova, Ekaterina Ivannikova, Tamara Gimadieva, Sofia Ivanova-Soblikova, Irina Prokofieva, Anastasia Zaklinskaya, Yuliana Chereshkevich, Lubov Kozharskaya, Yulia Kobzar, Viktoria Brileva, Alisa Krasovskaya, Marina Teterina, Darina Zarubskaya, Olga Gromova, Margarita Frolova, Anna Tolmacheva, Anastasiya Sogrina, Yana Yaschenko, Maria Lebedeva, Alisa Petrenko, Elizaveta Antonova, Alisa Boyarko, Daria Ustyuzhanina, Alexandra Dementieva, Olga Belik, Anastasia Petushkova, Anastasia Mikheikina, Olga Minina, Ksenia Tagunova, Yana Tikhonova, Elena Androsova, Svetlana Ivanova, Ksenia Dubrovina, Ksenia Ostreikovskaya, Diana Smirnova, Renata Shakirova, Alisa Rusina, Ekaterina Krasyuk, Svetlana Russkikh, Irina Tolchilschikova Alexey Popov, Maxim Petrov, Roman Belyakov, Vasily Tkachenko, Andrey Soloviev, Konstantin Ivkin, Alexander Beloborodov, Viktor Litvinenko, Andrey Arseniev, Alexey Atamanov, Nail Enikeev, Vitaly Amelishko, Nikita Lyaschenko, Daniil Lopatin, Yaroslav Baibordin, Evgeny Konovalov, Dmitry Sharapov, Vadim Belyaev, Oleg Demchenko, Alexey Kuzmin, Anatoly Marchenko, -
Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2004 Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera Joy A. Mills Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the French and Francophone Literature Commons, Other Theatre and Performance Studies Commons, and the Translation Studies Commons Recommended Citation Mills, Joy A., "Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera" (2004). Honors Theses. 83. https://scholarlycommons.obu.edu/honors_theses/83 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Gaston Leroux's 1911 novel, The Phantom of the Opera, has a considerable number of allusions, some of which are accessible to modern American audiences, like references to Romeo and Juilet. Many of the references, however, are very specific to the operatic world or to other somewhat obscure fields. Knowledge of these allusions would greatly enhance the experience of readers of the novel, and would also contribute to their ability to interpret it. Thus my thesis aims to be helpful to those who read The Phantom of the Opera by providing a set of notes, as it were, to explain the allusions, with an emphasis on the extended allusion of the Palais Garnier and the historical models for the heroine, Christine Daae. Notes on Translations At the time of this writing, three English translations are commercially available of The Phantom of the Opera. -
Swan Lake Audience Guide
February 16 - 25, 2018 Benedum Center for the Performing Arts, Pittsburgh Choreography: Marius Petipa and Lev Ivanov Staging: Terrence S. Orr Music: Peter Ilyich Tchaikovsky Swan Lake Sponsors: The Benter Foundation, The Pittsburgh Foundation, Eden Hall Foundation, Anonymous Donor February 16 - 25, 2018 Benedum Center for the Performing Arts | Pittsburgh, PA PBT gratefully acknowledges the following organizations for their commitment to our education programming: Allegheny Regional Asset District Henry C. Frick Educational Fund of The Buhl Anne L. and George H. Clapp Charitable Foundation Trust BNY Mellon Foundation Highmark Foundation Claude Worthington Benedum Foundation Peoples Natural Gas Eat ‘n Park Hospitality Group Pennsylvania Council on the Arts Edith L. Trees Charitable Trust Pennsylvania Department of Community ESB Bank and Economic Development Giant Eagle Foundation PNC Bank Grow up Great The Grable Foundation PPG Industries, Inc. Hefren-Tillotson, Inc. Richard King Mellon Foundation James M. The Heinz Endowments and Lucy K. Schoonmaker Cover Photo: Duane Rieder Artist: Amanda Cochrane 1 3 The Setting and Characters 3 The Synopsis 5 About Swan Lake 6 The Origins of the Swan Lake Story 6 Swan Lake Timeline 7 The Music 8 The Choreography 9 The Dual Role of Odette + Odile 9 Acts 1 & 3 10 Spotlight on the Black Swan Pas de Deux 10 The Grand Pas Explained 11 What’s a fouette? 11 Acts 2 & 4 12 Dance of the Little Swans 13 The White Act 13 Costumes and Scenic Design 13 Costumes By the Numbers 14 The Tutus 14 A Few Costume Tidbits! 15 Did You Know? Before She was the Black Swan 16 Programs at the Theater 17 Accessibility 2 The Setting The ballet takes place in and near the European castle of Prince Siegfried, long ago. -
How the Royal Paris Opera Survived the End of the Old Regime
Review of Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Johnson, Victoria. "Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime." Review by: By Jeffrey S. Ravel, The Journal of Modern History, Vol. 82, No. 4, Science and the Making of Modern Culture (December 2010), pp. 950-952. As Published http://dx.doi.org/10.1086/656104 Publisher University of Chicago Press Version Author's final manuscript Citable link http://hdl.handle.net/1721.1/72388 Terms of Use Creative Commons Attribution-Noncommercial-Share Alike 3.0 Detailed Terms http://creativecommons.org/licenses/by-nc-sa/3.0/ Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime. By Victoria Johnson. Chicago and London: The University of Chicago Press, 2008. Pp. xv + 281. $45.00. The question at the heart of Victoria Johnson’s book is an intriguing one: how did the Paris Opera, or the Académie royale de musique as it was known during the Old Regime, avoid disbandment during the French Revolution? If any pre-revolutionary institution exemplified the luxurious consumption and aristocratic privilege decried by the revolutionaries, the Opera was it. Yet the Paris Commune, which took over governance of the Opera from the Maison du roi in February 1790, worked hard to re-organize the institution for the glory of the new regime, and Maximilien Robespierre and the Committee of Public Safety, in the midst of the Terror in the spring of 1794, approved the troupe’s relocation from a venue on the outskirts of town to a more commercially viable site in the heart of the city.