The Sleeping Beauty a Ballet to the Music of Pyotr Ilyich Tchaikovsky
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English National Ballet 2019-2020 Season Ballet.Org.Uk
Amended: June 2019 English National Ballet 2019-2020 Season ballet.org.uk • English National Ballet says ‘Thank You’ as it celebrates its 70th Anniversary • Akram Khan to create second full-length production for English National Ballet • Le Corsaire returns with performances at Milton Keynes Theatre and the London Coliseum • Christopher Wheeldon’s Cinderella to be performed in Manchester and Southampton • The Company’s first full Season after moving to their new home at London City Island • Mayor of London awards £1million grant through his Good Growth Fund to support English National Ballet’s ‘Bridging Neighbourhoods – Growing Talent’ project • English National Ballet appoints first Medical Director to maximise the benefits of the new building’s state-of-the-art fitness and rehabilitation facilities English National Ballet today announces plans for its 2019-2020 Season and updates on their new home at London City Island: 2020 marks English National Ballet’s 70th Anniversary with celebrations taking place throughout the 2019-2020 Season that give opportunities for the Company to say, ‘Thank You’ to its audiences, fans, friends and partners. The 70th Anniversary will be celebrated with three special Gala performances at the London Coliseum featuring extracts from a diverse range of repertoire spanning English National Ballet’s history. Tamara Rojo CBE, English National Ballet’s Artistic Director said: “Our 70th Anniversary Gala performances are a rare opportunity to showcase in one place a huge variety of brilliant work from our extraordinarily rich history. This will be a Gala that celebrates the sheer love of dance, both on and off the stage, that has been part of our vision from the beginning. -
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............................................................................................................................ -
CALL for PAPERS MLADA-MSHA International Network CLARE-ARTES Research Center (Bordeaux) Organize an International Symposium Оn
CALL FOR PAPERS MLADA-MSHA International Network CLARE-ARTES Research Center (Bordeaux) Organize an international symposium оn 21-22-23 October, 2015 At Bordeaux Grand Theatre FROM BORDEAUX TO SAINT PETERSBURG, MARIUS PETIPA (1818-1910) AND THE « RUSSIAN » BALLET The great academic ballet, known as « Russian ballet », is the product of a historical process initiated in 18th century in Russia and completed in the second part of 19th century by Victor-Marius-Alphonse Petipa (1818-1910), principal ballet master of the Saint Petersburg Imperial Theatres from 1869 to his death. Born in Marseilles in a family of dancers and actors, Marius Petipa, after short- term contracts in several theatres, including Bordeaux Grand Theatre, pursued a more than 50 years long carreer in Russia, when he became « Marius Ivanovitch ». He layed down the rules of the great academic ballet and left for posterity over 60 creations, among which the most famous are still presented on stages all around the world. Petipa’s name has become a synonym of classical ballet. His work has been denigrated, parodied, or reinterpreted ; however, its meaning remains central in the reflection of contemporary choreographers, as we can see from young South African choreographer Dada Masilo’s recent new version of Swan Lake. Moreover, Petipa’s work still fosters controversies as evidenced by the reconstructions of his ballets by S.G. Vikharev at the Mariinsky theatre or Teatro alla Scala, and by Iu. P. Burlaka at the Bolchoï. Given the world-famous name of Petitpa one might expect his œuvre, as a common set of fundamental values for international choreographic culture, to be widely known. -
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. -
Giselle Saison 2015-2016
Giselle Saison 2015-2016 Abonnez-vous ! sur www.theatreducapitole.fr Opéras Le Château de Barbe-Bleue Bartók (octobre) Le Prisonnier Dallapiccola (octobre) Rigoletto Verdi (novembre) Les Caprices de Marianne Sauguet (janvier) Les Fêtes vénitiennes Campra (février) Les Noces de Figaro Mozart (avril) L’Italienne à Alger Rossini (mai) Faust Gounod (juin) Ballets Giselle Belarbi (décembre) Coppélia Jude (mars) Paradis perdus Belarbi, Rodriguez (avril) Paquita Grand Pas – L’Oiseau de feu Vinogradov, Béjart (juin) RCS TOULOUSE B 387 987 811 - © Alexander Gouliaev - © B 387 987 811 TOULOUSE RCS Giselle Midis du Capitole, Chœur du Capitole, Cycle Présences vocales www.fnac.com Sur l’application mobile La Billetterie, et dans votre magasin Fnac et ses enseignes associées www.theatreducapitole.fr saison 2015/16 du capitole théâtre 05 61 63 13 13 Licences d’entrepreneur de spectacles 1-1052910, 2-1052938, 3-1052939 THÉÂTRE DU CAPITOLE Frédéric Chambert Directeur artistique Janine Macca Administratrice générale Kader Belarbi Directeur de la danse Julie Charlet (Giselle) et Davit Galstyan (Albrecht) en répétition dans Giselle, Ballet du Capitole, novembre 2015, photo David Herrero© Giselle Ballet en deux actes créé le 28 juin 1841 À l’Académie royale de Musique de Paris (Salle Le Peletier) Sur un livret de Théophile Gautier et de Jules-Henri Vernoy de Saint-Georges D’après Heinrich Heine Nouvelle version d’après Jules Perrot et Jean Coralli (1841) Adolphe Adam musique Kader Belarbi chorégraphie et mise en scène Laure Muret assistante-chorégraphe Thierry Bosquet décors Olivier Bériot costumes Marc Deloche architecte-bijoutier Sylvain Chevallot lumières Monique Loudières, Étoile du Ballet de l’Opéra National de Paris maître de ballet invité Emmanuelle Broncin et Minh Pham maîtres de ballet Nouvelle production Ballet du Capitole Kader Belarbi direction Orchestre national du Capitole Philippe Béran direction Durée du spectacle : 2h25 Acte I : 60 min. -
September 4, 2014 Kansas City Ballet New Artistic Staff and Company
Devon Carney, Artistic Director FOR IMMEDIATE RELEASE CONTACT: Ellen McDonald 816.444.0052 [email protected] For Tickets: 816.931.2232 or www.kcballet.org Kansas City Ballet Announces New Artistic Staff and Company Members Grace Holmes Appointed New School Director, Kristi Capps Joins KCB as New Ballet Master, and Anthony Krutzkamp is New Manager for KCB II Eleven Additions to Company, Four to KCB II and Creation of New Trainee Program with five members Company Now Stands at 29 Members KANSAS CITY, MO (Sept. 4, 2014) — Kansas City Ballet Artistic Director Devon Carney today announced the appointment of three new members of the artistic staff: Grace Holmes as the new Director of Kansas City Ballet School, Kristi Capps as the new Ballet Master and Anthony Krutzkamp as newly created position of Manager of KCB II. Carney also announced eleven new members of the Company, increasing the Company from 28 to 29 members for the 2014-2015 season. He also announced the appointment of four new KCB II dancers, which stands at six members. Carney also announced the creation of a Trainee Program with five students, two selected from Kansas City Ballet School. High resolution photos can be downloaded here. Carney stated, “With the support of the community, we were able to develop and grow the Company as well as expand the scope of our training programs. We are pleased to welcome these exceptional dancers to Kansas City Ballet and Kansas City. I know our audiences will enjoy the talent and diversity that these artists will add to our existing roster of highly professional world class performers that grace our stage throughout the season ahead. -
Recherches En Danse, 3 | 2015
Recherches en danse 3 | 2015 Perspectives genrées sur les femmes dans l’histoire de la danse Fanny Cerrito chorégraphe La réception de Gemma dans la presse parisienne (mai-juin 1854) Vannina Olivesi Édition électronique URL : http://journals.openedition.org/danse/896 DOI : 10.4000/danse.896 ISSN : 2275-2293 Éditeur ACD - Association des Chercheurs en Danse Référence électronique Vannina Olivesi, « Fanny Cerrito chorégraphe », Recherches en danse [En ligne], 3 | 2015, mis en ligne le 19 janvier 2015, consulté le 19 avril 2019. URL : http://journals.openedition.org/danse/896 ; DOI : 10.4000/danse.896 Ce document a été généré automatiquement le 19 avril 2019. association des Chercheurs en Danse Fanny Cerrito chorégraphe 1 Fanny Cerrito chorégraphe La réception de Gemma dans la presse parisienne (mai-juin 1854) Vannina Olivesi NOTE DE L’ÉDITEUR Étude élaborée dans le cadre du projet financé en 2013 par le GIS Institut du genre, « Revisiter l'historiographie de la danse et éclairer l'histoire du genre : étude de quelques figures de danseuses (France, fin XVIIe – début XXe siècle) ». 1 Le présent article invite à une relecture de la réception du ballet Gemma que la danseuse et chorégraphe Fanny Cerrito compose en 1854 pour l’Opéra, sur un livret de Théophile Gautier et une musique de Nicolò Gabrielli. L’œuvre et sa réception critique sont principalement étudiées dans des ouvrages consacrés à la production librettique et critique de Gautier1, un fait qui témoigne de l’invisibilité faite aux créatrices du XIXe siècle dans la recherche historique en danse2. Seul Ivor Guest, auteur d’une biographie de Fanny Cerrito dont la première édition parait en 1956, consacre un court chapitre à cet épisode de sa vie. -
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. -
Brochure 2015-2016
GALA DI CAPODANNO STAGIONE LIRICA FESTIVAL VERDI ALTRAOPERA PIANOSOLO BAROCCO AL FARNESE CONCERTI APERITIVO PARMADANZA LIVEOPERA ÓLÖF ARNALDS REGIOYOUNG IL REGIO SOTTO LE STELLE CONTRAPPUNTI EUROPEAN OPERA DAYS Main partner Major partner FONDAZIONE Presidente Sindaco di Parma Federico Pizzarotti Membri del Consiglio di Amministrazione Massimo Ambanelli Laura Maria Ferraris Silvio Grimaldeschi Marco Alberto Valenti Direttore generale Anna Maria Meo Consulente per lo sviluppo e i progetti speciali Barbara Minghetti Presidente del Collegio dei Revisori Giuseppe Ferrazza Revisori Marco Pedretti Angelica Tanzi Il Teatro Regio di Parma è sostenuto anche da PianoSolo è realizzato in collaborazione con Barocco al Farnese è realizzato in collaborazione con TTeatroeatro RRegioegio ddii PParmaarma giovedì 31 dicembre 2015, ore 19.00, fuori abbonamento GALA DI CAPODANNO ORCHESTRA FILARMONICA ITALIANA Maestro concertatore e direttore MATTEO BELTRAMI Soprano EVA MEI Mezzosoprano LAURA POLVERELLI Tenore MATTEO MEZZARO Baritono ROBERTO DE CANDIA Baritono SIMON ORFILA Basso MICHELE PERTUSI Serata a sostegno delle attività del Teatro Regio di Parma in collaborazione con Lions Club “Parma Maria Luigia”. Il Teatro Regio di Parma ringrazia gli artisti che prendono parte amichevolmente al Gala di Capodanno. Parte dell’incasso sarà devoluto a favore di Assistenza Pubblica di Parma Onlus A seguire Ridotto del Teatro Regio di Parma CENA DI GALA STAGIONE LIRICA 2016 TTeatroeatro RRegioegio ddii PParmaarma 12, 15, 17, 19 gennaio 2016 LE NOZZE DI FIGARO Musica WOLFGANG AMADEUS MOZART 18, 19, 20, 21 febbraio 2016 L’OCCASIONE FA IL LADRO ossia il cambio della valigia Musica GIOACHINO ROSSINI 11, 13, 30 marzo, 1 aprile 2016 LUCIA DI LAMMERMOOR Musica GAETANO DONIZETTI TTeatroeatro GGiuseppeiuseppe VVerdierdi ddii BBussetousseto 23, 24, 30 aprile 2016 7, 8, 10, 13, 14, 21, 22, 28, 29 maggio 2016 RIGOLETTO Musica GIUSEPPE VERDI TTeatroeatro RRegioegio ddii PParmaarma martedì 12 gennaio 2016, ore 20.00, Abb. -
Recherches En Danse, 3
Recherches en danse 3 | 2015 Perspectives genrées sur les femmes dans l’histoire de la danse Hélène Marquié et Marina Nordera (dir.) Édition électronique URL : http://journals.openedition.org/danse/837 DOI : 10.4000/danse.837 ISSN : 2275-2293 Éditeur ACD - Association des Chercheurs en Danse Référence électronique Hélène Marquié et Marina Nordera (dir.), Recherches en danse, 3 | 2015, « Perspectives genrées sur les femmes dans l’histoire de la danse » [En ligne], mis en ligne le 01 janvier 2015, consulté le 03 novembre 2020. URL : http://journals.openedition.org/danse/837 ; DOI : https://doi.org/10.4000/ danse.837 Ce document a été généré automatiquement le 3 novembre 2020. association des Chercheurs en Danse 1 SOMMAIRE Éditorial Hélène Marquié et Marina Nordera Les partitions chorégraphiques citant Marie-Thérèse Subligny : sources d’hypothèses pour un portrait Dóra Kiss Marie-Catherine Guyot : une danseuse professionnelle du XVIIIe siècle, entre norme et invention Bianca Maurmayr La « belle dance » des genres : des notations anciennes à la création contemporaine Entretien Béatrice Massin et Marina Nordera Danser seule au XVIIIe siècle : un espace féminin de création et transmission ? Marina Nordera Fanny Cerrito chorégraphe La réception de Gemma dans la presse parisienne (mai-juin 1854) Vannina Olivesi La féminisation du chahut-cancan sous le Second Empire parisien L’exemple de Marguerite Badel dite la Huguenote dite Marie la Gougnotte dite Rigolboche Camille Paillet Des danseuses qui écrivent. Margitta Roséri : le tour du monde de la -
Grishko® Stage
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Barbora Kohoutková
BARBORA KOHOUTKOVÁ Barbora Kohoutková started ballet training at a very early age. She was chosen at the age of 4 by a pre-ballet school of the National Theater in Prague and got accepted to the Prague Dance Conservatory when she was 10 years old. Barbora started her professional career at the age of 17 in Helsinki as a Principal Dancer with the Finnish National Ballet (1996-2002). Before becoming a guest principal dancer she worked with the Bavarian State Ballet – Munich (2002-2003), Boston Ballet (2003-2004) and Hamburg Ballet-John Neumeier (2004-2008). In her career she has danced the most important roles of almost the entire classical repertoire in its original form and in productions by Ben Stevenson, Natalia Makarova, Rudolf Nureyev, Vladimir Bourmeister, Sylvie Guillem, Wayne Eagling, Toer van Schayk, Bruce Marks, Frederick Ashton, Mikhail Fokine… Besides the classical repertoire she also performed in choreographies by George Balanchine, Jiri Kylian, John Cranko, John Neumeier, Jorma Uotinen, Sir Kenneth MacMillan, Heinz Spoerli, Mark Morris… As a guest artist she has been performing in Essen, Helsinki, Milano, Moscow, Munich, Prague, Rome, St. Petersburg, Tokyo (World Ballet Festival 2002 and 2004), … Sadly, due to injuries, she had to cut short her beautiful career at the early age of 28. After having undergone multiple surgeries and stoically enduring much physical suffering, Barbora had to retire from the stage and began a rewarding career as a Ballet Master and teacher, occasionally still performing as a guest Principal. During the season 2009- 2010 she worked as Ballet Master at the National Theater in Prague.