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La Bayadere returns to KenCen 
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Сообщение FANTASTIC PHOTOGRAPHY OF MARK OLICH

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30 июл 2017, 16:51
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Сообщение Who Are Les Bayaderes?

    From the book of Karl Blazis "Dance In General. Ballet celebrities. National dances." Moscow, 1864.

    Цитата:
    La Bayadere is a special class of Indian women whose purpose is to sing and dance before the pagodas. The Indians do not have a single festival without the participation of bayaderes and musicians accompanying their dances with songs. The dance of the bayaders is religious in nature, for through it they express sacraments of their religion.


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12 авг 2017, 02:01
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Сообщение Re: La Bayadere returns to KenCen


22 сен 2017, 04:42
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Сообщение Re: La Bayadere returns to KenCen


23 сен 2017, 19:03
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Сообщение La Bayadere Lite

    What is this ballet about?

    - Mainly it is about dance. But of course there is a plot and it is about love and so much more.


    The action takes place in mythical India.

    Act I.
    Brave warrior and hunter Solor is in love with temple dancer Nikiya. Nikyia and Solor meet at nightfall. As the couple rejoice in seeing each other, Solor vows his eternal love for her. Alas, their rendez-vous is being witnessed by the High Brahmin of the temple, who secretly is also in love with beautiful Nikyia.

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    The ruler of the province, Raja informs his daughter, Gamzatti, that he has selected Solor for her future husband. Gamzatti is excited - after all Solor is young, handsome and the bravest warrior of the land. The High Brahmin tells the Raja about secret love pact between Solor and Nikiya. The Raja and Gamzatti remain unmoved - the lovers must be separated, the wedding between Gamzatti and Solor must take place.

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    Gamzatti demands that Nikyia is brought in front of her. Amazed by Nikiya's extraodinary beauty, Gamzatti offers her jewels, but the latter rejects them. When Gamzatti threatens the bayadere, Nikiya tries to stab the Rajah's daughter, but fails and runs away. Gamzatti wows to destroy her rival at any cost.

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29 сен 2017, 00:00
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Сообщение La Bayadere Lite

    The Celebration

    Act II.

    At the betrothal of Solor and Gamzatti, Nikiya is commanded to dance. A servant brings her a basket with flowers. Thinking that it came from Solor Nikyia presses it to her chest. Alas, the basket conceles a deadly snake and was sent by the Rajah's daughter Gamzatti. The snake bites Nikiya, but the Great Brahmin offers her an antidote. Nikyia looks at Solor and watching how he turns away from her, lets the bottle slip from her hands and falls lifeless.

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29 сен 2017, 21:05
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Сообщение La Bayadere Lite

    The Kingdom of the Shades

    Act II.

    Gripped by remorse, Solor escapes into an opium-influenced dream. There, he watches the procession of ghostly fugures making a slow descend from the Himalayas. He recognizes Nikiya among them, who calls him to follow her...

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02 окт 2017, 00:46
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Сообщение Galina Ulanova

    Rarest photo of Galina Ulanova in the role of Nikiya. She stopped dancing it having watched the performance of Marina Semyonova, a role in which the latter was simply incomparable.

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08 окт 2017, 22:52
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Сообщение Re: La Bayadere returns to KenCen

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    Mariinsky Ballet’s La Bayadère: stunning and thrilling (review)

    October 19, 2017 by Alexander C. Kafka

    At the Kennedy Center this week, under director Valery Gergiev and acting ballet director Yuri Fateev, the production – its sets (by Mikhail Shishliannikov) vast, its costumes (by Yevgeny Ponomarev) sensual and splendid – has a remarkable grandeur. The very size of the company and staff – it’s a veritable touring village – is somewhat overwhelming.

    But all that would amount to mere pomp were it not for the incredible caliber of the dancers.

    The cast rotates, and Tuesday night’s performance featured an exceptional duo: the light, slender, but electrifying Kimin Kim as the warrior Solor and the glorious Viktoria Tereshkina as Nikiya, the bayadere, or temple dancer, to whom Solor pledges his love.

    Offered the hand of the beauteous Gamzatti, the Rajah’s daughter, Solor betrays Nikiya. While dancing at Solor and Gamzatti’s wedding, Nikiya is fatally bitten by a poisonous snake hidden in a basket of flowers. This is likely the work of Gamzatti, whom Nikiya had earlier assailed. Solor, dazed and bereft, seeks Nikiya out in her afterlife in the famed Act III “Kingdom of the Shades.”

    Kim and Tereshkina’s partnering is beautiful, the varied lifts seamless. But it’s in their second- and third-act solos that they fully display their stunning technique and, in her case, a great versatility as well. Her dance before Solor and Gamzatti at their wedding is doleful and defiant, Tereshkina’s torso, arm, and hand movements a poignant poem. La Bayadère is an inconsistent hodgepodge of cultural inspirations and appropriations, however, so by Act III, her Eastern-inflected choreography becomes, in the netherworld, traditional French-Russian ballet at its most taxing in adagios featuring wondrous arabesques on point and brisk multiple pirouettes. One of the latter threw Tereshkina off slightly on Tuesday, but overall her precision and emotional range were deeply affecting.

    I’d like to have seen more of that emotional range from Kim – Nikiya’s heartbreak you feel while Solor’s you surmise – but his dancing was spectacular. His tours and chaines were swift and intense. And his stage-circling leap and cabriole sequences were mesmerizing – one moment all horizontal momentum, the next all vertical lift, with no visible preparation, like a little space capsule boosted midair by invisible thrusters.

    Anastasia Matvienko’s acting and dancing were at times a bit stiff in her portrayal of Gamzatti, but her fouettes toward the end of Act II were thrilling. Grigory Popov, as a fakir and ally of Solor, and Vasily Tkachenko, as the Golden Idol in the wedding scene, were also notable for their muscular, splendidly phrased solos. The corps, after its iconic gradual Shades entrance in the third act, became a gorgeous, eerie single entity, whether quietly pivoting on the stage’s periphery during the principals’ string of showpieces or coming center and generating furious echappe-changement progressions in ravishing unison.

    Ludwig Minkus’s score is wildly uneven. It has moments of great lyricism, pretty waltzes, and playful interludes, but also some plodding, repetitious bits. Yet, through thick and thin, the Kennedy Center Opera House Orchestra, conducted by the Mariinsky’s Gavriel Heine, was superb, with especially beefy mid-range brass, lovely violin and harp solos, and animated percussion, particularly snare.

    One leaves the theater elated by the Mariinsky’s sheer concentration of talent, effort, and artistry.

    La Bayadere Изображениеcloses October 22, 2017.



21 окт 2017, 18:44
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Сообщение Re: La Bayadere returns to KenCen

    Изображение

    Review of the Mariinsky Ballet in ‘La Bayadère’ at The Kennedy Center

    by Carolyn Kelemen on October 19, 2017

    If you’ve never seen the Mariinsky Ballet dance a full-length classic (or missed its previous 2008 production of La Bayadère,) rush to buy tickets for this current engagement at The Kennedy Center Opera House through Sunday afternoon. It’s a loving tribute to the ballet’s original choreographer, Marius Petipa, who created La Bayadère for the St. Petersburg-based company over 140 years ago. And don’t leave the ballet early as the most blissful moment takes place in Act III as 32 ballerinas, all dressed in white romantic tutus and veils, float across the stage in the famous, unforgettable “Kingdom of the Shades.”

    The first dancer enters upstage left in a perfectly balanced arabesque, her leg high above her head, her arched foot pointed, then lowers her leg and slowly unfolds her arms to frame her face. At that very moment, the second ballerina starts this same combination, and the ballet continues until all are joined together in the center of the stage. Performed in mirror image of each other, this 25-minute section is absolutely breathtaking.

    Critics and balletomanes tend to judge the merit of La Bayadère on whether a company pulls off the “Shades” with grace and aplomb. For the record, last night’s opening program was a huge success, a grand showcase for bravura ballet – the kind of dancing we’ve come to expect from the company that gave us Balanchine, Baryshnikov, Nureyev and Makarova, still my favorite bayadere.

    You can also count on the Russians for convincing acting in the character roles, especially in the first act, setting the scene for betrayal and redemption. Gavriel Heine keeps the story moving along with his skillful conducting of The Kennedy Center Opera House Orchestra in the familiar Ludwig Minkus score. I found myself listening to the trumpet solo, later humming it, as the characters Nikiya, Solor, the Rajah and daughter Gamzatti begin their journey, though with less movement, more mime, and not quite as fierce as seen in previous viewings.

    Set in India, the story of a beautiful temple dancer’s doomed love for the dashing young warrior is packed with exhilarating choreography, but most of that doesn’t happen until the second act. Here’s where the corps de ballet, as well as the extras, get to shine as the story unfolds in fairytale fashion. With dozens of characters onstage at the same time, it’s quite a glorious scene, highlighted by a pretty variation by three of the second soloists.

    The set and lighting design by Mikhail Shishliannikov also caught our attention with lush gardens hiding dangerous secrets, and shadows from the netherworld casting their spell. Costumes by Yevgeny Ponomarev dazzle from start to finish. And you can catch a close-up look at Nikiya’s purple and Gamzatti’s silver designs in the Opera House lobby.

    No matter how exquisite the production may be, a company cannot shine without stars. In the Kirov’s current generation, none is more beautiful than Viktoria Tereshkina, who danced the coveted role of Nikita in the opening program and repeats it on Friday evening and Sunday afternoon. The lithe, exotic-looking ballerina from the far eastern part of Russia is adored by her many fans who cheered her every move at last night’s performance. And deservedly so.

    Korean Kimin Kim is a new star with the Mariinsky Ballet. His amazing technique, especially those flying leaps with incredibly stretched legs across the stage, also merited applause at the finale. Kim reminds one of a young Baryshnikov when he pulls off multiple pirouettes, then turns to his lover (or perhaps the audience) with an awesome smile and a cocky look-at-me. One wonders if the choreography created for his solo carries too much pressure to perform Olympic-like tricks perhaps better left for the The Golden Idol role by Vasily Tkachenko in the second act – wow, can this guy dance and jump and pop.

    Listed as “First Soloist,” Anastasia Matvienko demonstrated a reserved-but-revengeful interpretation of Gamzatti, especially in the beautifully staged pas de deux, reminiscent of other jealous lovers, Baryshnikov and Gelsey Kirland. Still, it was the chemistry between Tereshkina and Kim that lingers long after the curtain closes. Her backbend seemingly touches the floor, her arms floating above, as she falls into her lover’s arms. Their bodies melt as the violins echo such sweetness. They soar together when the French horns and woodwind instruments crescendo.

    Can you get more romantic than that?



21 окт 2017, 18:52
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