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MARIUS PETIPA 
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Сообщение MARIUS PETIPA

    Great French-Russian choreographer was born on this day, March 11 in 1818.

    Exegi Monumentum писал(а):

    I have created a monument more lasting than bronze

    And higher than the royal structure of the pyramids,

    That neither devouring rain, nor the wild North Wind

    May be able to destroy, nor the immeasurable

    Succession of years and the flight of time.

    .....................................................-- Horace, Ode 3.30




11 мар 2018, 18:51
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Сообщение La Bayadere

    Цитата:
    This adagio is probably the most breathtaking piece of classical ballet - it’s so simple yet so mesmerizing, just the pure beauty of the movement! For me it’s the greatest joy to perform it.

    -- Maria Khoreva


    .................Изображение



17 авг 2019, 18:53
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Сообщение Re: MARIUS PETIPA

    Изображение



10 окт 2019, 21:43
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Сообщение Paquita

    Few historical Paquita pictures

    Изображение
    Carlotta Grisi and Lucien Petipa

    Изображение
    Anna Pavlova

    Изображение
    Michail Fokine

    Изображение
    Marius Ivanovich (Jean) Petipa



11 окт 2019, 02:45
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Сообщение Faux Pas

    MAKEDA EASTER (Los Angeles Times) писал(а):
    In Petipa’s original version, ballerinas performed the Kingdom of the Shades in heeled shoes, later changed to pointe. Other changes include the Dance of the Golden Idol, which was added by Nikolai Zubkovsky in 1948.


    https://www.latimes.com/entertainment-a ... segerstrom

    What is he talking about :roll:

    Изображение
    St. Petersburg, 1900.


18 окт 2019, 19:07
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Сообщение La Bayadere in So. California 2019

    Review: Mariinsky Ballet and Orchestra’s Stunning Performance of La Bayadère at Segerstrom Center for the Arts

    Цитата:
    Alina Somova danced as Nikiya and is a principal dancer for the Mariinsky Ballet in St. Petersburg. Her flexibility, form, and strength were outstanding as we saw her character’s passion within every breathtaking adagio. Somova was born in Leningrad and graduated from the Vaganova Academy of Russian Ballet in 2003. In 2003 she was admitted to the Mariinsky Ballet and one year later was promoted to soloist and principal since 2008.

    Award-winning dancer Kimin Kim, lept as Solor to a standing ovation on his solo performances, in which he defied gravity with grace. Attendees left Kim overwhelmed with gratitude and repeat applause breaks for his spell bounding performance. Born in Seoul, Kim graduated from the Korea National University of Arts. He was a soloist with the Mariinsky Ballet from 2012, and since 2015 he has been a principal dancer.

    Изображение



19 окт 2019, 01:21
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Сообщение Re: MARIUS PETIPA
    Изображение

    Цитата:
    Mariinsky Ballet and Orchestra - La Bayadère

    Amid the sweeping vistas and grand temples of mystical India, Petipa's great Russian classic is a glorious epic of eternal love and godly revenge. La Bayadère offers tour de force performances by the Mariinsky's legendary ballet stars as the tale's doomed temple dancer Nikiya, the warrior who betrays her, Solor, and her archrival, Gamzatti. But nothing will prepare you for the spellbinding "Kingdom of the Shades," a showcase for the corps de ballet in gossamer white tutus, floating in perfect synchronicity across the stage, as sublime as angels arriving from heaven.

    Well said, except that these are not angels, but rather restless souls, shadows, descending from the Himalayas :-)



03 ноя 2019, 19:14
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Сообщение Re: MARIUS PETIPA

    Cal Performances at UC Berkeley Presents Mariinsky Ballet and Orchestra’s THE BAYADÈRE Review — Star-Crossed Lovers

    Posted on November 1, 2019 by Theressa Malone

    Mariinsky Ballet and Orchestra’s Performance of LA BAYADÈRE fills the Cal Performances at UC Berkeley Audience with deep emotions – HIGHLY RECOMMENDED

    Изображение

    The music emerges, spring-like, from beneath us. It seems to be unearthed, blooming slowly, pulled out by a capricious and invisible thread. Louder and louder, we are glued to our seats in anticipation for the curtain to rise. We do not yet know that we too will rise with it.

    And then the front of the room is brilliantly illuminated. We come to rest our eyes on Solor (performed by Andrei Yermakov), the elegant warrior. We match his speed with our eyes; we breathe in the cadence of his first pas de deux with the beautiful Nikiya (Ekaterina Kondaurova). We rise with the Brahmin, and twirl ritualistically with the bayadères. In our seats, we run and jump with the pouncing, tortured fakir Magdayeva.

    La Bayadère tells the story of the young temple dancer (bayadère) Nikia and the warrior Solor, who have sworn infinite fidelity to one another in the setting of a kingdom in South India. But the High Brahmin is in love with Nikia, and the King has betrothed his daughter Gamzatti to Solor, and both are trying to kill their opponents. Aided by the fakirs, the story twists and turns through their struggle to remain together.

    At the end of the first scene, viewers shuffle and mumble as the curtain descends. We are enraptured in the first performance, alive with it, already gasping at our neighbors. A man in the row adjacent from me gestures grandly, then yells ---

    “EVERYONE, STAY PUT!”

    He silences us, but he has marked the character of mobility in the room—both on and off stage. We seem to have been pulled out of our seats, perhaps by the same invisible thread that seemed to hold Nikiya (Ekaterina Kondaurova), suspended, intoxicatingly, seconds before.

    While the first scene was brilliant in its fluorescent white light, the following scenes are painted with golden hues. This evoked the romantic spirits of time past and future, joining them together as one. We are now full entrenched in the dreamscape of this ballet., which is accentuated in the cloud-like costuming and ethereally slow moving ritual objects that maneuver themselves between the dancers. Elaborate carriages, elephants, and decorative boxes move through the corps de ballet ensemble. Dancers sit atop these pieces, relaxed, floating.

    It’s only the soft noise from the pointe shoes rises above the orchestra’s melody, reminding us that we are not quite in a dream; we are elsewhere. This small pattering focuses our attention anew on the fusion of movement, color, sound, and vision that is separate from the reality we left behind when we entered Zellerbach Hall.

    Изображение

    In the dream-like Kingdom of Shades sequence, the bayadères come to represent the clouds from Solor’s opium pipe that lift him to the heavens, to Nikia. They dance slowly and effortlessly, in a group formation that imitates the movement of the atmosphere. Their costumes give them an air of weightlessness, as if to make it clear they are no longer in the world below

    This is a dreamscape where identity falls away. Everyone is drawn to this fusion; we all belong.

    Cal Performances at UC Berkeley Hosts A Ballet Unifying Audience With Dancers

    This feeling of unity is what this reviewer thinks is what defines the motion of the Hall, both on the stage and in the imagination of the audience. The dancers play with their emotions fearlessly. At one point, we feel Gamzatti’s rage in the rigidness of her tutu against the softness of all of the other dresses. The rhythm of the harp matches the sparkling of Nikiya’s skirt. We fully absorb her anger.

    The score led by Alexei Repnikov’s Mariinsky Orchestra is stunning. We feel it both fill and lead the footprints to the air. You too may concur that it is the refinement and poise in which these techniques are pulled off that is what defines this performance of this centuries-old ballet as superlative. This ballet was created for the Mariinsky over 140 years ago. As the corps de ballet performs its famed dance --Kingdom of Shades-- we could sense the grandness of the historic ballet repertoire.

    La Bayadere’s themes --death and rebirth, the mingling of spirits and mortals in and out of dreams, of love celebrated, exhibited, and forbidden—seemed to overtake all in Zellerbach Hall. The end of the performance brought on almost terrifying applause, and repeated standing ovations. One could hear crying. One could hear laughing. One could sense fear. The hall was electrified. It was excruciating to step outside.

    Mariinsky Ballet and Orchestra’s performance of this classic ballet, La Bayadère, will likely have strong appeal to any and all interested in the ballet dance genre—from neophytes to those who have seen other performances of this same ballet dozens of times.

    HIGHLY RECOMMENDED

    Mariinsky Ballet & Orchestra of the Mariinsky Theatre
    St. Petersburg, Russia

    Valery Gergiev, artistic and general director

    Yury Fateev, acting ballet director

    Alexei Repnikov, conductor

    Creative Team:

    Choreography by Marius Petipa (1877)
    Revised choreography by Vladimir Ponomarev and Vakhtang Chabukiani (1941) with dances by Konstantin Sergeyev and Nikolai Zubkovsky

    Libretto by Marius Petipa and Sergei Khudekov

    Set design by Mikhail Shishliannikov after Adolf Kvapp, Konstantin Ivanov, Pyotr Lambin, and Orest Allegri

    Costumes by Yevgeny Ponomarev

    Lighting design by Mikhail Shishliannikov


    https://www.picturethispost.com/cal-per ... ed-lovers/


03 ноя 2019, 20:18
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Сообщение La Bayadere at Zellerbach Hall

    Mariinsky Ballet Delivers a Legendary La Bayadère

    BY JANICE BERMAN ,November 4, 2019

    Цитата:

    Time now for Solor to launch into romantic guilty regrets via opium-smoked dreams. Dozing on his bed, he conjures up Nikia, in fact a panoply of 32 Nikias, plus soloists, in classical ballet’s legendary “Kingdom of the Shades.” One by ghostly one, the Shades materialize, winding their way through the Himalayas, behind a misty scrim that thankfully gives way so we can see the beauty of their wraith-ness, their luminescence in gauzy white as they step forward and arch their spines backward, each leaving room for a successor Shade, creating a devotional tableau without equal. It all stops after that; there is no next scene, no destruction of the temple as ordained in the original production and also in the ABT version. Yet it seems complete. Nikia and Solor will be together; we can tell from their final pas de deux. What more is there to say?

    So what makes the “Kingdom of the Shades” immortal? Might as well ask why there are Himalayas or ballerinas. The short answer is there’s no ballet — or none your reviewer can think of — that calls up such a ravishing combination of simplicity and difficulty.

    Petipa’s genius, and the expansiveness of its staging, the requirements it embodies — the training, the practice, the devotion leading to the performance, every performance, seems to touch all who are in it and all who see it. It’s expansive and endless, yet its magic world is a gift that’s self-contained. It’s everything — and yet it’s just a ballet.



    Изображение



05 ноя 2019, 04:39
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