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Ballet Around The World 
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Сообщение Air France

Air France goes ballet

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19 сен 2011, 15:29
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Сообщение The Bolshoi

    Pictures from the newly restored Bolshoi Theater

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    KP.RU



22 сен 2011, 06:11
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Сообщение The Bolshoi

    Legendary Bolshoi opens its 236th season in the newly restored gandiose historical building with the new lavish production of Petipa's Sleeping Beauty staged by legendary Bolshoi's choreographer and ballet master Yuriy Grigorovich and a new male Principal, former ABT dancer David Hallberg.

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24 сен 2011, 05:21
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Сообщение Raymonda @ La Scala

    The preview of coming attractions:

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    The whole ballet will be broadcast on Italian television on the27th October 2011 on channel RAI 5.




17 окт 2011, 16:28
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Сообщение Bolshoi Reopening Gala

    MARCH OF THE THE USHERS

      Choreography: Alexey Ratmansky
      Music: Ludwig Minkus

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29 окт 2011, 23:07
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Сообщение "Raymonda, Teatro alla Scala, Milan" by Laura Cappelle

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    Raymonda, Teatro alla Scala, Milan

    by Laura Cappelle
    October 30, 2011

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    Olesya Novikova in ‘Raymonda’

    What is the real Petipa experience? Not many of us can claim to know, but Sergei Vikharev’s Raymonda, an attempt to reconstruct this 1898 ballet from notation, provides some answers. Premiered earlier this month, this lavish production for La Scala Ballet gives a taste of the grandeur the art form strove for under Marius Petipa in St Petersburg.

    Raymonda is not an easy ballet to stage. With its big cast, difficult ballerina role and slight storyline, it has often been overlooked or changed beyond recognition, but Vikharev, who has reconstructed 19th-century ballets for companies round the world, has restored features long dropped from international productions. One of his great strengths is that he has complete faith in Petipa: the story is told as it was originally written, with extensive mime, and as a result everything finally makes sense. The White Lady, a non-dancing role, presides over Raymonda’s castle again, and the love story, so forgettable in most versions, benefits from the scale and unhurried rhythm of Acts I and II.

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02 ноя 2011, 23:27
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Сообщение Natalia Osipova & Ivan Vasiliev to resign from Bolshoi

    Bolshoi's premium dancing couple Natalia Osipova and Ivan Vasiliev to resign!

    Read in Russion: VESTI.RU



14 ноя 2011, 22:28
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Сообщение Natalia Osipova & Ivan Vasiliev to resign from Bolshoi

    Natalia Osipova and Ivan Vasilev are to join Mikhailovsky Theatr in St. Petersburg, Russia.

    Read in Russian: Fontanka.ru

    Read in English: Mikhailovsky.ru



15 ноя 2011, 01:53
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Сообщение Re: Ballet Around The World
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A New Generation Comes Into Focus

By GIA KOURLAS
Published: December 16, 2011

ONE evening at a performance by American Ballet Theater at City Center this fall, the dancers took their places. But as the curtain rose on Twyla Tharp’s “In the Upper Room,” the fog — part of what gives this galvanic work its heavenly setting — was thick enough to create white-out conditions. Still, within the haze was a body that danced like a ribbon.

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“Start over!” one man in the audience shouted. After the company finally gave in, Simone Messmer came into focus, taking charge with her decisive yet casual power: giving into the movement without letting it overtake her. (She is Tharpian.) Ms. Messmer, a soloist at Ballet Theater, is one of the finest dancers in New York, but for all the stellar performances she’s given this year, the way she saved the integrity of “In the Upper Room” two nights in a row was something to be thankful for. (It was a mess.)

At Ballet Theater, which is overrun with guest stars, there is a new generation of dancers that could become the next decade’s top artists, if they are cultivated for the long haul. Along with the formidable Ms. Messmer are company members Cory Stearns, Hee Seo, Isabella Boylston and Joseph Gorak, who recently won the Erik Bruhn Prize. Can feet make you gasp? Mr. Gorak’s do.

New York City Ballet is revered, at the moment, for its women, and two in particular embolden the company. There are Sara Mearns, whose dancing becomes more dangerously radiant each season, and Wendy Whelan, the otherworldly ballerina who has turned dancing into a spiritual act. To me she is the soul of City Ballet.

The summer brought two visiting ballet companies to Lincoln Center and with them the brilliance of Alban Lendorf of the Royal Danish Ballet and the welcome return of Alina Somova of the Mariinsky Ballet. The ravishing Ms. Somova, who sparkled as the Czar Maiden in Alexei Ratmansky’s “Little Humpbacked Horse,” also performed the first movement of Balanchine’s “Symphony in C” with such charm and amplitude that I’ll never forget it.

But thrilling dancing isn’t just found at the ballet, and this year there was plenty of it at the Kitchen, where Rebecca Warner, as the Narrator of Sarah Michelson’s “Devotion,” was untouchable as she revealed the essence of the dance with unflinching purity. Biba Bell, also appearing at the Kitchen with MGM Grand in “Nut” and at Dance Theater Workshop in a work by Walter Dundervill, brought an all-consuming fullness to the stage. It’s invigorating to watch someone who borders on wild.

While Annmaria Mazzini’s wild days are over — this spring she retired from the Paul Taylor Dance Company — her final season was a wallop, showing the depth of an artist who has chosen to bare it all. But great dancing has no age limit: Robert Swinston, who joined the Merce Cunningham Dance Company in 1980, took on Cunningham’s role in “Quartet” and epitomized, with searing simplicity, the act of isolation. It was bone chillingly beautiful, an afterimage that will never go away even as that dance company does.

NYTIMES.COM


27 дек 2011, 03:32
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Сообщение Re: Ballet Around The World
Dance 2011: Highs, lows and top 10 moments

Mary Ellen Hunt, Special to The Chronicle

Sunday, December 25, 2011

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Maria Kochetkova & Genadi Nedvigin in Coppelia
Photo by E.Tomasson

High:
Maria Kochetkova and Gennadi Nedvigin at San Francisco Ballet.
In the greatest partnerships in ballet, the union is greater than the sum of its parts, and so it was with these two dancers throughout the 2011 season. It wasn't just that his princely comportment set off her delicate phrasing in "Giselle," or that his rakishness highlighted her vivacity in "Coppelia." So well matched in their impeccable Russian training, Kochetkova and Nedvigin serve up not only artistry of the highest caliber but also that inexpressible, mysterious excitement born of potent onstage chemistry.

Read more: http://www.sfgate.com/cgi-bin/article.c ... z1hwonmQRe


29 дек 2011, 22:07
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