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Ballet Around The World 
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Сообщение Excelsior

    Bolle e Somova, coppia perfetta alla Scala in "Excelsior" di Dell'Ara

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23 янв 2012, 23:49
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Сообщение Russian Ballet Icons Gala and Dinner 2012

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    Tribute to Anna Pavlova

    Sunday 4 March 2012, 7.00pm, The London Coliseum

    The evening will present a unique opportunity to see several pieces from Pavlova’s repertoire such as Paquita, The Pharoah’s Daughter, Le Roi Candaule, Giselle, La Bayadére, The Sleeping Beauty, Marcobomba, and including rarely performed pieces Egyptian Nights and Dragon Flight, which will be restored especially for this gala, as well as contemporary dedications to this great icon of ballet. The programme will be presented by dancers from world leading companies: The Bolshoi and Mariinsky theatres, the Royal Ballet, the English National Ballet and the Grand Paris Ballet, the Berlin and the Bavarian Staatsoper, American Ballet Theatre and Milan’s La Scala including: Tamara Rojo, Sergei Polunin, Alina Cojocaru, Johan Kobborg, David Makhateli, Alina Somova, Svetlana Zakharova, Vladislav Lantratov, Olga Smirnova, Anastasia Stashkevich, Vyacheslav Lopatin, Igor Zelensky, Natalia Somova, Giuseppe Picone, Ulyana Lopatkina, Marat Shemiunov, Vadim Muntagirov, Daria Klimentova, Lucia Lacarra, Marlon Dino, Yana Salenko, Marian Walter, Irina Dvorovenko, Maxim Beloserkovsky, Alessio Carbone, Dorothée Gilbert and others. The artistic director of the evening is the English National Ballet’s artistic director, Wayne Eagling.

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04 фев 2012, 20:52
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Сообщение Tyler Donatelli


09 фев 2012, 05:31
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Сообщение Stars of the Two Capitals

    On February 17 St. Petersburg winter sky will be set alight by the blaze of ballet star power. Grandiose Gala appropriately called "Stars of the Two Capitals" will feature who is who in Russian ballet: Vladimir Shklyarov, Alina Somova, Denis Matvienko, Irina Perren, Ivan Vasiliev, Ekaterina Krysanova, Farukh Ruzimatov among others.

    Denis Matvienko, who acts as the Artistic Director for the gala, was musing long and hard about the program for the evening, finally decided on the classics with a few modern pieces in-between.

    - Alas, a second Petipa is yet to be born to create new masterpieces.

    Photos from the press conference. FOTO.RG.RU

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13 фев 2012, 17:39
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Сообщение Re: Ballet Around The World

    London’s tribute to Anna Pavlova

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    East or West – Russian ballet is best. Ballet stars from all over the world have been invited to London to mark 100 years since legendary Russian ballerina Anna Pavlova moved to the UK.

    The tribute gala evening on March 4 will see dancers from the world’s leading ballet companies including Russia’s Bolshoi and Mariinsky theaters, the Paris Opera, Royal Ballet, English National Ballet, Berlin and Bavarian Staatsoper, American Ballet Theatre and La Scala.

    Russia will be represented by stars such as Ulyana Lopatkina, Svetlana Zakharova, Vladislav Lantratov, Vyacheslav Lopatin, Alina Somova and Igor Zelensky.

    The show, which comes as part of London’s Russian Ballet Icons series, will be staged in the Coliseum Theatre.

    The all-star gala will open the Pavlova 2012 Festival marking the centenary of Anna Pavlova’s move to London from St. Petersburg. Pavlova spent around 20 years in London’s Ivy House. She was among the few ballet stars of the time who got the rare chance to tour widely, including India and the US.

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26 фев 2012, 23:29
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Сообщение Polina Semionova

    Uber-ballerina POLINA SEMIONOVA to leave Staatsballet Berlin.

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11 мар 2012, 15:57
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Сообщение Paris Opera Ballet Tours U.S.

    Paris Opera Ballet's spellbinding 'Giselle'

    Wednesday's performance to be simulcast free at Pritzker Pavilion

    June 27, 2012|By Sid Smith, Special to the Tribune

    Champagne lovers with beer-bottle pockets regularly muster the resources for the $30 imported variety over the cheap domestic knockoff--the difference in taste is enormous.

    But when they really splurge for vintage Dom Perignon, the differences are there, too, only nuanced, minute and nearly imperceptible. The steps to perfection get tinier as you near it.

    That's one way to sum up the experience of watching the Paris Opera Ballet's stunning (and sold out) production of "Giselle" at the Harris Theater. We've seen our share of $30 efforts, all fine and good. This one, staged by Patrice Bart and Eugene Polyakov in 1991, performed by clearly one of the best ballet troupes on the planet, is Dom Perignon, its subtle superiorities sublime. And they build magnificently: the fine Act I doesn't quite prep you for the spellbinding Act II, a singular, unforgettable rendering of the great classic this very same troupe invented.

    Assuredly much credit Tuesday goes to Isabelle Ciaravola, the lovely brunette cast in the title role. Her Act I is beautiful, precise and yet somehow not inspiring. "You want to fall in love with Giselle," one ardent ballet supporter said at intermission, and, with Ciaravola, at first, you don't, maybe because, despite unimpeachable form, her acting is solid but not great, and a lot of Giselle's Act I allure is dramatic.

    But Ciaravola is utterly transfixing in Act II, especially when enacting the series of slow-motion arabesques Bart and Polyakov employ to distinguish their Giselle. Sustaining uncanny poise, Ciaravola is lifted and held horizontal by her partner, her arched, overhead and almost grotesquely frozen arm carriage never surrendering an ounce of control or beauty.

    Mathieu Ganio, as Albrecht, is striking from the outset, boasting sharp edges, crisply on view with every shift and turn, as if in a movie with his form outlined in glowing magic marker. His long face doesn't make for a natural matinee hero--it monkeys with the plot a bit when the peasant lad Giselle scorns is more of a hottie. But Ganio combines statuesque height with swiftness and buoyancy, culminating in a breathtaking round of hops and entrechats in Act II, soaring toward the ceiling with the propulsion of a NASA rocket and the grace of a gazelle.

    Hops, speed and stainless entrechats (those tricky intertwines of the feet) are hallmarks of this troupe. Early on, Ciaravola hops as if fueled by an inner motor, and Tuesday's marvelous Myrtha, Marie Agnes Gillot, bounces as if partly made of mattress springs. (That's after an uncanny mastery of Myrtha's legendary bourrees, floating across the stage, with eerie magic.)

    The size of the Harris stage worried some observers in advance of this super-sized production. But the two dozen Wilis fit fine in Act II, hovering in semi-circle like spectral judges at a ghostly Inquisition. The 35 or so peasants certainly filled Act I, and it's a good thing the plot doesn't call for a riot. Still, the troupe's almost militaristic but immaculate attack in the peasant dancing came off thrillingly, and Charline Giezendanner and Fabien Revillon sparkled in the production's deliciously detailed peasant pas de deux.

    CHICAGO-TRIBUNE



Последний раз редактировалось Octavia 11 июн 2013, 00:20, всего редактировалось 1 раз.



03 июл 2012, 19:21
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Сообщение Paris Opera Ballet Tours U.S.

    Paris Opera Ballet thrills, charms at Harris Theater

    Maybe the best measure of the success of the Paris Opera Ballet's rare visit here comes from the audience.

    The ovations Tuesday and Friday -- the nights I attended at the Harris Theater -- were authentically feverish and rock-star intense. And the city estimates more than 11,000 viewers, a capacity crowd, jammed Millennium Park to sample Wednesday's free "Giselle" simulcast that was itself somewhat historic.

    We don't always get the major international visitors, but this time Chicago held its collective head high as the first stop on this brief tour and host of two separate programs (a notch over Washington, D.C., which will see only "Giselle"). We also charmed the French right back in our way. The one person the troupe's artistic head, Brigitte Lefevre, wanted to meet was "your famous mayor who loves dance," meaning, of course, Rahm Emanuel. She got her wish, and he reportedly impressed her with his insider expertise, regretting that the troupe's edgy Pina Bausch work wasn't on our line-up.

    Size, scope, technical proficiency and Lefevre's unmistakably high artistic standards were all part of the thrills, but so was the troupe's distinct nationality. Friday's bill showed us authoritative looks at some major 20th-Century French choreographers whose work we see all too infrequently, hardly at all in recent years. The finale, Maurice Bejart's take on Ravel's "Bolero," is a ravishing crowd pleaser as artfully designed as it is thrilling to watch. Packed with more than 35 dancers by my count, it's both an eerie crowd spectacle, most of them hovering on the sidelines in darkness for much of the piece, and an Olympian marathon of endurance and concentration for its star, a role taken on Friday by vibrant, charismatic Nicolas Le Riche. He's on view throughout, captured in moody spotlight atop a large circular red table that sometimes suggests a trampoline.

    Le Riche was preceded Friday by another male bravura performance, this one from Jeremie Belingard in Roland Petit's "L'Arlesienne." Steeped in Petit's flair for theatrical image and gesture, it's also a showcase for its male lead, and Belingard truly amazed with his pinpoint, almost delicate detail and finesse, his rapid and expansive jetes and his indefatigable stamina. Isabelle Ciaravola held her own with her sharp rendering of Petit's tricky footwork and her seductive grace.

    "Suite en blanc," from 1943, by Russian-born Serge Lifar (and Petit's mentor), is an interesting instance of Paris Opera neoclassicism, less organic and intricately mapped than George Balanchine's, much of it sequences borrowed from classics and presented straightforwardly in abstract trappings. But Lifar was not immune to kicky twists -- a ballerina raises her leg backwards at one point, only to plop it with modern bluntness on another dancer's shoulder. And the elegant Deco look and staging, right out of a 1930s movie, gave Lifar a rich setting to show off flashy moves, not to mention ensemble precision, the women of one trio among the more uncanny.

    CHICAGO-TRIBUNE



Последний раз редактировалось Octavia 11 июн 2013, 00:21, всего редактировалось 1 раз.



03 июл 2012, 19:35
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Сообщение Moscow, 10-19 of June, Bolshoi Theater of Russia

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11 июн 2013, 00:20
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Сообщение Divorce After Petipa
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14 июн 2013, 20:41
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