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Ballet Around The World 
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Зарегистрирован: 30 ноя 2004, 19:19
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Golden Mask Award Winners. April, 2009

Diana Vishneva, a three-time winner
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Natalia Osipova and Vechaslav Lopatin, Special prize for partnering
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Pavel Bubenkov, Best conductor work
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20 апр 2009, 15:43
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Alina SOMOVA at her very best! With David Makhateli in Swan Lake. Feb. 12, 09 - Tbilisi, Georgia

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22 апр 2009, 04:04
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Сообщение Re: Ballet Around The World
Пестов гала в Нью Йорке 23 апреля 2009г.
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25 апр 2009, 09:53
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Сообщение Re: Ballet Around The World
Legendary Russian ballerina Ekaterina Maximova dies at 70

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Legendary Russian ballerina Ekaterina Maximova, who graced the stage of the Bolshoi Theatre for 30 years, died unexpectedly Tuesday. She was 70.

The theatre said Maximova died at home and no cause of death was immediately determined. She had been working as a ballet coach and was not known to be suffering from ill health.

Maximova's dancing career at the Bolshoi spanned 30 years, from her debut as Masha in The Nutcracker in 1958 until 1988. She danced most of the main female roles of classical ballet.

Her partner on the stage and in life was her husband Vladimir Vasiliev, who following his dancing career served for five years as artistic director of the Bolshoi.

Bolshoi ballet master Boris Akimov said he was shaken by the death of Maximova, who had participated in a meeting of the troupe's ballet coaches Sunday.

"She was full of energy and enthusiasm," Akimov said, the ITAR-Tass news agency reported. "She was happy and active and made many serious, sensible artistic suggestions. And in the evening she was at her beloved ballet Spartacus, where for many years she was shown in the main female role."

Andrei Petrov, the artistic director of the Kremlin Ballet, where Maximova also had coached dancers since 1990, said she would be badly missed.

"She was a great ballerina, a teacher from God, and at the same time she was always able to speak the truth no matter how bitter it might be," Petrov told the news agency.

Russian President Dmitry Medvedev sent his condolences to Maximova's family, friends and co-workers.

"You lost someone near and dear, but Russian art lost a great ballerina, whose rare multifaceted talent is rightfully deemed to belong to world culture," Medvedev wrote in a telegram, the Kremlin said. "With her brilliant dancing, astonishing grace and beauty she literally charmed audiences."

Maximova is survived by her husband and mother.

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28 апр 2009, 20:10
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Сообщение Re: Ballet Around The World
COMPETITIVE SPIRIT
By LEIGH WITCHEL

GLITZ, meet glitches. Wednesday night's gala for the Youth America Grand Prix -- a major ballet competition now celebrating its 10th anniversary -- had its share of both. There were stars galore, although not always the ones in the program.

There were also musical mishaps and house lights that went out abruptly, trapping the audience in the aisles -- all to shrieks from teeny-boppers packing the gallery.

The gala was in three parts. First, the young contestants did their brief competition tidbits in rapid-fire succession, executing multiple pirouettes and air turns with the eerie precocity of a kiddie beauty pageant.

The pros, many of them Youth America alumni, took over the next two sections. There were plenty of Choreo McNuggets, but Christopher Wheeldon contributed "The Prokofiev Pas de Deux," a substantial duet with the fluttering excitement of Macmillan's "Romeo and Juliet," which made its own appearance after the intermission.

The last section started with that Romantic paean to competition, "Le Grand Pas de Quatre." They knew how to compete back then. The four rival ballerinas are all smiles onstage and ground glass in the pointe shoes behind the scenes.

Copper-haired Yekaterina Kondaurova from Russia's Mariinsky Ballet was senior ballerina and showed them all what authority is. The American Ballet Theatre's sexy Marcelo Gomes danced a Bob Fosse number, and then the evening closed with a suite of dances from "Le Corsaire," in which ABT's Joseph Phillips and the Mariinsky's Vladimir Shklyarov went leap for leap.

Watching tidbit after tidbit has the frustration of a tasting menu: Nothing has a chance to develop, just dazzle. Even if you like something, it's gone after two bites. And so it was a relief to see choreography about dance rather than stunts as New York City Ballet's Jenifer Ringer glided onstage in Balanchine's "Who Cares."

Ringer, who wasn't even in the program, has 20 years on these students, and was a knockout. She didn't do any tricks but knows this beautiful dance inside out.

Watch her, kids -- this is what artistry looks like.

STARS OF TODAY MEET THE STARS OF TOMORROW

Youth America Grand Prix at City Center.

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02 май 2009, 19:11
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Сообщение 28-year old dancer to leave stage
A Young Ballet Star’s Surprising Choice

By ROSLYN SULCAS
Published: May 5, 2009

LONDON — At an otherwise uneventful Royal Ballet news conference here two weeks ago, the company’s artistic director, Monica Mason, suddenly dropped a quiet bombshell. Alexandra Ansanelli, the American ballerina who joined the Royal Ballet some months after suddenly leaving New York City Ballet in 2005, would be retiring at the end of this season.

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In response to a puzzled question, Ms. Mason confirmed that Ms. Ansanelli, who is just 28, was not simply leaving the Royal Ballet, she was also going to stop dancing.

“I was very surprised,” Ms. Mason said in a telephone interview on Tuesday. “But this is clearly not a decision she has made in the last five minutes. I shall miss her enormously. I love how she is onstage, and I feel that she has brought something special and very different to the company. But I applaud her for having the courage to make this decision.”

To anyone who has seen Ms. Ansanelli dance, it’s hard to imagine her as a civilian. Some dancers seem like regular people who just happen to have found themselves onstage. Others, like Ms. Ansanelli, appear to belong to a more rarefied universe. With her dark hair, oval face and large eyes, Ms. Ansanelli looks like a casting director’s dream of a ballerina. And if she were to play a fictional ballerina, it would be a Vicki Baum-like character, ready to sacrifice everything for her art.

But perhaps that’s exactly why Ms. Ansanelli is leaving ballet. On Friday, impeccably groomed after class, she offered a simple explanation for her decision.

“I feel one must be completely devoted if you are a dancer,” she said. “It’s like a marriage. I have had to face the realization that this is not completing me as a person.”

Though young, Ms. Ansanelli has packed in a lot of career. At 16, fresh out of the School of American Ballet and still an apprentice with City Ballet, she burst into visibility in the role of Dewdrop in “The Nutcracker.” By 1998 she was a soloist; in 2003, after being sidelined by an injury for more than a year, she became a principal. She attracted a fervent following, and when she suddenly left City Ballet in 2005, the New York ballet world was shocked.

Most surprising was Ms. Ansanelli’s announcement that she had no plans. Then, in January 2006, she joined the Royal Ballet as a first soloist, accepting a demotion, she said, to fulfill her dream of dancing the 19th-century classics and story ballets that the British company enshrines.

In September 2007 she was promoted to principal, but even before that, she was given plum roles, dancing Aurora in “The Sleeping Beauty.” Her debut performance as Aurora, which I saw in 2006, was assured, if perhaps more cautious in manner than usual, and the famously acerbic British critics mostly applauded.

Since then Ms. Ansanelli has danced in some of the linchpins of the Royal repertory: “La Bayadère,” “Ondine,” “Swan Lake” and “A Month in the Country,” among other ballets. In “Ondine” and “La Bayadère,” which I caught a few months ago, she brought her usual intensity and integrity to the performances but did not always meet the dramatic demands of roles very different from those she grew up with at City Ballet.

“I think she has divided the critics,” said Debra Craine, the chief dance critic of The Times of London. “A lot of people loved her ebullient spirit and rebellious passion for being onstage. You are never sure what she is going to do — in Balanchine’s ‘Rubies’ she so tore up the stage that we feared for her safety. The problem is when she mines the core dramatic repertory. She lacks the requisite grandeur for roles like ‘Swan Lake,’ and in Ashton’s work, to which she is physically suited, she can’t bring the detail alive.”

Ms. Ansanelli said that negative reviews and the other difficulties she has faced in London — a new culture, working in an opera house system, distance from her family, injuries and illness — were not among the reasons for her decision to leave ballet.

“I have always looked past bad experiences,” she said. “If you take risks, you should expect to have some, and I didn’t expect it to be easy when I got here.”

Rather, she said, she was forced to face her demons away from the comfort zone of New York. “It was hard to face the fact that I wanted to stop because it felt like a failure,” she said. “But when I was crying every day, I had to make a change. Life is about growth.”

Ms. Ansanelli, whose final performances will be on tour with the Royal Ballet in Cuba in mid-July (she will also dance at the Kennedy Center in Washington with the company in June), said she had no idea what she would do. Just as when she left City Ballet — and as she has always done onstage — she appears ready to leap into the unknown.


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24 май 2009, 00:10
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Сообщение Re: Ballet Around The World
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27 май 2009, 18:48
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Alexandra Ansanelli as Sugar Plum Fairy
in ROH production of The Nutcracker
Choreography: Marius Petipa & Lev Ivanov
....in transcription of N.Sergeev.

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28 май 2009, 00:28
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Сообщение American Ballet Theatre
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Synopsis
Цитата:
On the banks of the mighty Ukrainian river, Dnieper, a young soldier Sergei arrives home from the battlefields of World War I. Upon his return, Sergei realizes he no longer loves his fiancée, Natalia, but is attracted to Olga, a village beauty who is betrothed to another man. After a brief encounter, the lovely Olga finds she, too, is completely charmed by Sergei and begins to doubt she loves her fiancé.

At a celebration of Olga's betrothal, the villagers enjoy lively dancing and boisterous cheer. Filled with jealousy, Sergei interrupts the festivities to challenge his rival, Olga's groom, and a brawl ensues. The guests disperse as the fight comes to a close, and Sergei, Olga and Natalia are left alone. Grief-stricken yet noble, Natalia unselfishly helps the young lovers, Sergei and Olga, to escape together to a life of happiness. Natalia is alone, heartbroken.

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31 май 2009, 18:36
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Gold Medals but No Top Prize at Ballet Contest

24 June 2009By Zsofia Budai / Special to The Moscow Times

Featuring more than 100 dancers, two dozen choreographers and a handful of the most distinguished names in ballet, the XIth International Ballet Competition brought together some of the most promising talent on the international ballet scene.

The competition, which has been held every four years since 1969, finished Saturday and saw dancers from 21 different countries enter the contest as part of either the junior (under 18) or the senior (ages 18 to 26) division. Twenty-four choreographers also competed for the top prize in their category.

Contestants compete as either solo dancers or as part of a pair, going through three grueling elimination rounds and then dancing again at a gala featuring the winners. They performed either several short solos — some lasting for just a minute or two — or much longer duets, almost all of which were excerpts from the usual 19th-century classical or romantic standards.

Dancers from countries such as China, South Korea, Portugal and the United States competed, but the competition was skewed heavily toward Russia and local dancers also had the advantage of performing in front of home crowds who already knew their names.

In the senior division, Russia's Maria Semeniachenko, currently a soloist at Moscow's Stanislavsky and Nemirovich-Danchenko Musical Theater, won the gold medal in the women's solo category. A tall, striking dancer with impeccable technique, she impressed the jury with her performances of variations from the ballets "Paquita" and "Swan Lake."

The top prize in the men's solo category went to Russia's Vladimir Shklyarov, a soloist at the Mariinsky Theater in St. Petersburg, and Ukraine's Andrey Pisarev. Both performed the fourth act variation from "Don Quixote" as one of their two solos, and both showed an impressive combination of artistry, technique and virtuosity, although the edge should have gone to Shklyarov, who was the more polished of the two.

A medal at the International Ballet Competition in Moscow can help launch an illustrious ballet career, especially in Russia, where the contest is well-known and well-respected. Audiences in Europe and the United States tend to be less familiar with, and perhaps less impressed by, the competition itself, but they certainly know the names of many of the past winners, including such dance greats as Mikhail Baryshnikov (1969), Alexander Godunov (1973), Nina Ananiashvili (1985), Julio Bocca (1985) and Nikolai Tsiskaridze (1997). The last two both served as members of this year's international jury, which included leading choreographers, dancers and artistic directors from 11 different countries.

China's Guan Wenting took the gold in the women's duet category despite an anticlimactic ending to her otherwise impressive third act, "Swan Lake" pas de deux. Her partner, Xing Liang, took the silver in the men's category, while the gold went to Russia's Dmitry Zagrebin, who is featured regularly in Bolshoi Theater performances.

In the junior division, the gold medal in the solo category went to Russia's Anastasia Soboleva, a student at the Moscow State Academy of Choreography; no men were deemed good enough to receive this prize. The gold medal for duets went to Russia's Angelina Vorontsova, also a student at the same ballet school; again, no men received this medal. Marcelino Sambe from Portugal received a special prize for artistry, while Artem Ovcharenko from Russia won the prize for Best Partner.

In the choreographers' competition, Mariinsky Theater soloist Yury Smelakov received the first prize, while second and third prizes went to Snezhana Zdor from the Krasnoyarsk Contemporary Dance Theater and Moscow-based choreographer Xenia Oivental, respectively.

Overall, no single dancer was deemed impressive enough to win the Marina Semyonova grand prix — the competition is dedicated to the legendary Russian dancer — and the $10,000 cash prize that goes along with it. This was a prudent decision on the part of the jury, headed by former Bolshoi Ballet artistic director Yury Grigorovich. For the most part, the dancers were certainly talented and well-trained, but not one of them stood out as possessing a true ability to connect with the audience or emanate star quality.

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26 июн 2009, 23:35
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