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Ballet Around The World 
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Gala Internaţională de Balet “Stars of the 21st Century"
Scris de Speranţa Soare | luni, 05 ianuarie 2009

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Cei mai mari balerini ai secolului XXI vin în România. Astfel, sâmbătă, 21 Februarie 2009, ora 19:00, la Sala Palatului din Bucureşti va avea loc pentru prima dată în România, Gala Internaţională de Balet “Stars of the 21st Century". Evenimentul este o premieră absolută în România, un eveniment ce mizează pe reprezentarea excelenţei în delicata şi dificila artă a dansului clasic.


Acesta va reprezenta un spectacol distins şi rafinat, o noutate pentru publicul român ce va avea ocazia să privească pe aceeaşi scenă a Sălii Palatului prim – balerinii unora dintre cele mai importante opere ale lumii.

Gala Internaţională de Balet “Stars of the 21st Century" ce se va desfăşura pentru prima dată la Bucureşti va aduce publicului român un moment special, remarcabil prin calitatea execuţiei dansului precum şi prin întregul spectacol, al cărui director artistic este Nadia Veselova-Tencer.

Artiştii care evoluează în cadrul Galei Internaţionale de Balet “Stars of the 21st Century" sunt primi - balerini de talie mondială cu abilităţi artistice excepţionale şi nenumărate premii de excelenţă: Polina Semionova, Ronald Savcovic, Alina Somova, Anton Korsakov, David Makhateli, Mathilde Froustey, Mattias Heymann, Shoko Nakamura, Adiarys Almeida, Herman Cornejo, Ana Maria Lopez Huerst, Francisco Lorenzo.


13 янв 2009, 04:45
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Ballerina

Skillfully written and entertaining documentary that is also a clever investigation into the professional lives of the world’s best dancers, the ballerinas of Russia’s Kirov Ballet.

Jan 12, 2009 | By Maria Garcia

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French filmmaker Bertrand Normand
became enchanted with St. Petersburg, Russia during a three-day winter holiday there in 1995. It would be years before he returned and revisited the majestic Mariinsky Theatre, which he felt encapsulated his experience of the city. St. Petersburg inspires superlatives: The Hermitage alone distinguishes it as Russia’s artistic core, but the city’s distinctive architecture, framed by the stately Neva and her canals, makes it one of the most beautiful cultural centers in the world. The Mariinsky, home to the renowned Kirov Ballet and Kirov Orchestra, is St. Petersburg’s musical soul. It is where Normand found his twin subjects for Ballerina—the women who survive that state institution to become its principal dancers, and ballet itself, their art form, which continues to have its apotheosis in Russia.

The film follows three prima ballerinas, Svetlana Zakharova, Ulyana Lopatkina and Diana Vishneva, as well as two new, promising members of the company, Evgenia Obraztsova and Alina Somova. Living the dream of every Russian girl, the dancers are nevertheless products of a Byzantine institution which dehumanizes them while transforming them into cultural idols. Through brief but memorable scenes, such as the cattle call of nearly naked nine-year-old aspirants to the famed Vaganova Ballet School—the gate through which most ballerinas arrive at the Mariinsky—and the ballet director’s harsh treatment of Somova on the eve of her solo premiere in Swan Lake, Normand illustrates the crucible endured by the very best dancers in the world.

Throughout, Normand remains an attentive observer: He is puzzled but also dazzled by the women in tutus. He intersperses talking heads—Mariinsky director Valery Gergiev, ballet director Makhar Vaziev, ballet masters, and the ballerinas—with montages of archival dance footage, and clips of sublime performances by his subjects. Despite the limitations placed upon him by the dancers themselves, and a year’s delay for permissions from the Mariinsky, Normand lucidly illustrates the institution’s inveterate framework. Ironically, he discovers that the draconian patriarchs rely on female ballet masters, and matriarchs like Altynay Asylmuratova, the artistic director of the Vaganova, to nurture the would-be ballerinas and to protect the freedom and artistic expression of the mature prima ballerinas.

Normand is an excellent storyteller and, on the surface, Ballerina is a cogent, skillfully edited and entertaining documentary. What makes it remarkable is the filmmaker’s unrelenting curiosity about the motivations of these women warriors en pointe who, despite their enslavement, or perhaps because of it, emerge at the pinnacle of their careers—Vishneva being the prime example—as women who know their own minds. Like Obraztsova, who made her cinematic debut in Russian Dolls, they’re also all distinguished by a level of artistry that is both bondage and freedom. In that marriage of opposites which is the ballerina, Normand discovers a metaphor for the imperfect glasnost of contemporary St. Petersburg and of Russia itself. Happily, he never loses sight of his joy and wide-eyed wonder of the Mariinsky’s peerless ballerinas, the women in whom Russia’s emotional soul undoubtedly resides.

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13 янв 2009, 06:00
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Opening Night DON QUIXOTE
Mariinsky Theater Ballet, Yuri Fateev - Acting Director of the Ballet Company (as per Playbill)
January 13, 2009
Kennedy Center Opera House


A fabulous, rousing performance opens the run. However, before the review, here's what everybody wants to know: Which dancers are in town & slated for solos? Fun Hint: They've brought the new sensation of the most recent Vaganova Graduation Class -- Anastasia Nikitina -- for the Act 4 Solo Bridesmaid Variation at two perfs, including the opener.

Corrected Casting, as per insert to the playbill, which has casting for all perfs:

Kitri - Diana Vishneva - Gorgeous! It was a 'Diana is On' night! Overcame an off-balance moment near the start of the 32 fouettes...but Diana is all about the total artist...and she sizzles! How nice to see her maturation in this, her very first role as a 15-yr-old sensation on the stage of the Mariinsky, in Jan 1994.

Basil - Yevgeni Ivanchenko - solid, sleek partner

Flower Seller Girls - Yana Selina and Xenia Dubrovina, the latter replacing N. Gonchar (Selina/Gonchar were scheduled for all performances, so perhaps it will be Selina/Dubrovina for all?)

Espada - Konstantin Sverev *male sensation of the night! (also on Wed, Fri, Sat eve; role danced by A. Sergeev on Thurs, Ioanissian on Sat mat & Baimuradov on Sun)

Street Dancer - Alexandra Iosifidi replacing Kondaurova, who replaced Somova as Dryad Queen (Iosifidi repeats at all perfs, with exception of Tkachenko at Sat mat and Kondaurova at Sat eve...only one more Somova Dryads Queen scheduled, on Sunday)

Gypsy Lead female - Ryu Ji-Yeon *gorgeous & flexible, replacing Polina Rassadina (Ryu repeats on Thurs & Sat; also danced by Bazhenova & Smirnova-Slivkina)

Gypsy Lead male - Islom Baimuradov...though it looked a bit like Fedor Murashov to my eyes. Whoever -- he was a Human Spark Plug. Huge audience fave! (role also danced by Mussin & Murashov, later this week)

Dryad Queen - 'Big Red' Ekaterina Kondaurova, replacing Alina Somova - extraordinarily beautiful, majestic, perfect! What jetes across the stage in the coda! (Kondaurova repeats this role at most perfs, except Somova on Sunday...if Somova shows)

Amour - Valeria Martinyuk - pert, adorable, also impressive in jetes (at most perfs, sharing the role with Elena Yushkovskaya-Vasyukovich)

Mercedes (the tavern girl in red) - Elena Bazhenova, terrific, who knows how to 'milk' this role better than anyone, if not possessing the deepest of backbends we've seen from Bolshoi ladies (scheduled for most perfs, except for Rassadina on Wed, Fri & Sat eve)

Act 4 Fandango Leads - Yulia Smirnova-Slivkina & Karen Ioanissian, both sharp and precise (at all perfs, with exception of Bazhenova on Sat eve)

Act 4 Bridesmaid Variation - Anastasia Nikitina *the new coltish sensation, straight out of the Vaganova Academy. Nice. Soloist possibilities. Bit of a frozen grin...but this was her US debut, so she was understandably nervous. Not as jarring as Somova; a heck of a lot more musical. Again - nice possibilities. (Nikitina repeats this only at the Sat mat; Tatyana Tkachenko will dance this most other perfs (all but Sat mat and Sun); Kondaurova is listed for Sunday)

Don Q - Vladimir Ponomaryev (at all performances)
Sancho - Stanislav Burov (at all perfs.)
Lorenzo, Kitri's father - Igor Petrov (at all perfs)
Gamache - Soslan Kulaev (at all perfs)


Corps de Ballet - not the sharpest in the Kirov-Mariinsky annals, yet the ladies were quite beautiful in the Dream Scene -- and much more poetic than the Bolshoi could ever hope to produce. They've brought a bunch of raw recruits/recent grads, with a sprinkling of vets, such as Androssova, Vasilieva, Luvkovskaya. Interesting that Maria Shirinkina and Daria Vasnetsova -- both of whom have danced leading roles at home and abroad recently...Vasnetsova just debuted as Odette/Odile, in fact -- are here only for corps work.

As expected on tours, the troupe did not perform 100% of its DON Q as it does in St. Petersburg. The Gypsy Camp scene lasted about 10 minutes, without the charming little mime episode of the 'doll theater.' There were no children/Little Cupids at all, altering the patterns of the Dream Scene. No Oriental Dance in the Tavern Scene, even though the Playbill credits Anisimova as the choreographer of that piece. There were only two intermissions, with Act IV-The Wedding immediately following Act III-Tavern, so Kitri and Basil were not able to dance in the group number that closes Act III. All in all, 90 minutes of performance time + two 30-minute intermissions.

Blooper Moment: This being the opening night, there were a few technical kinks with the movement of scenery, e.g., there was a very long pause of about 3-4 minutes between Don Q falling from the windmill and the start of the Dream Scene...with lots of laughter and Russian chattering from the corps, who had to stand in place for a while until the previous scenery was moved, all of this with the curtain up but the lights down.

A Mariinsky conductor -- Pavel Bubelnikov, I think -- led the Kennedy Center Opera House Orchestra, which was sluggish at times. I noticed how Vishneva tried hard to brighten their pace with her castanets, during her Act I solo.

According to the Playbill, Olesya Novikova will dance today, after all...but we may get another 'corrections insert' tonight. So will it be Novikova or Somova as Kitri this evening?

Natalia Nabatova

_________________
Жду мультивизу от разбогатевшего Альбериха


14 янв 2009, 20:57
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The Kirov and Les Ballets C de la B Seen Through the Lens

By Deborah Jowitt | Tuesday, January 13th 2009 at 4:31pm

As always, this year’s Dance on Camera presents a cinematic banquet. Co-sponsored by the Dance Films Association and the Film Society of Lincoln Center, it offers documentaries, creative re-considerations of stage presentations, footage from archives, and freewheeling collaborations between the disciplines of cinema and dance in which the performers may not always be human. This year I missed the experimental work, but two of the featured documentaries have given me much to think about.

Documentaries about dancers inevitably have a certain sameness—especially the ones about ballerinas. Girls start young, aim at the stars, and practice to acquire skill, discipline, stamina, and a threshold of pain beyond the range of most of us. Do we ever tire of hearing about their injuries and listening to their aspirations, of watching them cowed by teachers, praised by choreographers, rehearsing in dingy practice clothes, dancing on stage, panting in the wings with sweat stripping off them? Possibly not.

There are, of course, some differences between such films. In Anne Belle’s 1995 Dancing for Mr. B, the six ballerinas interviewed and seen in action gave insights into Balanchine’s choreography. Donya Feuer’s 1994 The Dancer followed with sensitivity and acumen one young student aspiring to join the Royal Swedish Ballet. Bertrand Normand’s Ballerina, one of DOC’s offerings this time around, focuses on five stellar dancers in St. Petersburg’s Kirov Ballet. The women are interviewed primarily in close-up shots—their weary faces, devoid of makeup, a contrast to the glamorous visages they present to the public. They all seem to have been asked the same questions: “How do you feel about your dancing at this moment?” “What are your aspirations?” “Do you ever get discouraged?”

It was a smart move on Normand’s part, though, to choose dancers at different stages of their careers. He follows Alina Somova from her days as a student in the company’s Vaganova Ballet Academy through her entrance at 18 into the corps de ballet, her promotion to coryphée, and her debut as Odette/Odile in Swan Lake. Coryphée Evgenia Obraztsova seems to be heading for stardom. She takes a side trip into film acting when the Kirov season is over and wins praise for her sense of drama. Svetlana Zakharova is already a prima ballerina—always seeking to deepen and improve her formidable technique. Diana Vishneva is restless. She accepts the invitations to dance abroad that weren’t possible before perestroika; at the Paris Opera, premier danseur Manuel Legris, who is partnering her, lauds the passion in her performing (the film was completed in 2007, before Vishneva appeared in the U.S. in a program of unusual contemporary works she commissioned). Prima ballerina Ulyana Lopatkhina, whom the narration lauds as the greatest of her generation, has perhaps the toughest task. Sidelined by a foot injury that requires an operation, she takes two years off, gets married, has a baby, and works her way back to glory (nice shots of her sitting on the floor, an adorable toddler treading on her practice tutu).

The fastidiously produced film, released by First Run Features, opens at the Quad Cinema on January 16, and will play in several U.S. cities this spring. Although it contains few extended passages from performances, the brief excerpts from classic ballets—shown in respectful long shots without cuts—give us glimpses of some remarkable dancing. The camera isn’t restless or tricky, and the images are beautiful, with only occasional puzzling breaks in continuity (one minute Somova is learning one of the solo swan dances in Swan Lake; presto! she’s Odette).

Some passages are stand out because they either exploit familiar ballet lore to the fullest or venture beyond it. The Vaganova Ballet Academy’s auditions are always horrifying. Before a large panel of the faculty, the 10-year-old finalists stand in a line at one side of the room. Skinny little girls with the requisite long necks and small heads, they wear only white underpants, some of them covering their flat chests with their hands or a piece of fabric. They’re brought to the center one by one, to have their legs stretched high and their backs forcibly arched by one of the teachers. Altynay Asylmuratova—once one of the company’s most expressive ballerinas (stunning here in American Ballet Theatre’s production of La Bayadère) and now the artistic director of the Academy—stands before the camera with a face that looks incapable of motion or emotion and speaks tersely about how of course the discipline is harsh but the rewards may be great.

Certain of the teachers, and especially the coaches, are warm with their protégées, but you can wince when Somova—alone on the stage with Makhar Vaziev, the director of the ballet company, another man (not, I think Valery Gergiev, its general and artistic director), and her nervously smiling coach—runs through some of a Swan Lake solo in partial costume. Vaziev stops her with corrections, which she tries to incorporate. Of her attitude, he says only, “I don’t like it.” And when she does it again, he repeats, “I don’t like it,” and turns away, perhaps leaving her coach to take over. After Somova’s first performance of Odette, when she’s leaving the empty stage with an armload of flowers, he first mentions how she didn’t stand close enough to her partner at one point and he had to reach for her. Only then does Vaziev praise her effort. When he tells her to take a day off, she looks about to cry—as if while she did that, her career might fly away.

Normand takes account of Russia’s ardent female ballet fans and onetime wannabe ballerinas who didn’t make the cuts. In one very affecting scene, the charming Obraztsova comes out of the stage door—not on her way home, just to meet her admirers. She danced the lead in Leonid Lavrovsky’s Romeo and Juliet today. One youngish woman has tears in her eyes. A white-haired regular lists the Juliets she has seen, beginning with the great Galina Ulanova; Obraztsova, she says, brought something to the role she’s never seen before. She offers a clumsily wrapped package—something she knew the young dancer wanted: a copy of The Great Gatsby.

Nothing could be further from the Kirov ballerinas and their quest for perfection than the performer in Sophie Fiennes’s 2006 VSPRS Show and Tell. Fiennes and her camera show lengthy clips from Alain Platel’s astonishing and shattering piece, set to terrific music based on Claudio Monteverdi’s 1610 Vespers for the Blessed Virgin. According to an article in the English-language Japanese magazine Metropolis, Platel told composer Fabrizio Casol to “contaminate Monteverdi’s purity, infusing it with a more oriental, more Jewish, more black-sounding quality, in brief: to make it sound more contemporary.”

The band plays on what looks like an iceberg of draped white fabric set against a glacier of white rags that extends across the back of the stage. The pure voice of extraordinary soprano Claron McFadden at times degenerates into wailing and moaning as she picks up the dancers’ tribulations. Platel says in the film that he has worked with people “with all kinds of difficulties” and is drawn to the fine line between the normal and the abnormal. The dancers of his Les Ballets C de la B, based in Ghent, Belgium, do not address the camera about their career aspirations; their answers to questions presumably posed by Platel reveal what they feel while performing the work, what it triggered in them in terms of memories from their own experiences. We also see audience members speaking out—very intelligently—in post-performance discussions.

Fiennes’s film begins with a man, his back to us, shuddering, and perhaps fumbling with his clothes. You wonder if he’s peeing. Maybe vomiting. Masturbating? When the camera shows him from the front, he’s cramming a piece of flatbread—like a huge pita—into his mouth, into one eye. He doesn’t swallow anything, just tears off pieces and throws them on the floor. A woman enters, staggering around on her red high heels and angrily calling out famous names. Where are these saviors? Why don’t they come? When she yells for James Bond, a man who’s been convulsively undressing and dressing suddenly strikes a cocky pose. As others enter the stage, we see more forms of compulsive behavior. One athletic man and a woman with the flexibility of a contortionist lock their splayed limbs around each other in bizarre ways. The camera swings into close-ups, drops performers out of the bottom of the frame, cuts to a musician, and veers back. The atmosphere Fiennes creates is claustrophobic—a vision of howling mouths and clawing hands—except for the few times she shoots the whole stage from the rear.

The performers’ intelligence and sensitivity provide a startling contrast to their unbridled performing (the choreography comes as much from them as from Platel). Archival clips of mental patients and Africans in a trance ceremony show where some of Platel’s images came from (one in particular that shows a child rubbing his face obsessively). What can barely be glimpsed in Fiennes’s film is that sometimes the performers are in unison, that they have bouts of dancing in which their wildness is somewhat controlled. After a passage in which they furiously but surreptitiously masturbate, they fall flat on their faces, as if on a signal, and hump the floor.

In the discussions among performers, they often refer to the “ecstasy.” I’m not sure we feel this. We see these people’s shuddering and jerking and crying out escalate until they’re drenched in sweat and exhausted; we see their eyes and hands lifted searchingly. But we don’t sense fulfillment. There’s just a quick glimpse of them in the background starting to climb the fabric wall, with one upside-down man reaching for those below. (In an online review of the film in Arts Journal, John Rockwell, who saw Platel’s piece onstage, wrote that he felt the redemptive aspect of Platel’s work was underemphasized in Fiennes’s film; you can also read her response.)

Whatever the flaws of either the staged work or the film, they offer a frightening glimpse into the human condition and the mysterious circuitry of our brains and bodies. The brave dancer-creators listed on the company’s website are Quan Bui Ngoc, Mathieu Desseigne Ravel, Lisi Estaràs, Emile Josse, Iona Kewney, Samuel Lefeuvre, Mélanie Lomoff, Ross McCormack, Elie Tass, Rosalba Torres Guerrero, and Hyo Seung Ye.

Five other festival films (including a two-hour documentary on the career of Jerome Robbins) will be shown over the course of Saturday afternoon and evening and on Sunday afternoon.

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Последний раз редактировалось Octavia 01 фев 2009, 23:00, всего редактировалось 1 раз.



16 янв 2009, 03:18
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Metro Ballet hosts auditions for national companies
January 13, 2009

Ten of the most prestigious ballet companies and schools in the United States will hold auditions for their 2009 summer intensive programs at Metropolitan Ballet Theatre in Alpharetta in January and February.

Included are Joffrey Ballet, American Ballet Theater, San Francisco Ballet, Kirov, Washington Ballet, Kaatsbaan, North Carolina School of the Arts, Nashville Ballet, Alabama Ballet, and Montgomery Ballet, in addition to MBT.

Auditions are open to all serious dance students. National companies typically audition in several major U.S. cities, choosing the most promising dancers for their highly selective summer programs.

Metropolitan Ballet, directed by prima ballerina Maniya Barredo, is located at 11460 Maxwell Rd, Alpharetta.

For specific audition dates and times, visit http://www.metropolitanballet.org.

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19 янв 2009, 19:05
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The next NEW YORK INTERNATIONAL BALLET COMPETITION will mark the organization's 25th Anniversary.

Dancers from around the world will arrive in New York City for the two-week preparation period, June 8- 25, and public performances will take place June 24-28 at the Rose Theater, home of Jazz at Lincoln Center, Broadway and 60th Street.Founder Ilona Copen continues as Executive Director; Richard Chen See is Director; and Eleanor d'Anutono remains at Artistic Director.

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JUDGES NYIBC 2009

Nanette Glushak (USA / President of the Jury) - Artistic Director, Ballet du Capitole

Born in New York, Ms. Glushak trained at the School of American Ballet. At age sixteen, Mr. Balanchine invited her to join New York City Ballet. In 1970, Ms. Glushak joined American Ballet Theatre, becoming a soloist two years later. She danced Principal roles in Don Quixote (Baryshnikov), Swan Lake, Giselle, Sleeping Beauty, La Bayadere (Makarova), Raymonda (Nureyev) and in ballets of Robbins, Tudor, Tetley, Ailey, MacMillan, Ashton, Tharp, among others.

Mikhaïl Baryshnikov invited her to dance with him in Balanchine’s Apollo at the Chicago International Festival. Between 1983 and 1987, she co-directed the Fort-Worth Ballet with Michel Rahn. A “répétiteur” for the Balanchine Trust since 1987, she continues staging Balanchine repertoire throughout Europe and Japan. She has been Guest Teacher for many companies in Europe and in 1988 she became the Director of the Scottish Ballet.

Since 1994, Ms. Glushak has been directing the Ballet du Capitole of Toulouse, France. Her productions of Sleeping Beauty, Giselle, Don Quixote, and Balanchine ballets have obtained critical acclaim, placing the Ballet du Capitole among the most highly acclaimed companies in France.

Hae Shik Kim (Korea) - First Dean of School of Dance, Korea National University of Arts

A native of Seoul, Ms. Kim received her training at Ewha Women's University and the Royal Ballet Upper School in London. She danced with the Zurich Ballet and Les Grands Ballets Canadiens, and as Prima Ballerina of the Korea National Ballet Company. Following her retirement from the stage, Ms. Kim taught at California State U/Fresno for 17 years. From 1993-96 she was an Artistic Director of the Korea National Ballet Company. She taught at the Korea National University of Arts for 11 years, and for 8 of those years was also the School's First Dean of Dance.

Ms. Kim is a familiar presence at competitions around the world, having served on panels of competitions in Varna, Jackson, Helsinki, Nagoya, Shanghai, Luxemburg, and Lausanne, and is also Artistic Director of the Seoul International Dance Competition. Currently, she is President of Korea World Dance Alliance and CEO of the Seoul International Dance Network. Among her awards are the Ilmin Cultural Prize and the Ock Kwan Medal from the Korean Government.

Lita Beiris (Latvia) - Director, International Baltic Ballet Festival

Born in Latvia, Ms. Beiris trained with the Latvian National Ballet School, the Bolshoi Theatre, the Kirov Ballet, Deutsche Opera Ballet among major ballet companies in Europe. She has danced as prima ballerina for the Latvian National Opera Ballet, performing principal roles around the world. Since 1985, Ms. Beiris has served as Ballet Master, choreographer and pedagogue for the Latvian National Opera Ballet. Her choreography has been performed at international ballet festivals throughout Europe as well as the Shanghai Teacher’s University Performing Arts College.

She was awarded the Bronze Medal at the International Ballet Competition of Moscow and the International Competition of Varna/ Bulgaria in 1980. She has received additional awards from the Republic of Latvia, including the title of Honored Artist of Latvia and Peoples Artist of Latvia. She has also served as jury member and teacher for international ballet competitions in Helsinki, Shanghai, Paris, South Africa and the United States. Currently, Ms. Beiris is the President of the Latvian Professional Ballet Association, Director of the Lita Beiris Dance Fund and Director of the International Baltic Ballet Festival.

Stanton Welch (Australia) - Artistic Director, Houston Ballet

In July 2003, Australian Stanton Welch assumed leadership of Houston Ballet, America's fourth largest classical ballet company. Since he took the helm of the company, Mr. Welch has revitalized Houston Ballet, bringing in new dancers, commissioning new works, and attracting a top-flight artistic staff.

One of the most sought after choreographers of his generation, Mr. Welch has created works for such prestigious international companies as Houston Ballet, San Francisco Ballet, American Ballet Theatre, The Australian Ballet, Birmingham Royal Ballet and Royal Danish Ballet. Madame Butterfly (1995) has become a signature work for Mr. Welch internationally, and in February 2009, the company will unveil Mr. Welch’s spectacular Marie in Houston.

Julio Bocca (Argentina) - Artistic Director, Ballet Argentino

Born and trained in Buenos Aires, Argentina, Bocca was principal dancer with the Fundación Teresa Carreño in Venezuela and the Teatro Municipal of Río de Janeiro in Brazil. In 1986, he was awarded the Gold Medal at the Fifth International Ballet Competition in Moscow, and the following year joined American Ballet Theatre as a Principal Dancer, remaining with that company until 2006.

Mr. Bocca has been a Guest Artist with almost every major ballet company around the world, partnering the most illustrious ballerinas. In 1990, he founded Ballet Argentino, taking the helm as director in 1997. In addition to his current role as director, he founded the Musical Theater School with Ricky Pashkus. Awards include: Dancer of the Year New York Times (1987); Dance Magazine Award (1992); Gold Medal of the Arts - achievements and dedication to cultural exchange between Argentina and the USA (2008).

Julio Bocca is the Cultural Ambassador for the Mercosur, Honorary Member of World Dance Alliance; was a Jury Member of NYIBC 2000, and a Juror at Benois de la Danse Prize 2008.

Mikko Nissinen (Finland) - Artistic Director, Boston Ballet

Mikko Nissinen is recognized internationally as an accomplished dancer, teacher and artistic director. He was appointed artistic director of Boston Ballet and the Boston Ballet Center for Dance Education in September 2001. Born in Helsinki, Finland, Nissinen trained with The Finnish National Ballet School and The Kirov Ballet School, and went on to dance with Dutch National Ballet, Basel Ballet and San Francisco Ballet, where he held the position of principal dancer for ten years. Nissinen became artistic director of Marin Ballet in San Rafael, California in 1996 and Alberta Ballet, in Calgary, Canada in 1998.

Nissinen has defined Boston Ballet’s image with classical, neo-classical and contemporary works from many of the world’s finest choreographers.

Nissinen has choreographed The Nutcracker and Swan Lake for Boston Ballet. He is a member of the Artistic Committee for the New York Choreographic Institute and the recipient of the Finlandia Foundation’s 2008 Arts and Letters Award and the 2007 United Nations Association of Greater Boston Leadership Award.

ASHLEY WHEATER (United Kingdom) - Artistic Director, The Joffrey Ballet

Born in Scotland and raised in England, Mr. Wheater was trained at the Royal Ballet School where, at a young age, he participated in numerous productions with the Royal Ballet at Covent Garden Mr. Wheater began his professional career with The Royal Ballet, subsequently joining London Festival Ballet, and in 1982 he joined The Australian Ballet.

In 1985 Mr. Wheater joined The Joffrey Ballet, where he worked with Robert Joffrey, William Forsythe, Gerald Arpino, as well as appearing in works by Frederick Ashton and John Cranko. In 1989 he joined San Francisco Ballet where he danced numerous full-lengths and repertoire under Helgi Tomasson. Mr. Wheater was appointed Ballet Master of San Francisco Ballet in 1997 and was named Assistant to the Artistic Director in 2002.

In 2007, Mr. Wheater was appointed Artistic Director of The Joffrey Ballet.

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19 янв 2009, 23:52
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Сообщение Maria Kochetkova takes home Gold
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Photo by Daria Klimentova

SF Ballet Star Brings Home the Gold

By Sajid Farooq

It's official: San Francisco has one of the best dancers in the world.

The Bay Area's own, well via Russia anyway, Maria Kochetkova won the gold medal as the Russian soloist on NBC's "Superstars of Dance" on Monday night.
What perfect timing, considering Kochetkova is dancing in Yuri Possokhov's new ballet "Diving into the Lilacs" Wednesday and Friday night at the San Francisco Ballet. Tickets are still available for the show.

And the Russian beauty loves dancing in the Bay Area.

"Ah yes, I like San Francisco," she said in a recent interview. "It's a really unusual city—it's very interesting, it has a lot of different sides of it, so yes."

If you missed either her final of semifinal performance, you can check them out below. Congratulations Kochetkova.

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01 фев 2009, 22:51
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Заядлый театрал

Зарегистрирован: 13 окт 2006, 17:52
Сообщения: 148
Откуда: russia
Сообщение Re: Ballet Around The World
San Francisco Ballet's 'Swan Lake'
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Full Length

Swan Lake New!
World Premiere
Composer: Peter Ilyich Tchaikovsky
Choreographer: Helgi Tomasson after Marius Petipa


Since his last triumphant production of this revered classic debuted over 20 years ago, Helgi Tomasson is proud to unveil a spectacular, all-new production of Swan Lake. Set to one of Tchaikovsky’s most beautiful scores, this completely restaged ballet will feature elaborate new scenery and costumes by critically acclaimed European designer Jonathan Fensom.

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http://www.sfballet.org/performancestic ... 3notes.asp


07 мар 2009, 09:34
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Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
Сообщение Re: Ballet Around The World
Phenomenal Svetlana Zakharova to appear at Zellerbach Hall in the immortal
masterpiece of Marius Petipa, La Bayadere

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CASTING:

Nikia
Svetlana Zakharova (Jun 4 & Jun 6 E)
Nadezhda Gracheva (Jun 5 & 7)
Maria Alexandrova (Jun 6 M)

Solor
Nikolai Tsiskaridze (Jun 4 & Jun 6 E)
Andrei Uvarov (Jun 5 & 7)
Alexander Volchkov (Jun 6 M)

Gamzatti
Maria Alexandrova (Jun 4)
Yekaterina Krysanova (Jun 5, 6 & 7)

* All casting subject to change without notice *


08 апр 2009, 18:10
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Зарегистрирован: 30 ноя 2004, 19:19
Сообщения: 8408
Сообщение Re: Ballet Around The World
Golden Mask Award 2009
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BALLET / PERFORMANCE
« DIANA VISHNEVA: BEAUTY IN MOTION », Sergei Danilian’s USA-Russia Project
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MODERN DANCE / PERFORMANCE
« The CLAY WIND », Comic-ballet by Sergey Smirnov, Ekaterinburg, Russia
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BALLET / WORK OF THE CONDUCTOR
Andrey DANILOV, " La Bayadere", Opera and ballet theatre, Novosibirsk, Russia
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BALLET / MODERN DANCE / WORK OF THE BALLET MASTER/CHOREOGRAPHER
Sergey Smirnov, « the Clay wind », comic-ballet by Sergey Smirnov, Ekaterinburg, Russia
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BALLET / MODERN DANCE / THE FEMALE ROLE
Diana VISHNEVA, « Diana Vishneva: Beauty In Motion », Sergei Danilian’s USA-Russia Project
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BALLET / MODERN DANCE / THE MALE ROLE
Igor ZELENSKY , Solor – " La Bayadere", Opera and ballet theatre, Novosibirsk, Russia
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18 апр 2009, 21:28
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