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"Театр уж полон; ложи блещут";Мариинский театр: люди и эпохи 
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Сообщение Re: "Театр уж полон; ложи блещут";Мариинский театр: люди и э
Даже не знала, что есть запись Ревизора О. Виноградова. Случайно наткнулась на запись
https://ok.ru/video/3399483656848


02 мар 2021, 00:35
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Сообщение Re: "Театр уж полон; ложи блещут";Мариинский театр: люди и э
БАЯДЕРКА
М.Петипа С.Вихарев

I акт
https://www.youtube.com/watch?v=xtsALgeXkDo

2-ой акт
https://www.youtube.com/watch?v=zdaspxJJPjA

3-ий акт
https://www.youtube.com/watch?v=o7fWcOmNS2U


21 мар 2021, 14:17
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Сообщение Re: "Театр уж полон; ложи блещут";Мариинский театр: люди и э
Интернет - просто кладезь редких записей! Спасибо за ссылку, Ольга!


21 мар 2021, 21:14
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Сообщение Re: "Театр уж полон; ложи блещут";Мариинский театр: люди и э
Дарья Павленко о своей жизни до, во время и после Мариинского театра.

Цитата:
She performed Alexei Ratmansky’s “Anna Karenina” for her final performance in July 2018 and immediately enrolled in the Rimsky Korsakov Conservatory to study pedagogy.


Об учебе в академии балета
Код:
It was a very friendly atmosphere

Цитата:
I have wonderful memories of the dormitory and of studying.

О Мариинском театре
Цитата:
I wasn’t sure that the Mariinsky would take me at all. And when they told me that the Mariinsky had accepted me, I was surprised more than anything else. I had been told I would be in the corps de ballet. Excellent.


Цитата:
I can’t say the atmosphere was friendly in the sense of people waiting with open arms to hug you and say welcome.
ou came and had to prove that you could do something and that you understood what was going on, regardless of if you wanted to dance solos or if you were just in the corps. It was difficult but it was life experience, without which you do not grow. It’s very important how you take this in. You can either look at it with a plus or with a minus. So yes… of course it was difficult, of course there were times when you just felt as if your legs were collapsing beneath you, and you lose faith in yourself, but without it, nothing would have developed. The process creates character and makes you a ballerina. And you don’t just swallow it, on the contrary, you either grow and achieve a result or else you give up.


Цитата:
I spent four years in the corps de ballet, and in the 4th year Alexei Ratmansky came to set Poème d’Ecstase, Fairy’s Kiss and Middle Duet.
For Middle Duet, no one came, so Alexei asked me to come learn it.
I remember in the first rehearsal, it is only a10-minute duet, I had no partner, so I used the barre and I learned it very quickly. Alexei saw that not only could I do it, but I danced it not too badly. Then they found me a partner, Slava Samodurov, who also wanted to dance it.
So Zhanna Ayupova and Islom Baimuradov danced the first night, and we danced the second.


Цитата:
That is when my career truly started and Makhar Vasiev [ed: artistic director of the Mariinsky Ballet at the time], understood and believed that I could be more than just a corps de ballet member.


Цитата:
It’s an interesting thing– you become a prima and have a certain level of status and skill, and you think you did it, that’s it. . But that’s a big mistake, because as once you stop, you fall behind. You always have to climb up the ladder. It’s important that I changed. I always had normal relationships with my colleagues and with pedagogues though, never any conflicts.


Цитата:
There were many circumstances that led to the decision, including the fact that their repertoire did not change, did not expand, and I would say still is not expanding. I wanted to continue to grow, to seek out other avenues of dance. But the Mariinsky Theatre limited my freedom. Even when there were opportunities I received, I could not accept them because I had my work at the theatre that wasn’t interesting to me. So I left the Mariinsky Theatre, but I didn’t leave the profession, I still dance as a ballerina. I left because it limited my freedom and did not give me the level of accomplishment that I wanted.


О творчестве после МТ.

Цитата:
I will dance a ballet called “Paris” based on the relationship between Georges Sand and Frederic Chopin set by Dmitry Gudanov, who is currently the artistic director in Astrakhan, he was a former premiere danseur at the Bolshoi.
I first visited there in December with my partner Denis Klimuk for a gala dedicated to the period of Soviet ballet. We danced the adagio from Leonid Jakobson’s Spartacus, and the adagio from Legend of Love.


Цитата:
I also received the rights to Roland Petit’s “Death of a Rose” in November 2020. I wrote the artistic director of the Roland Petit Trust, Luigi Bonino, and asked permission to dance that ballet. He didn’t know who I was, so he said to send him a video of me rehearsing it. I have to thank my partner Denis Klimuk, principal dancer with the Leonid Jakobson Theatre, for working on it with me. It was quite an adventure, as they could have said “you know, no, you can’t dance it.” But after Luigi watched the video, he said that he had goosebumps, and loved how we danced it. He had some corrections to give us, and at first he implied we had to come to Milan or he to St Petersburg, but tbut then Covid started, so we hired Elena Shubina who knows Italian well, to work with us online so that we would not lose time in English trying to understand each other. Elena gave us immeasurable help.
After rehearsals, Luigi granted us a licence to dance the ballet for 2 years.
We are the only people in the world who have this right for these two years.
We performed it in Moscow in December 2020 and really hope that we can dance it again soon as soon as Covid clears out a bit more.


Цитата:
I set “Fountain” in both Budapest and in Samara.


Цитата:
they were supposed to go to Dussseldorf, where was a ballet school. They asked me to give 2 master classes there, and I agreed. And I remembered that the school was 15 minutes away from Pina Bausch’s company by train.
I received an offer to join them as a guest dancer. The company doesn’t have soloists. So I flew there, rehearsed two productions, stayed and performed them. They were “Blubeard”, which had not been danced for the past 25 years, and “Seven Deadly Sins.” We plan to continue working together, but right now it is all on hold due to Covid.


Цитата:
I have basic daily work at the Jakobson Theatre as pedagogue/rehearsal coach now


О семье
You have two daughters. Have they altered your approach to your career?

Цитата:
I don’t think they changed my view of my profession. Despite the fact that I love my profession and it’s a large part of my life, no matter what happens, my priority is always my family. My daughters are what will remain after me. And I say this after arguments between my children: that they should be friends, I try to facilitate friendship between them. Because when I am no longer here, they will only have each other. There’s nothing better than sisters who are close. I want them to be friends, share grief and joy together, and support each other.


Цитата:
Yaroslava [ed: the older daughter] draws fantastically, you don’t have to insist she does it, she spends lots of time on it. She has shown me some of her work and I can’t even do something close to it. I want her to develop that talent and go in that direction. But Miroslava, my younger daughter, moves constantly, she cannot sit in one place, she constantly jumps and climbs. So the “movement story” is hers. Whether it will be ballet or not, we will see, but she will have to have some sort of physical outlet.


Would you say there is “life” after the stage? Are you happy?

Цитата:
By nature, I’m a happy and lucky person. I’m grateful that life has given me so many opportunities and chances, I just try not to miss them. I’m very glad I left the Mariinsky, because I believe I did it on time. By that I mean, it wasn’t a case of everyone whispering “Ten years ago she danced well, but now we have to just put up with seeing her.” I avoided that. I left when I could still dance, maybe for another year or two, and I’m not embarrassed about what I did. I could probably have done more but I didn’t, not because I didn’t want to, but because it just worked out that way.


http://vaganovatoday.com/daria-pavlenko/


02 апр 2021, 22:40
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Сообщение Re: "Театр уж полон; ложи блещут";Мариинский театр: люди и э
Первый фестиваль балета "Мариинский".

ГАЛА-КОНЦЕРТ 17.02.2001 - 1-й фестиваль балета "Мариинский"
https://www.youtube.com/watch?v=J7YPAml4Jsg

"Пахита" 17.02.2001 - 1-й фестиваль балета "Мариинский"
https://www.youtube.com/watch?v=csRE3L1hw-A


"Гаяне" (сюита-фрагменты) II-e отделение 13.02.2001 - 1-й фестиваль балета "Мариинский"
https://www.youtube.com/watch?v=Ml3QUIk6Nhc

"Лауренсия" (сюита-фрагменты) III-e отделение 13.02.2001 - 1-й фестиваль балета "Мариинский"
https://www.youtube.com/watch?v=ToJ98qziIVQ

Легенда о любви" (сюита-фрагменты) I-e отделение 13.02.2001 - 1-й фестиваль балета "Мариинский"
https://www.youtube.com/watch?v=1nlZ4QmEnic&t=20s


06 апр 2021, 18:34
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Сообщение Re: "Театр уж полон; ложи блещут";Мариинский театр: люди и э
Из (уже) истории Мариинского балета. Сарафанов-Меркуцио
https://youtu.be/0BKqpf0vLEM
Сарафанов в "Коньке"
https://youtu.be/NR_GSNDpdy0


08 апр 2021, 02:17
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Сообщение Re: "Театр уж полон; ложи блещут";Мариинский театр: люди и э
Редкая возможность увидеть дуэт Новиковой и Сарафанова. Запись, конечно, оставляет желать лучшего
https://youtu.be/EYYRujDJcOQ


11 апр 2021, 03:16
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Сообщение Re: "Театр уж полон; ложи блещут";Мариинский театр: люди и э
Прекрасные воспоминания о прошлом. Жаль, что Ундина больше не идет в Мариинском театре
https://youtu.be/K2RsBAgd6sI
https://youtu.be/c9kSqNXwfuk


11 апр 2021, 13:05
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Сообщение Re: "Театр уж полон; ложи блещут";Мариинский театр: люди и э
Олеся Новикова и Леонид Сарафанов в "Корсаре" (Римская опера)
https://youtu.be/8jP8mxtslIM


13 апр 2021, 20:57
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Сообщение Re: "Театр уж полон; ложи блещут";Мариинский театр: люди и э
Серенада Баланчина
https://youtu.be/VIXlhwzMxTM


14 апр 2021, 03:03
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