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Мариинский театр на гастролях 
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Сообщение Maria Khoreva

    Откровенное интервью данное Марией Хоревой 18 Октября в Лос Анжелесе.

    Цитата:
    Khoreva began with rhythmic gymnastics at the age of three and having already placed second in a national competition she auditioned for the Vaganova Ballet Academy at the age of nine and was accepted.

    Цитата:
    MK- Yes, in fact, I was somehow programmed from the very childhood that there’s only one mark at school – excellent; all the rest are just not marks, they are fails. That’s why I tried to do my best both in ballet and academics.

    Цитата:
    Six companies offered you a position with their company including the Bolshoi, which is extraordinary. What prompted you to chose to join the Mariinsky? Was it the repertoire, or the historical aspect or just the general atmosphere that drew you to them?

    Изображение



Последний раз редактировалось Octavia 19 окт 2019, 01:11, всего редактировалось 1 раз.



18 окт 2019, 21:13
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Сообщение Re: Мариинский театр на гастролях
Прочитала интервью М.Хоревой, вроде ничего нового не узнала. :)
По поводу "Яркой звезды" не рановато ли?
Раскрутка-раскруткой, но все-таки до яркой звезды там еще шагать и шагать, так кажется.
Хотя , конечно, если судить по нагрузке на гастролях, она кажется запредельной для 19-летней балерины : 3 "Пахиты", 4 "Баядерки"? и 2 Баланчина , "Бриллианты" за месяц.

Что тени выходили на каблуках впервые об этом прочитала.
Неужели так было или автор что-то перепутал? :)


18 окт 2019, 23:29
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Сообщение Re: Мариинский театр на гастролях
Olga K писал(а):
Что тени выходили на каблуках впервые об этом прочитала.
Неужели так было или автор что-то перепутал? :)
Ну если в самой первой редакции, но как Вы можете видеть, уважаемая Ольга К, то на фото 1900 года никаких каблуков нет и в помине. Костюмы теней такие же как сейчас, ну может несколько ниже пачки. Жаль что автор обзора не сделал ссылки на первоисточник, а то получаются что "утка" :roll:

К Хоревой отношусь неоднозначно. Не совсем "моя" балерина, но в технике классического танца и преуспела и обогнала соперниц. Вспоминаю Диану в 25 лет - она клала своя сердце на алтарь искусства во время выступления. Так что мне иногда было беспокойно за неё. Мария более осмотрительна и поэтому не задевает так это удавалось делать Диане. Как это сказать... "задевать за живое".


19 окт 2019, 00:31
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Сообщение Re: Мариинский театр на гастролях

    Review: Mariinsky Ballet and Orchestra’s Stunning Performance of La Bayadère at Segerstrom Center for the Arts

    Цитата:
    Alina Somova danced as Nikiya and is a principal dancer for the Mariinsky Ballet in St. Petersburg. Her flexibility, form, and strength were outstanding as we saw her character’s passion within every breathtaking adagio. Somova was born in Leningrad and graduated from the Vaganova Academy of Russian Ballet in 2003. In 2003 she was admitted to the Mariinsky Ballet and one year later was promoted to soloist and principal since 2008.

    Award-winning dancer Kimin Kim, lept as Solor to a standing ovation on his solo performances, in which he defied gravity with grace. Attendees left Kim overwhelmed with gratitude and repeat applause breaks for his spell bounding performance. Born in Seoul, Kim graduated from the Korea National University of Arts. He was a soloist with the Mariinsky Ballet from 2012, and since 2015 he has been a principal dancer.

    Изображение



19 окт 2019, 00:59
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Сообщение Re: Мариинский театр на гастролях
Olga K писал(а):
По поводу "Яркой звезды" не рановато ли?

Почему? "Звезда". Такого же рода как "звезда" Вишнева, такого же рода как "звезда" Смирнова. У каждой на лице с самого начала выписано "я чемпионка", каждая тщательно спланировала свою карьеру. Они слеплены из одного теста, "Три Сестры", старшая, средняя, и младшая.


19 окт 2019, 13:42
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Сообщение Re: Мариинский театр на гастролях

    MARIINSKY BALLET GEORGE BALANCHINE'S JEWELS
    Thursday, October 24th, 2019 @ 7:30 pm
    The Music Center's Dorothy Chandler Pavilion

    Цитата:
    Balanchine used jewelry imagery to inform his choreography, incorporating leg extensions that suggest refracted light through the gemstones. Each act is styled and composed in stark contrast, united only by the dancers’ dazzling costumes inlaid with colored gems that correspond to the title

    Изображение


20 окт 2019, 19:05
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Сообщение Re: Мариинский театр на гастролях
Review: With 90 dancers and grand Russian tradition, Mariinsky Ballet takes on ‘Jewels’

Mariinsky Ballet performing Balanchine’s “Jewels” at the Dorothy Chandler Pavilion.
By LAURA BLEIBERG
OCT. 25, 2019 2:52 PM

As the Soviet Union was dissolving, it became something of a fanciful game for ballet lovers to fantasize about the possibilities awaiting Russia’s storied cultural institutions.

What would happen when the manacles came off at the Kirov Ballet? For starters, the Soviet-era name Kirov was jettisoned. But more important, which pieces, previously forbidden, would be admitted onto the hallowed stage of the Mariinsky Theatre?

George Balanchine’s works were at the top of the list. New York City Ballet’s co-founder was a product of the Mariinsky Theatre’s school and company, making his posthumous “return” natural and significant.

That’s the background for the Mariinsky Ballet’s presentation of “Jewels,” Balanchine’s three-act, abstract masterpiece from 1967, which the ballet company and its orchestra opened Thursday at the Music Center’s Dorothy Chandler Pavilion for the first time. The St. Petersburg dancers performed “Jewels” in 2003 at Segerstrom Center for the Arts in Costa Mesa. It’s said to have become a home-audience favorite, and the younger dancers who filled the immense cast (90 dancers) at the Chandler grew up with Balanchine’s genius finally appreciated and his ballets a respected part of the repertory.

Still, it’s not so easy to be raised and steeped in one style and then subsume it in order to accomplish another one. It’s like speaking a foreign language without an accent. The Mariinsky style is revered — it’s fundamentally their way of “talking” — and it’s what makes these dancers unique. But it also inhibits their ability to fully articulate this neo-classical ballet.

Their rendition of “Jewels” is a mix of contradictions. It’s gorgeously and passionately interpreted, and yet proper and tentative in places where it should be sweeping and off balance. Musical accents are sometimes missing or placed incorrectly. The facial mugging that accompanies the turned-in feet and crumpled arm gestures of “Rubies,” turns this otherwise thrilling ballet into a joke.

“Jewels” can be a beauty, and things go better when the Mariinsky focuses on its elegant, sparkling essence.

The French-perfumed opening segment “Emeralds” gets some of its romanticism from its musical selections by Gabriel Fauré. The ensemble posed with upright, doll-like delicacy and long necks and pinched-waist placement. The corps de ballet here and throughout the evening was deliberate about spacing; the “Emeralds” principals were lovingly framed by perfect rows of women curling around them and unfolding, the larger stage picture shifting like a kaleidoscope.

Lead couple Daria Ionova and Maxim Zyuzin played a bit of hide and seek in the expansive pas de deux. Maria Iliushkina’s well-timed steps and balances of her solo had a rare spontaneity, and she brought her own take to the music. Her walking-on-pointe pas de deux with partner Roman Belyakov, on the other hand, was clearly a challenge, as were those robotic and jerky arm gestures timed with the deep lunge.

The cast for “Rubies” is given free rein to let loose and have fun, Stravinsky’s Capriccio for Piano and Orchestra (with the excellent Alexandra Zhilina at the piano) acting like a signal to ready, set, go. Yekaterina Chebykina joyously pushed out those jutting hips and skimmed her head with her toe in the backbend leaps. She seemed to be saying “watch me do this!” each time she walked on her heels. As the four male soloists bent down to grab each one of her limbs, the audience chuckled, such was the sincerity of their moves.

Изображение


03 ноя 2019, 18:49
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Сообщение Re: Мариинский театр на гастролях

    Изображение

    Mariinsky Ballet and Orchestra
    Valery Gergiev, artistic director
    La Bayadère
    Alexei Repnikov, conductor
    Music by Ludwig Minkus
    Choreography by Marius Petipa (1877)
    Revised choreography by Vladimir Ponomarev and Vakhtang Chabukiani (1941)
    With dances by Konstantin Sergeyev and Nikolai Zubkovsky
    Libretto by Marius Petipa and Sergei Khudekov
    Set design by Mikhail Sishliannikov after set designs by Adolf Kvapp, Konstantin Ivanov, Pyotr Lambin, and Orest Allegri
    Costumes by Yevgeny Ponomarev
    Lighting design by Mikhail Sishliannikov

    No company in the world dances the spellbinding "Kingdom of the Shades" scene in La Bayadère as brilliantly as Saint Petersburg's Mariinsky Ballet. The story of forbidden love and shocking betrayal, complete with a spectral voyage to the afterlife, radiates with colorful characters, opulent sets, and vibrant costumes, performed with the unmatched refinement, dramatic poise, and flawless technique that defines this centuries-old cultural institution. Marius Petipa created La Bayadère for the Mariinsky more than 140 years ago, and the marvelous Romantic work—with a score by Ludwig Minkus performed here in all its glory by the company's grand orchestra—continues to be one of the ensemble's most beloved showpieces well into the 21st century.

    The Mariinsky's rare Berkeley appearances are truly momentous occasions, marked by passionate standing ovations and fervent pleas for curtain calls shouted from the rafters of a packed and electrified Zellerbach Hall.

    Изображение



03 ноя 2019, 19:40
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Сообщение Re: Мариинский театр на гастролях

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03 ноя 2019, 19:56
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Сообщение Re: Мариинский театр на гастролях

    Cal Performances at UC Berkeley Presents Mariinsky Ballet and Orchestra’s THE BAYADÈRE Review — Star-Crossed Lovers

    Posted on November 1, 2019 by Theressa Malone

    Mariinsky Ballet and Orchestra’s Performance of LA BAYADÈRE fills the Cal Performances at UC Berkeley Audience with deep emotions – HIGHLY RECOMMENDED

    Изображение

    The music emerges, spring-like, from beneath us. It seems to be unearthed, blooming slowly, pulled out by a capricious and invisible thread. Louder and louder, we are glued to our seats in anticipation for the curtain to rise. We do not yet know that we too will rise with it.

    And then the front of the room is brilliantly illuminated. We come to rest our eyes on Solor (performed by Andrei Yermakov), the elegant warrior. We match his speed with our eyes; we breathe in the cadence of his first pas de deux with the beautiful Nikiya (Ekaterina Kondaurova). We rise with the Brahmin, and twirl ritualistically with the bayadères. In our seats, we run and jump with the pouncing, tortured fakir Magdayeva.

    La Bayadère tells the story of the young temple dancer (bayadère) Nikia and the warrior Solor, who have sworn infinite fidelity to one another in the setting of a kingdom in South India. But the High Brahmin is in love with Nikia, and the King has betrothed his daughter Gamzatti to Solor, and both are trying to kill their opponents. Aided by the fakirs, the story twists and turns through their struggle to remain together.

    At the end of the first scene, viewers shuffle and mumble as the curtain descends. We are enraptured in the first performance, alive with it, already gasping at our neighbors. A man in the row adjacent from me gestures grandly, then yells ---

    “EVERYONE, STAY PUT!”

    He silences us, but he has marked the character of mobility in the room—both on and off stage. We seem to have been pulled out of our seats, perhaps by the same invisible thread that seemed to hold Nikiya (Ekaterina Kondaurova), suspended, intoxicatingly, seconds before.

    While the first scene was brilliant in its fluorescent white light, the following scenes are painted with golden hues. This evoked the romantic spirits of time past and future, joining them together as one. We are now full entrenched in the dreamscape of this ballet., which is accentuated in the cloud-like costuming and ethereally slow moving ritual objects that maneuver themselves between the dancers. Elaborate carriages, elephants, and decorative boxes move through the corps de ballet ensemble. Dancers sit atop these pieces, relaxed, floating.

    It’s only the soft noise from the pointe shoes rises above the orchestra’s melody, reminding us that we are not quite in a dream; we are elsewhere. This small pattering focuses our attention anew on the fusion of movement, color, sound, and vision that is separate from the reality we left behind when we entered Zellerbach Hall.

    Изображение

    In the dream-like Kingdom of Shades sequence, the bayadères come to represent the clouds from Solor’s opium pipe that lift him to the heavens, to Nikia. They dance slowly and effortlessly, in a group formation that imitates the movement of the atmosphere. Their costumes give them an air of weightlessness, as if to make it clear they are no longer in the world below

    This is a dreamscape where identity falls away. Everyone is drawn to this fusion; we all belong.

    Cal Performances at UC Berkeley Hosts A Ballet Unifying Audience With Dancers

    This feeling of unity is what this reviewer thinks is what defines the motion of the Hall, both on the stage and in the imagination of the audience. The dancers play with their emotions fearlessly. At one point, we feel Gamzatti’s rage in the rigidness of her tutu against the softness of all of the other dresses. The rhythm of the harp matches the sparkling of Nikiya’s skirt. We fully absorb her anger.

    The score led by Alexei Repnikov’s Mariinsky Orchestra is stunning. We feel it both fill and lead the footprints to the air. You too may concur that it is the refinement and poise in which these techniques are pulled off that is what defines this performance of this centuries-old ballet as superlative. This ballet was created for the Mariinsky over 140 years ago. As the corps de ballet performs its famed dance --Kingdom of Shades-- we could sense the grandness of the historic ballet repertoire.

    La Bayadere’s themes --death and rebirth, the mingling of spirits and mortals in and out of dreams, of love celebrated, exhibited, and forbidden—seemed to overtake all in Zellerbach Hall. The end of the performance brought on almost terrifying applause, and repeated standing ovations. One could hear crying. One could hear laughing. One could sense fear. The hall was electrified. It was excruciating to step outside.

    Mariinsky Ballet and Orchestra’s performance of this classic ballet, La Bayadère, will likely have strong appeal to any and all interested in the ballet dance genre—from neophytes to those who have seen other performances of this same ballet dozens of times.

    HIGHLY RECOMMENDED

    Mariinsky Ballet & Orchestra of the Mariinsky Theatre
    St. Petersburg, Russia

    Valery Gergiev, artistic and general director

    Yury Fateev, acting ballet director

    Alexei Repnikov, conductor

    Creative Team:

    Choreography by Marius Petipa (1877)
    Revised choreography by Vladimir Ponomarev and Vakhtang Chabukiani (1941) with dances by Konstantin Sergeyev and Nikolai Zubkovsky

    Libretto by Marius Petipa and Sergei Khudekov

    Set design by Mikhail Shishliannikov after Adolf Kvapp, Konstantin Ivanov, Pyotr Lambin, and Orest Allegri

    Costumes by Yevgeny Ponomarev

    Lighting design by Mikhail Shishliannikov


    https://www.picturethispost.com/cal-per ... ed-lovers/


03 ноя 2019, 20:06
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