Podcasts about Marius Petipa

En Avant is a five minute ballet segment, hosted by Karen Gibbons-Brown, which airs during Rob Nylund's Classical Connection Review, every Saturday evening on Fort Wayne's 89.1 WBOI. This version has been modified from its broadcast edition to accommodate musical copyright.We know and love The Nutcracker, but was it always so popular? Marius Petipa and his assistant, along with Tchaikovsky, created a holiday classic that wasn't initially well received. 

En Avant is a five minute ballet segment, hosted by Karen Gibbons-Brown, which airs during Rob Nylund's Classical Connection Review, every Saturday evening on Fort Wayne's 89.1 WBOI. This version has been modified from its broadcast edition to accommodate musical copyright.In this segment, Karen overviews the career of famed choreographer Marius Petipa, who essentially created the Classical Era of ballet.

Natalia Proops: “When I was eight, I went with my parents to the Bolshoi Theatre in Moscow to watch the Nutcracker, by Tchaikovsky. It was staged at the time by Marius Petipa, and it was pure magic. Imaginal exposure for children that I still find absolutely beautiful. Walking around in a beautiful dress looking at Buckingham Palace in London, when I was twenty-one, I felt the connection of beauty within the world. The thought that ran through my mind was, “I can now see the world”.  The first time I did an ikebana, a Japanese flower arrangement, I was in my thirties, and a student in New Zealand. Ikebana is the centuries-old Japanese art of arranging flowers, which translates to “making flowers come alive”. In ikebana, the key consideration is to use as few stems and leaves as possible in composing elegant contours that highlight the flowers' beauty. Three to five years are required to acquire the technical and expressive skills. Sogetsu is a modern school of the Japanese art of flower arranging, which was part of the school I attended. My first arrangement, which was the simplest one, amazed me that it really was ikebana. I could not believe I had actually done it.” Have a listen as I interview my special guest, Natalia Proops. Find out how creating beauty can enhance your life.

durée : 00:05:05 - Classic & Co - par : Anna Sigalevitch - « Le Lac des Cygnes », le ballet composé par Tchaikovski, dans la version chorégraphiée par Rudolf Noureev d'après Marius Petipa se joue à l'Opéra Bastille jusqu'au 14 juillet.

Inizia la nostra avventura musicale nel mondo di Pyotr Ilyich Tchaikovsky, genio russo che possiamo inserire tra i grandi nevrotici dell’arte: tormentato e sofferente, al tempo stesso leggero e grandioso nelle numerose e straordinarie melodie da lui composte. Melodie che il maestro scrisse in molti casi per i balletti, collaborando strettamente con il coreografo francese Marius Petipa. Dallo Schiaccianoci (1892) al Lago dei cigni e La bella addormentata (1895), scopriamoli insieme attraverso il pianoforte del maestro Aurelio Canonici. In questa puntata ascoltiamo ’La danza della Fata Confetto’, dal balletto ’Lo schiaccianoci’, eseguito dall’Orchestra dell’Accademia Nazionale di Santa Cecilia, diretta dal maestro Jurij Chatuevi? Temirkanov.See omnystudio.com/listener for privacy information.

Vi firar att oktober är slut, kollar vem som vann tävlingen flest sedda föreställningar sen förra avsnittet, och gör en blixtsnabb recension av Jaha Koos gästspel på Dramaten med "The history of Korean Western theatre" sist i programmet -- i en lite stökig krogmiljö (så ursäkta ljudet sista 10 min). Dessutom har Cecilia varit i Berlin (nu igen) och Loretto har varit i Göteborg och Umeå och kollat opera. Lista över verk vi avhandlar i detta avsnitt: Askungen på Folkoperan, regi Nora Nilsson Konstabs Ingmar Bergmans Så som i en spegel på Dramaten Vegetarianen på Dramaten, efter Han Kangs roman, manus Lucas Svensson regi Beata Gårdeler Titta Hamlet på Orionteatern, efter, Barbro Lindgrens och Anna Höglunds pekbok, regi Lars Rudolfsson Dansen på Galeasen, av Ivan Vyrypaev, regi Olof Hanson Filmen Fritt fall, Anatomy of a fall / Anatomie d'une chute regi Justine Triet (med underbara Sandra Hüller!) Tidens larm på Folkoperan, regi Tobias Theorell, med Johan Ulveson som Sjostakovitj Spirit World rising på Konträr, idé och regi Linda Forsell Bühnenbeschimpfung (Liebe ich es nicht mehr oder Liebe ich es zu sehr?)  av Sivan Ben Yishai, regi Sebastian Nübling, Gorki Theater, Berlin High av och med She She Pop, HAU — Hebbel am Ufer, Berlin Heavy as the Heart av och med Josefine Ankarberg, Moment teater Canasta med Hin Håle av Martina Montelius på Teater Brunnsgatan fyra Perserna och Trojanskorna av Aischylos resp Euripides, båda regi Karl Dunér, Dramaten Mytomania av Paula af Malmborg Ward, libretto Kerstin Perski, regi Clara Svärd The Death of Klinghofer av John Adams, libretto Alice Goodman, regi Verena Stoiber, Norrlandsoperan Melancholia efter Lars von Trier , musik Mikael Karlsson, libretto Royce Vavrek, regi Sláva Daubnerová. på Kungliga Operan Gustav Vasa av Joakim Sten, regi Dennis Sandin, Kompani Ad Hoc Pappas födelsedag av Alejandro Leiva Wenger regi Frida Röhl, Dramaten Le Corsaire av Koreografi: José Martínez, efter Marius Petipa, Kungliga baletten The History of Korean Western theater av och med Jaha Koo Medverkande i avsnittet: Loretto Villalobos och Cecilia Djurberg (prod & klipp)

Un Día Como Hoy 14 de Julio: Acontece: 1789: en París (Francia) se produce la Toma de la Bastilla, que supuso el fin del Antiguo Régimen y el comienzo de la Revolución francesa. Nace: 1862: Gustav Klimt, pintor austríaco (f. 1918). 1918: Ingmar Bergman, cineasta sueco (f. 2007). Fallece: 1910: Marius Petipa, bailarín y coreógrafo francés (n. 1818). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

Ballet de "El Quijote" Spazio Ballet presenta la obra “Don Quijote”, Ballet en tres actos con música de Ludwig Minkus y coreografía de Marius Petipa, tenemos invitados de Spazio Ballet, historia y música de esta presentación. Producción y conducción: Dino Poli. Sistema Jalisciense de Radio y Televisión. Visita: www.jaliscoradio.com

Ananda Bena-Weber is an interdisciplinary performing artist who has performed in a diverse array of productions and venues throughout the United States and abroad. Her touring solo work, Fancifool!, recently won ‘Best Variety Show' and was a Critic's Choice pic at the United Solo Theatre Festival in NYC. Roles in regional theater include: Rosalind (As You Like It), Arkadina (The Seagull), Juliet (Romeo andJuliet), Lady Anne (Richard III), Lola (Damn Yankees), Helena (A Midsummer Night's Dream), Ophelia and Horatio (Hamlet), and the title role in Medea. Ananda has performed choreographic works by: Gregory Hines, Bob Fosse, Jerome Robbins, Fred Astaire, Hermes Pan, John Cranko, Alonzo King, Bill ‘Bo Jangles' Robinson, Jimmy Slyde, Marius Petipa, Sam Weber, Rosine Bena, Lynn Dally and others. Shehas performed as a dancer with such companies as: The Jazz Tap Ensemble, The Sierra Nevada Ballet, The Reno Ballet, Peninsula Ballet Theatre, and as an independent artist throughout the US and abroad. An accomplished teacher, Ananda teaches a variety of subjects and has taught classes and workshops throughout the US and Europe. Ms. Bena-Weber is the Associate Artistic Director of the Sierra Nevada Ballet. She was a professor of dance at Marymount Manhattan College, and teaching artist for the Dance Theater of Harlem and Mark Morris Dance Center inNew York for 16 years. She currently resides in San Francisco where she teaches for Alonzo King's Lines Ballet and California State University East Bay. Education includes: Goddard College (MFA, Interdisciplinary Arts), San Francisco State University (BA, Theatre Arts and Russian Language and Literature), Shakespeare and Co, American Conservatory Theater, Moscow Art Theater School, British American Drama Academy at Oxford University, Linklater Center of Voice and Speech, and Terry Schreiber Studio. Ananda is an official adjudicator for Regional Dance America, a board member of NAPAMA (North American Performing Arts Managers and Agents), a member of the International Association for Dance Medicine and Science, and a member of the Actor's Equity Association.For more information:https://fancifool.comhttps://anandabenaweber.comMore about Liz-Work- https://www.lizshealingtouch.com/Radio Show- https://www.voiceofvashon.org/raise-the-vibePodcast- https://www.buzzsprout.com/958816Facebook- https://www.facebook.com/raisethevibewithlizInstagram- https://www.instagram.com/raisethevibewithliz/*** Seeking sponsorship. If interested, please email- liz@lizshealingtouch.comSupport me- https://paypal.me/LisbethPeterson?country.x=US&locale.x=en_US On Patreon- https://www.patreon.com/user?u=43081730Thank you!Support the show

Un día como hoy, 11 de marzo: Nace: 1818: Marius Petipa, bailarín y coreógrafo francés (f. 1910). 1921: Ástor Piazzolla, compositor y bandoneonista argentino (f. 1992). Fallece: 1908: Edmundo de Amicis, escritor italiano (n. 1846). 1931: F. W. Murnau, cineasta alemán (n. 1888). 1991: Maria Reining, soprano austriaca (n. 1903). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

S'il est un ballet dont vous connaissez le nom, c'est certainement « Le Lac des Cygnes ». Une princesse-cygne blanc, son double maléfique noir, un prince tourmenté et une histoire d'amour impossible : voici les ingrédients de ce conte sublimé par la partition de Tchaikovsky et des chorégraphies légendaires, comme celles de Marius Petipa (1895) et de Rudolph Noureev (1964). Mais qui dit ballet classique, dit tradition. En Europe, dans la plupart des compagnies de ballet, pour être distribuée sur une production du « Lac des Cygnes », une danseuse doit correspondre à des normes telle que la taille, le poids et… la blancheur. En 2022, interpréter un cygne blanc quand on est une danseuse noire ne va pas forcément de soi. Pour la danseuse française, Chloé Lopez Gomes, « Le Lac des Cygnes » a marqué, à la fois, le début de sa passion pour le ballet, quand elle était enfant, et la fin de son contrat au Staatsballet de Berlin, où elle a subi des propos racistes de la part d'une maîtresse de ballet. Aujourd'hui, Chloé Lopez Gomes partage son histoire afin de faire bouger les lignes et amener plus de diversité dans l'univers élitiste et fermé de la danse classique.

Quando pensiamo alla danza in Spagna ci viene subito in mente il flamenco, ma in realtà esistono in Spagna moltissime forme di danza. Due secoli fa il flamenco ancora non esisteva ed era invece molto fiorente la scuola Bolera, un insieme di passi di varie tradizioni spagnole, che ha preso moltissimo dalla danza classica di tecnica francese ed italiana. Nata nel 700, la Scuola Bolera è cresciuta fino a metà dell'800 e tutte le citta spagnole offrivano corsi di danza della scuola Bolera. La scuola Bolera fino a metà 800 era molto di moda presso le varie scuole di danza classica in tutta Europa, che la vedeva come una grande innovazione. Molte ballerine classiche famose, Fanny Elssler, Maria Taglioni, e grandi coreografi come Marius Petipa, si sono ispirati alla scu0ola Bolera, giungendo anche a danzare suonando le nacchere. A fine 800 la scuola Bolera ha avuto un crollo, e stava per essere messa da parte, ma per fortuna è stata recuperata nella seconda metà del 900. La scuola Bolera era una fusione di vari passi tradizionali di varie danze spagnole. Il termine viene dal verbo volar (in spagnolo la B e la V vengono pronunciate in modo quasi identico), ed indica il fatto che i danzatori saltano tanto, alzano le gambe, esprimendo grazia, eleganza, leggerezza ed energia. Fino a metà 800 era molto diffusa in tutta la Spagna fra la gente ricca (non è certamente mai stata una danza popolare!Le seguidillas Boleras, a fine 700 si tramutarono nel famoso Bolero, grazie al danzatore Sebastian Lorenzo Cerezo, che aveva studiato alla Corte di Napoli portando nella scuola Bolera le movenze della nascente scuola di balletti italiana. Angel Pericet Carmona e suo figlio Angel Pericet Jimenez, maestri di Bolero sivigliani, a metà dell'800, videro il balletto classico a Madrid, e ne rimasero molto colpiti. Cominciarono a mettere nella scuola Bolera la tecnica del balletto francese: i movimenti di braccia e gambe divennero più grandi, in modo da potersi vedere da lontano, da un palcoscenico teatrale. Inizialmente il Bolero veniva danzato da una sola coppia di ballerini, ma lo sfarzo esibito, e il fatto che la danza doveva essere destinata ai ricchi, fecero moltiplicare i danzatori sul palcoscenico. La stilizzazione della scuola Bolera le tolse quel carattere andaluso, un po' piccante, che poteva avere, per differenziarla dalla danza spontanea e soprattutto da quella gitana. La danza divenne astratta e moralista, e i maestri di scuola BOlera hanno preso lo stile del nascente flamenco aggiungendo le nacchere e stilizzando tutti i movimenti. Anche in Catalugna si evolse una parte di danza Bolera in direzione della danza classica di scuola francese, e i danzatori catalani andarono a studiare a Parigi, riportando movimenti in ginocchio, con la schiena molto inarcata, molto vistosi e teatrali. La ballerina Rosita Mauri, più volte ritratta da Degas nei suoi quadri dedicati alle ballerine, era catalana. Nell'essenza tradizionale delle Seguidillas della Mancha ritroviamo elementi molto analoghi a quelli delle Sevillanas, che infatti nascono dalle Seguidillas Sevillanas. Ogni Seguidilla è fatta su un ritmo incalzante di 3/4 o 6/8, che invita a danzare. Ogni Seguidilla è composta da un ritornello e da delle strofe. Nel ritornello i passi di danza sono esattamente gli stessi, come avviene anche nelle Sevillanas. La scuola Bolera si può dividere in due stili: i bailes de palillos si interpretano con le nacchere, bastoni, tamburelli (di origine folkloristica popolare) e vengono ballati con i chapines, polacchine chiuse con delle stringhe, con un po' di tacco, che permettono di dare colpi al suolo, e i bailes boleros, saltati, con giri molto complicati, molto simili alla danza classica quanto a difficoltà ma di estetica diversa, posizioni in torsione ed in flessione molto estreme, e si danzano con le scarpe da mezza punta. La scuola Bolera è molto bella da vedere e comprensibile ad un pubblico abituato al balletto. Una grande differenza rispetto alla danza classica di scuola francese è che la scuola bolera non è generata dal re di Spagna, mentre quella francese ha visto i natali alla corte di Francia.Il termine seguidillas viene dal verbo seguir, proseguire, continuare, e venivano utilizzate proprio per insegnare una tecnica di movimento. Sono Sabina Todaro, mi occupo di flamenco dal 1985, ho viaggiato moltissimo in Spagna e mi sono più volte incrociata con le danze bellissime della scuola Bolera. Quando ho cominciato a studiare flamenco, ero molto affascinata proprio da tutto ciò che era diverso dal balletto, che ho studiato per 20 anni. Per un breve periodo mi cimentai anch'io in queste danze bellissime. ma non era nel mio interesse. I maggiori bailaores flamenchi degli ultimi 40/50/60 anni hanno alle spalle anche la formazione della scuola bolera. Alcuni danzatori mostrano in modo evidente questa formazione: mi viene in mente a questo riguardo Olga Pericet! Fra l'altro, chissà se ha delle antiche origini comuni con la famosa famiglia di maestri di danza bolera Pericet... Persino Rocio Molina, grandissima innovatrice anzi rivoluzionatrice del flamenco, ha vistosamente ballato tantissimo la scuola bolera. Cerca su Youtube "Escuela Bolera" per avere idea di come sia, se non hai mai visto nulla. Vedrai forma bellissime, eleganti e particolari. Ma noterai che la scuola bolera non esplora nessuna delle emozioni profonde che vengono espresse dal flamenco, ma solo da una valenza estetica. Ricordiamo però che studiare la scuola bolera può essere molto utile ad un bailaor flamenco, per fare movimenti più precisi e leggibili da più lontano.Il flamenco può essere una danza super-difficile, che viene sostenuta da un lavoro tecnico tremendo, allenamento, fiato, elasticità, agilità, resistenza, ma i suoi movimenti sono naturali, e non sono mai gesti così ampi da non poter essere eseguiti da una persona comune. Nella scuola bolera le gambe salgono tantissimo, sono extraruotate, le caviglie sono estese al massimo... insomma sono movimenti che non si possono imparare senza fare una scuola, perciò non era la danza della gente comune ma solo di quella ricca!

Historiquement Vôtre réunit trois personnages qui portent bien leur nom : le danseur devenu chorégraphe Marius Petipa qui a avancé, avec un nom prédestiné, dans la danse à son rythme, traversant l'Europe, de la France à la Russie, jusqu'à diriger la troupe impériale de Saint-Pétersbourg. Puis, lui aussi avait le nom qui allait de pair avec ce qu'il était : l'humoriste et imitateur Thierry Le Luron qui, dans une carrière - hélas - éclair, a fait trembler les politiques et fait rire surtout la France des années 70/80. Et un baron de la drogue en Jamaïque qui, lui aussi, porte sacrément bien son nom : Christopher Coke !

Stéphane Bern et Matthieu Noël, entourés de leurs chroniqueurs historiquement drôles et parfaitement informés, s'amusent avec l'Histoire – la grande, la petite, la moyenne… - et retracent les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Marius Petipa.

Historiquement Vôtre réunit trois personnages qui portent bien leur nom : le danseur devenu chorégraphe Marius Petipa qui a avancé, avec un nom prédestiné, dans la danse à son rythme, traversant l'Europe, de la France à la Russie, jusqu'à diriger la troupe impériale de Saint-Pétersbourg. Puis, lui aussi avait le nom qui allait de pair avec ce qu'il était : l'humoriste et imitateur Thierry Le Luron qui, dans une carrière - hélas - éclair, a fait trembler les politiques et fait rire surtout la France des années 70/80. Et un baron de la drogue en Jamaïque qui, lui aussi, porte sacrément bien son nom : Christopher Coke !

Stéphane Bern et Matthieu Noël, entourés de leurs chroniqueurs historiquement drôles et parfaitement informés, s'amusent avec l'Histoire – la grande, la petite, la moyenne… - et retracent les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Marius Petipa.

Host Jim Sparrow and Artistic Director Karen Gibbons-Brown talk ballet history, as they debate the collaborative history of Tchaikovsky and choreographer Marius Petipa and the timelessness of Sleeping Beauty. In preparation for the Fort Wayne Ballet's production of the classic, they discuss staging, both modern and historical, and the origins of the grand pas de deus.Kinetic Conversations is a creation of Wayneshout Productions, LLC. Fort Wayne has a voice at Wayneshout.com.

Ted Brandsen is choreograaf en creatief directeur van Het Nationale Ballet. Nu werkt Brandsen met het ballet aan een eigen versie van de Russische balletklassieker Raymonda van Marius Petipa. Het verhaal van deze grote productie is gebaseerd op een middeleeuwse legende en speelt zich af ten tijde van de kruisvaarders. Het werk van Brandsen staat in het repertoire van veel buitenlandse gezelschappen, in 2019 ontving hij de Amsterdamprijs voor de Kunst in de categorie Bewezen kwaliteit. Pieter van der Wielen gaat met Ted Brandsen in gesprek.

Happy Birthday to Marius Petipa, Vaslav Nijinsky, and Dave Gould! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

Tras un año de vaivenes con aforos limitados las Artes Escénicas afrontan el 2022 con "incertidumbre", asegura el presidente de los productores de teatro y danza en España, Jesús Cimarro. Los escenarios españoles esperan no volver a las restricciones, recuperar “cierta normalidad que todos añoramos" y que la temporada sea fructífera, añade Cimarro. Estos son algunos de los estrenos previstos para el 2022 en los escenarios de Madrid. TEATRO REAL El Teatro Real cierra temporada salvando las dos últimas funciones de 'La bohème', tras suspender varias representaciones por 25 positivos de covid entre sus trabajadores. Para 2022 el Teatro Real ha programado ‘La Bayadera', una de las obras fundamentales del repertorio de las compañías de danza clásica con libreto de Marius Petipa y Sergei Khudekov y música del austriaco Ludwing Minkus (1826-1917). El Teatro Real ofrece el 8 de enero un recital de la soprano Lise Davidsen Pieza, estrenada en el Teatro Imperial Bolshói Kamenny de San Petersburgo en enero de 1877, llegará a mediados de mayo a Madrid de la mano del Ballet Bolshói con un nueva versión escénica de Yuri Grigorovich. Flamenco en el Real Tras mucho lamento, el flamenco se sentirá y vivirá en el Real con Alba Heredia, bailaora que pertenece a una de las dinastías más relevantes del mundo flamenco como son los Maya o con el zapateado poderoso de Eduardo Guerrero González y el trabajo visceral de Patricia Guerrero, Premio Nacional de Danza 2021. Izal sinfónico en el Teatro Real para despedir la Navidad Kiki Morente también estará en junio en el Real y cerrará el ciclo de Flamenco Real José Santiago ‘Carrete de Málaga', máximo exponente del baile personal, el de la calle, el de una posguerra que descubrió y resaltó la necesidad. Izal, Manuel Carrasco, Zaz o Miguel Poveda, son algunos de los artistas que completan la oferta cultural del Teatro Real para 2022, sin olvidar la programación pensada para los más pequeños, El Real Junior. Un 'Apollo y Pulcinella' sin barreras en los Teatros del Canal ESTRENOS DE TEATRO El Centro Dramático Nacional comienza el año con tres estrenos absolutos: una comedia dramática sobre la cárcel, 'El cuaderno de Pitágoras', un espectáculo performático, 'Inloca', y una comedia romántica en clave signada 'Manual básico de lengua de signos para romper corazones'. En Teatro Español, Mario Gas se pondrá a los mandos de 'Amici miei', un espectáculo creado e interpretado por el propio Gas quien abre las puertas para conocer a San Juan de la Cruz, Valle- Inclán a Fernando Fernán Gómez o Enric Casassas. TMDHTM20220103_0024 Bajo la dirección de José Carlos Plaza, llegará también al Teatro Español 'La Casa de Bernarda Alba', de Federico García Lorca, una pieza sobre los ancestros que no conocen la comprensión ni la compasión hacia aquel ser que han creado. También el Español acogerá el testamento artístico de Gerardo Vera, 'Oceanía', un texto que firma con José Luis Collado, el último proyecto que el dramaturgo selló antes de fallecer. Un monólogo que retrata un país y una época a través de los ojos de un hombre en el otoño de su vida. Blanca Portillo volverá a dar voz a un hombre en 'Silencio', un texto de Juan Mayorga que indaga sobre la importancia de escuchar el silencio. Juan Mayorga y Blanca Portillo nos invitan a un teatro de "excelencia" en 'Silencio' Una amplia programación de danza se dará cita en los Teatros del Canal donde la compañía británica del bailarín y coreógrafo Akram Khan presentará en España 'Jungle Book Reimagined' ('El libro de la selva reimaginado'). Els Joglars conmemora sus 60 años de vida, que la convierten en la compañía privada en activo más antigua de Europa, en los Teatros del Canal con '¡Que salga Aristófanes!', una reivindicación de la comedia, del teatro y sus gentes, como catalizadores de la libertad de expresión. Les Luthiers regresan a Madrid 'Una costilla en la mesa: Padre', de Angélica Liddell, que además protagoniza, dirige y que también se ha encargado de la escenografía y del vestuario y 'Los secuestradores del lago Chiemsee', de Mario Gas y Alberto Iglesias, son otros dos de los estrenos destacados en el Canal. Los míticos Les Luthiers regresan a Madrid con 'Viejos Hazmerreíres' en febrero en Ifema Palacio Municipal de Congresos, cuatro únicas funciones que los argentinos realizarán de este show en la capital. Y a finales de septiembre se estrenará 'Matilda', un musical basado en la famosa novela de Roald Dahl. COMPAÑÍA NACIONAL DE DANZA Lo que sí está confirmado es el regreso de Nacho Duato a la Compañía Nacional de Danza después de más de una década de ausencia. El bailarín será el invitado de excepción en la CND con la coreografía "Morgen". La Compañía Nacional estrenará además en 2022 "Polyphonia", de Christopher Wheeldon y "Grosse Fuge" coreografiada por Hasn van Mamen.

La Bayadère est créée en 1877 au Théâtre impérial de Saint Pétersbourg. La chorégraphie est signée Marius Petipa, sur une musique de Ludwig Minkus. Mais pourquoi ce ballet a-t-il tant marqué Rudolf Noureev, tout jeune soliste du Ballet du Mariinsky ?

Back by popular demand!  Devin breaks down Tchaikovsky's beloved Nutcracker. It wouldn't be the Christmas Holiday in the western world without the magical sounds of the Nutcracker, composed by the great Pyotr Ilyich Tchaikovsky, and centering around Clara, a young girl who falls in love with a Nutcracker Prince and conjures an epic battle against a Mouse King with Seven Heads. We'll travel into the fantastical worlds of Tchaikovsky, writer and musician E.T.A. Hoffmann, and choreographer Marius Petipa as we bring this marvelous ballet to life. Don't worry, there will be plenty of holiday sweets to keep you focused! Thank you to all the incredible record labels and performers who made this episode possible. Ensembles: Orchestra of the Kirov Opera, Apotheosis Orchestra, Ensemble Musica Nigella, Bavarian Radio Symphony Orchestra, Simón Bolívar Symphony Orchestra of Venezuela, Oslo Philharmonic, Vienna Philharmonic Conductors: Valery Gergiev, Korneel Bernolet, Takénori Némoto, Jan Koetsier, Gustavo Dudamel, Mariss Jansons Soloists: Éléonore Pancrazi, Rita Streich, Melitta Muszely, Raimund Grumbach, (singers); Philippe Bianconi, pianist Labels: Philips, Apotheosis, Klarthe, La Dolce Volta, Classical Moments, Deutsche Grammophon, Chandos, Decca Thank you for joining us. you can always find more info at OneSymphony.org. Please feel free to rate review or share the show! Until next time, thank you for being part of the music!

Julie Kent became the Artistic Director of The Washington Ballet in July 2016. She is the longest-serving ballerina in American Ballet Theatre's 79-year history. She began her dance training with Hortensia Fonseca at the Academy of the Maryland Youth Ballet in Bethesda, MD and attended summer sessions at American Ballet Theatre II and the School of American Ballet before joining American Ballet Theatre as an apprentice in 1985. In that same year, Kent won first place in the regional finals of the National Society of Arts and Letters at the Kennedy Center. In 1986, she was the only American to win a medal at the Prix de Lausanne International Ballet Competition, and she became a member of ABT's corps de ballet.Kent starred in the Herbert Ross film “Dancers” in 1987 opposite Mikhail Baryshnikov. She was appointed a Soloist with ABT in 1990 and a Principal Dancer in 1993, the year in which she became the first American to win the Erik Bruhn Prize in Toronto and was named one of People Magazine's “50 Most Beautiful People.” In April 2000, Kent achieved another triumph, becoming the first American to win the “Prix Benois de la Danse.” Later that year, Kent starred in the motion picture “Center Stage” directed by Nicholas Hytner. In 2012, she was awarded an Honorary Doctorate of Performing Arts from the University of North Carolina School of the Arts as well as a “Lifetime Achievement Award” from Dance Magazine. Since 2014, she has been the Brand Ambassador for HANIA New York, a luxury line of hand-knit cashmere in NYC.During Kent's long performing career, she has acquired a vast repertoire dancing over 100 ballets, including all of the major classical, dramatic and neo-classical roles in works by Marius Petipa, George Balanchine, Jerome Robbins, Frederick Ashton, Kenneth MacMillan, John Cranko, Anthony Tudor, Michel Fokine, Agnes DeMille, Merce Cunningham, Jose Limon, Jiri Kylian, Ronald Hynd, Ben Stevenson and Christopher Wheeldon. As well, she has had roles created on her by John Neumeier, Lar Lubovitch, Mark Morris, Twyla Tharp, Alexei Ratmansky, Nacho Duato, Stanton Welch, James Kudelka, Jorma Elo, David Parsons, Jessica Lang, and Natalie Weir. Her appearances as a guest include invitations from the Mariinsky Theatre, Teatro alla Scala, New York City Ballet, Stuttgart Ballet, Berlin Staatsballett, Australian Ballet, Bayerisches Staatsballett, Teatro Colon, Ballet de Santiago, and others. In August of 2015, after a 30-year performing career, Kent was named Artistic Director of ABT's Summer Intensive, a comprehensive summer dance program for 1,400 students at five campuses across the US.Since Kent arrived at The Washington Ballet, she has brought important classical and contemporary masterworks into the repertoire, including her and Victor Barbee's own critically acclaimed staging of The Sleeping Beauty, described by New York Times former chief dance critic Alastair Macaulay as “one of the world's finer Sleeping Beauties.” Kent's steadfast commitment to the development of artists, rising choreographers, and the creation of arts education initiatives that benefit the community of our Nation's Capital, showcase her dedication to creativity, expression, and to propelling ballet forward into the 21st century.Kent is married to The Washington Ballet's Associate Artistic Director Victor Barbee, and, as a mother of two children, she has helped redefine the image of the American Ballerina.

Un Día Como Hoy 14 de Julio: Acontece: 1789: en París (Francia) se produce la Toma de la Bastilla, que supuso el fin del Antiguo Régimen y el comienzo de la Revolución francesa. Nace: 1862: Gustav Klimt, pintor austríaco (f. 1918). 1918: Ingmar Bergman, cineasta sueco (f. 2007). Fallece: 1910: Marius Petipa, bailarín y coreógrafo francés (n. 1818). Una producción de Sala Prisma Podcast. 2021

Welcome back to the 50th episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. The theatres may be closed, but art finds a way to survive! For the time being on this podcast we are rereleasing our past reviews, interviews, roundtables, and duet reviews in remastered audio only versions so you can take your CoH content on the go! For our extra special 50th episode we are doing a follow review to one of our most popular episodes The Nutcracker by discussing the Royal Ballet's 2017 production of Tchaikovsky's, Sleeping Beauty, choreographed by Marius Petipa, conducted by Koen Kessels, and starring Marianela Nuñez in the role of Princess Aurora. Watch the play on BroadwayHD (subscription needed): https://www.broadwayhd.com/movies/AXMGebsPcMKLgL1nBMJS?display=poster Cup of Hemlock Theatre is a Toronto-based performing arts collective dedicated to staging works that examine the moral quandaries of the human experience. With an inquisitive compass, we aim to provide audiences the space to retrace their personal stories and navigate their individual ideologies. Follow us on Instagram/Facebook/Twitter: cohtheatre Follow our panelists: Mackenzie Horner (Before the Downbeat: A Musical Podcast) – Instagram/Facebook: BeforetheDownbeat Apple Podcasts: https://apple.co/3aYbBeN Spotify: https://spoti.fi/3sAbjAu Alicia Plummer – Instagram: itisaliciaplummer // TikTok: hialiciabyealicia // YouTube: Alicia Onlineee: https://bit.ly/2S7DHgs Emma Kerson – Website: emmakerson.ca // Instagram: eksk // Academic Profile: https://bit.ly/3fsONVl Anna Paliy – Website: https://ampart.wixsite.com/research // Instagram: rococompost // Academic Profile: https://bit.ly/3eXTeZb // Her performance reviews can be found at www.thedancecurrent.com/ and www.briband.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/cup-of-hemlock-theatre/support

Summary:In today's episodes of The Tragedy Academy, Jay is joined by Brazilian actor and dancer Glauco Araujo. Glauco walks us through his life growing up in remote farmland in Brazil and how he turned his internal struggles into beautiful art for all to consume.Key Points: Glauco tells his backstory growing up in a remote farm area in BrazilTransitioning from a field outside of Rio to an accomplished dancer and actorGlauco's first contact with balletFavorite ballet dancer Rudolph Nureyev and relating to his struggleMoving to New York wanting to something moreSeeking therapyCharity: Disciple Actors GuildEpisode Highlights:[02:23] Glauco tells us his experience growing up on a farm outside of Rio De Janeiro and his aspirations of wanting something more [05:05] Glauco shares where his passion for dance was born. Starting with performing at Carnival, to working in the Paralympics, and also working for Modern Dance in Chicago.[07:20] Glauco expresses his awe every time he visited Rio as a kid, comparing it to being in Times Square for the first time. [09:47] Glauco gives us a rundown of his initial contact with a ballet which was getting his first job in a dance company in Rio where he was lucky enough to have a director who believed in him. Although he does admit that he hated ballet at first.[12:49] Glauco begins to immerse himself into the ballet by studying its history which is where he discovered his favorite dancer, Rudolf Nureyev.[17:37] Glauco reveals how he relates to Rudolph's struggle; the diversity he had to overcome by being gay, the humble beginnings, his grit in following his dreams. [19:36] Glauco shares the difficulties growing up in Brazilian culture that is traditionally machismo and suppressive, and evangelical.[21:51] Gluaco expresses his relief and gratitude for finally living in a place that allows him to be free and is encouraged to live out his dreams.[26:00] Glauco moves to New York where he feels a burning desire to do more than dance, something that allows the human connection. [29:14] When moving to New York, a director sees Glauco perform and offers him a role in a short film about dancing. [31:02] Glauco reveals that most opportunities that have come into his life have been through connecting with people.[34:37] Staying out of trouble is Glauco's #1 advice to his younger self, but through this, he recognizes that his aggressions as a kid acted as a way to protect himself. [38:46] Glauco and Jay discuss how people don't change without new experiences which also means you cannot judge people without people having a chance to be confronted in what they believe in.[40:30] Glauco confesses how therapy was his savior in overcoming and accepting past trauma. He feels that the only way to help others in seeking mental help is by setting the example.[42:58] Charity: Disciple Actors Guild; helps performers pay their rent and bills [46:01] Glauco shares heartwarming messages he has received on social media [48:34] Jay and Glauco discuss the very prominent body dysmorphia in dance and how we judge ourselves to the worst degrees.[51:00] Plugs: 2 short films that will be out in June. Actorsguild.org[54:00] OutroConnect with Glauco:WebsiteInstagramYouTubeIMDB Tweetable Quotes: “I think the motivation should be to get out of the small town and be in a big city...I had a dream to be an artist”“I was lucky enough to have a director who believed in me… a raw talent”“I got the job first and started taking ballet classes, and I HATED ballet in the beginning”“Where I came from you don't have a choice”“I don't have to be afraid when I got outside, I'm free here. I can be myself. it's like everything is in favor of me”“If there's 50% of love… try to nurture that 50%” Glauco Araujo is a Brazilian-born professional dancer and actor trained both here in the U.S. and in Brazil. In Rio, Glauco danced with the Rio Dance Company (modern dance), as well as with the integrated dance company ANDEF (disability dance). In 2012, Glauco represented Brazil in the closing ceremony of the Paralympic games in London. And from 2015 to 2017 Glauco acted and danced lead roles at Momenta Dance Company with a repertoire including Doris Humphrey, Martha Graham and Charles Weidman, as well as classic choreographers like August Bournonville, Mikhail Fokine, Jules Perrot and Marius Petipa; and disability choreographers Alice Sheppard and Ginger Lane. At Momenta, a dance piece entitled Meloudious Marco was created for Glauco in which he was featured in the lead role of Marco. Glauco was drawn to NYC in early 2017 and was given a scholarship in at Alvin Ailey from 2017 to 2018. In 2018, he was the featured dancer in Aria, a duet choreographed for him by Pedro Ruiz, with live accompaniment by the Camerata NY Orchestra. Glauco danced and acted the following year in Sasha Spielvogel's new musical Come Back Once More So I Can Say Goodbye — a celebration of the 50th anniversary of Stonewall. Glauco's next featured role was in Joshua Bergasse's musical A Crossing, performed with Barrington Stage Company. Glauco has teamed several times, beginning in 2018 to the present, with the award-winning German dancer/director Severine Reisp. Their films have been recognized in a number of international film festivals: A Tango to Remember– Best Romance Film, Los Angeles Film Awards; Best Woman Filmmaker, The Atman Film Festival; Cinematic Award Winner, Cyprus International Film Festival; Ruminate– Best Musical and Best Dance Choreography, Oniros Film Awards; Best Musical/Dance Film, Los Angeles Film Awards. Another film, Lucid, written and directed by Juan Wang has received a Best Film award from The Heibei Television Artists Association. Glauco costarred in this short film with the beautiful and talentedactress and formerAmerican Ballet Theater dancer, Elina GoldeMiettinen. Another film project that Glauco and Elina collaborated on Stop What You're Doing(Music Video), directed by Severine Reisp. This music video won Best Music Video at the Athens International Digital Film Festival Award. On TV, Glauco most notably had a featured comic role in a promo commercialfor Betty in New York, and last January Glauco played the devious Pawnbroker on The Investigation Discovery Channel in Homicide City: Charlotte. Drawn to the New York theater scene, Glauco has worked nonstop onstage for the past three years, working often with Triangle Theater and The Snarks, ACC and EAG. His New York debut was as the romantic lead, Peter Latham, in Pierre Barillet's Forty Carats. His comic turn was followed by his hilarious performance as the effete Bob Lamb in Tina Howe's Museum. In a series of scene nights, Glauco's range has covered the hot-headed role of Ken in John Logan's Red, the sweet-hearted Cornelius in Thornton Wilder's The Matchmaker, the deceptive Morris Townsend in Ruth and Augustus Goetz's The Heiress, and the diabolic Adolf Eichmann Raul Wallenberg's Saved Me. In Soledad Bailada y Casi Compartida, presented at the University of Seville, and on tour around Spain. Glauco has been thrilled to work alongside Broadway and West End actors Anthony Newfield, Alison Fraser and Karen Archer in Richard Alleman's new play Adrift, playing the Brazilian, and provocative Zumba instructor, Flavio. Glauco has been honored to be part of special performances to benefit the Episcopal Actors' Guild and the Cape May Stage. Reviewed in the Times Square Chronicles, “Betsy (Alison Fraser) longs for something more, alongside interactions of the less virtuous kind with the handsome and sweet-talking Flavio, played seductively by the appealing Glauco Araujo (Spielvogel's Come Back Once More).” Recently, Glauco performed in a short bio-pic entitled Dance for Freedom directed by Severine Reisp, highlighting the challenges people of color face today, and which has garnered recognition as the First-Place Recipient of the Dr. David Milch Foundation/CCNY Award in short film competition. In her review, juror Timberkly Whitfield, program executive and producer for A&E, as well as a host on the History Channel and A&E, wrote: “Glauco Araujo is a beautiful dancer and you capture him in such a way that really moved me. I felt inspired by his story that even in the face of racism he doesn't see himself as a victim. Strong production values. You checked all the boxes on this one — FANTASTIC!”  Link from past Interviews  http://diversityrulesmagazine.com/2021/02/28/march-feature-interview-glauco-araujo/http://www.ourtownny.com/news/the-universal-language-of-the-arts-YE1547010https://elespecial.com/glauco-araujo-el-bailarin-que-ha-conquistado-de-brasil-new-yorkhttps://www.noticiali.com/glauco-araujo-sobreviviendo-a-traves-de-la-creatividad/

Episodio en Inglés, si deseas verlo con subtítulos, te invito a ir a nuestro canal de YouTube. Julie Kent ha estado al frente del Washington Ballet desde julio de 2016 y fue la primera bailarina con mayor carrera en los 80 años de historia del American Ballet Theatre. Comenzó su formación en danza con Hortensia Fonseca en la Academy of the Maryland Youth Ballet en Bethesda, MD y asistió a sesiones de verano en American Ballet Theatre II y en la School of American Ballet antes de unirse a American Ballet Theatre como aprendiz en 1985. Ese mismo año , Kent ganó el primer lugar en las finales regionales de la Sociedad Nacional de Artes y Letras en el Kennedy Center. En 1986, fue la única estadounidense en ganar una medalla en el Concurso Internacional de Ballet Prix de Lausanne y se convirtió en miembro del cuerpo de ballet de ABT. Kent protagonizó la película de Herbert Ross "Dancers" en 1987 junto a Mikhail Baryshnikov. Fue nombrada solista con ABT en 1990 y bailarina principal en 1993, año en el que ganó el premio Erik Bruhn, en Toronto, y fue nombrada una de las "50 personas más bellas" de la revista People. En abril de 2000, Kent ganó el "Prix Benois de la Danse" siendo la primera estadounidense en ganar este premio. Más tarde ese año, Kent protagonizó la película "Center Stage" dirigida por Nicholas Hytner. En 2012, recibió un Doctorado Honoris Causa en Artes Escénicas de la Escuela de Artes de la Universidad de Carolina del Norte, así como un "Premio a la Trayectoria" de la Dance Magazine. Desde 2014, ha sido la embajadora de la marca de HANIA New York, por Anya Cole, una línea de suéteres tejidos a mano. Durante su carrera interpretativa, Julie Kent adquirió un vasto repertorio de más de 100 ballets, incluídos los principales papeles clásicos, dramáticos y neoclásicos en obras de Marius Petipa, George Balanchine, Jerome Robbins, Frederick Ashton, Kenneth MacMillan, John Cranko, Anthony Tudor, Michel Fokine, Agnes de Mille, Merce Cunningham, José Limón, Jiří Kylián, Ronald Hynd, Ben Stevenson y Christopher Wheeldon. Además, ha tenido papeles creados para ella por coreógrafos como John Neumeier, Lar Lubovitch, Mark Morris, Twyla Tharp, Alexei Ratmansky, Nacho Duato, Stanton Welch, James Kudelka, Jorma Elo, David Parsons, Jessica Lang y Natalie Weir. Sus apariciones como invitada incluyen invitaciones del Teatro Mariinsky, Teatro alla Scala, New York City Ballet, Stuttgart Ballet, Berlin Staatsballett, Australian Ballet, Bayerisches Staatsballett, Teatro Colón, Ballet de Santiago y otros. Antes de unirse al Washington Ballet, en agosto de 2015, después de una carrera de 30 años, Julie fue nombrada Directora Artística del Summer Intensive de ABT, un programa integral de verano para 1,400 estudiantes que se lleva a cabo en cinco localidades en los Estados Unidos. Julie Kent está casada Victor Barbee, director artístico asociado del Washington Ballet, desde 1996 y tiene dos hijos. Es una de las pocas mujeres líderes en todo el mundo en el papel de directora artística, Kent está redefiniendo la imagen y el impacto de la bailarina estadounidense.

Un día como hoy, 11 de marzo: Nace: 1818: Marius Petipa, bailarín y coreógrafo francés (f. 1910). 1921: Ástor Piazzolla, compositor y bandoneonista argentino (f. 1992). Fallece: 1908: Edmundo de Amicis, escritor italiano (n. 1846). 1931: F. W. Murnau, cineasta alemán (n. 1888). 1991: Maria Reining, soprano austriaca (n. 1903). Una producción de Sala Prisma Podcast. 2021

Glauco Araujo is a Brazilian-born professional dancer and actor trained both in the U. S. and in Brazil. In Rio, Glauco danced with the Rio Dance Company (modern dance), as well as with the integrated dance company ANDEF (disability dance). In 2012 Glauco represented Brazil in the closing ceremony of the Paralympic games in London. And from 2015 to 2017 Glauco acted and danced lead roles at Momenta Dance Company with a repertoire including Doris Humphrey, Martha Graham and Charles Weidman, as well as classic choreographers like August Bournonville, Mikhail Fokine, Jules Perrot and Marius Petipa; and disability choreographers Alice Sheppard and Ginger Lane. At Momenta, a dance piece entitled Meloudious Marco was created for Glauco in which he was featured in the lead role of Marco. Glauco was drawn to NYC in early 2017 and was given a scholarship in ballet at Alvin Ailey from 2017 to 2018. Glauco has teamed several times, beginning in 2018 to the present, with the award- winning German dancer/director Severine Reisp. Their films have been recognized in a number of international film festivals: A Tango to Remember – Best Romance Film, Los Angeles Film Awards; Best Film, The Atman Film Festival; Cinematic Award Winner, Cyprus International Film Festival; Ruminate – Best Musical and Best Dance Choreography, Oniros Film Awards; Best Film, Los Angeles Film Awards. Another film, Lucid, written and directed by Juan Wang has received a Best Film award from The Heibei Television Artists Association. Glauco has been thrilled to work alongside Broadway and West End actors Anthony Newfield, Alison Fraser and Karen Archer in Richard Alleman's new play Adrift, playing the Brazilian, and provocative Zumba instructor, Flavio. Glauco has been honored to be part of special performances to benefit the Episcopal Actors' Guild and the Cape May Stage. Reviewed in the Times Square Chronicles, “Betsy (Alison Fraser) longs for something more, alongside interactions of the less virtuous kind with the handsome and sweet-talking Flavio, played seductively by the appealing Glauco Araujo (Spielvogel's Come Back Once More).” Recently, Glauco performed in a short bio-pic entitled Dance for Freedom, highlighting the challenges people of color face today, and which has garnered recognition as the First-Place Recipient of the Dr. David Milch Foundation/CCNY Award in short film competition. In her review juror Timberkly Whitfield, program executive and producer for A&E, as well as a host on the History Channel and A&E, wrote: “Glauco Araujo is a beautiful dancer and you capture him in such a way that really moved me. I felt inspired by his story that even in the face of racism he doesn't see himself as a victim. Strong production values. You checked all the boxes on this one — FANTASTIC!” Find more of Glauco: Instagram: @glaucoaraujonyc Youtube: https://www.youtube.com/c/GlaucoAraujo Website: www.glaucoaraujo.com A Statement from Glauco: "I'm a fan of the podcast and listen to the stories I felt inspire to share. I went over my old notes, things that I wrote in the past. My main idea is to inspire other people, creating any kind of positive message so they continuing to believe in themselves no matter the circumstances." -------------------------------------------------------------------------------------------------------------- Created during a time of quarantine in the global Coronavirus pandemic, A Moment Of Your Time's mission is to provide a space for expression, collaboration, community and solidarity. In this time of isolation, we may have to be apart but let's create together.  Follow Us: Instagram | Twitter Created by CurtCo Media Concept by Jenny Curtis Theme music by Chris Porter Edited by Darra Stone A CurtCo Media Production See omnystudio.com/listener for privacy information.

On this episode I chatted with Principal Dancer of the OKC Ballet, Jonathan Batista. Jonathan started his training at a social project in the City of God Slums. His talent was then spotted by his teacher which took him to a pre-professional dance division at Alice Arja Ballet School where he started his journey in Classical Ballet. Batista was first seen by Edward Villella (Former Founder & Artistic Director of Miami City Ballet) and then by Jane Hackett (Former School Director at English National Ballet School) which offered him a full scholarship to English National Ballet School in London, UK. Batista also attended The Royal Ballet School.Upon his Graduation in 2011 Batista went on to perform with major ballet companies such as English National Ballet, The National Ballet of Canada, Miami City Ballet, Boston Ballet, Cincinnati Ballet, and Oklahoma City Ballet. Batista has worked and performed Soloist & Principal Roles in many of the most renowned choreographers such as Helen Pickett, Val Caniparoli, Septime Webre, Jiri Kylian, Ma Cong, Jennifer Archibald, Annabelle Lopez Ochoa, Marcelo Gomez, John Neuemeier, Christopher Wheeldom, Liam Scarlett, Jorma Ello, William Forsythe and more.Batista's rep includes Principal and Solo Roles by choreographers such as Sir Frederick Ashton, Sir Kenneth MacMillan, August Bournonville, Marius Petipa, Rudolph Nureyev, Maurice Bejart, Harald Lander, Robert Joffrey and more.Batista has also performed as a Guest in Galas and events in Canada, Brazil, Argentina, Germany, England, Switzerland & The United States.Currently as a Principal Dancer with The Oklahoma City Ballet, Batista also serves as a private ballet master & coach, choreograph and teach groups via ZOOM for studios and students worldwide, and during his spare time he also serve as a Mentor and is wholeheartedly involved in charitable & humanitarian causes. Follow Jonathan on instagram here www.instagram.com/jonathanbatistaofficial online at www.jonathanbatistaofficial.comThis episode is presented  by the oklahoma hall of fame. Telling Oklahoma's story through its people since 1927. Follow them online at www.oklahomahof.com and on social media www.instagram.com/oklahomahof

Raymonda is a ballet in three acts, four scenes with an apotheosis, choreographed by Marius Petipa to music by Alexander Glazunov, his Opus 57. It was first presented by the Imperial Ballet at the Imperial Mariinsky Theatre on 19 January [O.S. 7 January] 1898 in Saint Petersburg, Russia. The ballet was created especially for the benefit performance of the Italian ballerina Pierina Legnani, who created the title role. Among the ballet's most celebrated passages is the Pas classique hongrois (a.k.a. Raymonda Pas de dix) from the third act, which is often performed independently. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1206/Glazunov%3A_Raymonda%2C_Op._57.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Don Quixote is a ballet in four acts and eight scenes, based on episodes taken from the famous novel Don Quixote de la Mancha by Miguel de Cervantes. It was originally choreographed by Marius Petipa to the music of Ludwig Minkus and first presented by the Ballet of the Imperial Bolshoi Theatre of Moscow, Russia on 26 December 1869. Petipa and Minkus revised the ballet into a far more expanded and elaborated edition in five acts and eleven scenes for the Imperial Ballet, first presented on 21 November 1871 at the Imperial Bolshoi Kamenny Theatre of St. Petersburg. ​ All modern productions of the Petipa/Minkus ballet are derived from the version staged by Alexander Gorsky for the Bolshoi Theatre of Moscow in 1900, a production the ballet master staged for the Imperial Ballet of St. Petersburg in 1902. Performed by the Sofia National Opera Orchestra Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p562/Minkus%3A_Don_Quixote.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

O bailarino gaúcho Norton Fantinel é um “habitué” dos palcos americanos, europeus e brasileiros. De Porto Alegre, onde nasceu, passou pela escola do Bolshoi, em Santa Catarina, e desde então, girou o mundo. Neste ano, superou vários obstáculos, como a crise sanitária que castigou a classe artística, e inaugurou recentemente a Arles Youth Ballet Company, em Fourques, no sul da França. Tudo começou quando Norton tinha quatro anos de idade. Em entrevista à RFI, ele conta que o único jeito que os pais encontravam para acalmar o menino hiperativo eram os filmes de dança. “Um dia, minha mãe alugou ‘Momento de Decisão’, com Mikhail Baryshnikov, e eu me apaixonei. Eu disse: ‘que cara incrível, eu quero ser igual a ele quando eu crescer’. Então, minha mãe me matriculou em uma escola de balé e foi o início desse sonho”, relembra. A abertura de sua própria companhia de dança no país berço do balé clássico é o salto mais alto da carreira de Norton Fantinel, de 33 anos. Do alto das sapatilhas, o gaúcho exibe um currículo brilhante: foi bailarino principal do Washington Ballet e do Tulsa Ballet, nos Estados Unidos, também da São Paulo Companhia de Dança, do Dortmund Ballet, na Alemanha, e do Ballet du Capitole, em Toulouse, na França. Nos palcos, encarnou protagonistas de grandes produções, como “Dom Quixote”, por Anne Marie Holmes, “Coppelia”, por Arthur Saint-Leon, “Le Corsaire” e “Gisèle”, por Kader Belarbi, “Quebra-Nozes”, por Septime Webre, “Lago dos Cisnes“, por Marius Petipa, entre tantos outros espetáculos. Norton conta que vinha alimentando, junto da esposa, a bailarina carioca Karina Moreira, “companheira dos palcos e da vida”, o sonho de abrir sua própria companhia de dança. O casal planejava concretizar os planos em alguns anos. Foi de forma inesperada e após um grave incidente que os dois revolveram antecipar o projeto. Instalados na França há alguns anos, Norton e Karina estavam de malas prontas para a Escócia. O gaúcho deveria assumir a direção artística do prestigioso Ballet West Scotland, quando o diretor-geral da instituição foi acusado de abuso sexual de menores. “Eu e minha esposa recusamos os empregos porque não queríamos nos vincular a esse caso. Foi então que os prefeitos de Arles e de Fourques nos convidaram para fazer, no sul da França, o mesmo que faríamos na Escócia. E assim abrimos a Arles Youth Ballet Company”, relembra. Norton lamenta o incidente, que sacudiu o universo da dança, em meados deste ano. A sequência dos fatos foi um tanto inesperada para Norton e Karina, que acolheram todos os bailarinos que, como eles, também iriam para a Escócia, além de outros profissionais que se uniram ao projeto do gaúcho e da carioca. “Estávamos no lugar certo e na hora certa quando esse caso terrível aconteceu e que conseguimos transformar em algo maravilhoso. Hoje temos um grupo com bailarinos de mais de oito nacionalidades. Em apenas três meses, formamos essa equipe linda da qual temos muito orgulho”, comemora. Filosofia vanguardista O gaúcho conta que, em tempo recorde, organizou e, literalmente, ergueu a companhia de dança, “que começou do zero”. Norton participou até mesmo da construção do prédio que acolhe atualmente treze bailarinos, além de mais cinco que aguardam a abertura das fronteiras da União Europeia para poder entrar da França. Ao lado de Karina, com quem compartilha a direção-geral da Arles Youth Ballet Company, além da secretária-executiva Cécile Arnaud e a fisioterapeuta Sofia Ornellas, o grupo determinou e trabalha dentro de uma filosofia vanguardista dentro do universo do balé. “Valorizamos a humanidade. Cada bailarino é único e especial. Não quero profissionais que apenas façam passos, eu quero que eles se expressem através da nossa arte. Afinal, dançar não é apenas uma ginástica, mas trabalhar seus sentimentos e mexer com o sentimento do público. E sempre respeitando o colega porque a arte não é uma competição, mas uma ferramenta para conectar a humanidade”, diz. Uma conexão cuja necessidade ficou ainda mais evidente durante a crise sanitária desencadeada pelo coronavírus. A classe artística francesa está há meses impossibilitada de organizar e realizar espetáculos devido à imposição do governo do fechamento dos locais culturais. “Nessa época de Covid-19, a cultura é o nosso remédio. A dança, a arte, os livros, os filmes, a música é o que nos mantêm sãos nesse período.” Norton conta que teve de se adaptar para poder continuar trabalhando. Para poupar a saúde dos bailarinos, o grupo se isolou socialmente e vive em espaços organizados dentro da própria companhia. Eles se preparavam para apresentar o primeiro espetáculo neste fim de ano, mas o governo francês estendeu o fechamento dos locais de cultura até ao menos janeiro de 2021. O bailarino gaúcho adiou os planos, mas também afirma que teve tempo para desenvolver novos projetos, como um Quebra-Nozes revisitado, que vai contar a história da cidade de Arles, colonizada por romanos em 123 A.C. Norton também investe na busca de patrocínio para obter a autorização de interpretar grandes balés e contratar coreógrafos internacionais. Mas o sentimento neste ano conturbado por obstáculos e a pandemia é de vitória. “Estou muito realizado, mas ainda tenho muitos sonhos a realizar. Ao lado de meus bailarinos e minha esposa eu sinto que há muita coisa mais bela por vir”, conclui.

A cura di Massimiliano SamsaPëtr Il'ič Čajkovskij - Lo schiaccianociTra le opere dall'atmosfera natalizia, un indiscusso posto d'onore spetta alla celebre fiaba del Principe Schiaccianoci ed ancor di più al meraviglioso balletto nato dalla feconda collaborazione tra il coreografo Marius Petipa e il musicista Petr Ilic Cajkovskij.Lo Schiaccianoci è uno dei capolavori del balletto dell'Ottocento, testamento artistico di Marius Petipa, il celebre coreografo che su mandato di Ivan Vsevoložskij direttore dei teatri imperiali, si incaricò di traghettare lo spettacolo teatrale in Russia da una preoccupante stasi ad una nuova luminosa stagione; egli trasse il libretto ispirandosi al racconto Nussknacker und Mausekönig di Ernst Theodor Amadeus Hoffmann.Tuttavia dell'originale rimane più che altro l'intreccio della vicenda; Petipa infatti decise di adattare la vicenda per il libretto utilizzando come base anche Il Racconto dello Schiaccianoci di Alexandre Dumas padre, versione più poetica della storia di Hoffmann, dalla stesura più confacente alle vedute del coreografo e del pubblico del tempo, in quanto stemperava gli elementi più inquietanti del racconto rendendo il tutto una deliziosa favola. Petipa aveva dunque trovato la giusta formula affinché il racconto di Dumas divenisse uno spettacolo di grande incanto, elaborando un libretto in cui la vicenda rimaneva in secondo piano rispetto all'atmosfera fiabesca del Natale nella quale esaltare i sentimenti d'amore e gioia nostalgica.Per completare il progetto Petipa si rivolse a Petr Ilic Cajkovskij che nel 1875 aveva incontrato il mondo del balletto presentando a Mosca, senza particolare successo a causa della complessa partitura, Il lago dei cigni. Tuttavia non sfuggiva a Petipa la raffinatezza timbrica e la suggestione ritmica del grande musicista ed infatti il secondo balletto, La bella addormentata, scritto dal compositore su invito ancora del direttore dei teatri imperiali Ivan Vsevoložskij nel 1890 si rivelò un trionfo e convinse il musicista a tentare una terza avventura con Lo schiaccianoci.L'opera fu ultimata nel luglio del 1891 ma, prima di dar corso all'orchestrazione dell'intero balletto, l'autore decise di estrapolarne alcuni numeri per la Suite sinfonica che diresse il 7 marzo 1892 a San Pietroburgo con esito trionfale. Con questo lancio e il successo del precedente balletto il duo Cajkovskij-Petipa si avviava verso un'altra straordinaria avventura da lasciare alla storia del balletto.

Eigentlich ist es ein deutsches Märchen, dass der russische Romantiker da 1892 in Töne setzt. Die kleine Klara wird in der Weihnachtsnacht von merkwürdigen Geräuschen in den Salon gelockt, wo ein Nussknacker zum Leben erwacht. Tschaikowsky verwandelt die literarische Vorlage ein Jahr vor seinem Tod in ein Ballett voller melodischer und klanglicher Juwelen. (Autor: Christoph Vratz)

Devin breaks down Tchaikovsky’s beloved Nutcracker. It wouldn’t be the Christmas Holiday in the western world without the magical sounds of the Nutcracker, composed by the great Pyotr Ilyich Tchaikovsky, and centering around Clara, a young girl who falls in love with a Nutcracker Prince and conjures an epic battle against a Mouse King with Seven Heads.We’ll travel into the fantastical worlds of Tchaikovsky, writer and musician E.T.A. Hoffmann, and choreographer Marius Petipa as we bring this marvelous ballet to life. Don’t worry, there will be plenty of holiday sweets to keep you focused!Thank you to all the incredible record labels and performers who made this episode possible.Ensembles:Orchestra of the Kirov Opera, Apotheosis Orchestra, Ensemble Musica Nigella, Bavarian Radio Symphony Orchestra, Simón Bolívar Symphony Orchestra of Venezuela, Oslo Philharmonic, Vienna PhilharmonicConductors:Valery Gergiev, Korneel Bernolet, Takénori Némoto, Jan Koetsier, Gustavo Dudamel, Mariss JansonsSoloists: Éléonore Pancrazi, Rita Streich, Melitta Muszely, Raimund Grumbach, (singers);Philippe Bianconi, pianistLabels: Philips, Apotheosis, Klarthe, La Dolce Volta, Classical Moments, Deutsche Grammophon, Chandos, DeccaThank you for joining us. you can always find more info at OneSymphony.org. Please feel free to rate review or share the show! Until next time, thank you for being part of the music!

(00:44) - Introduction (02:21) - Repertoire for Composer-Choreographer Collaboration (03:47) - Pyotr Tchaikovsky, Julius Reisinger, Marius Petipa, and Lev Ivanov (10:38) - Igor Stravinsky with Sergei Diaghilev and Vaclav Nijinsky (17:15) - Aaron Copland with Martha Graham (25:06) - Practices for Collaboration (30:21) - Conclusions Please consider supporting this podcast at: patreon.com/jacobthiede. You will receive unique and spontaneous perks for as little at $1 per month. Get access to the written transcript here: https://digital.library.unt.edu/ark:/67531/metadc1703288/ Listen to more of our work at: jacobthiede.com Listen on Spotify at: spotify.com/jacobthiede

Annette Barcelona is a San Diego-based dancer, choreographer and teacher and is the Department Chair of Dance at The San Diego School of Creative and Performing Arts. She earned an MFA degree from The Florida State University’s School of Dance where she received the 2015-2016 Outstanding Teaching Assistant Award. She received her BFA in Dance Education from Brenau University, in Gainesville, GA, where she was awarded the Carol Smiarowski Memorial Dance Scholarship recognizing both artistic and academic excellence. Originally from Michigan, Annette received early ballet training from Therese Bullard (Royal Winnipeg Ballet) at The Bullard School of Ballet and later with Carol Radovic (Vaganova Academy) at CAS Ballet Theatre. She has danced professionally as a principal dancer with Ann Arbor Ballet Theatre and The Gainesville Ballet Company performing leading roles in numerous full-length ballets including The Nutcracker, The Sleeping Beauty, Cinderella, Alice in Wonderland and A Midsummer Nights Dream. She has been privileged to perform works by George Balanchine, Marius Petipa, Anna Sokolow, Marina Leonova, August Tye, Luba Gulyaeva, Anjali Austin (Dance Theatre of Harlem), Anthony Morgan (Martha Graham Company), and Rick McCullough (Nederlands Dance Theatre). Intro.: 0:00 How we met.: 0:20 How you started with dance.: 1:52 Influence of parents divorce.: 7:03 Taking a break from dance.: 11:31 Planning a return to dance.: 14:56 Impact of your Russian training regimen in Ballet.: 21:28 What was the environment like in the dance studio?: 24:01 Getting her Dance Ed degree.: 28:26 Dispelling stigmas attached to dancers and artists.: 41:46 Transition from Dancer/Performer to Teacher/Educator.: 49:21 Reflecting back on her first few years of teaching and its significance.: 1:02:18 Favorite thing about being a Dance Educator.: 1:08:31 What would you say to your thirteen-year-old self?: 1:12:31

Swan Lake, Op. 20, is a ballet composed by Pyotr Ilyich Tchaikovsky in 1875–76. Despite its initial failure, it is now one of the most popular of all ballets. The scenario, initially in two acts, was fashioned from Russian and/or German folk tales and tells the story of Odette, a princess turned into a swan by an evil sorcerer's curse. The choreographer of the original production was Julius Reisinger. The ballet was premiered by the Bolshoi Ballet on 4 March 1877 at the Bolshoi Theatre in Moscow. Although it is presented in many different versions, most ballet companies base their stagings both choreographically and musically on the 1895 revival of Marius Petipa and Lev Ivanov, first staged for the Imperial Ballet on 15 January 1895, at the Mariinsky Theatre in St. Petersburg. For this revival, Tchaikovsky's score was revised by the St. Petersburg Imperial Theatre's chief conductor and composer Riccardo Drigo. Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p758/Tchaikovsky%3A_Swan_Lake_-_complete_%28digital_download%29.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Support us on Patreon https://www.patreon.com/user?u=4186107 staff@classicalmusicdiscoveries.com

Coppélia (sometimes subtitled: The Girl with the Enamel Eyes) is a comic ballet originally choreographed by Arthur Saint-Léon to the music of Léo Delibes, with libretto by Charles-Louis-Étienne Nuitter. Nuitter's libretto and mise-en-scène was based upon two stories by E. T. A. Hoffmann: Der Sandmann (The Sandman). In Greek, κοπέλα (or κοπελιά in some dialects) means young woman. Coppélia premiered on 25 May 1870 at the Théâtre Impérial de l'Opéra, with the 16-year-old Giuseppina Bozzacchi in the principal role of Swanhilda and ballerina Eugénie Fiocre playing the part of Frantz en travesti. The costumes were designed by Paul Lormier and Alfred Albert, the scenery by Charles-Antoine Cambon (Act I, scene 1; Act II, scene 1), and Édouard Desplechin and Jean-Baptiste Lavastre (Act I, scene 2). The ballet's first flush of success was interrupted by the Franco-Prussian War and the Siege of Paris (which also led to the early death of Giuseppina Bozzacchi, on her 17th birthday), but eventually it became the most-performed ballet at the Opéra. Modern-day productions are traditionally derived from the revivals staged by Marius Petipa for the Imperial Ballet of St. Petersburg in the late 19th century. Petipa's choreography was documented in the Stepanov method of choreographic notation at the turn of the 20th century. These notations were later used to stage the St. Petersburg version for such companies as the Vic-Wells Ballet (precursor of today's Royal Ballet). Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p1017/Delibes%3A_Copp%C3%A9lia_-_Coppelia.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Support us on Patreon https://www.patreon.com/user?u=4186107 staff@classicalmusicdiscoveries.com

EMPRESS (a. Shannon Marie Rugani) is an artist. She is also the Founder and Artist of Stardust World Productions LLC where she supports females in the music industry. Contact Info EMPRESS Instagram: https://www.instagram.com/empress.mus... Twiter: https://twitter.com/empress_music Website: https://empress-music.com/ Youtube: https://www.youtube.com/channel/UCGWE... Biography "At just four-years-old, EMPRESS's life was changed when her hands touched the black and white keys on a keyboard for the first time. Her love for music evolved into a career as a professional dancer, and she was one of the youngest members of the San Francisco Ballet. As her talents developed, EMPRESS moved to New York City where she performed on Broadway as the lead in the Tony Award winning production of An American in Paris. Today, her career comes full-circle, as she creates music as a singer/songwriter – but she'll never stop dancing. Find the beat at www.EMPRESS-music.com." EMPRESS Youtube Bio Shannon's Profile LinkedIn linkedin.com/in/shannon-rugani-5a279615 Instagram https://www.instagram.com/shannonruga... Twitter: https://twitter.com/shannonrugani?lan... Website: http://www.shannonrugani.com/ About "A native from South Lake Tahoe California, Shannon trained in ballet, jazz, tap, hip hop, lyrical, modern, and character dancing in the Reno/Tahoe area before moving to San Francisco to train with the San Francisco Ballet School on a full merit scholarship in 2002. Shannon Joined the San Francisco Ballet Company in 2004 as one of the youngest members in the company's history. Over her 11 year career she worked with world renowned Choreographers including Helgi Tomasson, Christopher Wheeldon, Val Caniparoli, Alexi Ratmansky, Yuri Possokhov, Justin Peck, Paul Taylor, Mark Morris, John Nuemeier, William Forsythe, David Bintley, James Kudelka, Edward Liang, and has danced numerous roles in ballets by Marius Petipa, Agnes De Mille, Jerome Robbins, Serge Lifar and George Balanchine. She has danced all over the world including France, Iceland, China, Denmark, England and the United States. In 2015, Shannon left SF Ballet to join the original cast of the TONY award winning production of An American In Paris on Broadway (April 12 2015- Oct 9 2016) as an ensemble member and Lise U/S (lead role). AAIP was nominated for 12 Tony awards (won 4!) in 2015 and was nominated for a GRAMMY award in 2016 for the Original Broadway Cast Recording. Shannon received the ACCA award for Best Broadway Chorus in 2015 for her involvement in AAIP. Shannon is an accomplished composer, singer, songwriter, pianist and producer. She sings under the stage name EMPRESS and is currently recording her first solo album. EMPRESS released her first single, Lovely I Am, in April 2019. Shannon founded a record label Stardust World Productions LLC that supports females in the music industry in 2019. She is currently working on developing two startups in the XR tech industry that will bridge the gap between technology and the performing arts. Shannon plans to develop both Augmented Reality (Miraliti) and Virtual Reality (My Empire XR) companies to enhance the performing arts." - LinkedIn

Today's guest is Yorkshire-born ballet dancer Xander Parish, who made history as the first British dancer to join the illustrious Mariinsky Ballet in St. Petersburg back in 2010.He is now a principal dancer at one of the most famous ballet companies in the world and was awarded an OBE for his services, both to dance and British-Russian cultural relations.Xander's life in Russia has a storybook quality and not just because St. Petersburg is a city of jewel box coloured palaces – his repertoire includes romantic roles such as Prince Siegfried in Swan Lake, The Sleeping Beauty's Prince Désiré and our favourite star-crossed lover, Romeo.Xander's insights into St. Petersburg offer a treasure trove of cultural delights. Beyond Russia, he has performed gravity-defying leaps in some of the most magical places around the globe. XANDER PARISH'S CULTURE GUIDESwan Lake (ballet) choreography by Marius Petipa and Lev Ivanov, and music by Pyotr Ilyich TchaikovskyNutcracker (ballet) choreography by Marius Petipa, and music by Pyotr Ilyich Tchaikovsky DESTINATION INSPIRATIONThe Algarve, PortugalYorkshire, EnglandSt. PetersburgThe Mariinksy TheatreYusupov Palace The HermitageFabergé MuseumSadko Restaurant, St. PetersburgShapki, RussiaHavana, CubaGran Teatro de la HabanaThe Odeon of Herodes Atticus, AthensPositanoLi Galli Islands (the ‘dance island'), ItalyIf you enjoyed this episode, please be sure to subscribe, rate and review so others can discover this podcast as well. If you're looking for some more travel inspiration, you can find me on Instagram @escape.artist.podcast or visit www.escapeartistpodcast.comSee you next week for another episode of The Escape Artist!Xx Edwina(Music by the talented Giselle Rosselli) Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

L'histoire de l'oeuvre de Tchaïkovski, l'un des ballets les plus difficiles et les plus dansés du répertoire. Thème de la femme-cygne, mis en gestes notamment par le chorégraphe Marius Petipa puis par Rudolf Noureev.

ആധുനിക ഇന്ത്യയിലെ നൃത്തത്തിന്റെ നൂറുകൊല്ലത്തെ ചരിത്രത്തിലേക്ക് ഒരു വിശദ വീക്ഷണമാണ് ഈ ലക്കം ദില്ലി -ദാലി . കഴിഞ്ഞ ദിവസം കൊൽക്കത്തയിൽ നൂറ്റിയൊന്നാം വയസ്സിൽ അന്തരിച്ച അമല ശങ്കറിന്റെ വിയോഗത്തോടെ അസ്തമിച്ച ഒരു കാലഘട്ടത്തെ കുറിച്ച് ആധികാരികമായി സംസാരിക്കുന്നത് പ്രശസ്ത കലാനിരൂപകനായ ശ്രീ സദാനന്ദ് മേനോനാണ് . ദേശീയ പ്രസ്ഥാനവും , കലാരംഗവും , 1920 -1930 കളിൽ ലോകനൃത്തരംഗം , ഉദയ് ശങ്കർ സംഘത്തിന്റെ ആവിർഭാവം , ഇന്ത്യ എന്ന ആശയവും ലാവണ്യലോകവും , ഓറിയന്റലിസവും ഇന്ത്യൻ നൃത്തവും , Marius Petipa , Nijinsky, Ruth St Denis, Alice Boner, Anna Pavlova തുടങ്ങിയവർ , വള്ളത്തോളും ആലീസ് ബോണറും , ടാഗോറും നൃത്തവും , 1948 ലെ കൽപ്പന എന്ന ചലച്ചിത്രം , എങ്ങനെ ഇന്ത്യൻ നൃത്തരംഗം പിന്നോട്ടു പോയി ...45 മിനിറ്റ് ദൈർഘ്യമുള്ള പോഡ്കാസ്റ്റ് . ഒരു കാലഘട്ടത്തിലേക്ക് തിരിച്ചുവെച്ച കണ്ണാടി

Una adaptación del Cuento "La Bella Durmiente del Bosque", basándonos en los textos de Marius Petipa y Charles Perrault; con el pretexto de celebrar el día del niño y el día internacional de la danza. En este programa participan:Producción: Karla LedezmaDirección: Irma Susana Carbajal VacaLocución: Armando Gutierrez, Dossolina Marie, Amilcar Salazar, Karla Ledezma, Eduardo GómezSelección Musical: Israel Alejandro Ferreira BuchananGuión: Karla Ledezma en adaptación a los textos de Marius Petipa y Charles PerraultOperador Técnico: Alejandra de los Rios en Radio UAA, Karla Ledezma en Plataformas Digitales Género: Narración. Año de producción: Mayo, 2020

Julia dances circles around the competition as she discusses the most elegant and graceful of all topics. Learn about types and methods of ballet, famous dancers and choreographers, Ballets You Should Know, vocabulary terms, and everything in between. [Don’t get tutu stressed out, okay?] Later, enjoy a quiz called “Dance Like Nobody’s Watching!”. . . [Music: 1) Philadelphia Orchestra performing “Danses des petits cygnes,” from Swan Lake, Peter Tchaikovsky, 1963; 2) Frau Holle, “Ascending Souls,” 2017. Courtesy of Frau Holle, CC BY-NC 3.0 license.]

Her kan du høre Camilla Bakken fortelle om de tre verkene av koreografilegendene Natalia Makarova (etter Marius Petipa), Ohad Naharin og George Balanchine.

Cuban dancer and choreographer Carlos Acosta's production of Don Quixote for The Royal Ballet will soon screen in Australian cinemas as part of The Royal Opera House Live Cinema Season, we meet members of the first cohort of Intersect, a peer mentorship and knowledge exchange program for creatives in the UK and Australia from culturally diverse backgrounds, and we look at two vastly different approaches to presenting the work of William Shakespeare at this year's Melbourne International Comedy Festival.

Cuban dancer and choreographer Carlos Acosta's production of Don Quixote for The Royal Ballet will soon screen in Australian cinemas as part of The Royal Opera House Live Cinema Season, we meet members of the first cohort of Intersect, a peer mentorship and knowledge exchange program for creatives in the UK and Australia from culturally diverse backgrounds, and we look at two vastly different approaches to presenting the work of William Shakespeare at this year's Melbourne International Comedy Festival.

As she prepares to perform two roles in a new production of the classic "White ballet", La Bayadere, the Royal Ballet's charismatic Argentinian-born principal dancer, Marianela Nunez shares her life behind the scenes. Marianela Nunez is considered one of the greatest ballerinas in the world, combining passion and flare from her Argentinian background with discipline and experience from her many years with the Royal Ballet. As she celebrates 20 years dancing with the company, she takes Radio Four's Beaty Rubens behind the scenes, sharing what it means to be a Principal Dancer today. The programme focuses on her preparations to dance the two key roles in the much-loved classic, La Bayadere - the temple dancer Nikiya and the princess Gamzatti. It reveals glimpses of her at home in her native Buenos Aires over the summer, follows her as she travels into work, attends specially - designed Pilates classes and studio rehearsals with the great Russian ballerina Natalia Makarova (who recreated Marius Petipa's 1877 Indian Classic for a contemporary audience in 1989) and culminates with her triumphant opening night, leaving her in her dressing room with her feet in a bucket of ice and surrounded by vast bouquets of pink roses. Beaty Rubens also hears from Natalia Makarova, the Royal Ballet's Kevin O'Hare and the leading Russian dancer who partners Marianela, Vadim Muntagirov. Now at the very top of her game, Marinanela Nunez is also a wonderfully charismatic individual, whose love of dance and enthusiasm for life in the Royal Ballet effervesces in this lively depiction of a true artist. Producer: Beaty Rubens ,

The Winter of 1877 in the Baroque City was surprisingly warm. Birds sang from the silver-tipped concert hall roofs as if spring were near, or as if to welcome the legions arriving from the old world to hear the newest ballet. Peter Tchaikovsky, the composer of the ballet’s music, and Marius Petipa, the ballet’s choreographer, […]

This week on Conversations On Dance, we are joined by the chief dance critic of the New York Times, and one of our most frequent guests, Alastair Macaulay. Alastair, an expert on dance history, has previously guided us through histories of Balanchine's classic ballet ‘Serenade' and the work of Frederic Ashton. This week he delves […] The post (120) Alastair Macaulay on Marius Petipa appeared first on tendusunderapalmtree.com.

This week on Conversations On Dance, we are joined by the chief dance critic of the New York Times, and one of our most frequent guests, Alastair Macaulay. Alastair, an expert on dance history, has previously guided us through histories of Balanchine’s classic ballet ‘Serenade’ and the work of Frederic Ashton. This week he delves […] The post (120) Alastair Macaulay on Marius Petipa appeared first on tendusunderapalmtree.com.

Un ballet cómico en tres actos, y una de las obras clásicas más amadas y bailada, ‘Coppélia’, con música de Léo Delibes y basada en la coreografía de Marius Petipa, inaugura la nueva temporada de Bolshoi en Cine Colombia.

"A free performance featuring a wide variety of dance styles and a Q&A on stage, immediately afterward. It's a perfect opportunity to explore one of the country's finest arts..."

Don Quixote is a ballet in four acts and eight scenes, based on episodes taken from the famous novel Don Quixote de la Mancha by Miguel de Cervantes. It was originally choreographed by Marius Petipa to the music of Ludwig Minkus and first presented by the Ballet of the Imperial Bolshoi Theatre of Moscow, Russia on 26 December 1869. Petipa and Minkus revised the ballet into a far more expanded and elaborated edition in five acts and eleven scenes for the Imperial Ballet, first presented on 21 November 1871 at the Imperial Bolshoi Kamenny Theatre of St. Petersburg. ​ All modern productions of the Petipa/Minkus ballet are derived from the version staged by Alexander Gorsky for the Bolshoi Theatre of Moscow in 1900, a production the ballet master staged for the Imperial Ballet of St. Petersburg in 1902. Performed by the Sofia National Opera Orchestra Conducted by Nayden Todorov Purchase now at: http://www.classicalsavings.com/store/p562/Minkus%3A_Don_Quixote.html Prologue Don Quixote's Study Bachelor Sanson Carrasco is seen covering a bookcase with wallpaper, while Antonina is putting some rusty old armour and a helmet made of pasteboard into a cupboard. Don Quixote de la Mancha enters, reading a book. He goes to the bookcase and, not finding it, believes it has been stolen by evil magicians. Then he settles into an armchair and continues reading. He delights in stories of brave knights, fabulous giants and other fantastical creatures, but most of all Don Quixote dreams of his beloved Dulcinea, a woman that he believes to be so lovely and noble that she must be divinity. Gradually he nods and falls asleep to dream of their romantic adventures. Darkness falls. Suddenly his servant, Sancho Panza, climbs hurriedly through the window. In pursuit are several angry women from the market from whom he has stolen bread and a chicken. Awakened by the commotion, Don Quixote sends the women away. Don Quixote tells Sancho that he is determined to seek adventures as a knight-errant, all the while searching for his beloved Dulcinea. He shows him the pasteboard helmet, which, with one sweep from his sword, becomes a shapeless mass on the floor. Antonina suggests that he should use a shaving basin instead, which would make a splendid helmet. Don Quixote enthusiastically agrees and, placing it on his head, orders Sancho to bring him his armour, sword and spear, and to make ready his horse, Rocinante. Act I A market-place in Barcelona Kitri, an inn-keeper's daughter, steals out of her house to meet her beloved, the barber Basilio. Her father, Lorenzo, sees the lovers and sends Basilio away, bringing Kitri to tears. Now comes the rich nobleman Gamache, who, likewise in love with Kitri, goes to Lorenzo and asks for his daughter's hand. The innkeeper accepts with delight but Kitri, appalled at the thought of wedding the foppish nobleman, runs away. Dancing begins in the square and some toreadors try to kidnap the girls they fancy, but their relatives and lovers hasten to their aid. At this moment Don Quixote arrives mounted on Rocinante, followed by Sancho, who is riding a donkey. At his master's command Sancho sounds his rusted horn, causing the townspeople to cover their ears. Lorenzo runs out of his inn, and Don Quixote, taking him for the lord of a famous castle, dismounts Rocinante and, falling to his knees, begs to be allowed to serve him. Charmed, Lorenzo invites the knight to sit on his balcony. Sancho remains in the square where he is surrounded by girls who induce him to take part in a game of blind man's bluff. Then some boys bring in a blanket on which they place Sancho and proceed to toss him into the air. Don Quixote hurries to his assistance and sets him free. Peasants gather in the square and dancing resumes. Kitri returns and, noticing her, Don Quixote acclaims her as his Dulcinea, whom evil magicians have reduced to human form. Becoming jealous of her affection for Basilio, Don Quixote attempts to woo her by partnering her in a minuet. Lorenzo berates Kitri for carrying on with Basilio. Kitri and Basilio then run away, and Lorenzo and Gamache follow them. Don Quixote orders Sancho to bring Rocinante, so that he may also set out in pursuit. Act II Scene 1 – A camp of gypsies among the windmills outside the village Kitri, disguised as a boy is seen walking with Harlequin from a troupe of travelling actors. They guess she is a girl and ask her to stay with them. Scene 2 - The Puppet Theatre A clown is seen walking with Graziosa, the gypsy chief's daughter. A gypsy tells the chief of the approach of Don Quixote. The chief plans a trick for his benefit and, putting on a mantle crown, sits down as though he were a king on a throne. Don Quixote is deceived and kneels to the chief in homage. The chief bids that he sit beside him and orders a festival to be given in his honor. This begins with Gypsy dances and is followed by a performance of the marionette theatre. Don Quixote is delighted with the entertainment but, mistaking the heroine for his Dulcinea and the marionettes for soldiers attacking her, he rises to assault them. The gypsies are terrified. At this moment the clown and Graziosa run away. Scene 3 - The Windmills Flushed with victory, the knight kneels and renders thanks to heaven. Seeing the moon, he takes it for his Dulcinea and tries to get to her. As he approaches the windmills he can see the moon no longer and thinks that evil magicians have hidden his beloved mistress. So, spear in hand, he tilts at the wings of the windmill, which he mistakes for a giant. Alas, the knight is caught by one of the wings and flung into the air. He falls unconscious at Sancho's feet. Scene 4 – A forest Through the trees appears Sancho leading Rocinante, upon which sits the wounded Don Quixote. The servant lifts his master down and places him on the grass, so that he may rest. Then, tying up the horse, he goes to sleep. Don Quixote also tries to sleep, but is troubled by fantastic dreams. Scene 5 – The enchanted Garden of Dulcinea Fairies appear surrounded by gnomes and Don Quixote finds himself dressed in shining armor. Then comes a succession of fearsome monsters, the last being a gigantic spider, who spins a web. The knight attacks the spider, which he slashes in half with his sword. At that same moment the spider's web vanishes to reveal a beautiful garden, filled with dryads and beautiful women, presided over by the Queen of the Dryads and Amor. Among them is Dulcinea and Don Quixote kneels before his beloved. At this moment everything vanishes. Act III The Square Back at the square, Kitri and Basilio join those who are dancing. At the height of the merriment, Lorenzo and Gamache arrive, followed by Don Quixote and Sancho. Seeing his daughter, Lorenzo decides to give his blessing to her union with the nobleman Gamache. Basilio becomes annoyed and, reproaching Kitri for her unfaithfulness, draws a sword and stabs himself. As he lies dying he begs Lorenzo to unite him with Kitri, but Lorenzo and Gamache refuse. Don Quixote approaches Gamache and challenges him to a duel for having refused a dying man's wish. Gamache declines to fight and the merrymakers drive him out of the inn. Taking pity, Lorenzo agrees to unite Basilio and Kitri. At this moment, Basilio pulls out the sword and tells everyone it was a joke. Act IV The Tavern A magnificent feast is held in honour of Don Quixote. Suddenly the Knight of the Silver Moon challenges him to a duel, which results in the latter being vanquished. The victorious knight proves to be none other than Bachelor Sanson Carrasco, who forces Don Quixote to vow that he will not unsheathe his sword for a whole year. The sorrowful knight, true to his vow, takes up his warlike gear and, followed by Sancho, sets out for home.

Il balletto Don Chisciotte inaugura la stagione 2017-18 del Teatro dell'Opera di Roma: una prima mondiale con la coreografia di Laurent Hilaire ispirata alla versione originale di Mikhail Baryshnikov, da Marius Petipa e Alexander Gorsky, su musica ...

Dance critic Mark Monahan goes on a whistle-stop tour through the first 100 years of the ballet as we know it today, looking at the ground-breaking works that took cities such as Paris and St Petersburg by storm. He traces the history of ballets such as The Nutcracker and Swan Lake which were - surprisingly - both resounding flops when Tchaikovsky premiered them, only being rescued later by the dance-maker Marius Petipa. And he looks at the enormous influence of Sergei Diaghilev and the Ballets Russes, beginning with Mikhail Fokine's 1907 ballet Chopiniana, leading to famous scores by Stravinsky and Ravel. Image of Mark Monahan courtesy of David Rose.

Maestro Classical podcast: episode 7, a holiday celebration feat. Tchaikovsky and J.S. Bach. 1. The London Symphony Orchestra "Nutcracker Ballet Suite: Waltz Of The Flowers" (mp3) from "Tchaikovsky: Nutcracker Suite / 1812 Overture" (Everest Records) Pyotr Ilyich Tchaikovsky was a Russian composer of the Romantic era. While not part of the nationalistic music group known as "The Five", Tchaikovsky wrote music which, in the opinion of Harold C. Schonberg, was distinctly Russian: plangent, introspective, with modally-inflected melody and harmony. Despite the compositional efforts of The Five, Tchaikovsky dominates 19th century Russian music as its greatest talent. While his formal conservatory training instilled in him Western-oriented attitudes and techniques, his essential nature, as he always insisted, remained Russian. This was true both in his use of actual folk song and his deep absorption in Russian life and ways of thought. His natural gifts, especially for melody (what he called the "lyrical idea"), give his music a permanent appeal. However, it was his hard-won though secure and professional technique, plus his ability to use it for the expression of his emotional life, which allowed him to realize his potential more fully than any of his major Russian contemporaries. The Nutcracker is one of Tchaikovsky's best known works. While it has been criticized as the least substantial of the composer's three ballets, it should be remembered that Tchaikovsky was restricted by a rigorous scenario supplied by Marius Petipa. This scenario provided no opportunity for the expression of human feelings beyond the most trivial and confined Tchaikovsky mostly within a world of tinsel, sweets and fantasy. Yet, at its best, the melodies are charming and pretty, and by this time Tchaikovsky's virtuosity at orchestration and counterpoint ensured an endless fascination in the surface attractiveness of the score. The Nutcracker, Op. 71, is a fairy tale-ballet in two acts, three scenes, by Pyotr Ilyich Tchaikovsky, composed in 1891–92. Alexandre Dumas père's adaptation of the story "The Nutcracker and the Mouse King" by E.T.A. Hoffmann was set to music by Tchaikovsky (written by Marius Petipa and commissioned by the director of the Imperial Theatres Ivan Vsevolozhsky in 1891). In Western countries, this ballet has become perhaps the most popular ballet, performed primarily around Christmas time. The composer made a selection of eight of the more popular numbers from the ballet before the ballet's December 1892 premiere, forming The Nutcracker Suite, Op. 71a, intended for concert performance. The suite was first performed, under the composer's direction, on 19 March 1892 at an assembly of the St. Petersburg branch of the Musical Society[1]. The suite became instantly popular; the complete ballet did not achieve its great popularity until around the mid-1960s. Among other things, the score of The Nutcracker is noted for its use of the celesta, an instrument that the composer had already employed in his much lesser known symphonic ballad The Voyevoda (premiered 1891).^ Although well-known in The Nutcracker as the featured solo instrument in the "Dance of the Sugar Plum Fairy" from Act II, it is employed elsewhere in the same act. Buy at iTunes Music Store Buy at eMusic Buy at Amazon MP3 More On This Album 2. The London Symphony Orchestra "Nutcracker Ballet Suite: Dance Of The Sugar Plum Fairy" (mp3) from "Tchaikovsky: Nutcracker Suite / 1812 Overture" (Everest Records) More On This Album 3. Boston Bach Ensemble "Chorus: Jauchzet, frohlocket" (mp3) from "J.S. Bach: Weihnachts-Oratorium - Christmas Oratorio, BWV 248" (Musica Omnia) The greatest musical setting of the Christmas story, compiled by Johann Sebastian Bach in 1734. Based on the Gospel of St. Luke, the text describes the nativity of Jesus and is adorned by some of Bach's most colourful and beautiful music. In modern performance, the piece is generally either presented as a whole, or split into two equal sections. The total running time for the entire work is nearly three hours. Scored for an Evangelist, four vocal soloists, four part chorus and full baroque orchestra, including trumpets, timpani and horns, the Christmas Oratorio is among Bach's best-loved works. The Boston Bach Ensemble was founded in 1992 by Julian Wachner and Peter Watchorn, and performed principally at Boston University. It has performed cantatas, oratorios and masses by J. S. Bach, and features a choir of twenty young professional singers and a period instrument orchestra comprising some of the leading specialist musicians from the US, Canada, Australia and Europe. In 1998 the BBE recorded a celebrated live performance of Bach's Christmas Oratorio, which featured distinguished vocal soloists, including the celebrated Dutch baritone, Max van Egmond. Buy at iTunes Music Store Buy at eMusic Stream from Rhapsody Buy at Amazon MP3 More On This Album 4. Boston Bach Ensemble "Recitative: Es begab sich aber" (mp3) from "J.S. Bach: Weihnachts-Oratorium - Christmas Oratorio, BWV 248" (Musica Omnia) More On This Album 5. Boston Bach Ensemble "Recitative: Nun wird mein liebster Bräutigam" (mp3) from "J.S. Bach: Weihnachts-Oratorium - Christmas Oratorio, BWV 248" (Musica Omnia) More On This Album