Podcasts about petipa

Inside Paul Vasterling's Sleeping Beauty with Nashville Ballet Music Director and Principal Conductor, Ming Luke. Listen as we discuss the collaboration between music and movement as intended by Petipa and Tchaikovsky. 

Host and Associate Artistic Director Wendy Whelan is back with another intimate New Combinations conversation, joined this week by Artist in Residence Alexei Ratmansky. They discuss the origins—both within history and in Ratmansky's own career—of the Petipa ballet Paquita, excerpts of which provide the foundations for his newest ballet for the company. Ratmansky explains his use of Balanchine's Minkus Pas de Trois in revisiting this "feast of classical dancing," and the ways in which his work brings extensive research into conversation with the vocabulary of today's dancers. (30:45) Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co.

We explore Petipa's inspiration for the dances in his Nutcracker

Petipa works with the famed composer to establish the music for the famed holiday ballet.

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. 

Art With Aru - By Olga Aru In my first episode, we are talking about - The Nutcrackers! Yes, yes, yes, them again! As the international dance community is almost wrapped up with these shows, there's still a lot of tea to spill, right? It's been over a hundred years since the original choreography of Petipa was created, changed, edited, and completely redone by many.

Julia Tehven Sutton began her professional career with Minnesota Dance Theatre under the Artistic Director and Founder Loyce Houlton, performing in many of her original works as well as ballets of renowned choreographers such as Balanchine, Glen Tetley, Frederick Ashton, Petipa and Michael Fokine. In 1988 Julia joined Myron Johnson's Ballet of the Dolls dancing in countless original works including the Children's Theatre productions of Beatrix Potter and Worn Out Dancing Shoes (based on the 12 Dancing Princesses by the Brothers Grimm). Julia has also danced with James Sewell Ballet, Minnesota Opera, Chanhassen Dinner Theater and acted in the Jungle Theatre productions of Who's Afraid of Virginia Wolf, The Glass Menagerie and Bus Stop. She has performed with local choreographers and was invited to join Robin Stiehm's Dancing People for a performance in Ashland Oregon. She has taught ballet at Larkin Dance, Summit School of Dance, Minnesota Dance Theatre,Zenon and most recently at the Reif Dance program in Grand Rapids, MN. In 2004 Julia was awarded the McKnight Fellowship for Dancers and commissioned John Kelly for her SOLO piece, Mrs. Hamlet. Julia now lives in Central Minnesota in a beautiful house on a beautiful lake with a beautiful husband and beautiful daughter, Ruby, and is quite content.

“Every holiday season, throughout the land, Mirlitons, Candy Canes, and other treats bounce briskly through The Nutcracker's Kingdom of the Sweets.” (_The Ballet Companion_ p.158) “The Nutcracker” ballet is such an epic part of Christmastime, and though I can't possibly provide an exhaustive account of such a dancing phenomenon, I'd like to share some of the history and my own fascination with the music, dancing, costumes, and magical story. Hopefully it sparks a bit of your own childlike wonder, dreams, and fantasies as well as your grown-up appreciation of music, storytelling, and the art of dance. “The Nutcracker is a Christmas holiday favorite and the most popular ballet in America. There are more than 2,000 performances of it every year around the country. You will probably have a chance to see it someday–and maybe even dance in it yourself, since it has a lot of roles for young dancers.” (_A Child's Introduction to Ballet_ p.47) I share insights from George Balanchine on "The Nutcracker," the literature origins of the story, authors ETA Hoffmann and Alexandre Dumas, The Dance Channel's "History of the Nutcracker Ballet" video on YouTube, psychological elements in Barishnikov's "Nutcracker," themes of vengeance, Matthew Donnell's _The Boy with the Patch_ children's book about Drosselmeier's story, the ballet's debut in 1892 at the Mariinsky Theatre, Petipa and Ivanov, Tchaikovsky, Sadler's Wells, Ballet Russe, San Francisco Ballet, NYCB... Here are some music favorites, and those I use in creative dance interpretations of the story are included in the'Nutcracker' Story for Creative Dance playlist on Spotify: Scene 1: Overture, Party Scene, Children's Dance Scene 2: Godfather Drosselmeier's arrival, Dolls dance Scene 3: All go to bed, Battle Scene, Marie/Clara's role in winning Scene 4: Snowy Forest, Waltz of the Snowflakes Scene 5: Kingdom of the Sweets, Sugarplum Fairy/Pas de Deux, Waltz of the Flowers, Arabian, Chinese, Russian, Spanish, Mirlitons/Marzipan, Mother Ginger/Polichinelles/Candy Canes divertissements. Scene 6: Marie's return home, Finale For a full ballet or dance class, I have arranged tracks from the ballet in my “Nutcracker” Ballet Class playlist Questions for reflection: What versions of “The Nutcracker” have you seen? Which is your favorite? Have you performed in “The Nutcracker” ballet or other wintertime productions? What holiday traditions will you enjoy this year? What music fills you with the spirit of the season? More resources will linked in the blog :) Thanks for listening and happy holidays! Blythe Stephens, MFA she/her or they/them A Blythe Coach: ablythecoach.com @ablythecoach move through life with balance, grace, & power

Cynthia Harvey is the guest on Episode 6, Season 2 of A Body's Language.Cynthia Harvey's style marked her as one of the most versatile and valued artists. Harvey danced nearly every ballerina role with American Ballet Theatre and had the distinction of being invited by Sir Anthony Dowell to be a principal ballerina of The Royal Ballet-the first American dancer to have that honor. Harvey performed as guest artist with Baryshnikov and Company, Nureyev and Friends and numerous internationally renowned ballet companies around the world before retiring from the stage in 1996.On video, Harvey appears as Kitri opposite Mikhail Baryshnikov in his production of Don Quixote, in a variation from Paquita in Natalia Makarova's The Ballerina and the “Waltz” variation in Les Sylphides, a variation from Paquita (American Ballet Theatre dances Petipa)and, in the documentary, Tchaikovsky's Women for Britain's Channel 4.  She is a featured artist in the Fred Weisman's documentary Ballet and Darcey Bussell's Ballerina Heroines, featured on the BBC.Co-author of Physics of Dance & the Pas de Deux, Harvey has been guest teacher for The Norwegian National Ballet Company, where beyond teaching and coaching, she helped re-stage a production of The Sleeping Beauty in 2008 and staged her own complete production of the ballet Giselle in 2009.In October 2010, the premiere of her full-length production of The Sleeping Beauty for The Hong Kong Ballet was met with acclaim. She staged the Shades section from La Bayadère for The Royal Ballet of Flanders, and in December 2014, her production of Don Quixote, for Singapore Dance Theatre, was said by Dance Europe to be one of the best premieres of the year worldwide.As a guest teacher and ballet mistress, Harvey has taught for American Ballet Theatre, The Australian Ballet, Teatro alla Scala in Milan, The Royal Swedish Ballet and The Zürich Ballet, and she is a regular guest ballet mistress at the Semperöper Ballett, Dresden. She has also taught regularly at The Royal Ballet School in London, as well as the School for the Basel Ballet, San Francisco Ballet School and as Principal Guest teacher for the English National Ballet School.As a sought after teacher and jury member, Harvey has appeared at several competitions, including the Rosetta Mauri, The Tanzolymp, the First International Competition in Sitges, Spain, and in 2013,  for Dance World Cup Spain.  Harvey is a long time attendee of he Prix de Lausanne, where she has taught, served as jury president and in 2016 will be the coach for the ladies.Harvey has been on the board of DanceEast, the National Agency for Dance in England and was a prominent member of the committee that saw major ballet directors and ballet school directors from around the world gather to discuss issues relating to improving life for ballet companies and schools. She was standards assessor for The Council for Dance Education and Training in the U.K. until 2010.  She is a member of the International Council of Dance. In early 2014, Miss Harvey formed “En Avant Foundation”, a non-profit foundation for mentoring and coaching ballet for prodigious young dancers.

I'm also releasing a video this week, in which I discuss the ways I teach the ballet “The Sleeping Beauty” with children and adults, including musical passages, key variations, and different versions of the story. In it, I talk about how I love to weave in related themes waiting, patience, resilience, awakening and rebirth, winter's transition into spring, the return of the light, human mortality, gratitude, blessings and curses, virtues, mindfulness…it provides a bridge to many other stories and ideas, both through its narrative (Little Red Riding Hood, Puss in Boots, Beauty and the Beast and other fairytale characters attend the wedding in Act III) and through the universal themes it presents. Balanchine and Mason concede that, “Most of the fairy tales that adults go to the theater to see again and again--Swan Lake, Cinderella, Hansel and Gretel, the Ring--symbolically enshrine truths about human experience and human behavior to make their pleasures more than incidental," and discuss Charles Perrault's moral of the story, Tchaikovsky's musical interpretation and others. (Balanchine's Complete Stories of the Great Ballets** p.553) They ask, “Does the ‘meaning' of The Sleeping Beauty not lie simply in its patterns of movement, as does that of, say, Ballet Imperial, Balanchine's homage to Petipa and Tchaikovsky? While spectacle, pure dance, expressive dance, narrative, and symbolism must mix in any presentation of the work, what importance should be given to any single ingredient? Different productions have provided different answers.” (Balanchine's Complete Stories of the Great Ballets** p.554) For now, we will seek inspiration from all of these ideas and interpretations, and in the future I'll cover related topics of time, music, how all of this contributes to choreographic inspiration, and more! Blythe Stephens she/her or they/them A Blythe Coach: move through life with balance, grace, & power

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

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.

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

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

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.

Tamara Rojo, Principal dancer with The Royal Ballet and Deborah Bull, Creative Director ROH 2, discuss the role of the Black Swan, Odile and White Swan Odette and the gestures and emotions that are associated with this role.

Tamara Rojo, Principal dancer with The Royal Ballet and Deborah Bull, Creative Director ROH 2, discuss the role of the Black Swan, Odile and White Swan Odette and the gestures and emotions that are associated with this role.

An excerpt from Swan Lake one of the most famous ballets of all time.