La Fille mal gardée trailer (The Wayward Daughter) | The Royal Ballet – YouTube.
Find out more here: http://www.roh.org.uk/showings/la-fille-mal-gardee-live-2015
Category Archives: International
THE FOUNTAIN OF BAKHCHISARAY (Ulanova-Zhdanov-Plisetskaya-Gusev, 1953) -color
In the middle. Svetlana Zakharova, Andrei Merkuriev on Vimeo
Die Tanzschüler der Pariser Oper (2/6) – An die Arbeit!
Dwight Rhoden: Великий Гэтсби – The Great Gatsby (Kirov)- Interviews
Великий Гэтсби – The Great Gatsby (Kirov)-highlights
Saint Petersburg State “Russian Ballets” Swan Lake to Go on a 7 City U.S. Tour, Beginning 3/31
Saint Petersburg State “Russian Ballet” to Go on a 7 City U.S. Tour, Beginning 3/31
February 25
6:16
2015
The esteemed Saint Petersburg State “Russian Ballet” will embark on a seven-city U.S. tour beginning in Milwaukee on Tuesday, March 31. Ten performances will showcase the classic fantasy ballet “Swan Lake,” featuring the renowned music by Tchaikovsky and an impressive cast of some of the world’s best dancers. The Saint Petersburg State “Russian Ballet” continues to captivate audiences worldwide, adhering to the signature aspects of Russian ballet as a whole: true expressivity, dramatic presentation and impeccable technical presentation.
“We are thrilled to bring the Saint Petersburg ‘Russian Ballet’ to the U.S. and believe the audience will enjoy themselves,” said Ernesto Texo with Texoart Cultural Productions.
Saint Petersburg State “Russian Ballet” performers are graduates of Saint Petersburg’s prestigious Vaganova Ballet Academy, founded in 1738, and continue to perform on the oldest stages in Saint Petersburg. Consistently delighting sold-out audiences worldwide with world-class dancers and dazzling costumes, the Saint Petersburg State “Russian Ballet” continues to make international touring a large part of its contribution to furthering Russian dance and culture.
Created in 1990 by the family of professional ballet dancers, The Saint Petersburg State “Russian Ballet” dynasty is more than 100 years old. Artistic Director Alexander Bruskin is a former soloist of the famed Kirov Ballet, a former classmate of the renowned Mikhail Baryshnikov, and a former student of legendary ballet instructor Alexander Pushkin.
The Saint Petersburg State “Russian Ballet” has successfully conducted more than 50 tours worldwide in countries including Japan, England, Ireland, Spain, the U.S., France and Germany among many others, and has participated in 10 international ballet festivals. Today, the repertoire includes such masterpieces as “Swan Lake,” “Sleeping Beauty,” “The Nutcracker” and “Don Quixote.” Each ballet is performed in its original choreography, and the Saint Petersburg State “Russian Ballet” perceives its main mission to be the preservation of such choreographic authenticity.
The Saint Petersburg State “Russian Ballet” U.S. performance schedule, venue and ticket information is as follows:
Tuesday, March 31
Riverside Theater
116 W. Wisconsin Ave., Milwaukee
8 p.m. (doors 7 p.m.)
Tickets: On sale now | $60 | $80 | $100
Available at the Riverside Theater Box Office or pabsttheater.org.
Tuesday, April 7
Van Wezel Performing Arts Center
777 N. Tamiami Trail, Sarasota, Fla.
8 p.m.
Tickets: On sale now | $45 | $65 | $85 | $100 | $120
Available at the Van Wezel Performing Arts Center Box Office, vanwezel.org, or by phone at 941-953-3368.
Wednesday, April 8 and Thursday, April 9 – Two performances!
Lucas Theatre
32 Abercorn St., Savannah, Ga.
7 p.m.
Tickets: On sale now
Available via lucastheatre.com, or by phone at 912-525-5050.
Saturday, April 11 and Sunday, April 12 – Two performances!
Jones Hall for the Performing Arts
615 Louisiana St., Houston
7 p.m.
Tickets: On sale now
Available at the Jones Hall Box Office or houstonfirsttheaters.com.
Thursday, April 16
Lila Cockrell Theatre in the Henry B. Gonzalez Convention Center
200 E. Market St., San Antonio
7:30 p.m.
Tickets: On sale now $40 | $65 | $80 | $95 | $110
Available at the Alamodome Box Office, all Ticketmaster outlets, ticketmaster.com, or by phone at 800-745-3000.
Tuesday, April 21 and Wednesday, April 22 – Two performances!
AT&T Performing Arts Center Winspear Opera House – Margaret McDermott Performance Hall
2403 Flora St., Dallas
7 p.m.
Tickets: On sale now
$43.50 | $53.50 | $63.50 | $103.50 | $123.50 | $143.50 | $163.50
Available at the AT&T Performing Arts Center Information Center, ticketdfw.com, or by phone at 214-871-5000.
Thursday, April 23
Mahalia Jackson Theater for the Performing Arts
1419 Basin St., New Orleans
7:30 p.m.
Tickets: On sale now | $60 | $85 | $130
Available at the Mahalia Jackson Theater Box Office (day of show only), or in advance at all Ticketmaster outlets,ticketmaster.com, or by phone at 800-745-3000.
For more information, visit http://spbt.ru.
via Saint Petersburg State “Russian Ballet” to Go on a 7 City U.S. Tour, Beginning 3/31.
A Ticket to Bolshoi/Билет в Большой №217 (10.10.14)
Hofesh Shechter’s Sun Trailer – YouTube
Like this choreographer: Hofesh Shechter rehearses his debut Royal Ballet work
beat that! Millepied’s plans for the Paris Opéra
REPOSTED FROM DANCING TIMES
Millepied’s plans for the Paris Opéra : Wednesday, 04 February 2015
Benjamin Millepied has announced plans for the 2015–16 season of the Paris Opéra Ballet, the first he has programmed as director. It’s an ambitious season, with many new works, including one by new associate choreographer William Forsythe and a new production of The Nutcracker, to be choreographed by Arthur Pita, Sidi Larbi Cherkaoui, Liam Scarlett, Edouard Lock and Millepied.
Millepied announced his season alongside Stéphane Lissner, who has been general director of the Opéra since July 2014: the two leaders promise a new level of cooperation between the ballet and opera companies. The new Nutcracker will be performed as a double bill with Tchaikovsky’s opera Iolanta – as these works were performed together at their premiere in 1892. The five choreographers will create separate scenes for the new production.
Millepied has also commissioned new works from Justin Peck, Wayne McGregor, Jérôme Bel and himself. Peck’s work will be danced to Poulenc’s Concerto for Two Pianos and Orchestra, with designs by artist John Baldassari. McGregor’s piece will be set to Pierre Boulez’s Anthème II as part of an evening celebrating the composer.
Millepied, who danced at New York City Ballet (NYCB) from 1995 to 2011, brings an American slant with some of his programming. The season will include Balanchine’s Theme and Variations, Duo Concertant and Brahms-Schönberg Quartet, Jerome Robbins’ Opus 19/The Dreamer, Goldberg Variations and Other Dances. Justin Peck, the resident choreographer at NYCB, is represented by In Creases as well as his new commission; Christopher Wheeldon’s Polyphonia, created for NYCB, also joins the repertoire. The season will also include company premieres by Anne Teresa De Keersmaeker, Alexei Ratmansky and Maguy Marin.
There are just three evening-length revivals: Giselle and Rudolf Nureyev’s productions of Romeo and Juliet and La Bayadère. There will also be works staged in the foyer of the Opéra Garnier. Choreographer Boris Charmatz will stage a new event to open the season, with 20 dancers performing solos from the 20th-century repertoire in the public spaces of the Opéra Garnier.
Millepied and Lissner also announced a new digital platform, “3e Scene”, or “Third Stage”. Hosted on the Paris Opéra website, this will present new work by composers, choreographers, directors, visual artists, filmmakers and writers. There will also be a new Paris Opéra Academy, which will offer residencies to young choreographers from inside and outside the company. The choreographers will be mentored by William Forsythe. Millepied told the New York Times that the academy aimed to teach dance-making as a craft. “We won’t necessarily discover more geniuses, but there will be more competence,” he said. “Composers learn the principles of harmony, counterpoint, technique, and choreography is no different.”
Millepied has also announced touring plans, and works scheduled for later seasons. The company will visit one French city each season, touring to Brest in the 2015–16 season. Major tours to the US are being planned. Guest companies at the Paris Opéra will include Anne Teresa De Keersmaeker’s Rosas, Batsheva Dance Company and English National Ballet, who dance Le Corsaire at the Opéra Garnier in June 2016.
Looking ahead, Millepied has commissioned an evening-length work from Alexei Ratmansky for the 2016–17 season. He also expects to schedule some work by the iconic modern dance choreographer Merce Cunningham. At the press conference, critic Laura Capelle reports, Millepied explained that he had almost left NYCB to dance for the Cunningham company.
Performances for the Paris Opéra Ballet’s 2015-16 season are now on sale.
Picture: Benjamin Millepied at the Opéra Garnier. Photograph: Julien Benhamou
Sidi Larbi Cherkaoui to direct Royal Ballet Flanders
REPOSTED FROM DANCING TIMES Sidi Larbi Cherkaoui to direct Royal Ballet Flanders: Wednesday, 04 February 2015
Choreographer Sidi Larbi Cherkaoui is to be the new artistic director of Royal Ballet Flanders, it was announced on February 4. Cherkaoui will take up his post on September 1, 2015, with Tamas Moricz as his associate artistic director.
Cherakaoui joins the company after a series of upheavals. In 2012, director Kathryn Bennetts left Royal Ballet Flanders after clashing with Flemish culture minister Joke Scahuviliege; her successor, Assis Carreiro, left abruptly in 2014.
As a contemporary choreographer taking over a classical ballet company, Cherkaoui has said that “The course I will be seeking to pursue with the company is one of reconciliation”. Tamas Moricz said: “We want to take Royal Ballet Flanders to a new and inspiring place in the world of dance. We both share the aim of allowing dancers to maintain their firm classical background by continuing classical training and repertoire, while also bringing the company into a contemporary space. Classical ballet and contemporary dance can exist alongside each other, and that is the situation at present. Our aim is to draw both these worlds into a creative hub within this company.”
Cherkaoui praised the company’s achievements: “As a contemporary choreographer who was born in Antwerp, I have been following the development of Royal Ballet Flanders for 20 years now. The talent, technical virtuosity, sensitivity and musicality of its dancers have always inspired me, so it was an honour for me to share a piece from my own repertoire with the company last season. Faun [as part of Diaghilev Unbound, 2013–2014 season] was a first step towards an exchange of repertoire with the ballet company.
“For the past ten years, as well as developing my contemporary choreography work I have also worked with foreign ballet companies every year… Through all these experiences I have gained the confidence and energy that I will need in the role of artistic director at Royal Ballet Flanders…
“For a number of years there has been a constantly growing exchange between the different dance disciplines, as classical ballet and contemporary dance increasingly complement each other. Although there is always a key idea running through the content of my work, what I am able to achieve with ballet dancers in terms of form and technique is very different from my work with contemporary dancers. I am therefore looking forward to seeing these differences evolve further in future.
“At Eastman I open up specific themes that allow contemporary dancers to translate them into earthbound gestures with strong contrasts and an animalistic flexibility, but in ballet I can develop feather-light pointe movements to draw outlines in space in a more calligraphic way. In time, I also want to be able to reverse those ‘differences’; I find it exciting to let the two worlds flow into one another without losing any of their fascinating differences or nuances.
“I am not making this move to Royal Ballet Flanders alone. I am bringing with me Tamas Moricz as my right hand man: a highly talented dancer and dance teacher who has himself danced for many years in performances created by William Forsythe. Together with him I will be working out the future direction for the ballet. That direction will respect its history while also cherishing the ambition to open up new paths. Eastman will still be my contemporary company. Organic exchanges with Royal Ballet Flanders will of course develop, but I am definitely not going to force that.”
Picture: Sidi Larbi Cherkaou. Photograph: Koen Broos
mysylph 