Saturday, June 15, 2019
Konstantin Zverev - ballet Paquita (Choreography Yuri Smekalov) [Ludwig Minkus]
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MariinskyTheatre:
https://www.mariinsky.ru/en/playbill/...
Maria Khoreva:
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Konstantin Zverev:
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PERFORMERS:
Conductor: Gavriel Heine
Paquita: Maria Khoreva
Andrés: Konstantin Zverev
Cristina: Maria Shirinkina
Carducha: Maria Bulanova
Young Gypsy Man: Alexander Romanchikov
Clemente: Ivan Oskorbin
Paquita’s Friends: Anastasia Lukina, Nadezhda Gonchar, Anastasia Nuikina, Daria Ionova
CREDITS:
Music by Édouard Deldevez, Ludwig Minkus and Riccardo Drigo
Libretto by Yuri Smekalov
Choreography: Yuri Smekalov
Reconstruction and staging of Marius Petipa's choreography (Act III Grand Pas): Yuri Burlaka
Production Designer: Andrei Sevbo
Lighting Designer: Konstantin Binkin
Costume Designer: Elena Zaitseva
Conductors: Valery Ovsyanikov, Gavriel Heine
Music edited by Yuri Smekalov
ABOUT THE PRODUCTION:
Continuing to revive titles that are significant for the playbill of St Petersburg ballet, the Mariinsky Theatre is presenting a new version of Paquita. This is not a revival of the 19th century production, created in Paris by the ballet-master Joseph Mazilier and which was performed in St Petersburg from 1847 with choreography by Marius Petipa.
Choreographer Yuri Smekalov is working on a new three-act ballet using his own libretto based on the plot of the novella La gitanilla by Cervantes. The basis of the score of the new ballet comprises music by Édouard Deldevez that was composed for the Paris premiere of Paquitain 1846. Yet today this one-and-a-half-century-old opus will sound different: the order of the numbers has changed, several of them have been re-orchestrated and, moreover, Deldevez' score has been added to by excerpts from works by Minkus and Drigo. The famous wedding Grand passtaged by Marius Petipa to music by Minkus, which triumphantly crowned the plot of the St Petersburg production, will occupy its place of honour in the new ballet, too. This parade of classical dance that demonstrates the skill of the corps de ballet and the virtuoso qualities of the ballerina and the soloists appeared in the 1881 production, and as an independent piece, unconnected with the ballet's plot, it has survived to this day. It is true that over the decades Petipa's choreographic text has undergone many changes. In the contemporary Paquita, the Grand paswill be included in a version brought close to the historic original – Yuri Burlaka is reviving Petipa's choreography using surviving records of the production from the early 20th century.
The new ballet, which combines dances and scenes created by Yuri Smekalov, together with historic rarities, will be a hommage to the golden age of classical ballet, a mark of respect and gratitude of the new ballet generation to the aesthetics of the unsurpassed master of classicism – Marius Petipa.
#константин #зверев #балет #пахита #konstantin #zverev #ballet #paquita #marius #petipa #mariinsky #КонстантинЗверев #KonstantinZverev
Wednesday, May 1, 2019
Maria Khoreva - ballet Jewels (Balanchine) - Diamonds, scherzo [Pyotr Tchaikovsky]
Maria Khoreva - ballet Jewels (Balanchine) - Diamonds, scherzo [Pyotr Tchaikovsky]
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MariinskyTheatre:
https://www.mariinsky.ru/en/playbill/...
Performers:
Conductor: Gavriel Heine
III. Diamonds
Maria Khoreva https://www.instagram.com/marachok/
Xander Parish https://www.instagram.com/_xander/
March 27, 2019
ABOUT THE PRODUCTION:
Jewels is one of Balanchine's best-loved ballets in Russia. It has long been one of the choreographer’s calling cards at the Mariinsky Theatre as well as one of the Mariinsky Theatre’s own calling cards in the eyes of the world. None of this is surprising: the culmination of this ballet is the theme of the Russian classical school - something very close to Russian dancers - which ultimately produced the American Balanchine, the greatest choreographer of the 20th century.
As we know, George Balanchine - born Georgy Melitonovich Balanchivadze in St Petersburg - trained at the famous Theatre School (today the Vaganova Academy of Russian Ballet), worked at the Mariinsky Theatre and only in 1924 did he emigrate, first for Diaghilev’s Ballets russes and later the tabula rasa ornon-balletic” America. A citizen of the world, he easily integrated into new cultural expanses, though he retained an incredibly high regard for his alma mater; it was this particular blend of classical training with free and modernist thinking that formed the basis for his art. Jewels is also an example of where his own legacy meets with the Russian school.
At the same time, this ballet is not entirely typical for Balanchine himself. First, it is too specific. Not, indeed, the plot (here, too, Balanchine of course remains an apologist for plot-less ballet, for pure dance) - not the plot, but rather the very material images on which it is based.
In 1967, Balanchine, having for thirty years been consistently leading the public towards the concept of pure dance, elevated to such a level of conditionality as exists in music alone, here staged a ballet about precious stones in the spirit of the most archaic possible allegories! He also tells the touching story of how Nathan Milstein, his friend and a great violinist, introduced him (Balanchine) to the jeweler Claude Arpels and how he admired his collection of “stunning stones”, resolving to stage a ballet “about gemstones” without delay (to be more precise, a ballet with costumes adorned with emeralds, rubies and diamonds set to music by Faure, Stravinsky and Tchaikovsky). He innocently added “I’m a Georgian, I love beauty!”
The idea that he rejected the idea of a fourth part (sapphires and Schoenberg) merely because “it is hard to reproduce the colour of sapphires on the stage” Balanchine always met with a sly smile. He adored such mysterious trifles and the frivolous tone in which he deliberately simplified the essence of his dazzling works - in all probability because he did not think it at all necessary to express it in words. 8ut if ever he had to supply some written commentary he would compare the work of a choreographer to the art of a master chef and applied a deliberately naive intonation to the vital synopsis of his ballets. In actual fact, all of these gemstones and their colours as well as the symbolism connected to them prompted Balanchine to create a virtuoso work that is incredibly complex in terms of form and extremely light in terms of its feel. As we have already said, Jewels consists of three parts - green (emeralds), red (rubies) and white (diamonds). Here Balanchine, as never before, embraced the possibilities afforded by the three-part format: the three pieces of music by three more than different composers are so independent that they are not infrequently performed as individual ballets, yet at the same time they are united by a common idea that means they can only be expressed fully when performed together. Even the costumes - long tunics of the Romantic era in Emeralds, short skirts in Rubies and classical tutus in Diamonds - are all linked together and have numerous strata of ideas: three cultures, three ballet schools, three images and three kinds of ballerina.
Diamonds is, of course, the Russian part, and not just because of Tchaikovsky. This is an image of classical St Petersburg ballet, it is an image of its utter majesty, its apex and - at the same time - a portrait of it, filled with admiration and worship created by someone who had long since become a great American. Inna
Inna Sklaverskaya
#maria #khoreva #ballet #ballerina #jewels #diamonds #george #balanchine #mariinsky #theatre #xander #parish #pyotr #tchaikovsky #scherzo #MariaKhoreva #Ballerina #RussianBallet #BalletJewels #BalletDiamonds #GeorgeBalanchine #MariinskyTheatre #XanderParish #PyotrTchaikovsky
Wednesday, April 24, 2019
Maria Khoreva - Ballet Swan Lake (Petipa&Ivanov) - Prince’s Friends/pas de trois - Pyotr Tchaikovsky
Ballet Swan Lake (Marius Petipa & Lev Ivanov ) - The Prince’s Friends: (pas de trois) - Pyotr Tchaikovsky
Maria Khoreva - Ballet Swan Lake (Marius Petipa & Lev Ivanov ) - The Prince’s Friends: (pas de trois) - Pyotr Tchaikovsky
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Mariinsky Theatre:
Maria Khoreva
Performers:
Conductor: Gavriel Heine
Odette-Odile: Alina Somova
Siegfried: Timur Askerov
von Rothbart: Andrei Solovyov
The Prince’s Friends:
Maria Khoreva, May Nagahisa, Philipp Stepin
The Jester: Maxim Izmestiev
Music by Pyotr Tchaikovsky
Libretto by Vladimir Begichev and Vasily Geltzer
Choreography by Marius Petipa and Lev Ivanov (1895)
revised choreography and stage direction: Konstantin Sergeyev (1950)
Set design by Igor Ivanov
Costume design by Galina Solovyova
20.04.2019
ABOUT THE PERFORMANCE:
Swan Lake is a ballet without which it is impossible to imagine contemporary classical theatre, and in terms of its
psychology it is bang up to date. The classical qualities of Swan Lakelie in the precise structural forms,
in the strict classical school and in the traditional split of classical and character dance. Its psychology lies
in the mysterious theme of duplicity and the well-developed theme of fate and destiny.
Nevertheless, when it appeared in 1877 there was no instant acclaim for Swan Lake. The production staged
at the Bolshoi Theatre by Vaclav Reisinger was “one of many”, extremely traditional and in no way innovative.
The famous “Russian soul” was absent in it, and neither was there the eternal symbol of Russian spirituality
in the image of the Swan.
And Tchaikovsky’s music, in turns mournfully aching, festively triumphant and
menacingly fatal, was not regarded as a masterpiece for a long time to come. Initially, Pyotr Ilyich’s opus was
received in a very restrained manner: people felt that the ballet was “poor in melodies” and the music
“the weakest point of all.”
The spirituality in the rst production was hard to nd: much was hidden by the corps
de ballet which rigorously waved their cardboard wings at the premiere – today one could only imagine such
a thing in a parody of the ballet! And only the name of Polina Karpakova, who went down in history as the rst
performer of the role of Odette (the name of the performer of the role of Odile was covered by three stars on
the playbill), tells us that the history of the ballet did not begin in St Petersburg.
But it was in the city on the River Neva that the White Swan “built its nest.” Following a concert in memory
of the composer at the Mariinsky Theatre in 1895, when Lev Ivanov showed a “swan scene” – gentle, tender and
touching – Marius Petipa, the director of the ballet company in St Petersburg, nally resolved to stage
Tchaikovsky’s debut in the dance genre at the Imperial theatre. The premiere took place one year later, in 1896.
The conductor and composer Riccardo Drigo undertook a very tactical musical revision of the score – it is his
version of the music for Swan Lakethat most choreographers follow. The Frenchman Petipa and the Russian
Ivanov (the choreographers), the Italian Drigo (conductor and author of this version of the music) and Pierina
Legnani as Odette-Odile – these are the creators of the famous myth of Swan Lake.
In the more than century-long existence of Swan Lake at the Mariinsky Theatre, the production has been radically
altered on just three occasions, which, you must agree, is very little for a ballet that is over a hundred years old.
The most radical, however strange it may seem, was by a woman – Agrippina Yakovlevna Vaganova, the famed
teacher and excellent soloist (in Swan Lake, apropos, she did not particularly stand out at all). She attempted
to simplify the mysticism of the libretto and the music, presenting the story of the swan-maiden as the sick
hallucinations of an erudite youth, mercilessly killing off the protagonists with no right to resurrection
in the nale (in the 1896 production Odette and Siegfried, once dead, were reunited in the afterlife).
All that remains of Vaganova in the current production, however, is the “swan-like” turns of the arms and the dance
meeting of Odette and Siegfried: Agrippina Yakovlevna, dissatised with the fussy pantomime nature of this
scene, created highly imagistic choreography.
Ten years later Fyodor Lopukhov, another classic of Soviet ballet, resolved to let the male protagonist live and moreover restored Odette’s human image – in the nale she became a woman.
But this production too, memorable for von Rothbart’s excellent variation, remained in the theatre’s
repertoire for just ve years before it was replaced by the version of Konstantin Sergeyev, one of the nest
Siegfrieds of all time anywhere, in which the dancer and choreographer, true to classical dance, combined
the very best that had been created for Swan Lake in the course of half a century. Today, too, this production is
considered the epitome of classical dance imagery.
It was this version recorded on lm that documents the lyrical
dance of Galina Ulanova, the virtuoso sparkle of Natalia Dudinskaya, the classical perfection of Gabriela Komleva
and the mutinous passion of Galina Mezentseva.
Olga Fedorchenko
#балерина #балет #лебединое #озеро #лев #мариинский #театр #мария #хорева #мариус #ballet #ballerina #petipa #tchaikovsky #mariinsky #theatre #МарияХорева #MariaKhoreva #Ballet #Ballerina #RussianBallet #БалетЛебединоеОзеро #ЛебединоеОзеро #BalletSwanLake #SwanLake #МариусПетипа #ЛевИванов #MariusPetipa #LevIvanov #ПетрЧайковский #PyotrTchaikovsky #МариинскийТеатр #MariinskyTheatre #АлинаСомова #МейНагахиса
Thursday, April 18, 2019
[BackStage] How beauty is born - Maria Khoreva & Xander Parish - ballet ...
[BackStage] How beauty is born - Maria Khoreva & Xander Parish - ballet Closure - Juliano Nunes
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In this video you will have a chance to look behind the scene of the theater and see how beauty is born. Training/rehearsal is an integral part of any artist, but it still remains behind the scene. Therefore, we decided to try to open this world to you as well. And it is very important for us to know how interesting it is to you. Share your opinion in the comments.
Closing of the XXVIII Mariinsky Ballet Festival
Mariinsky Theatre:
https://www.mariinsky.ru/en/playbill/...
Performers:
Maria Khoreva https://www.instagram.com/marachok/
Xander Parish https://www.instagram.com/_xander/
Choreographer:
Giuliano Nunez https://www.instagram.com/nunes.art/
Piano:
Alexandra Zilina
March 31, 2019
#балерина #балет #джулиано #нунез #мариинский #театр #ксандер #париш #хореография #бэкстейдж #мария #хорева #александра #жилина # #maria #khoreva #ballet #ballerina #dance #closure #juliano #nunes #mariinsky #theatre #alexandra #zhilina #xander #parish #dancing #choreography #backstage #МарияХорева #MariaKhoreva #Ballet #Ballerina #RussianBallet #БалетClosure #ДжулианоНунез #JulianoNunes #МариинскийТеатр #MariinskyTheatre #MariinskyBallet #АлександраЖилина #AlexandraZhilina #XanderParish #КсандерПариш #РусскийБалет #Бэкстейдж
Saturday, April 13, 2019
Мария Хорева - балет Concertino bianco - хореография Д.Пимонова - музыка Г.Пелециса
Мария Хорева - балет Concertino bianco (хореография Дмитрий Пимонов) - музыка Георг Пелецис
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Мариинский театр:
CONCERTINO BIANCO
Хореография Дмитрия Пимонова
Музыка Георга Пелециса
Художник по свету - Константин Бинкин
Художник-постановщик - Татьяна Парфёнова:
Исполняют: Мария Хорева - Виктор Кайшета, Алина Сомова - Андрей Ермаков, Екатерина Осмолкина - Максим Зюзин, Елена Евсеева - Евгений Коновалов
26 марта 2019
О СПЕКТАКЛЕ
Премьера одноактного балета Concertino Bianco была представлена 26 марта в рамках Творческой мастерской молодых хореографов в Мариинском театре. Постановка на музыку латвийского композитора Георга Пелециса продемонстрирует зрителям три разных танцевальных направления и зарядит весенним настроением.
Concertino Bianco – это итальянское название, означающее «Маленький белый концерт». Белым композитор назвал его потому, что при создании мелодии он старался избегать черных клавиш фортепиано. Музыка исполняется исключительно на белых клавишах и потому обладает необычайной легкостью и возвышенностью. По словам Дмитрия Пимонова, это простое, поставангардное произведение отлично сочетающееся с танцем.
Музыка была написана в 1987 году. По меркам классики, она совсем новая, не получившая еще большого тиража и признания публики. Но хореограф влюбился в нее с первых нот и увидел в ней потенциал. «Когда мы репетируем, все заходят и спрашивают, что это за музыка. Никто ее не слышал, но всем очень нравится», – говорит он.
Хореография в балете очень динамична и живавя. Третья часть композиции и вовсе получилась плясовой. Такое настроение, по мнению Дмитрия Пимонова, отлично подходит к петербургской весне.
Помимо Concertino Bianco, были исполнены одноактные балеты «Не вовремя» в постановке Александра Сергеева, «Шум мыслей» Владимира Шклярова и Александра Челидзе, «Концерт для контрабаса» Юрия Смекалова, I’m not scared Ильи Живого, Porte Rouge Мелани Хамрик и Keep Максима Петрова. Аккомпанировал выступлениям симфонический оркестр Мариинского театра.
Дмитрий Пимонов в "CONCERTINO BIANCO" на музыку Георга Пелециса эквивалента чему-либо не искал, его четыре дуэта ( Мария Хорева - Виктор Кайшета, Алина Сомова - Андрей Ермаков, Екатерина Осмолкина - Максим Зюзин, Елена Евсеева - Евгений Коновалов) в костюмах известного модельера Татьяны Парфеновой показали чувственную пластику незамутненных раздумьями отношений.
Татьяна Парфенова создала костюмы и декорации для премьеры балета Concertino Bianco. Восемь участников постановки, в том числе первые солистки Мариинского театра Мария Хорева и Екатерина Осмолкина, вышли на сцену в бежевых, белых и антрацитовых платьях и трико, украшенных любимыми элементами Татьяны Парфеновой — цветочными аппликациями.
Фестиваль "Мариинский" стал частью истории. Он был очень разным, но, возможно, главным достоинством можно считать сам факт его проведения. Продолжение традиции важно всегда, а в балете особенно необходимо.
#балерина #балет #пелецис #мариинский #театр #мария #хорева #дмитрий #пимонов #виктор #кайшета #сомова #ермаков #осмолкина #зюзин #евсеева #коновалов #бинкин #maria #khoreva #ballet #ballerina #dance #concertino #bianco #georgs #pelecis #dmitry #pimonov #mariinsky #theatre #dancing #choreography #don #quixote #variation #theater #classical #music #парфёнова #МарияХорева #MariaKhoreva #RussianBallet #БалетConcertinoBianco #ConcertinoBianco #BalletConcertinoBianco #ГеоргсПелецис #GeorgsPelecis #ДмитрийПимонов #DmitryPimonov #МариинскийТеатр #MariinskyTheatre #Choreography #ClassicalMusic #Music #ConcertinoBiancoMariinsky #ВикторКайшета #АлинаСомова #АндрейЕрмаков #ЕкатеринаОсмолкина #МаксимЗюзин #ЕленаЕвсеева #ЕвгенийКоновалов #ТатьянаПарфёнова #КонстантинБинкин
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