#Maina Gielgud

[lovelyballetandmore]

Mikel Arana | José Barbeiro | Maina Gielgud | Tomás Ferreira | Samuel Pereira

[danzadance]

YAGP Finals~Seminar with Maina Gielgud https://www.youtube.com/live/LLbzoKkHHnk?si=8bVZWYutv0z43Bjt

[rilkerainer]

Antonio Casalinho from Dance Europe on Vimeo.

Born in Leiria, Portugal, Antonio Casalinho is an outstanding young dancer who has trained at the Academia Annarella since he was 8 years old. This short film includes clips of him in class and also performing James' variations in Maina Gielgud's production of La Sylphide Act II, which the school, under the direction of Annarella Roura Sanchez, presented in October 2019.

[gramilano]

Don Quixote with Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018

In 1959, Rudolf Nureyev, with Ninel Kourgapkina as Kitri, danced Basilio for the first time at the Kirov Ballet in Leningrad. He was 20.

02 Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018

03 Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (2)

04 Don Quixote with Martina Arduino, Marco Agostino © Brescia e Amisano, Teatro alla Scala 2018

05 Don Quixote © Brescia e Amisano, Teatro alla Scala 2018

After he defected to the West in 1961, the role became his calling card around the world, the character suiting his comic talents and mischievous nature.

He restaged the ballet, based on Marius Petipa and Alexandre Gorski, for the Vienna Opera Ballet in 1966. John Lanchbery reorchestrated much of Minkus’ score. He revived it in 1970 for the Australian Ballet with Lucette Aldous, and this is the version that he filmed in a studio with the company in 1972.

In 1971 Rosella Hightower invited him to stage it for the Marseille Opera Ballet, and here Maina Gielgud was Kitri.

Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018

In one of his books on Nureyev, Alexander Bland wrote,

This version shows the way in which Nureyev managed the great movements on stage even more clearly: the Spanish numbers swirl around the enormous village square and form an ingenious diversity of configuration intended to demonstrate the steps characteristic of Spain.

Although the purely classical sequence of the “vision” of Dulcinea and the Dryads was performed in its entirety – exactly as it was handed down by Kirov tradition – Nureyev preceded it with a scene involving a gypsy camp as a pretext for developing an amorous meeting between Kitri and Basil: moonlit pas de deux under the sails of a giant windmill.

Rudolf Nureyev also shortened the ballet to three acts with prologue: the gypsies, the windmills, the puppet theatre all becoming one scene, followed by the appearance of the Dryads. Nureyev considerably expanded the comedy aspect. In his version, he introduced the spirit of “Commedia dell’Arte”, where Don Quixote would be Pantaloon, Kitri would be Columbine, and Basil, Harlequin, a brilliant, fast moving, leaping master of ceremonies, who runs from one end of the ballet to the other.

07 Don Quixote with Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 01

08 Don Quixote with Nicoletta Manni © Brescia e Amisano, Teatro alla Scala 2018

09 Don Quixote with Nicoletta Manni © Brescia e Amisano, Teatro alla Scala 2018 01

September 1980 saw his Don Quixote arrive in Milan with Carla Fracci making her debut as Kitri, at 44, and dancing six performances in seven days (plus a public dress rehearsal the day before the opening).

10 Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (4)

11 Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (5)

12 Don Quixote with Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (2)

13 Don Quixote with Antonino Sutera © Brescia e Amisano, Teatro alla Scala 2018

Laurent Hilaire said of Nureyev’s choreography:

He made a revolution on the way to consider a male dancer. All of the big classical ballet was meant to value the woman, and also his work reflected the dance he saw in Denmark, France, England and Russia. He learned from all over the world and he created his own style. You know when it’s a step from Nureyev as soon as you see it. You cannot really compare it, but his choreography is as rich as the language of Shakespeare or Molière.

Don Quixote with Nicoletta Manni, Antonella Albano, Virna Toppi © Brescia e Amisano, Teatro alla Scala 2018

Boston Ballet mounted Nureyev’s production in 1983, and Anna Kisselgoff wrote in the New York Times:

When Rudolf Nureyev did four alternating double turns in the air to the left and the right, landing each time in arabesque, last night at the Uris Theater, it came as no surprise.

Very few dancers, almost none in fact, can do such a difficult sequence in both directions and it is rare to see them try. Mr. Nureyev, however, continues to scale the Everests of his own creation and when he triumphed in this final variation from ”Don Quixote” with the Boston Ballet, he did it with the casualness of a great actor playing with a throwaway line.

For Nureyev watchers, it was obvious from his first danced step that this was going to be a consistent performance, calculated in its tensions, totally pulled together in a re-emergent sleekness of line.

15 Don Quixote with Nicoletta Manni © Brescia e Amisano, Teatro alla Scala 2018 (2) 01

16 Don Quixote with Virna Toppi © Brescia e Amisano, Teatro alla Scala 2018

17 Don Quixote with Giuseppe Conte © Brescia e Amisano, Teatro alla Scala 2018

Reviewing the Australian Ballet in 1971, Clive Barnes said,

“Don Quixote” is an old ballet that is both gorgeous and ghastly. The music has little more than a cheerful tinkle to it, and the dramatic conventions are far less than adroit, but the choreography (or at least its choreographic traditions—for only a rash man would say nowadays what the authentic choreography is) can be absolutely marvelous.

It exists — in two varying versions more usually attributed to Gorsky than Petipa —  in both Leningrad and Moscow. Nureyev’s version owes not too much to either. It tries, most intelligently, to make more sense of the story, and give it a little more progression and humanity. Thus the lovers are not united until the final act, and it is not the hero, Don Basilio, who picks a quarrel with Don Quixote, but Basilio’s rich and stupid rival to Kitri’s hand, the foppish Don Gamache. These are all very pertinent innovations, although in an admittedly, even attractively, ramshackle ballet such as this, such dramatic inconsequentialities matter less than in most.

18 Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (6)

19 Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (7)

20 Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (8)

21 Don Quixote with Maria Celeste Losa © Brescia e Amisano, Teatro alla Scala 2018

22 Don Quixote with Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (3)

23 Don Quixote with Nicoletta Manni © Brescia e Amisano, Teatro alla Scala 2018 (2)

24 Don Quixote with Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (2) 01

When Nureyev died in 1993, Mikhail Baryshnikov said,

Rudolf emerged to everyone’s surprise in the early ’60s like discovering a wild flower which never existed before. This flower emerged in the middle of nowhere practically, it emerged somewhere in the desert and mountains, a flower of infinite beauty. You could admire it, you could be amazed by it, you could touch it, but you could never cut this flower. Because this flower had very strong roots, very strong stem which has supported that beauty.

Rudolf was an unusual man in all respects, instinctive, intelligent, constant curiosity, extraordinary discipline, that was his goal in life and of course love of performing. He loved strong women, loyal men, he loved his life. I learned a lot from him, although we are very different performers.

I will miss him for the rest of my life. That’s for sure.

Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018

Photo Album: Don Quixote at La Scala with with Nicoletta Manni Timofej Andrijashenko In 1959, Rudolf Nureyev, with Ninel Kourgapkina as Kitri, danced Basilio for the first time at the Kirov Ballet in Leningrad.

[galina-ulanova]

Christine Walsh as Giselle in Maina Gielgud’s Giselle (The Australian Ballet)

[1122deactivated2211]

1988: Christine Walsh, John Lanchbery and Maina Gielgud of The Australian Ballet take a curtain call for The Sleeping Beauty while on tour in Europe.

[ballet-symphonie]

You probably don't follow this company closely but I just need to brag about my fellow Portuguese citizens and wonderful young dancers António Casalinho and Margarita Fernandes. They're 18 and 17 respectively, hired straight as soloists, did very well in soloist parts through the season in Swan Lake, Giselle and Cinderella and tonight they debuted Franz and Swanilda! I only watched one clip of António yet and this kid will never cease to amaze me. He has been the best known dancer my country since he was 13 and the fact that people know is name is a miracle because my country only cares about football and has the retrograde mentality of "Ballet is for girls" . He put a beautiful and talented face to ballet and he's inspiring many little boys in this country.

As for Margarita, this kid has taken every challenge sent her way with such poise, grace and hard work. Her mother trained her and it's very obvious she was pushed and worked very hard to get there.

Other than Marcelino Sambe, my country has no big name ballet dancers. I'm ridiculous proud of them.

I don't talk about this company much but I have a few friends and former classmates now working there, so I usually hear the big updates from them haha.

António Casalinho is a crazy talent. Like people literally gave up when he was announced as a competitor of PDL. He's won YAGP how many times? Now, of course, medals don't make a career but when THAT MANY people are in agreement about someone's talent....he's got something really special. I'm glad he's gaining more popularity and recognition outside of ballet.

Margarita Fernandes is very promising as well, but I think she could have benefited from a year or two at a big finishing school to clean up some details. She had the time, wasn't she only 16 when she joined? But I understand that she and António were presented as a package deal, and I certainly don't blame her for not walking away from a soloist contract, that would have been insanity. I know she's been working with a legendary mentor Maina Gielgud so I have confidence in that collaboration to help her to grow! I'm excited to see both of them in the future, hopefully together as they do really dance well together (Of course, this is the benefit of having the same training!)

You have Telmo Moreria too! The double prize winner of PDL, danced with ABT and Orlando ballet and is now a head ballet master at the Rock School for Dance Education. He's' choreographing all over right now, at Ballet San Juan, Joffery Ballet, Philadelphia Ballet.

[jeannepompadour]

Maina Gielgud (born 1945) as Giselle

[aesthesiamag]

The Australian Ballet – Giselle

First love, betrayal, heartache and forgiveness … we’ve all been through them, and that’s what makes Giselle resonate so deeply in our hearts. This iconic Romantic ballet has stood the test of time, not just because of the otherworldly beauty of its “white” act, with its ethereal ghosts floating through the forest, but because of the universal passion and drama of its storyline.

A young girl falls for an aristocrat in disguise. When she realises his deception, the shock sends her mad and she dies. Raised from her grave by the vengeful Queen of the Wilis, she must summon all her tenderness and strength to save her lover from destruction.

Maina Gielgud’s celebrated production, with Peter Farmer’s atmospheric designs, brings out the emotional nuances of this poignant story and the purity of its Romantic technique.

As the choreographer George Balanchine said, “Like Hamlet, Giselle is a classic: it is not only important historically, it also happens to be good.”

[vitotomab]

Ending Friday saying goodbye to Maina Gielgud after a tremendous 3 weeks of her coaching and her classes. Invaluable information, wisdom and experience that has me more and more grateful each time I get to work with her. Thank you so much ❤️ (at Queensland Ballet)

[mysylphwrites]

COACHING ( by Maina Gielgud)

COACHING ( by Maina Gielgud)

Source: BLOG RE COACHING

[artsvark]

Ballet Review: The Sleeping Beauty - Awake To Detail, Or Fairy Dinkum

Ballet Review: The Sleeping Beauty – Awake To Detail, Or Fairy Dinkum

By BRUCE DENNILL

  Joburg Ballet’s The Sleeping Beauty / Production and staging by Maina Gielgud / Mandela, Joburg Theatre, Braamfontein, Johannesburg

  The ongoing presence of the Johannesburg Philharmonic Orchestra in the pit for Joburg Ballet performances adds to the buzz leading up to the beginning of each production. The musicians warming up beforehand and (in this production) the longer…

[galina-ulanova]

Sian Stokes as Myrtha in Maina Gielgud’s Giselle (The Australian Ballet)

[gramilano]

Natalia Osipova and Claudio Coviello début in Nureyev's Swan Lake

Prince Siegfried sleeps on his throne and in his dream he sees the evil Rothbart carrying off a…

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[boston]

EXCLUSIVE SATURDAY PREVIEW | DANCE REVIEW

'Don Quixote' is crowded but pleasing

- This Boston Ballet production - staged by Maina Gielgud - of Rudolf Nureyev's farcical tale will make you laugh with delight, and even tear at your heart.

[vadreams]

There is some awesome stuff here:

Interviews with company members, a few other Romeo and Juliet scenes featuring company ballerinas Hannah Ward and Chanté Daniels and guest artists Brandon Lawrence (Birmingham Royal Ballet principal) and Siphe November (National Ballet of Canada principal); some clips of Ashton's Les Patineurs featuring company dancers and guest artist Tzu-Chao Chou (Birmingham Royal Ballet principal), some clips of a recent modern mixed bill featuring company members and a lot of the act II of Maina Gielgud's Giselle featuring Ksenia Ovsyanick (Staatsballett Berlin principal) and Vadim Muntagirov.

Fumi Kaneko and Vadim Muntagirov in the mandolin scene in Veronica Paeper's Romeo and Juliet with the Cape Town City Ballet.

Here's their World Ballet Day broadcast link:

Well worth a watch!