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[mariakhorevaballet-blog]

Подпишитесь на канал=) https://www.youtube.com/channel/UCffA...  28.11.2018   

Мариинский театр: https://www.mariinsky.ru/   

АВТОРЫ И ПОСТАНОВЩИКИ: 

Музыка Людвига Минкуса 

Либретто Мариуса Петипа на сюжет романа Мигеля де Сервантеса Сааведры 

Хореография Александра Горского (1902) по мотивам спектакля Мариуса Петипа 

Постановка цыганского и восточного танцев Нины Анисимовой, постановка фанданго Федора Лопухова 

Декорации Александра Головина и Константина Коровина 

Костюмы Константина Коровина Реставрация декораций Михаила Шишлянниковэ   

О СПЕКТАКЛЕ 

В современном «Дон Кихоте» немногое осталось от спектакля Мариуса Петипа. Более того, Мариус Иванович был очень обижен, когда без ведома автора переделали его творение, «изуродував его». Но без балета Петипа не было бы до сих пор идущего на многих сценах спектакля Александра Горского.

Мариус Петипа своего первого «Дон Кихота» сочинил в 1869 году в Москве, для труппы Большого театра.    

В постановке балета на сюжет эпизода из романа Сервантеса он не был пионером. Дон Кихоты путешествовали по европейским балетным сценам с середины XVIII века. В выборе истории о несостоявшейся свадьбе богача Камачо (в балете – Гамаш) с красавицей Китерией (Китри), возлюбленной деревенского юноши Басилио (Базиль), Петипа следовал за своими предшественниками: Луи Милоном, Жаном Омером, Шарлем Дидло, Алексисом Блашем, Фелицатой Гюллень-Сор, чьи «Свадьбы Гамаша» на музыку разных композиторов любила публика. В том числе петербургская и московская.    

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[mariakhorevaballet-blog]

Maria Khoreva - ballet Jewels (Balanchine) - Diamonds, *part* [Pyotr Tchaikovsky]

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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 Sklyarevskaya  

Inna Sklaverskaya

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[mariakhorevaballet-blog]

[BackStage] How beauty is born - Maria Khoreva & Xander Parish - ballet Closure - Juliano Nunes Subscribe to the channel=) https://www.youtube.com/channel/UCffA... 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

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PLEASE ❤️ and SHARE +lorijolliffblack Female Firearm Awareness #UCFFA #lorijolliffblack #9mm #ccw #girlsguns #firearm #firearmsafety