#konstantin baryshnikov

[emeraldskulblaka]

Lay of Leithian Character Portraits

Thingol, King of Doriath

portrayed by Konstantin Baryshnikov

If you are a hero - go to battle, And turn your word into reality. Take the northern road, to the Kingdom of Darkness, And return with a Silmaril.

[solarcola]

Konstantin Baryshnikov as Thingol in Lay of Leithian rock opera

[brillliantcorners]

Mikhail Baryshnikov (dancer, born January 27, 1948, in Riga, Latvia) "Working is living to me,'' Mikhail Baryshnikov once said. He has worked hard and lived to the fullest. His name is synonymous with dance throughout the world. His dancing is a sublime vision at the dawn of a new century. Mikhail Nikolaevitch Baryshnikov was born in Riga in 1948 and began his ballet studies there in 1960. In 1964, he entered the Vaganova School in what was then called Leningrad, studying with the legendary Aleksander Pushkin and soon winning the top prize in the junior division of the International Varna Competition. Word began spreading of this extraordinary young dancer of precious classical purity and exquisite presence. Clive Barnes gave notice of what was to come after observing the student Baryshnikov in Pushkin's class, describing him as ""the mostemperfect dancer I have ever seen.'' He joined the Kirov Ballet and made his debut at the Maryinsky Theater in 1967, dancing the “Peasant” pas de deux in Giselle. Choreographers recognized in Baryshnikov a unique instrument for new dance, and soon Oleg Vinogradov, Konstantin Sergeyev, Igor Tchernichov, and Leonid Jakobson created ballets for him. Jakobson's 1969 Vestris, a feast of virtuosity and wit, became Baryshnikov's signature role and, along with his intensely otional Albrecht in Giselle, his calling card to his new home. Baryshnikov defected from the Soviet Union in 1974 in search for artistic and personal freedom in the West. He made his debut with the American Ballet Theatre that same year, dancing Giselle with Natalia Makarova. He stayed with ABT for the next four years, voraciously learning and defining new roles, expanding his horizons as well as those of male dancing. memorably, he also staged ABT's productions of The Nutcracker, Don Quixote and Cinderella. In 1978, Baryshnikov left ABT for New York City Ballet, where he could work with George Balanchine and Jerome Robbins. He returned to ABT in 1980, not only as principal danceR&But also as artistic director, a distinguished position he held for almost a decade. In the years that followed, Baryshnikov's explorations of artistic frontiers became one of the most dazzling spectacles of the age: dances by Merce Cunningham and Erick Hawkins, the play Metamorphosis on Broadway, The Turning Point, White Nights and Dancers on screen, my Award-winning television specials with Twyla Tharp and Liza Minnelli, glittering galas for Martha Graham and Paul Taylor. Baryshnikov is a naturalized American citizen. In 1990, he teamed up with Mark Morris and founded the White Oak Project, a unique dance company that reflects Baryshnikov's passion for modern dance and bodies the extraordinary transformation of a paragon of Russian ballet into the very model of perfection in American modern dance. Not long after coming to the United States, Baryshnikov looked both back and ahead at the immense possibilities of a dancer's lifetime. "I have been very lucky to work in so many new ballets, but that is what a dancer's work is,'' he wrote in the 1978 Baryshnikov At Work. He likened the challenge of dancing different choreographies and styles to learning new languages, confessing that "there are never enough.'' He added that "every ballet, whether or not successful artistically or with the public, has given me something important. Everything that I've done has given me more freedom.'' Has anyone in the field of dance ever made so much of that freedom? The generosity of Baryshnikov's spirit braces the world. He has danced to Adam and Tchaikovsky, but also to Dmitri Shostakovich and Philip Glass, to Duke Ellington and Frank Sinatra. He has danced to silence, and he has danced to his own heartbeat. He has been the ideal Albrecht and Prince Siegfried, but he has also stepped out in style as a paragon of jazz dancing. He has been, and continues to be, a surprise. He bodies so many different and impossibly beautiful things to so many people that it is next to impossible to define him save to say this: Mikhail Baryshnikov is a dancer.

[mariacallous]

Despite the Russian government’s brutal treatment of dissidents, Russians are continuing to protest against the war. The human rights organization OVD-Info estimates that over 200 pensioners have been convicted for anti-war activity since February 24, 2022. Despite serious health issues, many of them have been sent to prison and hit with exorbitant fines that their pensions are insufficient to cover. Journalists from the independent outlet Verstka examined how elderly Russians are refusing to abandon their convictions despite the risk of imprisonment. With their permission, Meduza is sharing an English-language version of the story.

This interview has been edited for length and clarity.

'What do they have to lose?'

Opinion polls from VTsIOM (the Russian Public Opinion Research Center) and FOM (Russia's Public Opinion Fund) found that when Moscow's “special military operation” began, nine out of 10 Russian residents who were either in retirement or approaching retirement age supported it. According to surveys conducted by the independent research group Russian Field in the summer of 2023, a plurality (43 percent) of elderly respondents (60 and older) supported an escalation of the “operation" in Ukraine.

The elderly are more disposed than people in other demographics to “cosplay World War II,” political scientist Konstantin Kalachev explained to Verstka. “What do they have to lose? They do very little critical thinking, and they get their information about the war from TV,” he said.

But despite the fact that pensioners are thought to be the segment of Russia's population that's most susceptible to propaganda, at least 46 Russian citizens over 60 have been charged in criminal cases linked to anti-war statements, while at least 165 people aged 60–84 have been detained at anti-war rallies, according to OVD-Info. Pensioners and people approaching the pension age have been prosecuted all over the country, from Kaliningrad to Nakhodka. 

The law used most frequently to prosecute elderly people is Article 207.3 of Russia’s Criminal Code, which outlaws “disinformation” about the Russian Armed Forces. At least 19 people over 60 have been convicted of violating the ban, including 65-year-old Marina Novikova from the Tomsk region and 64-year-old Igor Baryshnikov from Russia's Kaliningrad exclave.

In April 2023, Novikova, a human rights activist, was found guilty of spreading “disinformation” about the military. The court sentenced her to a fine of 1 million rubles (about $10,500). Novikova requested a prison sentence instead of the fine, which she couldn’t afford on her pension. 

Baryshnikov, who suffers from serious health problems, was sentenced in June 2023 to 7.5 years in prison for making online posts about Russia's invasion of Ukraine. He's currently in the medical unit of a pre-trial detention center. His sentence forced him to miss the funeral of his mother, who died after he was taken into custody. Baryshnikov himself has been diagnosed with a potentially cancerous prostate tumor, meaning he has to live with a suprapubic catheter (through his abdomen) and will require surgery. During Barishnikov’s trial, his doctor said he may die in prison.

At least 15 criminal cases have been brought against elderly Russians under Article 280 of Russia’s Criminal Code. 13 of those cases concern “public actions aimed at discrediting the Armed Forces of the Russian Federation” (Part 1 of Article 280.3 of the Criminal Code) and two, according to OVD-Info, concern incitements to extremist activity (Part 2 of Article 280).

Another four elderly people are being prosecuted under Part 2 of Article 205 of the Criminal Code for “public appeals to carry out terrorist activities, or public justification of terrorism or promotion of terrorism." Four people have been charged for the “desecration of corpses and burial places” and vandalism (Articles 214 and 244 of the Criminal Code).

At least 15 elderly people are in pre-trial detention facilities, receiving coercive medical treatment, or already serving a prison sentence.

‘The most painful part is leaving her grandson’

On September 5, 2022, the home of Dolite Sinitsina, a 65-year-old former history teacher from the city of Nakhodka, was searched by the Russian authorities. She was charged under the Criminal Code’s article against online incitement to extremism (Part 2 of Article 280) because of two posts and comments she’d made online: “Death to fascist occupiers!!!” and “Russia is a fascist state.” An analysis requested by investigators concluded that her statements “encouraged violence” against the Russian military. 

Members of the FSB confiscated Sinitsina's computer, her WiFi router, and her phone. She was later interrogated by intelligence officers and taken to Vladivostok.

Dolite told Verstka that she was shocked and horrified by the outbreak of war in Ukraine, and that she was simply expressing her feelings when she wrote the offending posts. Although she feels the accusations against her are absurd, she agreed to plead guilty at the request of an investigator and her lawyer. 

“We were counting on getting a suspended sentence; I guess that was naive of me. But that’s what I was told: plead guilty, and you’ll be given a suspended sentence and told to report to a parole officer,” Sipnitsa recounted. “So that’s what I resolved to do, and when the judge ruled otherwise, I broke down.”

The judge, Maksim Kiselev, sentenced her to one and a half years in prison. An appeals court upheld the verdict. 

Although the court proceedings concerned only the aforementioned statements, it's clear from Sinitsa’s social media profile that she has been vocally opposing the Russian state for years. For instance, Dolite expressed sympathy for supporters of Navalny. 

In 2017, while Nakhodka’s inhabitants were choking on the dust from its open coal mines, Sinitsya stood as a candidate for the Nakhodka City Duma and promised voters she would “always vote in accordance with their wishes.” She didn’t manage to get elected, but in the comments under one of her posts, she wrote: “Our state is represented by a colonial administration of timeservers, who sponge off the brutal exploitation of natural and human resources.”

I’ve always been an active citizen; I was secretary of the Komsomol teachers’ organization and party secretary. And when the city’s ecological problems began, it was suggested that I stand as an independent candidate in the delegate, so I agreed. But it quickly became clear that the whole system is just a rat race, the decay has already taken root, and I’m too old to be trying to rebuild and reorganize it.

Any day now, Sinitsa expects to be taken to prison, where a place awaits her. According to her, she'll most likely be sent to a colony near either Ussuriysk or Vladivostok, which are 160–200 kilometers (99–124 miles) from her home. For her, the most painful part is leaving her little grandson. 

My eldest grandkids are 20 and 21 years old, and I didn’t get a chance to play with them. The youngest is two. I’m very attached to him; I thought that I’d at least be able to help raise him, if not the others. I’m really suffering over him. When they told me at the appeal that I’d go to prison for a year and six months, my first thought was that I’d never go, that I’d kill myself. But then a kind of malice rose up in me, and gave me strength to bear it. It will be hard, but I have to get through it.

Sinitsa admitted that if she had known what her online protests would lead to, she probably wouldn’t have written the posts that got her convicted. But she feels the war in Ukraine is a tragedy of global scale: “All those homes destroyed, people killed, and the way that the rest of the world is reacting to it — it’s all so wrong, I can’t bear to watch it unfold.”

‘I couldn’t just stay silent’

On March 6, 2022, while protests against the war in Ukraine were happening all over Russia, 65-year-old Nikolai Gutsenovich staged a solitary picket protest in Penza. One side of his poster showed a rocket being snapped in half by a pair of hands with the words “No to war,” while the other had a quote from a song by Aleksander Galich: “The Fatherland is in danger, our tanks are on foreign land.” 

I was motivated by the injustices happening in Ukraine. I have relatives there. A civilized, 21st-century nation does not resolve issues by declaring war. And to wage war in a land that has three nuclear stations is madness — it could lead to a second Chernobyl.

Gutsenovich is originally from Belarus. In his youth, he served in the military in East Germany. Later, he traveled a lot, working as a photographer. He was interested in electronics, and began building tape recorders and electric guitars by himself. When he retired, he began working on his house, like many people his age. But he also has a major bone to pick with most of his peers: he's furious that there are so few pensioners actively opposing the war. 

During the 10 minutes Gutsenovich stood protesting, five or six passersby thanked him for taking a stand, while one called him a traitor to the motherland. Then some policemen approached, arrested him, and brought him to the police station. 

According to Gutsenovich himself, he knew the risks of protesting, but he “had no choice”: “I’m in my twilight years — I couldn’t just stay silent and spoil my obituary.” The judge fined him 30,000 rubles (around $300) on misdemeanor charges of “discrediting” the Russian army (Article 20.3.3 of the Criminal Code). But his case didn’t end there. 

Gutsenovich expressed his sympathy for Ukraine on social media, “liking” posts containing information that contradicted reports made by the Russian Defense Ministry. These “likes” led to felony charges.

Stanislav Fomenko, Gutsenovich’s lawyer from OVD-Info, told Verstka that his client’s lone protest likely led law enforcement to begin surveilling him. When they saw his online “defamations” of the Russian Armed Forces on his social media page, Fomenko speculated, they decided to “knock him down a peg.”

The criminal case against Gutsenovich was opened on February 15, 2023. He was indicted on April 14, and in early May, his documents were submitted to court.

Gutsenovich was charged with “discrediting” of the Russian army (Article 280.3 Part 1 of the Criminal Code) by “liking” 18 anti-war posts in Odnoklassniki. According to investigators, the defendant "clicked reactions on posts on the aforementioned social network, after which the posts were displaced on his page and became viewable by an indefinite number of people."

At the trial, Gutsenovich did not deny that he had responded to the Odnoklassniki posts, but noted that he “had no intention of defaming the Russian army and was simply expressing his opinion in accordance with Article 29 of the Russian Constitution.” His lawyer, Stanislav Fomenko, recalled that Gutsenovich also attempted to make an anti-war speech, but the judge cut him off. 

“Sadly, it appears our Constitution is meaningless,” Gutsenovich told Verstka. Prosecutors requested that he be fined 120,000 rubles (about $1,200). Penza's Leninsky District Court ended up fining him 100,000 rubles ($1,060).

He still hasn’t paid the fine: “I need to get some more money together; I’m no millionaire,” the pensioner said, grinning. Still, he said, he doesn’t regret expressing his opposition to the war. 

Gutsenovich remains optimistic. He is sure that the war will come to an end, and that Russia will become a democratic country: “But all the same, there is a tough road ahead. Firstly, the sanctions against Russia aren’t going to be lifted straight away. Secondly, Ukraine will have to be rebuilt, and reparations paid. So any way you look at it, things are going to be hard for Russia.”

‘I wasn’t a dissident, but I wasn’t poisoned by propaganda’

Elena Ivanovo (surname changed at her request) is a 69-year-old research associate from Novosibirsk. She began attending protests when Alexey Navalny was imprisoned, and when Russia invaded Ukraine on February 24, 2022, she had no intention of hiding away at home. 

I’m a grandmother, and I imagined every woman my age would be out on the streets, protesting. When it became clear this wasn’t the case, I was distraught — I still haven’t gotten over it. Back then, I was in tears every day, but these days I don’t cry as much. Obviously, our tragedy, Russia’s tragedy, cannot be compared with Ukraine’s, whose fertile lands, its people, its cities, are all being destroyed. That's why I went out to protest.

On March 6, she went to Lenin Square in downtown Novosibirsk with a friend of hers who's also a pensioner. Even though the police far outnumbered the protesters, Elena said, she chose to hold up her anti-war sign. 

On one side of the poster, she had drawn a picture of a crossed-out bomb, while on the other side, she’d written the words “We want peace.”

Immediately, the riot police, with their spacemen helmets, herded a group of protestors, us included, into a circle and began to close in on us. Then they were ordered to arrest me and my friend. So they arrested us and ripped up my sign. Four policemen — brawny, armed, and highly trained — were tasked with bringing us to the van. They fulfilled their orders gently, directing us with hands under our elbows.

It was the first time in their long lives that either of the two friends had been in a police van. The vehicle was full of young people, all of whom were taken to the police station. As they were getting out of the van, a policeman offered Elena his hand. “You don’t get that sort of treatment on the city bus,” she laughed. “Actually, I hadn’t realized how similar buses and police vans are.” 

The “cops’ assembly hall”, as Elena calls it, was full of detainees, who she refers to as “clever-looking young people.” When Elena and her friend entered, “they all got up and started clapping.” That day, Elena was charged with a misdemeanor offense under Article 20.2 of the Russian Administrative Code.

The fine she received was only 5,000 rubles (around $50), but Elena hasn’t been to a protest since.

“It’s not about the risk; I just don’t want to subsidize the regime,” she explained. “If I’m at the protest for three minutes before I’m arrested, what effect can I have? And then I have to give my money to the regime? What's the point?”

She attributes her stance on the war to the fact that she has never owned a television. “I wasn’t a dissident by any stretch of the imagination. But I was never poisoned by propaganda.” At the same time, she said, she's always considered herself a patriot.

I worked in a different country for two years, and I couldn’t wait to return to Russia. But I’ll tell you how I formed my attitude towards the war in Ukraine. Imagine a married woman with children. She loves her husband, they have a happy home life, and suddenly she finds out that her husband has been raping their daughters. How is she supposed to react? It’s a tragedy that can’t be put right. But now I’m left without a homeland — I’m some kind of a moral freak.

Elena knows other pensioners who oppose the war, but she has severed relations with several longtime friends her age because of their support for the invasion. 

“I don’t understand how they don’t grieve for the Ukrainians. How can you have no pity for the people, the cities, the woods, the animals?” Elena said mournfully. “But trying to convince them is pointless. I’ve lost friends that way. I’m ashamed of my generation. They have blood on their hands. But who cares about us — the most important thing is that the war ends. But the war isn't ending.”

[loki-the-true-king]

‘HELLO’ magazine. Graf von Krolock (Ivan Ozhogin), Herbert (Kirill Gordeev), the vampire (Konstantin Baryshnikov)

[theundergroundlondon]

THE MATCHUPS: 02/09/22

Anatoly Veselov (RU) vs. Dev Daryani (GB) ~

Olivier Fontaine (FR) vs. Kerem Doğulu (TR)

Maksim Kurylenko (RU) vs. Yves de Metz (FR)

Eitan Cohen (GB) vs. Thierry Vendroux (FR) 

Giorgio Pecatti (IT)  vs. Pavel Seleznyov (RU)

Dante Salerno (IT) vs. Jean Palfroix (FR)

Aviv Kasyanenko (RU) vs. Francisco Vidal (GB)

Étienne Canet (FR) vs. Théodore Chaussard (FR)

Andrei Baryshnikov (RU) vs. Park Seung-hyun (GB)

Vincenzo Vespucci (IT) vs. Vitaly Seleznyov (RU)

Johnathan Parsons (GB) vs. Berat Yalaz (TR)

Hasan Demir (TR) vs. Ayaz Ateş (GB)

Henry García (GB) vs. Laurent St. Pierre (FR)

Konstantin Vorshevsky (RU) vs. Varden Lefebvre (FR)

~ indicates a rematch, italicised party was the previous winner.

[melkormajere]

English Translation of the rock opera "Orpheus" (Act 2) 'Original' concert version. "How to tell her"

Original Video Source: https://www.youtube.com/watch?v=kvPAUnUQUeI This is the technical ending song of the original concert. Here is the cast though (reminder I used numerous videos so the Judge's (aka Aeacus) actor does change throughout) Орфей - Андрей Лефлер / Orpheus - Andrey Lefler Персефона - Ольга Вайнер / Persephone - Olga Weiner Аид - Павел Пламенев / Hades - Pavel Plamenev Эвридика - Дарья Бурлюкало / Eurydice - Daria Burlyukalo Гермес - Евгений Егоров / Hermes - Evgeny Egorov Геката - Вера ��удина / Hecate - Vera Zudina Харон - Дмитрий Борисенков / Charon - Dmitry Borisenkov Судья - Михаил Озеров / Judge - Mikhail Ozerov* The singing version of the judge that I used is Судья - Константин Барышников / Judge - Konstantin Baryshnikov

*( names in English are uh maybe accurate?????) Anyways, feeling sad????? There's still the alternate performance songs. (about 7). And then there is the Hermes "Prequel". If anyone involved in the rock opera "Orpheus" or the original video recorder would like this deleted then I can delete it. Thank you!!!!!

[mobscene-london]

Just curious who are we seeing next?

It’ll either be Mila Korshunova, Konstantin’s wife, or Andrei Baryshnikov, the troubled owner of The Basement. I realized I also have our first B-Girl almost complete, too, so it could even be her at this point! Let’s see where my brain takes me.

[mobscene-awards]

AWARDS UPDATE.

These are the votes I’ve received so far in the final round. If your character’s name isn’t listed, then I didn’t receive the submission, and you’ll have to resend it. Sorry for any inconvenience if this is the case. If you didn’t vote in the nominations round, you can vote now in the final round. It’s not a problem.

Please note that submissions close at 00:00 GMT, 22/3/21.

I will not extend the voting for those who can’t do it by then, nor will I chase people.

Adriana Amaro

Francisco Vidal

Leyla Yılmaz

Étienne Canet

Anatoly Veselov

Damon Rutherford

Adrian Castillo

Delphine St. Clair

William Robathan

Andrei Baryshnikov

Azra Yavuz

Viktoriya Kurylenko

Svetlana Vorshevsky

Johnathan Parsons

Edward Hathaway

Elaina Halévy

Henry García

Évelyne Mercier

Alexis Larsson

Lara Rutherford

Laurent St. Pierre

Lyudmila Korshunova

Eleanor Shipley

Yvonne Rutherford

Ophélie Redgrave

Nora Berkeley

Nevra Erdogan

Varden Lefebvre

Aviv Kasyanenko

Cassandra Acton

Maksim Kurylenko

Peyton Harrow

Roman Baranovsky

Théodore Chaussard

Jean Palfroix

Sofie Dekker

Andrew Eberhart

Isla Hunt

Jessica Reyes

Maria Azenha 

Élodie Chung

Spencer Berkeley

Andrew Rutherford

Silas Agreste

Dev Daryani

Arkady Kurylenko

Konstantin Vorshevsky

[aronsonfilm]

LUISA AND ANNA'S FIRST FIGHT from lena tsodykovskaya on Vimeo.

Short of the Week Premiere shortoftheweek.com/2019/09/30/luisa-and-annas-first-fight/

tv.booooooom.com/2019/10/02/luisa-and-annas-first-fight-lena-tsodykovskaya/

filmshortage.com/shorts/luisa-and-annas-first-fight/

Short // Comedy // 16 mm

I was nasty as a teenager. Nasty and Silly. I wore heavy boots, talked loudly, skipped school and smoked. Still do all of those things by the way. And yes, I’ve been in fights. Incredibly silly ones. All three of them.

This little film is based on those three fights and represents the stupidity of youth as much as rock solid girl friendships. To me this is what true friendship is — being there for each other’s most nonsensical endeavors and carrying the weight of its repercussions together.

*****

Olivia Taylor Cruz @mightyolivia Allison Moses @allisonmmoses

Kathleen Kenny @Kathleen_kenny_ Natalie McElvy @natmcelvy Will Collins @realwill Malcolm Xavier @magicmxj Nathan Lampl @nathoooon Grant Anstine @grantanstine Rebecca Mellinger @rebecca_mellinger

Written & Directed by Lena Tsodykovskaya Produced by Elena Bawiec & Cynthia Jean Hajj

Director of Photography - Konstantin Mazov @konstantin_mazov Editor - Artyom Baryshnikov @art.montage Sound Design & Mix - Peter Bawiec, MPSE @pbawiec Production Design - Patrick Fritz @patrickjfritz Costume Design - Giselle Carillo Make-up Artist - Georgeanna Walden @justgeorgelooks Casting - Gianna Butler @gbutt Color Grading - Andrey Nikolaev @kefirux

Los Angeles, 2019

[gramilano]

Alexander Pereira and Frédéric Olivieri at the Ballet Seaon press conference, photo Brescia e Amisano

Since suddenly taking over at the helm of La Scala’s Ballet Company, and now having been confirmed as its director for the next three years, Frédéric Olivieri has presented his first ballet season since the five seasons he created when he previously held this position at the theatre, from 2002 until 2007.

The season sees additions which are ideal for a repertory company like La Scala Ballet, an exciting commission from Aszure Barton, and many opportunities for the theatre’s resident Étoiles Svetlana Zakharova and Roberto Bolle who will dance together in La Dame aux camélias and Manon. Zakharova will also dance in the three performances of the Tribute to Nureyev, and Bolle will make his debut in Béjart’s Bolero.

NEW PRODUCTIONS

Le Corsaire makes its debut at La Scala in the version by Anna-Marie Holmes, seen at the American Ballet Theatre and the English National Ballet, with new sets and costumes by Luisa Spinatelli.

One of Heinz Spoerli’s most popular works, Goldberg Variations, will be given a new production and will continue the Chamber Ballet series at La Scala, which started with his Cello Suites two years ago.

Canadian choreographer – and Baryshnikov protégée – Aszure Barton, will create a new work for La Scala called Mahler 10 set to the Adagio from Mahler’s unfinished 10th Symphony, the last piece he wrote.

DEBUTS

Many of La Scala’s dancers will be making important debuts during the 2017-2018 season seeing that Le Corsaire is new to the company and packed with soloist roles. One debut stands out: Roberto Bolle will be dancing on Maurice Béjart’s legendary table for the first time when he dances in Bolero.

GALA

Three evenings will be dedicated to Rudolf Nureyev who worked extensively at La Scala. They mark the 80th Anniversary of his birth the 25th Anniversary of his death. Marianela Nuñez and Vadim Muntagirov from The Royal Ballet will join Zakharova and the company dancers.

BOLSHOI TOUR

In September 2018 the Bolshoi Company will visit Milan with La Bayadère and The Taming of the Shrew.

  BALLET SEASON 2017 – 2018

La Dame aux camélias with Svetlana Zakharova

La Dame aux camélias with Roberto Bolle, photo by Brescia, Teatro alla Scala

15 December 2017: Young People’s Preview Performance; 17, 20 (2 perfs.), 23, 29 (2 perfs.), 30 (2 perfs.), 31 December 2017; 3, 4, 10, 13 January 2018

Frédéric Chopin

La Dame aux camélias

Choreography John Neumeier

Sets and costumes Jürgen Rose

Lighting John Neumeier

with

Svetlana Zakharova (17, 20 eve December; 10, 13 January)

Roberto Bolle (17, 20 eve December; 10, 13 January)

Conductor Theodor Guschlbauer

Piano Roberto Cominati

Goldberg Variations, photo by Peter Schnetz

25, 26, 27, 30 January; 1, 7 (2 perfs.), 9 February; 2, 21, 22 March 2018

Johann Sebastian Bach

Goldberg Variations

Choreography Heinz Spoerli

Sets and costumes Keso Dekker

Lighting Martin Gebhardt

Piano Alexey Botvinov

NEW PRODUCTION

  Aszure Barton, photo by Graeme Mitchell

Maurice Béjart at La Scala in 1995, photo by Lelli Masotti, Teatro alla Scala

Jiri Kilian, photo by Serge Ligtenberg

 10, 13 (2 perfs.), 16, 20, 23, 25, 27, 29, 30 March; 5, 7 April 2018

Mahler 10 / Petite Mort / Bolero

Gustav Mahler

Mahler 10

Adagio from Symphony No 10

Choreography Aszure Barton

Sets and lighting Burke Brown

NEW PRODUCTION

World Premiere

  Wolfgang Amadeus Mozart

Petite Mort

Piano Concerto No 23 in A major, K.488 (adagio)

Piano Concerto No 21 in A major, K.467 (amdante)

Choreography Jiří Kylián

Sets Jiří Kylián

Costumes Joke Visser

Lighting Jiří Kylián

  Maurice Ravel

Bolero

Choreography Maurice Béjart

with

Roberto Bolle (10, 13 eve, 16, 20, 23 March)

Conductor David Coleman

Le Corsaire a design for the new production by Luisa Spinatelli

20, 22, 27 April; 9, 11 (2 perfs.), 16 (2 perfs.), 17 May 2018

Adolphe Adam, Cesare Pugni, Léo Delibes, Riccardo Drigo, Prince Oldenbourg

Le Corsaire

Choreography Anna-Marie Holmes after Marius Petipa and Konstantin Sergeyev

Music re-orchestrated by Kevin Galiè

Sets and costumes Luisa Spinatelli

Lighting Marco Filibeck

Conductor Patrick Fournillier

NEW PRODUCTION

The Nutcracker with Rudolf Nureyev, 1969, photo by Lelli e Masotti

Rudolf Nureyev after Romeo and Juliet, photo by Lelli e Masotti

Nureyev at La Scala after the Le Corsaire pas de deux in 1966, photo by Erio Piccagliani, Teatro alla Scala

24, 25, 26 May 2018

Serata Nureyev

To mark the 80th Anniversary of the birth of Rudolf Nureyev and the 25th Anniversary of his death

with

Svetlana Zakharova

Marianela Nuñez

Vadim Muntagirov

Conductor David Coleman

  Don Quixote, photo by Brescia e Amisano, Teatro alla Scala

10, 11, 13, 16, 18, 19 July 2018

Ludwig Minkus

Don Chisciotte

Choreography Rudolf Nureyev

Sets Raffaele Del Savio

Costumes Anna Anni

Lighting Marco Filibeck

Conductor David Coleman

Manon with Svetlana Zakharova and Roberto Bolle, photo by Brescia e Amisano, Teatro alla Scala

17, 19 (2 perfs.), 20, 24, 27 October; 2 November 2018

Jules Massenet

L’histoire de Manon

Choreography Kenneth MacMillan

Orchestral arrangements by Martin Yates

Sets and costumes Nicholas Georgiadis

with

Svetlana Zakharova (17, 19 eve, 24 October) Roberto Bolle (17, 19 eve, 24 October)

Conductor Patrick Fournillier

    La Scala Ballet Season 2017-2018 with new Le Corsaire, Bolle’s debut in Bolero, tribute to Nureyev, and the Bolshoi Since suddenly taking over at the helm of La Scala’s Ballet Company, and now having been confirmed as its…

[emeraldskulblaka]

Hey! So I recently got a VK account, but I'm struggling to find my way around. Thanks to your masterposts I found the theatres' pages, but I don't know where to start looking for the actors. Could you please share the most important ones? Finrod, Leithian, Trial maybe ( Please ignore this if it's too much work )

Ngl, it was quite a lot of work 😅 I listed the actors' creative pages, not their personal ones, because that's the best way to keep up with their work and performances.

Agata Vavilova

Alexander Chernyshev

Alexander Kazmin

Alexander Khananin

Alexander Rychkov

Alexey Tolstokorov

Andrey Birin

Andrey Shkoldichenko

Anton Avdeev

Danila Polyakov

Danila Zhilyaev

Daria Burlyukalo

Daria Vorobyova

Daria Yanvarina

Edrian Bernada

Ekaterina Agafonova

Ekaterina Busygina

Elena Gazaeva

Elena Khanpira

Elena Minina

Emil Sales

Evdokia Malevskaya

Evgeny Gradusov

Evgeny Egorov

Fedor & Semyon Nemtsev

Galina Shimanskaya

Ilya Zhigarev

Iria

Irina Demidova

Irina Potekhina

Kirill Gordeev

Konstantin Baryshnikov

Konstantin Skripalev

Ksenia Spiridonova

Lora Moskovskaya

Maxim Rakovsky

Mikhail Sidorenko

Pavel Dorofeev

Pavel Plamenev

Pavel Stukalov

Roman Susalev

Rostislav Kolpakov

Ruslan Gerasimenko

Selected Dreik

Seraphim

Sergey Smolin

Sofiko Kardava

Sviatoslav Besedin

Taria Baturina

Tatyana Shaikova

Vilena Sokolova

Yaroslav Bayarunas

I hope I've got everyone, or at least most of those you're interested in. I'm not responsible for the contents of the pages I linked and do not endorse their opinions and actions, naturally.

[andynortonuk]

LUISA AND ANNA'S FIRST FIGHT from lena tsodykovskaya on Vimeo.

Short of the Week Premiere shortoftheweek.com/2019/09/30/luisa-and-annas-first-fight/

Short // Comedy // 16 mm

I was nasty as a teenager. Nasty and Silly. I wore heavy boots, talked loudly, skipped school and smoked. Still do all of those things by the way. And yes, I’ve been in fights. Incredibly silly ones. All three of them.

This little film is based on those three fights and represents the stupidity of youth as much as rock solid girl friendships. To me this is what true friendship is — being there for each other’s most nonsensical endeavors and carrying the weight of its repercussions together.

'Luisa and Anna’s First Fight' is about two high school nobodies desperately searching for the biggest fight of the year… If only they could find it.

Filmed on 16mm with a fun, silly, irreverent vibe, "Luisa and Anna’s First Fight" is an edgy comedy about two idiot best friends and a love letter to my very own two idiot best friends.

*****

Olivia Taylor Cruz @mightyolivia Allison Moses @allisonmmoses

Kathleen Kenny @Kathleen_kenny_ Natalie McElvy @natmcelvy Will Collins @realwill Malcolm Xavier @magicmxj Nathan Lampl @nathoooon Grant Anstine @grantanstine Rebecca Mellinger @rebecca_mellinger

Written & Directed by Lena Tsodykovskaya Produced by Elena Bawiec & Cynthia Jean Hajj

Director of Photography - Konstantin Mazov @konstantin_mazov Editor - Artyom Baryshnikov @art.montage Sound Design & Mix - Peter Bawiec, MPSE @pbawiec Production Design - Patrick Fritz @patrickjfritz Costume Design - Giselle Carillo Make-up Artist - Georgeanna Walden @justgeorgelooks Casting - Gianna Butler @gbutt Color Grading - Andrey Nikolaev @kefirux

Los Angeles, 2019

[brillliantcorners]

•|•|•|•|•|•|•|•|•Mikhail Baryshnikov (dancer, born January 27, 1948, in Riga, Latvia) "Working is living to me,'' Mikhail Baryshnikov once said. He has worked hard and lived to the fullest. His name is synonymous with dance throughout the world. His dancing is a sublime vision at the dawn of a new century. Mikhail Nikolaevitch Baryshnikov was born in Riga in 1948 and began his ballet studies there in 1960. In 1964, he entered the Vaganova School in what was then called Leningrad, studying with the legendary Aleksander Pushkin and soon winning the top prize in the junior division of the International Varna Competition. Word began spreading of this extraordinary young dancer of precious classical purity and exquisite presence. Clive Barnes gave notice of what was to come after observing the student Baryshnikov in Pushkin's class, describing him as ""the mostemperfect dancer I have ever seen.'' He joined the Kirov Ballet and made his debut at the Maryinsky Theater in 1967, dancing the “Peasant” pas de deux in Giselle. Choreographers recognized in Baryshnikov a unique instrument for new dance, and soon Oleg Vinogradov, Konstantin Sergeyev, Igor Tchernichov, and Leonid Jakobson created ballets for him. Jakobson's 1969 Vestris, a feast of virtuosity and wit, became Baryshnikov's signature role and, along with his intensely otional Albrecht in Giselle, his calling card to his new home. Baryshnikov defected from the Soviet Union in 1974 in search for artistic and personal freedom in the West. He made his debut with the American Ballet Theatre that same year, dancing Giselle with Natalia Makarova. He stayed with ABT for the next four years, voraciously learning and defining new roles, expanding his horizons as well as those of male dancing. memorably, he also staged ABT's productions of The Nutcracker, Don Quixote and Cinderella. In 1978, Baryshnikov left ABT for New York City Ballet, where he could work with George Balanchine and Jerome Robbins. He returned to ABT in 1980, not only as principal danceR&But also as artistic director, a distinguished position he held for almost a decade. In the years that followed, Baryshnikov's explorations of artistic frontiers became one of the most dazzling spectacles of the age: dances by Merce Cunningham and Erick Hawkins, the play Metamorphosis on Broadway, The Turning Point, White Nights and Dancers on screen, my Award-winning television specials with Twyla Tharp and Liza Minnelli, glittering galas for Martha Graham and Paul Taylor. Baryshnikov is a naturalized American citizen. In 1990, he teamed up with Mark Morris and founded the White Oak Project, a unique dance company that reflects Baryshnikov's passion for modern dance and bodies the extraordinary transformation of a paragon of Russian ballet into the very model of perfection in American modern dance. Not long after coming to the United States, Baryshnikov looked both back and ahead at the immense possibilities of a dancer's lifetime. "I have been very lucky to work in so many new ballets, but that is what a dancer's work is,'' he wrote in the 1978 Baryshnikov At Work. He likened the challenge of dancing different choreographies and styles to learning new languages, confessing that "there are never enough.'' He added that "every ballet, whether or not successful artistically or with the public, has given me something important. Everything that I've done has given me more freedom.'' Has anyone in the field of dance ever made so much of that freedom? The generosity of Baryshnikov's spirit braces the world. He has danced to Adam and Tchaikovsky, but also to Dmitri Shostakovich and Philip Glass, to Duke Ellington and Frank Sinatra. He has danced to silence, and he has danced to his own heartbeat. He has been the ideal Albrecht and Prince Siegfried, but he has also stepped out in style as a paragon of jazz dancing, as a living bl of modern and post-modern sensibilities, as a choreographer and teacher, as a company director. He has been, and continues to be, a surprise.

[loki-the-true-king]

More photo from the “HELLO” magazine. Tanz der Vampire - Бал вампиров (Russian production, Moscow).

[theundergroundlondon]

THE MATCHUPS: 28/08/21

Jean Palfroix (FR) vs. Johnathan Parsons (GB)

Vitaly Seleznyov (RU) vs. Park Seung-hyun (GB)

Andrei Baryshnikov (RU) vs. Emrys Jenkins (GB)

Thierry Vendroux (FR) vs. Maksim Kurylenko (RU)

Eitan Cohen (GB) vs. Varden Lefebvre (FR)

Elijah Nabirye (GB) vs. Guillaume Fournier (FR)

Roman Baranovsky (RU) vs. Olivier Fontaine (FR)

Pavel Seleznyov (RU) vs. Jax Davids (GB)

William Robathan (GB) vs. Anatoly Veselov (RU)

Aviv Kasyanenko (RU) vs. Dev Daryani (GB)

Laurent St. Pierre (FR) vs. Konstantin Vorshevsky (RU)

* will be a change from the scheduled lineup. ~ indicates a rematch, italicised party was the previous winner.