#la scala theatre ballet school

[lovelyballetandmore]

Jorge Grau | La Scala Theatre Ballet School (Scuola di Ballo del Teatro alla Scala)

[ballet-symphonie]

Does that Anon even know that ballet was born in Italy? That the English method is the Cecchetti (an Italian) method? That the Vaganova method was quite literally born from Cecchetti + other influences? I can't believe they don't understand the historical significance of La Scala. But not only that! There are so many beautiful theatres in Italy, everywhere! Venice, Milan, Rome, Naples, Palermo... Does no one know how diverse Italy is??

In addition, Italy's ballet culture doesn't only exist on its reputation; it continues to be solid—past, present, and future. IL BALLETTO is Italian, and it always has been. From the very roots of its creation during the Renaissance, it was Italy that gave birth to the art form—Florence, Milan, and Venice were the true cradles of ballet, long before Russia, France, or anywhere else even thought to claim it as their own. Italian technique, the dramatic flair, the rich tradition of storytelling, the eleganza—it all comes from Italy, and that's why ballet continues to flourish here. Italy doesn’t just preserve its ballet heritage; it defines it. The passion, the history, the soul of ballet is Italian, and no one can rewrite that.

This doesn't take anything away from the Russians, who made it what it is today, but to a certain degree, the Russians added a layer of sadness, isolation, and toxicity that wasn't in the Italian school. The French, well, the Paris Opera was basically a brothel—let me just say that—ballet was just an excuse for patronage and exploitation of young ladies. But Italy? Dancers for the sake of joy, beauty, and everything joyful that comes from dance.

I have honestly nothing to add, this basically describes my emotions in response to the last anon response perfectly, thank you.

[fashionbooksmilano]

Roberto Bolle  An Athlete in Tights

by Bruce Weber

teNeues, Kempen 2009, 192 pages, 127 duotone and 24 color illustrations,23,5 x 30 cm, ISBN 978-3-8327-9196-4,  Out of Print book

euro 210,00

email if you want to buy booksinprogressmilano@yahoo.it

“Roberto Bolle: An Athlete In Tights” celebrates Bruce’s three-year collaboration with the Italian ballet sensation.

Roberto Bolle was born in Casale Monferrato, Italy. At a young age, he entered the Theatre La Scala ballet school. Rudolf Nureyev was the first to notice his talent and chose Roberto to interpret Tadzio in the ballet “Death in Venice.” In 1996, at the end of a Romeo and Juliet performance and just 2 years after he joined the Theatre Company, Roberto was promoted to principal by Elisabetta Terabust who was at that time the Director of the Corp de Ballet. Since then he has starred in many contemporary and classical ballets and he has been invited as a guest artist to work with the most prestigious ballet companies in the world. In recent years, his international acclaim has only grown. Roberto is now the first male Italian ballet dancer to join the American Ballet Theatre as a principal.

In this monograph, Bruce Weber captures the spectacular convergence of artistry and physicality in this dance phenomenon, the grace and beauty that have captivated Roberto’s audiences around the world.

The book is largely pictorial in nature, with original photography and writing by Bruce Weber, original writing by Roberto Bolle, text by D.H. Lawrence, Pier Paolo Pasolini, and illustrations by Paul Cadmus and Jeremiah Goodman.

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10/02/23

[dream-world-universe]

La Scala

 Opera house in Milan

Exterior of Teatro Alla Scala.

La Scala (officially Teatro alla Scala lit. 'Theatre at the Scala') is a historic opera house in Milan, Italy. The theatre was inaugurated on 3 August 1778 and was originally known as il Nuovo Regio Ducale Teatro alla Scala (lit. 'the New Royal Ducal Theatre at the Scala', which was the former location of a church). The premiere performance was Antonio Salieri's Europa riconosciuta.

Most of Italy's greatest operatic artists, and many of the finest singers from around the world, have appeared at La Scala. The theatre is regarded as one of the leading opera and ballet theatres globally. It is home to the La Scala Theatre Chorus, La Scala Theatre Ballet, La Scala Theatre Orchestra, and the Filarmonica della Scala orchestra. The theatre also has an associate school, known as the La Scala Theatre Academy (Italian: Accademia Teatro alla Scala), which offers professional training in music, dance, stagecraft, and stage management.

La Scala - Wikipedia

Christmas concert at Scala di Milan.

[galina-ulanova]

Current La Scala corps member Vanessa Vestita in Serenade (La Scala Theatre Ballet School, 2014)

[gramilano]

Pierina Legnani - more than 32 fouettés

Pierina Legnani - more than 32 fouettés: Pierina Legnani was born in Milan on 30 September 1868 and died 90 years ago today 15 November 1930. Here is a short summary of her extraordinary career.

Pierina Legnani, 1891

Pierina Legnani was born in Milan on 30 September 1868. She spent ten years at La Scala’s ballet school, graduating in 1888, but then continued working on her technique at the private school of Caterina Beretta. Beretta was another Milanese dancer; she became an étoile at the Paris Opera Ballet, and later taught at the Mariinsky Theatre’s ballet school with Enrico Cecchetti.…

[paolo-streito-1264]

Alfred Eisenstaedt. Young ballerina's toe shoes at La Scala Theatre Ballet School in Milan, Italy, 1934.

[wcnglessxx]

&.  sofia carson : female : she/her : broken by lifehouse —  It seems kaitlyn kennedy has been seen walking around Volterra. the 26-year-old gifted human has been in the city for 3 years working as a ballet dancer.  doesn’t ballet shoes, long hair in a bun sometimes, smell of fresh coffee remind you of them?   ⸢ 

BASIC INFORMATION

                  FULL NAME: kaitlyn kennedy                   NICKNAME(S): katie, kate, lyn                   PREFERRED NAME(S):  katie                   BIRTH DATE: april 12th, 1995                   AGE:  twenty tsix                   ZODIAC: aries                   GENDER: female                   PRONOUNS: she/her                   ROMANTIC ORIENTATION: heteromantic                   SEXUAL ORIENTATION: heterosexual                   NATIONALITY: american                   ETHNICITY: Colombian – including Arab [Syrian-Lebanese, Palestinian], Spanish, possibly English, possibly other                   CURRENT LOCATION: volterra, italy                   OCCUPATION: ballet dancer

BACKGROUND

          -   a life well lived was what kaitlyn got. born to two sixteen year olds, kaitlyn was soon enough taken from her birth parents to be adopted. being taken in by a couple who were some what rich, she got the life she deserved.

- with her adoptive parents giving her love and affection growing up, she didn't have to worry about anything.  when she turned seven, kaitlyn was enrolled into dance classes. it would be that first dance class that made her fall in love with dancing in general.

- with ballet classes every week, and to also school, she had a tight schedule. and same schedule continued when she entered high school too. though not as much.  during her high school years, she wanted to have fun. and also participate in after school activities. that included cheerleading.

- aside from cheerleading, kaitlyn made sure to keep her grades up. studying as often as she could. come time for graduation, she graduated in the top ten of her class.  when it came to college, with her position in Julliard secured, she packed her stuff up and headed for new york.  for the first year, she lived in campus in the dorms.

- after that, she got her own apartment with the help of her parents. for the remainder of her years, coming to a total of four years, she focused on learning the different styles of dance. as well as putting on end of the year performances too.

- come her final year, she put all of her effort into the end of year performance. with having the lead role, she focused on her performance. it was also during that time though that she wanted to find her birth parents. after graduation, she started the search. waiting for a month, she finally got the information she needed.

-italy. they had moved to italy.  packing her stuff up after explaining what she was doing to her adopted parents, she went to italy. finding them in volterra, she ended up staying for a  bit to get to know them. though after a few months, she officially bought herself a studio apartment there.

- it was also around the time of meeting her birth parents that she discovered her ability, weather manipulation. after coming across a drunk man who was scaring her, it caused it to rain ice over the area. that alone freaked her out. but with the help of her birth mom, she learned to control it as well as hide it.

- two years after moving there, she opened her own dance studio, as well as join the la scala theatre ballet. did it take her out of volterra sometimes? yes. but she was willing to do it. it wasn't often though that she did go to milan.

- now a year later after that, she's doing her best to make her parents proud. both her adopted and birth parents.    ­

OTHER FACTS

   -aside from ballet, she does know other styles of dance. from contemporary to other various dance styles.

   - she can eat an entire pizza by herself.

   -kaitlyn was in love once. it was during her college years. but that all came crashing down after a car accident took the life of her now deceased boyfriend.

   - she does know how to sing. but rarely sings in front of anyone.

WANTED  CONNECTIONS:

    - mate/love interest: katie has only been in love once. after that, she swore off love in turn of focusing on her career and dance studio. so this person would enter her life out of the blue and shake everything up for her.

   - best friends: a small group of friends who she hangs out with from time to time. the ones who know her better than anyone else aside from her parents.

[miss-mollys-ballet-blog]

There’s a lot, but in summary: she brags about herself and SFB (for her own benefit) to the point of disregarding grander theatres with longer histories and more talented, legendary dancers. Some of her lies include: her being one of the top 10 ballet dancers in the world LOLLLL. the best Asian dancer in world history (Kimin Kim ahem Takada ahem Kumakawa ahem Li Cunxin ahem). SFB being superior to NYCB + ABT and SFB being the “gem of american ballet”. (in her top 9 intl ballet companies list in her autobiography, ABT was listed as 9th. SFB as 8th. Then RB, Hamburg, Stuttgart, Bolshoi, RDB, Mariinsky, POB.) She probably listed Hamburg and Stuttgart cuz she danced the Neumeier’s Little mermaid and got a Stuttgart scholarship i think loll. She said her criteria include the history, choreographers, theatre, artists, school, orchestra and classics of the companies. then Where TF is La Scala??? SFB is described with as much aplomb as possible (including the fact that Bolm from Mariinsky founded it, it being the first professional ballet company in US, the first company to perform Swan Lake, Nutcracker. World renowned. “a very influential ballet company in the realm of international ballet and arts”. ABT has its most basic facts and “the most influential ballet company in the US today”. NYCB only has “Balanchine and Kirstein founded it”. She lied about other SFB principals needing 12-16 years to reach their rank. That she’s the muse of “multiple renowned choreographers”. She is the first and only ever dancer to be promoted to principal at age 20. (LOL) btw she’s also inconsistent with this: sometimes it’s 19, other times 21. She is the only Asian principal at SFB (there’s also Frances Chung and probably others). first Asian/Chinese (i forgot) laureate at an intl ballet competition (Yilei Cai). That she could get demoted as a principal any time since “your tenure expires every year at SFB so you need to renew it every year. you could lose your principal rank any time and I stayed as a principal for over 20 years.” That usually O/O is danced by two dancers and she’s special cuz she can play both. That she’s special because she still dances but dancers usually “retire at 35”. Her feet are ruined by ballet. Every step is like walking on a knive. That all western ballet students have practiced on raked stages in their usual classes so she’s amazing because all other participants are used to a raked stage and she has never encountered it before in the competitions when she was young. That a London dance critic called “Covent Garden” (I am not kidding) called her “the biggest jewel on the crown that is SFB”. That Giselle is about “the dilemma between revenge vs forgiveness” and she really focuses on that when she acts in Giselle.

That’s most of it. There’s probably more. Sorry this is so long. These are all from her autobiography “Ballet and I” (Idk if there’s an eng version, but I read the Chinese one) and all the Chinese Tv and talk shows she appeared on. Btw she registered as a US citizen but keeps reiterating that she’s the FirSt ChiNesE bALLEt blablabla 😂 It’s all pretty amusing but yeah she’s the most famous ballet dancer in China and most people’s understanding of ballet stems from her lies.

Wait wait wait wait waaaaaait.  She says that SFB is a top 10 ballet company in the world???  Hahahahahahahahahahahahahahahahahahahahaaaaaaaa oh my god.  I can’t.  Girl must have been dropped on her head one too many times to think that lmao.

[barcarole]

Hi! I'd like to see different ballet styles, productions and footage, and was wondering if you had links to some of them! Thank you so much.

French Ballet

Pierre Lacotte Reconstructions

La Sylphide 1972 | 2004

Paquita

Coppelia

Giselle

Rudolf Nureyev

Swan Lake

Sleeping Beauty 2005 |2013

Bayadere

Nutcracker 1989 | 2012

Raymonda

Don Quixote 2002 | 2012 (I, II)

Romeo and Juliet

Cinderella

Bournonville Ballet

La Sylphide: Danish Ballet 

Etudes 1969 (II) | 2005

Flower Festival in Genzano Danish Ballet | POB | Mariinksy | Royal Ballet

Napoli

The Kermesse in Bruges

A Folk Tale

The Bournonville School

Russian Ballet

Marius Petipa revivals (originally premiered/staged at the Paris Opera)

> originally by Jules Perrot

La Esmeralda Mariinksy 1982 - 2012

Giselle Bolshoi: 1956 - 1975 | ABT 1969 - 1977 | La Scala | Mariinsky | ENB

> originally by Arthur Saint-Léon

Coppelia Bolshoi (Burlaka/Ratmansky Reconstruction)

> originally by Joseph Mazilier

Le Corsaire Bolshoi (Burlaka/Ratmansky Reconstruction) | Mariinsky

Marius Petipa

La Bayadere  Mariinksy: 1964 - 1979 - 2014 | Bolshoi (Act III)

Don Quixote Bolshoi (I, II, III, IV) (2011) | Mariinsky | Mikhailovsky | ABT

Swan Lake: Bolshoi 1957 - 1983 - 2015 | Mariinsky 1986 - 2007 | Wiener Staatsoper

Sleeping Beauty Mariinsky 1969 | Bolshoi | ROH

The Nutcracker Mariinsky | Bolshoi

Raymonda Mariinsky | Bolshoi | La Scala (Vikharev Reconstruction)

La Fille du Pharaon (Lacotte Reconstruction)

Soviet Ballets

Romeo and Juliet Mariinsky (Lavrovsky) 1955 - 2013 | Bolshoi (Grigorovich) 1979 -  2013

Cinderella

Flames of Paris

Laurencia

Hamlet

Anyuta

Gayane (Armenia) Bolshoi 1980 | Mariinsky 2014

Shurale

Yuri Grigorovich

The Legend of Love

Spartacus 1970 |1977 | 2008

Ivan the Terrible 1975 | 1977 | 2015

The Stone Flower

English Ballet

Frederick Ashton

Sylvia

La Fille Mal Gardee

Swan Lake

Cinderella

The Dream ROH | ABT

La Valse

Kenneth MacMillan

Manon Danish Ballet | Royal Ballet

Romeo and Juliet

Mayerling

Anastasia

Balanchine - American Ballet

Symphony in C: NYCB | POB 

Jewels: NYCB (Emeralds Diamonds)  | Mariinsky

Stravinsky Violin Concerto

Serenade

Agon

Apollo 1960 |1968 | 1979

Theme and Variations: NYCB

A Midsummer Night’s Dream: NYCB | POB

Vienna Waltzes

Tchaikovsky Pas de Deux NYCB | Royal Ballet

Ballets Russes

Les Sylphides: Bolshoi | ABT | Kirov | Royal Ballet

Scheherezade

L’Apres midi d’une faune

The Firebird: Mariinsky | Bonus

Le Spectre de la Rose: POB

Petroushka: 1976 | 1992 | 2011

Rite of Spring: Joffrey Ballet | Mariinsky

El Sombrero de Tres Picos

Le Train Bleu

Parade

Les Noces: Royal Ballet | Mariinsky

The Prodigal Son

Documentaries

The Romantic Era

Giselle: A Documentary

Diaghilev

Classical Ballet

Agrippina Vaganova: The Great and Terrible

Ballerina: A Documentary in Four Parts

Tout prés des étoiles

The King Who Invented Dance

The Art of Baroque Dance

The Rite of Spring

The Children of Theatre Street

American Masters: Balanchine

Ballet Heroes

Les Enfants de la Danse

Historic Footage

The Art of Russian Ballet (Dudinskaya/Maximova)

Kirov Ballet Gala 1981

First Moscow International Ballet Competition, 1969

Galina Mezentseva

Irina Kolpakova

Ekaterina Maximova/Vladimir Vasiliev

Bolshoi Ballet, 1967

Maya Plisetskaya Dances, 1964

Yvette Chauviré

Anna Pavlova I | II | III | IV | V

Tamara Karsavina I | II | III | IV

[lovelyballetandmore]

Riccardo Boero | La Scala Theatre Ballet School

[theoperahouses]

la scala, also known as teatro alla scala (theatre at the stairway), is located in milan, italy. it is one of the principal opera houses in the world and the leading italian house.

built in 1776 by empress maria theresa of austria, who was the leader at the time, had replaced an earlier verison of this theatre. it then shut down due to world war i. leading into the 1920’s, a conductor named arutro toscanini raised money to reopen the theatre.

the la scala is recognized to be one of the most varied than the other leading opera houses. it includes large numbers of unfamiliar works balanced by a limited number of popular favorites.

it is associated with a ballet company, ballet school, and singing school.

[madlenakovacic]

©

fact;

Breaking in pointe shoes is something Madlena finds oddly calming. During her time attending La Scala Theatre Ballet School in Milan, Italy Madlena and her biggest rival at the time Ingrid, a ballerina from England, would spend countless hours on the floor of the ballet studio after classes surrounded by pointe shoes. One of the better memories Madlena has of her time spent in Italy. Both Madlena and Ignrid always talked about one day wanting to wear ruby red pointe shoes like the prima ballerina of the company had in one of the recent performances. 

Send “©” for a muse fact!

[fillielitsa]

Close-up view of young ballerina's legs and toe shoes at La Scala Theatre Ballet School in Milan, Italy, 1934. by Alfred Eisenstaedt 

[galina-ulanova]

Marta Arduino and Francesco Leone in Serenade (La Scala Theatre Ballet School, 2014)

[gramilano]

Jacopo Tissi in Swan Lake at The Royal Opera House, August 2019

Three years ago, Jacopo Tissi left La Scala to join the Bolshoi Company in Moscow. Makhar Vaziev, the Company’s current director, was previously the director at La Scala and had seen Tissi’s work. It was Vaziev (on having to find a substitute for Sergei Polunin, who was himself a substitute for David Hallberg), who chose the young corps de ballet dancer to partner Svetlana Zakharova on the opening night of Alexei Ratmansky’s The Sleeping Beauty.

Before the summer, Tissi was dancing again with Zakharova when he created the role of Boy Capel, Coco Chanel’s lover and muse, in the Bolshoi’s new one-act ballet Gabrielle Chanel, with Zakharova as the French fashion designer. However, more frequently he dances with the Bolshoi’s youngest star, Alena Kovaleva. He was partnered with her in July 2017 at New York’s Lincoln Center for the Jewels Golden Anniversary Celebration when Emeralds was danced by the Paris Opera Ballet, Rubies by the New York City Ballet and the Bolshoi presented Diamonds, with Kovaleva and Tissi as the principal couple. In September 2018 they were again together when the Bolshoi Ballet brought La Bayadère to La Scala, and in August of this year they danced in Swan Lake during the Bolshoi’s three-week stay at the Royal Opera House.

That leap in the dark three years ago seems to have paid off?

Yes, it was an important decision, but one I’m pleased about.

How have you changed as a dancer and as a person training, living and performing in Moscow?

I have grown up so much both as a person and in my dancing. My experience of life in Moscow was full of new situations, new ways of seeing things, and I was encountering things that I just didn’t know. It certainly wasn’t easy, but it has brought me great rewards, such as learning to speak Russian. Today I feel well integrated both in daily life and in the life of the theatre where I have been very warmly welcomed.

These years at the Bolshoi have been a fundamental part of my artistic growth, teaching me so much and giving me many great opportunities. Two key figures are for me are my teacher Alexander Vetrov and my director, Makhar Vaziev. Every day I feel lucky to have the chance to work at the Bolshoi, and call this legendary place “my theatre”!

Jacopo Tissi in La Bayadére, photo By Damir Yusupov, 2018

One of those great opportunities was to play Solor with the Bolshoi on La Scala’s stage, a stage that you’ve been on since you were a child at La Scala’s ballet school.

That was a special moment. I’m very attached to La Scala and dancing on that stage after two years with the Bolshoi, in a leading role, was definitely a huge challenge. It was a big responsibility but at the same time a great honour. In the audience, there were many of my family and friends, who don’t get to see me that often on stage – it is always an immense joy to know they’re in the theatre.

And once again, you were dancing with Alena Kovaleva.

Alena and I started almost at the same time at the Bolshoi. We’ve prepared and danced many premieres together and we have also been in many other theatres on tour. Sharing these experiences has given us a special bond, which I think is essential for our work together and our dancing.

Together they have danced Diamonds, Études, Grand Pas Classique, La Bayadère, Flames of Paris, and Raymonda, and in September 2017 they debuted in Swan Lake, roles that they recently brought to London.

It was fantastic to hear that we’d been given two performances at the Royal Opera House. I made my debut with The Royal Ballet in May when I stepped in as Romeo in Kenneth MacMillan’s Romeo and Juliet – which was a new choreography for me – but to bring a Bolshoi repertory ballet to the theatre, and one of my favourite roles, was thrilling.

Again, a lot of weight on your shoulders.

There was a great deal of preparation for the premiere, not just on a technical level, but also on the artistic one. It is a beautiful journey to find every aspect of a role, and Seigfreid is one that is continually developing with each show. He’s such an interesting character, and in Grigorovich’s version there are particular psychological nuances, which gives the opportunity to express many different moods.

Were you particularly nervous about this debut?

The first performance is always a little more tense, but I enjoyed the show, and I felt very ‘in the moment’.

You are now used to the vast Bolshoi stage. La Scala’s is smaller, and that of The Royal Opera House is even smaller.

The Bolshoi stage is very big, so almost always when we travel we have to adjust a little bit depending on the different stages, but I really like the atmosphere at the Royal Opera House.

Jacopo Tissi with Egor Gerashchenko in Swan Lake, London 2019 © Malcolm Levinskind

Jacopo Tissi and Alena Kovaleva in Swan Lake, The Royal Opera House, London 2019 © Malcolm Levinskind 01

Jacopo Tissi and Alena Kovaleva in Swan Lake, The Royal Opera House, London 2019 © Malcolm Levinskind

To finish off the interview, I wanted to ask him about his character. His apparent timidity must cover a steely core otherwise how could he have confronted so many challenges and alone, far away from his family and friends? All the while he was also battling to learn a new language and – even if he did feel warmly welcomed at the Bolshoi – facing the critical and maybe resentful looks of dancers who have gone through the rigorous Russian training. Many would have been defeated by the pressure.

It’s difficult to describe oneself… maybe you could do it?

And that’s it – I can’t. Tissi smiles often but there seems to be a melancholic layer just beneath the surface and as he smiles he often drops his gaze. From time to time he appears to drift off into his own pensive space. He is something of an enigma. But in an age when everything is laid bare in social media, it could be that some mystery isn’t such a bad thing, and for someone interpreting various characters on stage perhaps, even, an asset.

Jacopo Tissi in Swan Lake at The Royal Opera House, August 2019

Jacopo Tissi in Swan Lake, London 2019 © Malcolm Levinskind

Interview: Who is Jacopo Tissi? The Bolshoi’s enigmatic Italian star talks about Moscow, Milan and London, “It certainly wasn’t easy” Three years ago, Jacopo Tissi left La Scala to join the Bolshoi Company in Moscow. Makhar Vaziev, the Company’s current director, was previously the director at La Scala and had seen Tissi’s work.