mariakhorevaballet-blog

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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

#maria #khoreva #ballet #ballerina #jewels #diamonds #george #balanchine #mariinsky #theatre #xander #parish #pyotr #tchaikovsky #scherzo #MariaKhoreva #Ballerina #RussianBallet #BalletJewels #BalletDiamonds #GeorgeBalanchine #MariinskyTheatre #XanderParish #PyotrTchaikovsky

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Ballet Swan Lake (Marius Petipa & Lev Ivanov ) - The Prince’s Friends: (pas de trois) - Pyotr Tchaikovsky  Описание: Maria Khoreva - Ballet Swan Lake (Marius Petipa & Lev Ivanov ) - The Prince’s Friends: (pas de trois) - Pyotr TchaikovskySubscribe to the channel=) https://www.youtube.com/channel/UCffAKmQG_O6ev6gcuJ1bM0w?sub_confirmation=1 Mariinsky Theatre:https://www.mariinsky.ru/playbill/pla... Maria Khorevahttps://www.instagram.com/marachok/   Performers: Conductor: Gavriel HeineOdette-Odile: Alina SomovaSiegfried: Timur Askerovvon Rothbart: Andrei SolovyovThe Prince’s Friends: Maria Khoreva, May Nagahisa, Philipp StepinThe Jester: Maxim Izmestiev Music by Pyotr Tchaikovsky Libretto by Vladimir Begichev and Vasily GeltzerChoreography by Marius Petipa and Lev Ivanov (1895)revised choreography and stage direction: Konstantin Sergeyev (1950)Set design by Igor IvanovCostume 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 itspsychology 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 liesin 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 stagedat 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 spiritualityin the image of the Swan. And Tchaikovsky’s music, in turns mournfully aching, festively triumphant andmenacingly fatal, was not regarded as a masterpiece for a long time to come. Initially, Pyotr Ilyich’s opus wasreceived 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 corpsde ballet which rigorously waved their cardboard wings at the premiere – today one could only imagine sucha thing in a parody of the ballet! And only the name of Polina Karpakova, who went down in history as the rstperformer of the role of Odette (the name of the performer of the role of Odile was covered by three stars onthe 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 memoryof the composer at the Mariinsky Theatre in 1895, when Lev Ivanov showed a “swan scene” – gentle, tender andtouching – Marius Petipa, the director of the ballet company in St Petersburg, nally resolved to stageTchaikovsky’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 hisversion of the music for Swan Lakethat most choreographers follow. The Frenchman Petipa and the RussianIvanov (the choreographers), the Italian Drigo (conductor and author of this version of the music) and PierinaLegnani 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 radicallyaltered 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 famedteacher and excellent soloist (in Swan Lake, apropos, she did not particularly stand out at all). She attemptedto simplify the mysticism of the libretto and the music, presenting the story of the swan-maiden as the sickhallucinations of an erudite youth, mercilessly killing off the protagonists with no right to resurrectionin 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 dancemeeting of Odette and Siegfried: Agrippina Yakovlevna, dissatised with the fussy pantomime nature of thisscene, 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’srepertoire for just ve years before it was replaced by the version of Konstantin Sergeyev, one of the nestSiegfrieds of all time anywhere, in which the dancer and choreographer, true to classical dance, combinedthe very best that had been created for Swan Lake in the course of half a century. Today, too, this production isconsidered the epitome of classical dance imagery. It was this version recorded on lm that documents the lyricaldance of Galina Ulanova, the virtuoso sparkle of Natalia Dudinskaya, the classical perfection of Gabriela Komlevaand 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

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[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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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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https://www.youtube.com/channel/UCffAKmQG_O6ev6gcuJ1bM0w?sub_confirmation=1  

Мариинский театр:  

https://www.mariinsky.ru/playbill/pla...  

CONCERTINO BIANCO

Хореография Дмитрия Пимонова

Музыка Георга Пелециса

Художник по свету - Константин Бинкин

Художник-постановщик - Татьяна Парфёнова:  

https://www.instagram.com/tatyanaparfionova/

Исполняют: Мария Хорева - Виктор Кайшета, Алина Сомова - Андрей Ермаков, Екатерина Осмолкина - Максим Зюзин, Елена Евсеева - Евгений Коновалов

https://www.instagram.com/ekaterinaosmolkina/

https://www.instagram.com/ermakoffandrey/

Снято Мариинским Театром (https://mariinsky.tv/)

26 марта 2019  

О СПЕКТАКЛЕ    

Премьера одноактно��о балета Concertino Bianco была представлена 26 марта в рамках Творческой мастерской молодых хореографов в Мариинском театре. Постановка на музыку латвийского композитора ��еорга 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.

https://musicseasons.org/festival-mariinskij-novinki-po-tradicii/

http://www.sobaka.ru/fashion/heroes/88289

https://gorod-plus.tv/news/57584

#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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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.