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Mariinsky at the Ken-Cen. January 2008 
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Сообщение Mariinsky at the Ken-Cen. January 2008
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January 22 - 27, 2008

Kirov Ballet of the Mariinsky Theater: La Bayadere

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Цитата:

Journey to India's legendary past, where a dashing young warrior romances a beautiful temple dancer...lush gardens hide dangerous secrets...and shadows from the netherworld cast their spell. St. Petersburg's Kirov Ballet performs the 1941 three-act Soviet version of Marius Petipa's classic La Bayadère. A tale of forbidden love, murder, and a spectral voyage to the afterlife, this eye-popping spectacle radiates with vibrant sets and costumes, a classic score by Ludwig Minkus, and one of ballet's most mesmerizing scenes: the endless line of ethereal maidens floating across the stage in Act II's "Kingdom of the Shades."

"Beautiful dancing, perfumed with the delights of 19th-century classicism, and performed as only the Kirov can"
--The Times of London

"A truly sumptuous theatrical experience…unmissable!"
--The Guardian



* * *


Последний раз редактировалось Octavia 22 апр 2008, 05:30, всего редактировалось 1 раз.



01 окт 2007, 18:10
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CASTING

Tue., Jan. 22 at 7:30 p.m.
Nikiya: Diana Vishneva
Solor: Andrian Fadeyev
Gamzatti: Viktoria Tereshkina

Wed., Jan. 23 at 7:30 p.m.
Nikiya: Uliana Lopatkina
Solor: Ivan Kozlov
Gamzatti: Tatyana Tkachenko

Thu., Jan. 24 at 7:30 p.m.
Nikiya: Irma Nioradze
Solor: Andrian Fadeyev
Gamzatti: Irina Golub

Fri., Jan. 25 at 7:30 p.m.
Nikiya: Alina Somova
Solor: Leonid Sarafanov
Gamzatti: Ekaterina Osmolkina

Sat., Jan. 26 at 1:30 p.m.
Nikiya: Uliana Lopatkina
Solor: Ivan Kozlov
Gamzatti: Tatyana Tkachenko

Sat., Jan. 26 at 7:30 p.m.
Nikiya: Viktoria Tereshkina
Solor: Anton Korsakov
Gamzatti: Irina Golub

Sun., Jan. 27 at 1:30 p.m.
Nikiya: Alina Somova
Solor: Leonid Sarafanov
Gamzatti: Ekaterina Osmolkina

Kirov Ballet: La Bayadère


07 ноя 2007, 21:45
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Сообщение Mariinsky at the Ken-Cen
A Preview of Coming Attractions...

Amazing Uliana Lopatkina in Marius Petipa’s immortal creation La Bayadere.

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13 ноя 2007, 18:47
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La Bayadère

Choreography: Marius Petipa
Music: Ludwig Minkus
Libretto: Marius Petipa

World premiere: Imperial Bolshoi Kamenny Theatre in St. Petersburg, February 4, 1877

Dramatis personae

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Nikyia - a temple dancer, (or bayadère)

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Solor - a young warrior who is in love with Nikiya, but betrothed to Gamzatti

Gamzatti - the Rajah's, (ruler's), daughter who is betrothed to Solor

The High Brahmin - the high priest of the temple. Loved and covets Nikiya, but she does not return his love.

About

The story is old as the world. It’s the story of a young and beautiful temple dancer Nikyia, bayadere, who falls in love with the bravest warrior of the land Solor. There is this customary love triangle comprising of Solor, Nikyia and haughty princess Gamzatti. This triangle intersects with that of Solor, Nikyia and the Temple priest, who is secretly in love with Nikya. And only death of one of the characters, Nikyia, is capable of untangling this tightly tied knot of love, jealousy and treachery. Her untimely death is all the more tragic since it comes in the midst of festivities celebrating the engagement of Solor and Gamzatti.

Solor and Nikyia are destined to meet again... no, not in this life, but in the Kingdom of the Shades, this twilight refuge of restless souls. And when they do meet, comes what is most certainly one of the greatest moments in all European art – Entrance of the Shades.

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mariinsky.ru


18 ноя 2007, 01:05
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Сообщение La Bayadere. Premiere
La Bayadere of 1877

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Mariinsky Theater, St. Petersburg

CAST

Nikiya: Ekaterina Vazem
Solor: Lev Ivanov (dance) and Pavel Gerdt (mime)
Rajah: Christian Johannsen
Gamzatti: Maria Gorshenkova



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28 ноя 2007, 23:35
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Сообщение Close Encounter
Close Encounter
True story of personal adventure into La Bayadere

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We perched on the highest point of one of the mountains in Capri. The view before my eyes was breathtaking: Renaissance-like sfumato wrapped the distant hills, unique mixture of white-washed houses and private garden hideaways cascaded towards the sea and the sea itself, shining with unbelievably bright colors was inviting. I didn’t want to say anything for fear of disturbing this magic moment but the desire to share the experience was too strong and I quietly, very quietly, addressed my companion:

- Have you ever seen anything as beautiful as this?
- Beautiful, just beautiful! - he replied.

And after what seemed to me like minutes, added:

- There is one thing, though, that I think is even more beautiful than this…
- What, what? - my curiosity was mounting.

He hesitated for what seemed like a very long time and said:

- The Appearance of the Shades by the Kirov Ballet.

To say that I was surprised is an understatement. I never knew that my friend even saw a ballet performance in his life, let alone hold it in such high esteem. Shortly after our conversation, he died … tragic accident. Remembering one of our last conversations, I wanted to see with my own eyes what he was talking about and decide for myself. Kirov Bayadere was not available, so I settled for the one by the Royal Opera House. Shortly after, I bought them all, I mean all the recording of La Bayadere that were available for sale.

There were few differences in each performance, granted. But the key dances and scenes that make La Bayadere what it is, were invariably the same: Solor and Nikya meet, rivalry scenes, Gamzatti-Solor engagement Grand Pas, Death of the bayadere, Adagio and Waltz, Three Shades and of course the Appearance of the Shades.

Here they are, descending one by one from the Himalayan Mountains, gracefully and in perfect unison leaning in arabesque alonge until they make their way down onto the plain where true magic begins.

Releve, ecarte devant, 1st arabesque, tendu ... These are rudimentary ballet steps, but when put together by Petipa they speak volumes. How did this Frenchman, who possibly had never been to India, came up with the idea of the Shades descending from the Himalayas? May be one day he was strolling along the chilly rainy St. Petersburg when in the window of an antique shop he saw the picture of an Indian dancer.

Or perhaps the vision came like some prophetic dream. He woke up not understanding the reason why and feverishly started to translate his night visions into the language of choreography.

Every time I hear the opening chords from the Appearance of the Shades, my heart skips a beat. And shortly after, sadness the traitor, creeps in. Sadness because the scene is painfully short. But at the end all I feel is awe... Awe in the face of what I consider to be one of the greatest achievements of European culture.

The Libretto, written by Patipa, to this ballet is familiar: love, rivalry, betrayal and retribution. The universal appeal of such story, old as the world is understandable. But where lays the source of magic for his White Act?

I thought a lot about it and came to the conclusion that the key here is the same laws of harmony and beauty that govern the known Universe. The same principle of the Golden Section which lies in the heart of everything we come to recognize as beautiful – be it Greek temple, Bach's concerto or just an elegant algorithm – penetrates all aspects of Petipa’s choreography.

This is the clear case where Beauty is not in the eye of the beholder.

* * *


01 дек 2007, 20:16
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Сообщение Origins of La Bayadere
Origins of La Bayadere

What could inspire Marius Petipa to write his libretto? Few theories of the possible sources exist. One such source is Sakuntala, drama written by the Indian poet and dramatist Kalidasa who lived in the 1st century BC.

Even in translation the language of the drama is beautiful to the extreme. It narrates the story of love between a magically beautiful nymph Sakuntala and a great king. Love so strong, that it conquers social boundaries and survives separation. Love lost and regained - this is where I see Marius Petipa’s work possibly intersects with that of the ancient Indian poet.


Изображение
Painting of Sakuntala



06 дек 2007, 17:32
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Сообщение Origins of La Bayadere
Another possible source of inspiration for La Bayadere could have been

THE GOD AND THE BAYADERE

..................by Johann Wolfgang von Goethe

The poem retells the ancient Indian legend of a bayadere (temple dancer) who chooses to throw herself into the funeral fire rather than be separated from her lover.

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The ending is as unexpected as can be:

Цитата:
And she, stretching out her arms,
Rushed into the hot fire.
But out of the flaming circle
The marvelous youth rises
And bears in his arms
His charming beloved

Did Marius Petipa draw his inspiration for his White Act from here? Quite likely we'll never know.

.


08 дек 2007, 01:45
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http://www.washingtonpost.com/wp-dyn/co ... 02226.html


12 дек 2007, 07:25
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Сообщение LA BAYADERE. The Past
Ekaterina Vasem - the very first Nikiya
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Lev Ivanov as Solor
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Vera Trefilova as Manu
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14 дек 2007, 18:21
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