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It is hard to believe that Petipa staged The Sleeping Beauty at the age of 70. This ballet brims with youthful energy and seems to have been created by one convinced of his everlasting life.

The majestic serenity of The Sleeping Beauty is the peace of wise maturity to which all pleasures of youth are accessible but without the agitation and impatience characteristic of youth.

The luxuriant palace parks, the brightly-colored flower beds, the quiet of secluded corners of beautiful nature, the magic charm of mysteriously romantic caves and, all of a sudden, a merry festival in the open air or in a castle - such was the world of his ever-lasting life which defied old age and the anguish of boredom.

In that ballet, perhaps, Petipa recalled his native France so infinitely far away now. Not the romantic Paris of the 1840s, the time of his childhood and youth. His imagination called him to the Golden Age of gallantry which he resurrected on the St. Petersburg stage as a challenge to reality.

He associated with that age his worship of a woman, since the gallant age was, as is known, the age of a woman. when her physical and sensual beauty was idealized.

The entire art of Petipa, that genuine magician of the poetry of dance, was pervaded with joyful adoration of a woman - not a mysterious beautiful stranger or a lady of romantic dreams but a wonderful toy, an item of luxury and an object of admiration, whose finest virtue is exquisite and "useless" beauty.

This was a world inhabited by fairies of diamonds and sapphires, fairies symbolizing gentleness, serenity, playfulness and daring.

-- Yury Grigorovich & Alexander Demidov, from the official Ballet book.

Автор:	Octavia [ 23 фев 2010, 21:16 ]
Заголовок сообщения:	The Sleeping Beauty at the Ken-Cen. Feb 2010
Mariinsky's magnificance - a preview of coming attraction! See enchanting Alina Somova and virtuoso Leonid Sarafanov in Marius Petipa's masteriece The Sleeping Beauty: ......

Автор:	Octavia [ 23 фев 2010, 21:18 ]
Заголовок сообщения:	Re: The Sleeping Beauty at the Ken-Cen. Feb 2010
Watch Marius Petipa's gem The Bluebird pas de deux as performed by Mariinsky's own Ekaterina Osmolkina & Alexei Timofeev:

Автор:	Octavia [ 23 фев 2010, 21:19 ]
Заголовок сообщения:	Re: The Sleeping Beauty at the Ken-Cen. Feb 2010
Marius Ivanovich Petipa Цитата: It is hard to believe that Petipa staged The Sleeping Beauty at the age of 70. This ballet brims with youthful energy and seems to have been created by one convinced of his everlasting life. The majestic serenity of The Sleeping Beauty is the peace of wise maturity to which all pleasures of youth are accessible but without the agitation and impatience characteristic of youth. The luxuriant palace parks, the brightly-colored flower beds, the quiet of secluded corners of beautiful nature, the magic charm of mysteriously romantic caves and, all of a sudden, a merry festival in the open air or in a castle - such was the world of his ever-lasting life which defied old age and the anguish of boredom. In that ballet, perhaps, Petipa recalled his native France so infinitely far away now. Not the romantic Paris of the 1840s, the time of his childhood and youth. His imagination called him to the Golden Age of gallantry which he resurrected on the St. Petersburg stage as a challenge to reality. He associated with that age his worship of a woman, since the gallant age was, as is known, the age of a woman. when her physical and sensual beauty was idealized. The entire art of Petipa, that genuine magician of the poetry of dance, was pervaded with joyful adoration of a woman - not a mysterious beautiful stranger or a lady of romantic dreams but a wonderful toy, an item of luxury and an object of admiration, whose finest virtue is exquisite and "useless" beauty. This was a world inhabited by fairies of diamonds and sapphires, fairies symbolizing gentleness, serenity, playfulness and daring. -- Yury Grigorovich & Alexander Demidov, from the official Ballet book.

Автор:	Octavia [ 23 фев 2010, 21:19 ]
Заголовок сообщения:	Re: The Sleeping Beauty at the Ken-Cen. Feb 2010
Garland Waltz. Sketched by hand of Marius Petipa. ....

Автор:	Octavia [ 23 фев 2010, 21:20 ]
Заголовок сообщения:	Re: The Sleeping Beauty at the Ken-Cen. Feb 2010
The Beginning In the history of art in general and ballet in specific The Sleeping Beauty occupies a very special place because it brought together the two cultural giants of the period – Marius Petipa and Pyotr Tchaikovsky. The ballet was premiered on January 15, 1890 and like in case with another Petipa's masterpiece La Bayadere, became instant success with St. Petersburg audience. Critical acclaim, however, did not come right away. Some considered Tchaikovsky’s music too “serious” for the art form. So much for critics Today, there is hardly a ballet theatre in the world that does not have The Sleeping Beauty in its repertoire. Perhaps not even Petipa himself could imagine that some 100 plus years later, his ballets, once catered to rarefied tastes of Russia’s Imperial court, would be performed on stages across the five continents and embraced by adoring public from all walks of life. The First Aurora was Italian virtuoso Carlotta Brianza ............... 1890 cast of The Sleeping Beauty premiered at the Mariinsky Theatre, St. Petersburg

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Автор:	Octavia [ 23 фев 2010, 21:21 ]
Заголовок сообщения:	Re: The Sleeping Beauty at the Ken-Cen. Feb 2010
Fairies, Princesses & Petipa L. Kyaksht as Diamond Fairy O. Preobrazhenskaya as Aurora Marius Petipa circa 1870

Автор:	Octavia [ 23 фев 2010, 21:22 ]
Заголовок сообщения:	Re: The Sleeping Beauty at the Ken-Cen. Feb 2010
CASTING as of Feb. 9 Tue., Feb. 9 at 7:30 p.m. Aurora: Diana Vishneva Prince Desire: Vladimir Shklyarov Lilac Fairy: Ekaterina Kondaurova Wed., Feb. 10 at 7:30 p.m. Aurora: Alina Somova Prince Desire: Evgeny Ivanchenko Lilac Fairy: Anastasia Kolegova Thu., Feb. 11 at 7:30 p.m. Aurora: Viktoria Tereshkina Prince Desire: Vladimir Shklyarov Lilac Fairy: Ekaterina Kondaurova Fri., Feb. 12 at 7:30 p.m. Aurora: Alina Somova Prince Desire: Evgeny Ivanchenko Lilac Fairy: Oksana Skoryk Sat., Feb. 13 at 1:30 p.m. Aurora: Anastasia Kolegova Prince Desire: Anton Korsakov Lilac Fairy: Alexandra Iosifidi Sat., Feb. 13 at 7:30 p.m. Aurora: Viktoria Tereshkina Prince Desire: Vladimir Shklyarov Lilac Fairy: Ekaterina Kondaurova Sun., Feb. 14 at 1:30 p.m. Aurora: Anastasia Matvienko Prince Desire: Maksim Zyuzin Lilac Fairy: Oksana Skoryk

Автор:	Octavia [ 23 фев 2010, 21:23 ]
Заголовок сообщения:	Re: The Sleeping Beauty at the Ken-Cen. Feb 2010
Mariinsky Ballet's 'The Sleeping Beauty' casts powerful spell at Kennedy Center By Sarah Kaufman Washington Post Staff Writer Thursday, February 11, 2010 The snow shut down the government, above-ground Metro stations and pockets of the power grid, but it wasn't enough to stop more than a thousand ticket holders from seeing the Mariinsky Ballet at the Kennedy Center Opera House on Tuesday night. Neither snow nor slush nor a two-wheel drive with failing wipers (guilty!) kept the faithful from "The Sleeping Beauty." And they were amply rewarded: There are indeed stronger forces of nature than a winter whiteout, and one of them is ballerina Diana Vishneva. Vishneva popped in solely for the opening of Mariinsky's engagement, which continues through Sunday. (Wednesday's performance was canceled, but at press time, the rest remained on the schedule.) That lone chance to catch one of the supreme dance artists of our day is probably what accounted for the weather-be-damned resolve of her audience. Vishneva's Princess Aurora isn't just a beauty, she's a kind of serenity. She is a work of art, and that felt essential amid the frozen onslaught. Just as we rely on the high arts to ground us in times of uncertainty, to see Vishneva dance -- to feel swept up in her story and drawn personally into its emotional arc every time she looked out at the audience -- was to feel a bit bigger inside when it was over. But ask me to break down what exactly Vishneva does to bring that about, dancing the same steps thousands of ballerinas have danced before her, and I'm at a loss. Better to ask by what measure of glue, wood and design a Stradivarius gets its tone, or how that famous blue of Chartres' stained-glass windows can spill out such transcendent light. I can point only to Vishneva's obvious talents: her platinum technique, the balances that lift and lift, the turns that spin effortlessly out of thin air. But with Vishneva, technique isn't everything and doesn't stand out as much as it does in dancers who deliberately draw your attention to it. Vishneva's complete and nuanced understanding of Aurora -- bashful yet sunny in her first-act youth, warm and radiantly assured as Act 3 rolls around -- is central to her magic in this ballet. There are also her physical gifts: a round and open face lighted with joy, a reed-slim physique and the freedom and expressiveness at the center of her body. Most important, there is also the lyrical fullness of her phrasing, in which steps, musical sensitivity and the buoyant character of Aurora form a single melodic line. By some alchemy, Vishneva pulls together all these elements in a performance of moral, kinetic and musical force. Musical unity is essential here. Even lacking Vishneva's star power, the rest of the Mariinsky run should offer plenty of rewards, with fine dancers to burn and, especially, that luminous Tchaikovsky score. Constant Lambert, the British composer and conductor, once wrote that Tchaikovsky's tunes in this ballet are ideally written for the body, a fact that is soundly apparent in this production. Surely no composer has better understood the particularities of dance phrasing, the timing and rhythms best suited to the body's elegant sweep through space. That watertight seal between movement and music is brilliantly realized in the Prologue's potpourri of dances for the fairies bearing gifts to the newborn Aurora, and in the mime sequence for evil Carabosse as she curses the infant (have flutes ever sounded so menacing?); in the singing violin that begins Aurora's solo in Act 1; and in the swelling cello that marks the moment when Prince Desiré first lays eyes on Aurora in Act 2. It's the very sound of awe. The Opera House Orchestra wasn't always at its best Tuesday, but the baton of Alexei Repnikov coaxed an extraordinary richness of feeling. The music poses a challenge: Russians like a slow tempo, but at times it was so slow it threatened to send the audience into a century of sleep. There was also soporific help from the intermissions (three) and the mounting hours (three). It's a long night. It would be better with one fewer intermission and a swifter tempo in spots. This handsomely costumed and designed production, Konstantin Sergeyev's 1952 revision of Marius Petipa's original, is all about old-fashioned stability. The ensemble choreography fares least well in Sergeyev's hands -- it's streamlined to the point of dullness, and when they are not dancing, the assorted attendants and wedding guests stand frozen in the background. A more human liveliness is sacrificed for purity in other aspects -- in the solos and pas de deux that you look for most in this ballet. Tuesday's cast was near-perfection throughout. As Prince Desiré, Vladimir Shklyarov possessed noble proportions and poetic looks, as well as the endearing sense that he couldn't quite believe how lucky he was to land such a bride as Vishneva. And I have never seen a Carabosse as fully realized as Anton Pimonov, whose evil was terrible and piercing, and whose low, crouching, lizard-like skittering made plain the moral contrast with Kondaurova's upright goodness. That physical intelligence is what was so magnificent about the Mariinsky's performance: Inner life equates to outer bearing. The grace and harmony that "Sleeping Beauty" celebrates is told entirely in the body.

Автор:	Octavia [ 23 фев 2010, 21:24 ]
Заголовок сообщения:	Re: The Sleeping Beauty at the Ken-Cen. Feb 2010
Saturday Evening February 13, 2010 Cast Aurora: Viktoria Tereshkina Prince Desire: Vladimir Shklyarov Lilac Fairy: Ekaterina Kondaurova King: Vladimir Ponomarev Queen: Elena Bazhenova Faries: Maya Dumchenko, Nadezhda Gonchar, Yulia Kasenkova Yana Selina, Valeria Martynjuk, Tatiana Tkachenko, Anna Lavrinenko. Bride-grooms: Konstantin Zverev, Islom Baimuradow, Denis Firsov, Vasily Sherbakov Carabosse: Anton Pimonov Florina: Oksana Skorik Bluebird: Andrey Soloviev White Cat: Yana Selina Puss in Boots: Grigory Popov Sunday Evening February 14, 2010 Cast Aurora: Alina Somova Prince Desire: Evgeny Ivanchenko Lilac Fairy: Oksana Skorik King: Vladimir Ponomarev Queen: Elena Bazhenova Faries: Maya Dumchenko, Nadezhda Gonchar, Yulia Kasenkova, Yana Selina, Valeria Martynjuk, Tatiana Tkachenko, Anna Lavrinenko. Bride-grooms: Konstantin Zverev, Dmitry Pykhachev, Denis Firsov, Vasily Sherbakov Carabosse: Anton Pimonov Florina: Maria Shirinkina Bluebird: Kiorill Saffin White Cat: Valeria Martynjuk Puss in Boots: Vasily Tkachenko

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