Browse Titles - 44 results
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'Raymonda' Act III Male Solo, Segment 1
directed by Nancy Reynolds, fl. 1994; composed by Alexander Konstantinovich Glazunov, 1865-1936; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Frederic Franklin, 1914-2013 and Nikolaj Hübbe, 1967-; in Balanchine Foundation Video Archives: FREDERIC FRANKLIN recreating a male solo from Raymonda Act III (1946) (New York, NY: George Balanchine Foundation, 2008), 10 mins
Frederic Franklin, a former premier danseur of the Ballet Russe de Monte Carlo, works in the studio with Nikolaj Hübbe, a principal dancer of New York City Ballet, on the male variation from the Pas Classique Hongrois from Raymonda, Act III. The variation was choreographed by George Balanchine for Franklin, altho...
directed by Nancy Reynolds, fl. 1994; composed by Alexander Konstantinovich Glazunov, 1865-1936; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Frederic Franklin, 1914-2013 and Nikolaj Hübbe, 1967-; in Balanchine Foundation Video Archives: FREDERIC FRANKLIN recreating a male solo from Raymonda Act III (1946) (New York, NY: George Balanchine Foundation, 2008), 10 mins
Description
Frederic Franklin, a former premier danseur of the Ballet Russe de Monte Carlo, works in the studio with Nikolaj Hübbe, a principal dancer of New York City Ballet, on the male variation from the Pas Classique Hongrois from Raymonda, Act III. The variation was choreographed by George Balanchine for Franklin, although an injury prevented him from performing in the ballet's premiere. Hübbe first marks the variation, then dances it full-out in its...
Frederic Franklin, a former premier danseur of the Ballet Russe de Monte Carlo, works in the studio with Nikolaj Hübbe, a principal dancer of New York City Ballet, on the male variation from the Pas Classique Hongrois from Raymonda, Act III. The variation was choreographed by George Balanchine for Franklin, although an injury prevented him from performing in the ballet's premiere. Hübbe first marks the variation, then dances it full-out in its entirety or in sections as he and Franklin discuss and refine its components. In the ensuing interview with Nancy Reynolds, Franklin reminisces about Balanchine's creation of Raymonda for the Ballet Russe de Monte Carlo in 1946, with a cast headed by Alexandra Danilova as Raymonda, himself (alternating with Nicholas Magallanes) as Jean de Brienne, and Nikita Talin as the Emir Abd-er-Raham. He also recalls other works staged by Balanchine for the Ballet Russe de Monte Carlo, notably Jeu de cartes, La sonnambula, Danses concertantes, Concerto barocco, and the musical Song of Norway.
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Date Written / Recorded
1997-05-19
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Frederic Franklin, 1914-2013, Nikolaj Hübbe, 1967-
Contributor
George Balanchine, 1904-1983, Virginia Brooks, Alexander Konstantinovich Glazunov, 1865-1936
Author / Creator
George Balanchine, 1904-1983, Alexander Konstantinovich Glazunov, 1865-1936, Nancy Reynolds, fl. 1994, Frederic Franklin, 1914-2013, Nikolaj Hübbe, 1967-
Date Published / Released
2008
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Choreography, Dance
Copyright Message
Copyright © 2008 by George Balanchine Foundation
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'Apollo' Pas de deux - Segment 1
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Maria Tallchief, 1925-2013, Maria Terezia Balogh and Todd Edson; in Balanchine Foundation Video Archives: MARIA TALLCHIEF coaching excerpts from Apollo, and Swan Lake, with PAUL MEJIA (New York, NY: George Balanchine Foundation, 2007), 11 mins
Maria Tallchief first danced the role of Terpsichore in Apollo in 1947, and created the role of Odette, the swan queen, in Balanchine's version of Swan lake in 1951. She coaches Maria Terezia Balogh and Todd Edson in the pas de deux of Terpsichore and Apollo, then works with Balogh on Terpsichore's variation. Foll...
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Maria Tallchief, 1925-2013, Maria Terezia Balogh and Todd Edson; in Balanchine Foundation Video Archives: MARIA TALLCHIEF coaching excerpts from Apollo, and Swan Lake, with PAUL MEJIA (New York, NY: George Balanchine Foundation, 2007), 11 mins
Description
Maria Tallchief first danced the role of Terpsichore in Apollo in 1947, and created the role of Odette, the swan queen, in Balanchine's version of Swan lake in 1951. She coaches Maria Terezia Balogh and Todd Edson in the pas de deux of Terpsichore and Apollo, then works with Balogh on Terpsichore's variation. Following this session, Tallchief discusses some of the fine points of technique emphasized by Balanchine; these are demonstrated by Balogh...
Maria Tallchief first danced the role of Terpsichore in Apollo in 1947, and created the role of Odette, the swan queen, in Balanchine's version of Swan lake in 1951. She coaches Maria Terezia Balogh and Todd Edson in the pas de deux of Terpsichore and Apollo, then works with Balogh on Terpsichore's variation. Following this session, Tallchief discusses some of the fine points of technique emphasized by Balanchine; these are demonstrated by Balogh. She then fine-tunes some details of the Apollo pas de deux with Balogh and Edson. In the second part of the video, Tallchief works with Balogh and Michael Clark on the White swan pas de deux, danced by Odette and Prince Siegfried, from Swan lake. In an interview, she and Paul Mejia discuss partnering in Balanchine's ballets, Balanchine's version of Swan lake, and Tallchief's interpretation of his choreography.
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Date Written / Recorded
1997-06-01
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Maria Tallchief, 1925-2013, Maria Terezia Balogh, Todd Edson
Contributor
George Balanchine, 1904-1983, Virginia Brooks
Author / Creator
George Balanchine, 1904-1983, Nancy Reynolds, fl. 1994, Maria Tallchief, 1925-2013, Maria Terezia Balogh, Todd Edson
Date Published / Released
2007
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
Copyright Message
Copyright © 2007 by George Balanchine Foundation
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Sugar Plum Fairy Variation (partial): Coaching session
choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Maria Tallchief, 1925-2013 and Jennie Somogyi; in Balanchine Foundation Video Archives: MARIA TALLCHIEF coaching excerpts from George Balanchine's The Nutcracker™ (George Balanchine Foundation, 2008), 11 mins
Maria Tallchief, who created the role of the Sugar Plum Fairy in George Balanchine's version of The nutcracker for the New York City Ballet in 1954, coaches young dancers in excerpts from the ballet. In the interview sections, she analyzes details of the choreography and describes the way in which Balanchine taugh...
choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Maria Tallchief, 1925-2013 and Jennie Somogyi; in Balanchine Foundation Video Archives: MARIA TALLCHIEF coaching excerpts from George Balanchine's The Nutcracker™ (George Balanchine Foundation, 2008), 11 mins
Description
Maria Tallchief, who created the role of the Sugar Plum Fairy in George Balanchine's version of The nutcracker for the New York City Ballet in 1954, coaches young dancers in excerpts from the ballet. In the interview sections, she analyzes details of the choreography and describes the way in which Balanchine taught specific steps and movements. She also reminisces about the first performance, and compares the choreography to the Petipa-Ivanov ver...
Maria Tallchief, who created the role of the Sugar Plum Fairy in George Balanchine's version of The nutcracker for the New York City Ballet in 1954, coaches young dancers in excerpts from the ballet. In the interview sections, she analyzes details of the choreography and describes the way in which Balanchine taught specific steps and movements. She also reminisces about the first performance, and compares the choreography to the Petipa-Ivanov version then being presented by the Ballet Russe de Monte Carlo.
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Date Written / Recorded
1996-04-15
Field of Study
Dance
Content Type
Performance, Instructional material
Performer / Ensemble
Maria Tallchief, 1925-2013, Jennie Somogyi
Contributor
George Balanchine, 1904-1983, Catherine Tatge, fl. 2004
Author / Creator
George Balanchine, 1904-1983, Maria Tallchief, 1925-2013, Jennie Somogyi
Date Published / Released
2008
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
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'The Four Temperaments', Second Variation: Sanguinic - Segment 1
directed by Catherine Tatge, fl. 2004; composed by Paul Hindemith, 1895-1963; choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Maria Tallchief, 1925-2013, Wendy Whelan, 1967- and Damian Woetzel, 1967-; in Balanchine Foundation Video Archives: MARIA TALLCHIEF coaching "Sanguinic" variation from The Four Temperaments and Sylvia: Pas de Deux (ballerina solo) (New York, NY: George Balanchine Foundation, 2008), 10 mins
Maria Tallchief danced the Sanguinic pas de deux with Nicholas Magallanes in Ballet Society's second performance of The four temperaments, and created the ballerina role in Sylvia pas de deux, partnered by Magallanes, for New York City Ballet in 1950. She works on fine points of the choreography of these ballets w...
directed by Catherine Tatge, fl. 2004; composed by Paul Hindemith, 1895-1963; choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Maria Tallchief, 1925-2013, Wendy Whelan, 1967- and Damian Woetzel, 1967-; in Balanchine Foundation Video Archives: MARIA TALLCHIEF coaching "Sanguinic" variation from The Four Temperaments and Sylvia: Pas de Deux (ballerina solo) (New York, NY: George Balanchine Foundation, 2008), 10 mins
Description
Maria Tallchief danced the Sanguinic pas de deux with Nicholas Magallanes in Ballet Society's second performance of The four temperaments, and created the ballerina role in Sylvia pas de deux, partnered by Magallanes, for New York City Ballet in 1950. She works on fine points of the choreography of these ballets with current principal dancers of New York City Ballet. In a brief interview she discusses aspects of the two ballets, including Kurt Se...
Maria Tallchief danced the Sanguinic pas de deux with Nicholas Magallanes in Ballet Society's second performance of The four temperaments, and created the ballerina role in Sylvia pas de deux, partnered by Magallanes, for New York City Ballet in 1950. She works on fine points of the choreography of these ballets with current principal dancers of New York City Ballet. In a brief interview she discusses aspects of the two ballets, including Kurt Seligmann's costumes for the first performances of The four temperaments, and André Eglevsky's introduction of a more fluid style of port de bras in Sylvia pas de deux.
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Date Written / Recorded
1996-04-15
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Maria Tallchief, 1925-2013, Wendy Whelan, 1967-, Damian Woetzel, 1967-
Contributor
George Balanchine, 1904-1983, Catherine Tatge, fl. 2004, Paul Hindemith, 1895-1963, Léo Delibes, 1836-1891
Author / Creator
George Balanchine, 1904-1983, Paul Hindemith, 1895-1963, Catherine Tatge, fl. 2004, Maria Tallchief, 1925-2013, Wendy Whelan, 1967-, Damian Woetzel, 1967-
Date Published / Released
2008
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
Copyright Message
Copyright © 2008 by George Balanchine Foundation
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'Donizetti Variations', Principals' first entrance
directed by Nancy Reynolds, fl. 1994; composed by Gaetano Donizetti, 1797-1848; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Melissa Hayden, 1923-2006, Peter Boal, 1965- and Gillian Murphy, 1979-; in Balanchine Foundation Video Archives: MELISSA HAYDEN coaching excerpts from Donizetti Variations (New York, NY: George Balanchine Foundation, 2007), 7 mins
Melissa Hayden, who created the ballerina role in Donizetti variations in its premiere in 1960, coaches Peter Boal and Gillian Murphy in the choreography performed by the two principal dancers, including their first entrance, their pas de deux (adagio, ballerina variation, and coda), and the ballerina variation da...
directed by Nancy Reynolds, fl. 1994; composed by Gaetano Donizetti, 1797-1848; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Melissa Hayden, 1923-2006, Peter Boal, 1965- and Gillian Murphy, 1979-; in Balanchine Foundation Video Archives: MELISSA HAYDEN coaching excerpts from Donizetti Variations (New York, NY: George Balanchine Foundation, 2007), 7 mins
Description
Melissa Hayden, who created the ballerina role in Donizetti variations in its premiere in 1960, coaches Peter Boal and Gillian Murphy in the choreography performed by the two principal dancers, including their first entrance, their pas de deux (adagio, ballerina variation, and coda), and the ballerina variation danced with three men (who do not appear on this recording). The male variation in the pas de deux and a second male variation (intended...
Melissa Hayden, who created the ballerina role in Donizetti variations in its premiere in 1960, coaches Peter Boal and Gillian Murphy in the choreography performed by the two principal dancers, including their first entrance, their pas de deux (adagio, ballerina variation, and coda), and the ballerina variation danced with three men (who do not appear on this recording). The male variation in the pas de deux and a second male variation (intended to be danced with six women) are performed without coaching from Hayden. To illustrate her point that Donizetti's music provides less support for the dancing than is usual in Balanchine's ballets, Hayden has the dancers perform their entrance first to the Donizetti score, then to Tchaikovsky's music for the Black swan pas de deux from Swan lake. In an interview she discusses various aspects of the ballet: its change of costumes, which altered its character; the influence of August Bournonville's choreography; the interpretation she developed with her partner Jacques d'Amboise; and the ballet's technical challenges. She also discusses Balanchine's use of off-balance movement and his concept of the plié, and remembers him as partner and performer.
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Date Written / Recorded
1999-11-23
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Melissa Hayden, 1923-2006, Peter Boal, 1965-, Gillian Murphy, 1979-
Contributor
George Balanchine, 1904-1983, Virginia Brooks, Gaetano Donizetti, 1797-1848
Author / Creator
George Balanchine, 1904-1983, Gaetano Donizetti, 1797-1848, Nancy Reynolds, fl. 1994, Melissa Hayden, 1923-2006, Peter Boal, 1965-, Gillian Murphy, 1979-
Date Published / Released
2007
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
Copyright Message
Copyright © 2007 by George Balanchine Foundation
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'Raymonda Variations', Variation IV - Segment 1
directed by Nancy Reynolds, fl. 1994; composed by Alexander Konstantinovich Glazunov, 1865-1936; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Patricia Wilde, 1928- and Blythe T. Roycroft; in Balanchine Foundation Video Archives: PATRICIA WILDE coaching excerpts from Raymonda Variations (2 ballerina variations; pas de deux) (New York, NY: George Balanchine Foundation, 2008), 16 mins
Patricia Wilde, who created the principal ballerina's role in George Balanchine's Raymonda variations (then titled Valses et variations) for the New York City Ballet in 1961, coaches young dancers in the two ballerina variations and pas de deux from the ballet. In the interview sections, she analyzes details of th...
directed by Nancy Reynolds, fl. 1994; composed by Alexander Konstantinovich Glazunov, 1865-1936; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Patricia Wilde, 1928- and Blythe T. Roycroft; in Balanchine Foundation Video Archives: PATRICIA WILDE coaching excerpts from Raymonda Variations (2 ballerina variations; pas de deux) (New York, NY: George Balanchine Foundation, 2008), 16 mins
Description
Patricia Wilde, who created the principal ballerina's role in George Balanchine's Raymonda variations (then titled Valses et variations) for the New York City Ballet in 1961, coaches young dancers in the two ballerina variations and pas de deux from the ballet. In the interview sections, she analyzes details of the choreography, describes how Balanchine taught specific steps and movements, and discusses the relationship between his teaching and h...
Patricia Wilde, who created the principal ballerina's role in George Balanchine's Raymonda variations (then titled Valses et variations) for the New York City Ballet in 1961, coaches young dancers in the two ballerina variations and pas de deux from the ballet. In the interview sections, she analyzes details of the choreography, describes how Balanchine taught specific steps and movements, and discusses the relationship between his teaching and his choreography. She also recalls the ballet's first performance, and compares it to his previous ballets Raymonda (1946), staged with Alexandra Danilova for the Ballet Russe de Monte Carlo, and Pas de dix, first presented by New York City Ballet in 1955.
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Date Written / Recorded
1996-05-24
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Patricia Wilde, 1928-, Blythe T. Roycroft
Contributor
George Balanchine, 1904-1983, Virginia Brooks, Alexander Konstantinovich Glazunov, 1865-1936
Author / Creator
George Balanchine, 1904-1983, Alexander Konstantinovich Glazunov, 1865-1936, Nancy Reynolds, fl. 1994, Patricia Wilde, 1928-, Blythe T. Roycroft
Date Published / Released
2008
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
Copyright Message
Copyright © 2008 by George Balanchine Foundation
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Le Corsaire
composed by Riccardo Drigo, 1846-1930; choreographed by Marius Petipa, 1818-1910; produced by Carl Simons and Julia Matheson, NVC Arts; performed by Alla Sizova, 1939-2014 and Rudolf Nureyev, 1938-1993 (Berlin, Berlin State: C Major Entertainment, 1995), 5 mins
From the early 20th century, the Maryinsky Ballet, later the Kirov, dazzled audiences with the beauty of dance. This fascinating footage of many of the company’s greatest dancers draws on five years’ research in Russia’s film archives. Extracts from: Swan Lake, Raymonda, Viennese Waltz, Reflection, Le Corsai...
Sample
composed by Riccardo Drigo, 1846-1930; choreographed by Marius Petipa, 1818-1910; produced by Carl Simons and Julia Matheson, NVC Arts; performed by Alla Sizova, 1939-2014 and Rudolf Nureyev, 1938-1993 (Berlin, Berlin State: C Major Entertainment, 1995), 5 mins
Description
From the early 20th century, the Maryinsky Ballet, later the Kirov, dazzled audiences with the beauty of dance. This fascinating footage of many of the company’s greatest dancers draws on five years’ research in Russia’s film archives. Extracts from: Swan Lake, Raymonda, Viennese Waltz, Reflection, Le Corsaire, Laurencia, The Tale of Serf Nikish, The Dying Swan, Pas de Quatre, Syrinx, Spartacus, Romeo and Juliet, The Ice Maiden, Les Sylphides
Field of Study
Dance
Content Type
Performance
Performer / Ensemble
Alla Sizova, 1939-2014, Rudolf Nureyev, 1938-1993
Contributor
Marius Petipa, 1818-1910, Carl Simons, Julia Matheson, NVC Arts
Author / Creator
Marius Petipa, 1818-1910, Riccardo Drigo, 1846-1930, Alla Sizova, 1939-2014, Rudolf Nureyev, 1938-1993
Date Published / Released
1995
Publisher
C Major Entertainment
Copyright Message
Copyright © 1995 C Major Entertainment
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Davidsbundlertanze Op. 6
directed by François Goetghebeur, 1974-; produced by Daniel Charrier; performed by Eric Le Sage, in Eric Le Sage joue Schumann (CLC Productions, 2010), 3 mins
This is a performance of Eric Le Sage joue Schumann, performed by Eric Le Sage and directed by Francois Goetghebeur.
Sample
directed by François Goetghebeur, 1974-; produced by Daniel Charrier; performed by Eric Le Sage, in Eric Le Sage joue Schumann (CLC Productions, 2010), 3 mins
Description
This is a performance of Eric Le Sage joue Schumann, performed by Eric Le Sage and directed by Francois Goetghebeur.
Date Written / Recorded
2010-04-28
Field of Study
Classical Music
Content Type
Performance
Performer / Ensemble
Eric Le Sage
Contributor
Daniel Charrier, Robert Schumann, 1810-1856
Author / Creator
François Goetghebeur, 1974-, Eric Le Sage
Date Published / Released
2010
Publisher
CLC Productions
Copyright Message
Copyright © 2010 by CLC Productions
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Don Quixote
directed by Jeff Tudor, 1967- and Adrienne Liron, 1969-; composed by Ludwig Minkus, 1826-1917 (1869); conducted by Kevin Rhodes, fl. 2010; choreographed by Marius Petipa, 1818-1910; produced by Jeff Tudor, 1967- and Adrienne Liron, 1969-, NTR, 3 Minutes West and Stopera. Muziektheater, Amsterdam; performed by Peter de Jong, fl. 1998, Matthew Golding, 1985- and Anna Tsygankova, 1979-, Holland Symfonia and Dutch National Ballet (Germany: ArtHaus Musik, 2010), 2 hours 8 mins
Don Quichot – an audience favourite of prestigious companies worldwide – is a dazzling display of high spirits, virtuosity and Spanish temperament. The flamboyant leaps, dizzying pirouettes and crisp pointe work that are standard features of the production give the performers every opportunity to show off thei...
Sample
directed by Jeff Tudor, 1967- and Adrienne Liron, 1969-; composed by Ludwig Minkus, 1826-1917 (1869); conducted by Kevin Rhodes, fl. 2010; choreographed by Marius Petipa, 1818-1910; produced by Jeff Tudor, 1967- and Adrienne Liron, 1969-, NTR, 3 Minutes West and Stopera. Muziektheater, Amsterdam; performed by Peter de Jong, fl. 1998, Matthew Golding, 1985- and Anna Tsygankova, 1979-, Holland Symfonia and Dutch National Ballet (Germany: ArtHaus Musik, 2010), 2 hours 8 mins
Description
Don Quichot – an audience favourite of prestigious companies worldwide – is a dazzling display of high spirits, virtuosity and Spanish temperament. The flamboyant leaps, dizzying pirouettes and crisp pointe work that are standard features of the production give the performers every opportunity to show off their technical prowess. But at the same time, the comic story based on Cervantes’ masterpiece makes strong demands on the dancers’ act...
Don Quichot – an audience favourite of prestigious companies worldwide – is a dazzling display of high spirits, virtuosity and Spanish temperament. The flamboyant leaps, dizzying pirouettes and crisp pointe work that are standard features of the production give the performers every opportunity to show off their technical prowess. But at the same time, the comic story based on Cervantes’ masterpiece makes strong demands on the dancers’ acting abilities.
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Date Written / Recorded
1869, 2010-02-13
Field of Study
Dance
Content Type
Performance
Performer / Ensemble
Holland Symfonia, Dutch National Ballet, Peter de Jong, fl. 1998, Matthew Golding, 1985-, Anna Tsygankova, 1979-
Contributor
Marius Petipa, 1818-1910, Kevin Rhodes, fl. 2010, Jeff Tudor, 1967-, Adrienne Liron, 1969-, NTR, 3 Minutes West, Stopera. Muziektheater, Amsterdam
Author / Creator
Marius Petipa, 1818-1910, Ludwig Minkus, 1826-1917, Jeff Tudor, 1967-, Adrienne Liron, 1969-, Holland Symfonia, Dutch National Ballet, Peter de Jong, fl. 1998, Matthew Golding, 1985-, Anna Tsygankova, 1979-
Date Published / Released
2010
Publisher
ArtHaus Musik
Topic / Theme
Don Quixote, Sancho Panza, Innkeeper, Innkeeper's Daughter, Dulcinea, Barber, Espada, Mercedes, Gamache, Amor
Copyright Message
Copyright © 2010 Arthaus Musik
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Don Quixote
directed by Adrienne Liron, 1969- and Jeff Tudor, 1967-; composed by Ludwig Minkus, 1826-1917 (1869); conducted by Kevin Rhodes, fl. 2010; choreographed by Marius Petipa, 1818-1910; produced by Adrienne Liron, 1969- and Jeff Tudor, 1967-, Dutch National Ballet and 3 Minutes West; performed by Anna Tsygankova, 1979-, Matthew Golding, 1985-, Peter de Jong, fl. 1998, Karel De Rooij, 1946- and Sasha Mukhamedov, Dutch National Ballet and Holland Symfonia (Halle, Saxony-Anhalt: Monarda Arts, 2010), 2 hours 8 mins
Don Quichot – an audience favourite of prestigious companies worldwide – is a dazzling display of high spirits, virtuosity and Spanish temperament. The flamboyant leaps, dizzying pirouettes and crisp pointe work that are standard features of the production give the performers every opportunity to show off thei...
Sample
directed by Adrienne Liron, 1969- and Jeff Tudor, 1967-; composed by Ludwig Minkus, 1826-1917 (1869); conducted by Kevin Rhodes, fl. 2010; choreographed by Marius Petipa, 1818-1910; produced by Adrienne Liron, 1969- and Jeff Tudor, 1967-, Dutch National Ballet and 3 Minutes West; performed by Anna Tsygankova, 1979-, Matthew Golding, 1985-, Peter de Jong, fl. 1998, Karel De Rooij, 1946- and Sasha Mukhamedov, Dutch National Ballet and Holland Symfonia (Halle, Saxony-Anhalt: Monarda Arts, 2010), 2 hours 8 mins
Description
Don Quichot – an audience favourite of prestigious companies worldwide – is a dazzling display of high spirits, virtuosity and Spanish temperament. The flamboyant leaps, dizzying pirouettes and crisp pointe work that are standard features of the production give the performers every opportunity to show off their technical prowess. But at the same time, the comic story based on Cervantes’ masterpiece makes strong demands on the dancers’ act...
Don Quichot – an audience favourite of prestigious companies worldwide – is a dazzling display of high spirits, virtuosity and Spanish temperament. The flamboyant leaps, dizzying pirouettes and crisp pointe work that are standard features of the production give the performers every opportunity to show off their technical prowess. But at the same time, the comic story based on Cervantes’ masterpiece makes strong demands on the dancers’ acting abilities. The leading Russian choreographer Alexei Ratmansky has drawn inspiration for his production from the libretto of the first version of Don Quichot by Marius Petipa, created in 1869. The former artistic director of the Bolshoi Ballet and Artist in Residence of the American Ballet Theatre now has also added his own new elements and choreography to the ballet. The modern designs for the ballet, by the renowned French designer Jérôme Kaplan, refer to the times of Cervantes.
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Date Written / Recorded
1869, 2013-02-13
Field of Study
Dance
Content Type
Performance
Performer / Ensemble
Dutch National Ballet, Holland Symfonia, Anna Tsygankova, 1979-, Matthew Golding, 1985-, Peter de Jong, fl. 1998, Karel De Rooij, 1946-, Sasha Mukhamedov
Contributor
Marius Petipa, 1818-1910, Kevin Rhodes, fl. 2010, Adrienne Liron, 1969-, Jeff Tudor, 1967-, Dutch National Ballet, 3 Minutes West, Ludwig Minkus, 1826-1917
Author / Creator
Marius Petipa, 1818-1910, Ludwig Minkus, 1826-1917, Adrienne Liron, 1969-, Jeff Tudor, 1967-, Dutch National Ballet, Holland Symfonia, Anna Tsygankova, 1979-, Matthew Golding, 1985-, Peter de Jong, fl. 1998, Karel De Rooij, 1946-, Sasha Mukhamedov
Date Published / Released
2010
Publisher
Monarda Arts
Topic / Theme
Don Quixote, Sancho Panza, Innkeeper, Innkeeper's Daughter, Dulcinea, Barber, Espada, Mercedes, Gamache, Amor
Copyright Message
Copyright © 2010 Monarda Arts
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