Georgia State Balletand Nina Ananiashvili
Posted 02 March 2006 - 02:01 PM
1. Trey McIntyre's Second Before the Ground
2. Three Balanchine PdD's:
3. Alexei Ratmansky's Dreams about Japan
A pre-performance article from Georgia Today:
An interview with Bart Cook on setting the ballets on the company appears in Ballet News Discussion, the Calegari & Cook thread.
Posted 02 March 2006 - 04:11 PM
Program has wide-ranging variety -- from African inspiration, to Japanese themes, to a little Balanchinian taste of Napoli!
Posted 20 March 2006 - 03:01 PM
The photo of Nina with the two affords a look at the ballerina about one month after giving birth. It can be enlarged (if the "click" to enlarge doesn't work, it can be copied and reviewed in your computer's picture system): amazing how ballerinas can look like this so quickly after! I wonder if her promised return to dancing will be back at ABT or with her company (her site does promise a tour)?
An excerpt from Mr. Fadeyechev's interview:
Edited by drb, 20 March 2006 - 03:04 PM.
Posted 23 March 2006 - 05:36 PM
Here is an interesting illustrated piece on Georgian art history, which may help place her dedication to the arts in Georgia in historic context:
Posted 24 March 2006 - 04:21 AM
She looks a bit wan to me in the photograph---she still has a way to go.
Posted 10 October 2006 - 07:29 AM
Here one link to an English-language newspaper. Much more has been published in Russian:
Please keep all non-Russian-ethnic artists who remain on Russian soil in your thoughts.
Moderators, feel free to move this to another thread, if more appropriate. I took a quick look in the Links page and saw no mention of the recent ouster of the Georgian Ballet company. Hence, this post.
Posted 10 October 2006 - 09:41 AM
I was in Moscow through last Saturday & the 'expulsion of non-Russians from Mother Russia' is the A#1 topic on TV & in the streets. Even Russian Citizens of Georgian/Caucasian extraction are being harrassed, businesses closed, etc. I was very saddened to read that the hatred reaches to the artistic community. I can only wonder if fabulous Russian-Citizen artists of minority heritage, such as Nikolai Tsiskaridze at the Bolshoi or Irma Nioradze at the Mariinsky (or Gergiev - from North Ossetia - not a separate Caucasus country but a unique ethnic minority, no less), will be safe?
I wonder what the spirit of Georgi Balanchivadze is thinking? Very sad situation.
p.s. - Saturday's murder of the famous St. Petersburg journalist, Anna Politkovskaya, is linked to all this, as Politkovskaya spoke-out against the Russian Government's mistreatment of ethnic minorities, in Chechnya and beyond.
Posted 10 October 2006 - 10:09 AM
Posted 10 October 2006 - 01:48 PM
I've been following this story with great interest, partly because the issues at hand intersect with my own work in other parts of the world. In any case, if anyone comes across news regarding how this is affecting the dancers, it would be welcome.
ps - random aside: you know those plastic rectangular 'market' bags that are really inexpensive? In West Africa they are called 'Ghana Must Goes' from the unexpected and quickly-executed expulsions of Ghanaians from Nigeria. Everytime I hear of expulsions like this I wonder what it might be like, packing up your most prized possessions in one, maybe two, Ghana Must Goes and upping and leaving in the same hour.
Posted 10 October 2006 - 07:16 PM
Posted 11 October 2006 - 07:37 AM
The lack of money at the governmental and private levels is a huge problem, but only one of many. Also, 10-20 years have passed -- a whole generation in the lives of ballet students -- from the last time the Soviet system actually functioned successsfully for ballet in the non-Russian republics of the former USSR.
Ananiashvilli and Zelensky are taking on heroic challenges. It's wonderful to see the Balanchine people --and, I assume, others involved in western ballet (the McIntyre Project, too ? ) -- giving so much support.
Posted 11 October 2006 - 11:32 AM
Ballet companies the world over, but especially in Europe, include lots of non-Russian principals and soloists from the fSU, who received the bulk of their training in their home countries: in San Francisco - Tiit Helimets (Estonia) and Davit Karapetyan (Armenia); in Hamburg - Alexandre Riabko (Ukraine), Ivan Urban (Belarus) and Arsen Megrabian (Armenia); in Amsterdam - Ruta Jezerskyte (Lithuania) and Alexander Zhembrovskyy (Ukraine); in Vienna - Aliya Tanikpaeva (Kazakhstan), Irina Tsymbal (Belarus) and Mihail Sosnovschi (Moldova); in Stockholm - Elena Gorbatsch (Ukraine) and Andrey Leonovitch (Belarus). My sample certainly isn't comprehensive or scientific, and it doesn't take into account the dancers who are just starting their careers, but I think it illustrates a pattern in companies large and small. I predict that the number of dancers from the fSU working abroad, including non-Russians, is likely to grow. In fact, I wouldn't be surprised if the prospect of finding a job with a European opera house wouldn't actually encourage parents to enrol their kids in ballet school. Of course, this exodus presents a huge problem for the ballet companies back home, but I don't think the problem lies in the training itself. Quite the opposite.
As for the recruitment of boys from folk dancing, this is a huge advantage eastern Europe has over North America. Many, many boys, especially in the Caucasus, enter ballet via folk dancing. North Americans may view ballet as effeminate, but the reputation of east European folk dance is certainly macho. If you've ever seen Georgian folk dancing, you know what I mean. It's just about the butchest form of dancing in all creation. For many years my mother has taught music in a public school. The music curriculum includes a modest dance component, primarily folk dances, social dancing and creative movement, which she has always augmented with the viewing of classical ballets and old movie musicals. Her school has a large population of Ukrainian children, and the vast majority of them, girls and boys, take lessons in Ukrainian folk dancing. The boys in particular love to show off their Cossack moves. Over time these kids begin doing a character barre, and if they stick with it long enough, they'll probably end up starting each lesson with a ballet barre. Perhaps they'll even take supplementary ballet classes. I'm not saying that my mother's former pupils include a bevy of professional male ballet dancers. Canada isn't exactly conducive to such a career. The same kids that take Ukrainian dance lessons also go to hockey school. (To the best of my knowledge, one of the boys did turn into a jazz bunny and spent some time dancing on a cruise line.) But you can see how it could this sort of exposure could lead to the serious study of ballet, if the necessary conditions are in place.
Posted 11 October 2006 - 11:38 AM
Posted 15 June 2007 - 07:58 PM
The Corps was strong, very strong. well trained and excellent technique.
Costumes were simple, but traveled well. Great scenery.
My only complaint: Lousy recording, sounded like an old LP. Second complaint, I could hear the dancers talking, The Shubert has excellent acoustics!
I hope the New York dance critics took the train up to see a wonderful performance. They can still catch a performance tomorrow.
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