Steivel, introduced by the National Theater as an internationally recognized choreographer and teacher, on Thursday addressed reporters in Belgrade to say that while tradition was important, the repertoire of the house should also include modern ballet performances.
Steivel thanked National Theater Governor Božidar Đurović for the opportunity to take over as new director of the Ballet.
Thursday, January 12
Posted 12 January 2012 - 11:42 AM
Posted 12 January 2012 - 11:44 AM
“The State Ballet Theater of Russia was founded in 1961 in the city of Voronezh, one of the oldest cities in Russia,” Dukhnina said. “The repertoire of the theater includes more than 30 classical and modern ballet productions. The first North American tour took place in 2006, and since then the theater has toured the United States several times.
“Most of the dancers are the graduates of the Voronezh Ballet School,” she continued. “The theater invites the most talented dancers upon their graduation from the school. Besides the graduates of the Voronezh Ballet School there are many young aspiring dancers who come from all over Russia. The Theater is highly regarded among other Russian ballet companies. Famous choreographers and ballet masters come to Voronezh to work together on various classical and modern ballet productions, which makes it a very prestigious and popular place.”
Posted 12 January 2012 - 11:51 AM
How wise that departing judgment. Under Schaufuss’ handpicked cast and his dramatic and sensitive interpretation – including taking the role of Friar Laurence himself – Ashton’s vision lies before us in The Peter Schaufuss Ballet’s debut season at The Dome.
And so worthy are his principal artistic selections — ex Royal and Birmingham Royal Ballet member Stefan Wise as Romeo; the Japanese dancer Megumi Oki, Stuttgart-trained under John Cranko and formerly with the Dresden State Opera and Ballet, as Juliet; and set and lighting designer Luciano Melini. Both dancers come from companies steeped in this ballet as created by their artistic directors.
Posted 12 January 2012 - 11:55 AM
For one, it’s epic in scale, the original ballet running at a hearty four hours, including intermissions – three without. Both the film and the ballet come in three parts and notably have endings that run on and on and on. Scottish Ballet’s mercifully short adaptation, two hours and fifty minutes with intermissions, at the Festival Theatre this week also has the added bonus of two wicked fairies, Pina and Lucinda, that look somewhat like mischievous Orcs.
Bringing a meditative quality to the classic work, choreographer Ashley Page has focussed on melding a number of different tellings of the work into one evolving piece......
Posted 13 January 2012 - 12:02 PM
"We model ourselves after an old ballet company that tours nonstop," notes dancer and ballet master Paul Ghiselin. The troupe's name, in fact, tweaks the Ballets Russes de Monte Carlo, the renowned 20th-century touring icon. "So many of our qualities stem from Russian ballet, the grand gestures, the way you move your head," Ghiselin adds. "It's a vocabulary you don't see in American dance so much anymore because it's dated."
Posted 13 January 2012 - 12:04 PM
And this fits in perfectly with the OBT’s long-range plans, which include a future presentation of the whole “Sleeping Beauty” production.“The ‘Highlights’ program will contain great dance numbers from the story,” Vinson said. “We’re hoping to build it over the next five years to include the whole production.”
Build is an accurate description. There is a whole production to be built, including staging, costumes and scenery.
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