innopac

"The renowned dancer Leonid Sarafanov has signed a contract, under which on 1 January 2011 he is coming to the Mikhailovsky Ballet Company as a principal dancer. His first appearance at the Mikhailovsky Theatre as a principal is planned for 22 January 2011." http://www.youtube.com/watch?v=cv0kvzZFQXg

Thank you so much.

I am hoping to find out more about this pas de deux.... is anyone able to help? What is it from? Is it available on dvd? Who is the composer? http://www.youtube.com/watch?v=n_m2UsXmhRs&playnext=1&videos=OjCTS-aN33U&feature=mfu_in_order http://www.youtube.com/watch?v=qrU-H3xcoZM

Janice Bering, who danced with the New York City Ballet, under the director of George Balanchine, died Sept. 24. A longtime resident of Woodside, she was 83. Woodside Almanac article

I am puzzled. This entire documentary seems to focus solely on Gergiev's energy and commitment to Russian culture. But there was one segment that didn't fit. This is when Uliana Lopatkina comes into his office to say that she is unhappy with a current production. Gergiev has the television on in his office and is clearly watching the sport during the conversation. He does agree to come to a rehearsal but I found the segment quite strange and wondered at it being included. Has anyone else seen this dvd?

The ROH's Create contract tells the truth about the rights grab - from The Arts Desk 22 Sept 2010 And in Paragraph 19, not only does the ROH say they will be entitled to edit, change, adapt and do anything else they want to the entries as they think fit, but also “in respect of your contribution, you irrevocably waive the benefits of and agree not to assert any provision of law known as ‘moral rights’ or any similar laws of any jurisdiction.” Link to The Arts Desk's article

Further response from the Royal Opera House: "Rights and copyright have become even more complicated in the digital age. Like a lot of arts organisations, we need to protect our rights and those of our artists, while also finding the best ways to share our work and encourage people to participate in it. Until now, the way we use social media has not been connected to our rights-management strategy, but it’s very clear that we need to bring the two closer together. We’re now talking to a group of bloggers to help us determine some guidelines for how Royal Opera House publicity is used in the blogosphere, and hope to have some guidelines available for publication very soon."

Thanks Mme. Hermine, I don't know how many times I have seen the Chaplin excerpt and it still touches me. He is extraordinary, isn't he. I should have mentioned that Suzanne Cleary and Peter Harding were in the Broadway hit "Riverdance" and have recently created a two-person troupe Up & Over It. blog post at The Washington Post

We No Speak Americano ft. Cleary & Harding

A short 15 minute interview with Lynn Garafola talking about Alicia Alonso and her company. The company is performing in Australia later this month. Link to audio

The Moor's Pavane with Andres Williams, Svetlana Semenova, Nikita Dolgushin and Gabriella Komleva. Jose Limón's The Moor's Pavane (excerpt) http://www.youtube.com/watch?v=JCySMG6hRi4&feature=related

Thank you very much richard53dog for the background information and the update. Much appreciated.

The writer of the blog Intermezzo has been told to remove images and has been threatened with being barred from future ROH performances. I do not know the background of this story and was wondering if anyone else does. I also was wondering if this has happened before or if the copyright policing we have been seeing on youtube is moving over a wider catchment area now? "The ROH head of legal & business affairs has written me a couple of emails (below), culminating in a demand to "Remove all images referenced to performances at the Royal Opera House" - whatever that means. If he had threatened only litigation I would fight it. The grounds are weak; he can't even spell 'counsel'; I can smell victory from where I'm sitting. However he has also made the threat of "future exclusion from future Royal Opera House membership and performances". This obviously hits where it hurts. The ROH can bar entry to anyone, for any or no reason, right or wrong, whether they''ve used "images referenced to performances at the Royal Opera House" or not. So in the interests of my continued attendance at Covent Garden, I have reluctantly removed all Royal Opera House-related posts, as it was the quickest way to comply with the demand made." Intermezzo Blog

Ilyaballet is uploading a wonderful series of videos: "Pas de duex technique from Vaganova Ballet Academy. Back in the middle of XX century, in Leningrad USSR, in Vaganova ballet school, it was one of the greatest ballet Pas de deux teachers - SEREBRIANIKOV. He wrote a book about partnering in ballet, and this film was his idea."

This youtube posted by ditogam has English subtitles. Chabukiani's Laurencia returned to stage ... rare shots from the premiere 1939 "Vakhtang Chabukiani's name may not be on everyone's lips in the west but, as a dancer of great power and virtuosity and the choreographer of Laurencia in 1939, he played a vital role in the development of ballet in the Soviet Union. The Mikhailovsky Theatre presents the revival of Vakhtang Chabukiani's masterpiece Laurencia, based on the play Fuente Ovejuna by Lope de Vega. Chabukiani was one of the first to create a new choreographic language by means of his own particular blend of folk dance and classical ballet. Laurencia was premiered of 1939 at the Kirov Theatre. Following the St Petersburg premiere of Laurencia in June 2010, London will be the first city to witness the historical revival of this famous ballet, after a forty year absence from the Russian stage, in a new full-length production created for the Mikhailovsky Ballet by Mikhail Messerer."

A character analysis test... who are you? Take the Crankocast test.

In today's Links an article by Judith Mackrell pointed to: CyberDance "CyberDance is an extensive internet dance database containing thousands of links to classical ballet and modern dance resources on the Internet."

Nijinsky's Bloomsbury Ballet: Reconstruction of the Dance and Design for Jeux by Millicent Hodson 2008: book's web page: A review by Deborah Mawer is in Music and Letters, 28 February 2010, vol 91, pages 123-126.

A friend has just written: "That is certainly not the way Hilarion is interpreted today. With the original interpretation, it would be a lot easier to have more sympathy for Albrecht. However, he knows he can never marry that girl. To promise her marriage is immoral. A flirtation would have been okay, but to swear! Consequently, he has to lose our sympathy. Yes, it is true that men of higher class often took advantage of women, usually servants in the household. However, that does not excuse Albrecht in my mind. He may well have been attracted to the girl, he may even have thought he loved her, but he certainly knew he could never marry her."

Thank you rg. That is beautiful.

In the article Bart mentioned it sounds as if the removal can now be partially automated with a content ID system... "Since its filing, though, those tensions have eased substantially, as YouTube has set up an automated system to detect and block infringing videos and has signed revenue-sharing agreements with more than a thousand media companies."

"The Contract Behind the Curtain: A Glimpse into the San Francisco Ballet Dancer’s Contract" By Robin Gross (29 February 2008) Link The San Francisco Ballet is one of the finest ballet companies in the world and the oldest company in the United States. The company produces its ballets through the utilization of collective bargaining agreements with the American Guild of Musical Artists (AGMA). The Basic Agreement between AGMA and the San Francisco Ballet details many of the key terms of every ballet dancer’s contract with the company. The AGMA Basic Agreement is the collective bargaining agreement that all dancers with the SF Ballet sign when they join the company. It sets out the minimum terms and conditions that all dancers (and other artists) employed with the company are entitled to receive (like minimum salaries and benefits, publicity issues, and minimum health and safety standards)

Has anyone seen Masquerade? I am interested to know more about it. The choreography is by N. Rizhenko and V. Smirnov-Golovanov.

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