George Balanchine’s Jewels
Performed by The Mariinsky Ballet The Dorothy Chandler Pavilion October 24—27, 2019
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EWELS (19671 is the three-part dance George Balanchine made in tribute to his earty years _ J at the Mariinsky Theater's ballet school. where he le arned techniques in mime and character and absorbed the school's academic style.JEWELS-Emeralds. Rubies. and
Diamonds-is also, according to Arlene Crace. �unsurpassed as a Balanchine primer.
incorporating in a single evening every important article of faith to which this choreographer subscribed and a burst of heresy, too, to remind us that he willingly reversed himself on
occasion.#•
The heresy was the creation-on Edward Villella, for Rubies-of a major role for a male dancer equal to his female partners. Balanchine was famously preoccupied with his ballerinas. and his danseurs were there as support-in his words, "very important as princes and attendants to the queen, but woman is the queen.-.. so Rubies-set to music by Igor Stravi nsky-is the anomaly, falling between the choreographers great showcases for his primas: Emeralds (music by Gabriel Faure) and Diamonds (Tchaikovsky). As the opening engagement of the 2019-2020 season of Glorya Kaufman Presents Dance at The Music Center, the Mariinsky Ballet-dccompanied by the Mariinsky orchestra-will dance five performances of Balanchine'sJEWELS, which is titled for its gem-encrusted costumes as well as the necklace strands and diamond shapes of its choreography. an aspect best seen from the upper balcony. see link below for casting.
MARIINSKY BALLET-GEORGE BALANCHINE'S /ÂŁWill Thursday through Saturday, October 24. 25. and 26. at 7:30 pm. Saturday and Sunday, October 26 and 27, at 2 pm. Dorothy Chandler Pavilion 135 North Grand Avenue, downtown Los Angeles, *Arlene Croce, HA BalanchineTriptych.Hin Writing in the Dark. Dancing inThe New Yorker (New York: Farrar, Straus & Giroux. 2000), 449-456.
George Balanchine.Jewels, perf ormed by the Mariinsky Ballet. Photogr aphs. except above. by Natasha Razina. Above photograph by Svetlana Awakum. Images courtesy and !Othe photographers, the dancers, and State Academic MariinskyTheatre.
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Khoreva began with rhythmic gymnastics at the age of three and having already placed second in a national competition she auditioned for the Vaganova Ballet Academy at the age of nine and was accepted. Upon graduating she had offers from six major companies including The Bolshoi but felt drawn to join the Mariinisky. In less than one year she was promoted to first soloist, a rare accomplishment. Her repertoire is quite extensive with a concentration of historical works. In particular, the restaging's of several Marius Petipa ballets along with the mid-century work of George Balanchine.
Maria Khoreva - Photo courtesy of the artist.
Maria lives in St. Petersburg with her parents and 15-year old sister, also a student at the Vaganova Academy. Her father works in IT and has helped her with her online presence and her Mother teaches English, which may explain her nearly, perfect command of the language. It is indeed an honor for LA Dance Chronicle to have this opportunity to interview Maria Khoreva.
Questions; TW- We know that you are well educated in areas of ballet and academics but I don't think most of us know how this is accomplished. Please, describe for us a typical day/week at the Vaganova Academy. How are the dance classes organized and how much time is devoted to each class? How do academics fit into the overall schedule? What were your preferred classes in both ballet and academics?
MK-Yes, in fact, I was somehow programmed from the very childhood that there's only one mark at school - excellent; all the rest are just not marks, they are fails. That's why I tried to do my best both in ballet and academics. The typical day in Vaganova starts at 9am with some academics like math, literature, Russian language, history, geography, etc. (45min each) followed by 1,5 hours of classical dance in the middle of the day. Most ballet teachers would use breaks before and after to have more time for ballet practice. (Maybe it's a secret but I hope you won't tell anyone.) After ballet class most of the students would get a 45min break and then other dance disciplines follow - character dance, pas de deux, historical dance, acting - each one hour and a half Normally this will last till 5:30pm. After that rehearsals begin. Usually the working day at the academy ends by 717:J0pm. My favorite classes at school were classical dance, of course, to which I would run to try again those things I understood yesterday and check if I can do new ones on its basis. I also loved pas de deux because of the teacher - he was young, handsome and very calm. As for the academics I loved literature, history of art, and music - mostly ballet related subjects.
TW-You were fortunate enough to have one of, if not the foremost ballet teacher of today, Luydmila Valentinova. She has trained many of the most gifted ballerinas of several generations. What is it that makes her such an extraordinary teacher? MK-Possession of this hidden knowledge - what makes an extraordinary teacher - would make man a god, because it will launch a mass-production of superÂ
teachers who will produce super-students, sort of supermen. There's no such recipe or formula, we can only guess. I'm not sure if my guesses are right but what makes Luydmila Valentinovna special is her positivity, good temper and that she's got no fear of obstacles. TW-Six companies offered you a position with their company including the
Bolshoi, which is extraordinary. What prompted you to chose to join the Mariinsky? Was it the repertoire, or the historical aspect or just the general atmosphere that drew you to them?
Maria Khoreva - Photo courtesy of the Mariinsky Ballet
MK-The answer is pretty much on the surface. This is my hometown. This is my home theater. And after the first meeting with Yuri Fateev the director of the Mariinsky Ballet, I had no doubt. The first couple of weeks working with him, while I was still a student at Vaganova Ballet Academy, finally convinced me of how much his vision of ballet was in tune with mine. TW-Speaking of history, at this point many of the ballets you are performing are restaging's of Marius Petipa's work. How does this compare to the mid century work of Balanchine or the contemporary Juliano Nunes work?
MK-They are absolutely consonant. Balanchine - no wonder his style is called neo-classic, that is, a new interpretation of classical works using classical forms, techniques and elements. Nunes, being extremely modern, does not try to get away from ballet, but very logically and with fine taste uses musical and ballet blocks according to his vision, up to classical ones. He, as they say, stands on the shoulders of his predecessors, and does not begin a new branch of dance art, which attracted me a lot. But we do only a short piece of his. With Balanchine, it's a completely different story, for me it is full-length ballets such as 'Jewels''. ''Apollo''. "Serenade''. "Midsummer Night's Dream" that are absolute masterpieces of choreographic art, both for the audience and for the artists. Among all that I happened to dance so far, Balanchine choreography is the most comfortable, natural for my body, the most logical and plastic. I want so much to continue acquaintance with his work. I really do.
working with a coach such as Elvira Tarasova, who helped you to prepare for the role of Medora in Le Corsaire, what was this interaction like for you? Certainly she would be working with you on the nuances of the choreography but how much emphasis was placed on the building of a character? Acting?
TW-When
MK-This is all so non-linear ... Of course, Elvira
Tarasova provides me invaluable assistance in working on images, revealing and exposing the internal motives of behavior and the logic of certain actions. The same is the case with Yuri Fateev when he rehearses Balanchine. And what also helps is to read heaps of literature, study originals, dig into the history of the creation, investigate the historical era in which the action takes place, costumes, the experience of my predecessors and in general everything that relates to the role to be performed. This is a gigantic amount of information that is sifted through my consciousness, but what remains and Maria Khoreva in Paquita by begins to work, is up to my subconscious. My task is Valentin Baranovsky - Photo coutesy of State Academic to give it food and trust in making a decision. There is Mariinsky Theatre. no place for logic and will. They must be left to class or (smiling) stage appearance a day after arriving to the other end of the world. Imagine, I danced my "Paquito" here in America, the day after I left the plane (St. Petersburg - Moscow - New York - Washington) with a time shift of 8 hours, i.e. in my time the performance began at 2:30 in the morning! And it's one of the most demanding shows in terms of power and endurance. TW-Diana Vishneva, who you have been favorably compared to, is an impeccable dancer but moreover brings visceral life to her characters through her acting ability. Is this kind of dramatic ability something your aspire to? MK-To be honest, acting is what I paid the least attention to while I was a student concentrating on the technical aspects of ballet movements and body expressiveness, roughly speaking, and on pantomime. It seemed to me, and I am still convinced of this, that ballet is about technique and posing, and facial expressions, although bright and accessible, are much more primitive and flat. In other words, a ballerina speaks body language using her legs, arms, neck, head and, of course, the face, but it's not the main thing. Sometimes it's even good not to use it as means of expressiveness, as the Japanese do in their kabuki theatre. And sometimes you can't avoid using it. Now I am seriously working on this. With the divine Diana as well. TW-What roles are you looking to do in the near future and what roles do you hope to grow into in a few years time? M K-1 am very much looking forward to having two important debuts this winter at the Mariinsky - "Raymonda" in December and "Sleeping Beauty" in February! Both the epitome of classical ballet hence I'm really excited to start working on the style and all the details! Also of course I'm willing to continue improving the roles I've already performed - it's the endless process of refining character and technique. As far as the more distant future - two dream roles come to my mind - Odette/Odille in "Swan Lake" because it's one of the most legendary ballets and its beauty mesmerizes so many people around the world and Juliet in "Romeo and Juliet" because this love story spreads itself beyond the words and it's so dear
While other dancers mentioned other roles, they would have liked to have danced, Patricia Neary had no such thought. "I had the best part. Why would I want to dance anything else?"
Several NYCB alum commented that the opening ballet Emeralds is often overlooked amid the razzle dazzle of Rubies and opulence of Diamonds. Jenifer Ringer who now is Dean of the Colburn School's Trudi Zipper Dance Institute was coached by Karin Von Aroldingen, on whom Balanchine set a leading role in Emeralds.
Ringer remembered Von Aroldingen, who could be very a very athletic and dynamic dancer as turning herself inward, "making the part about the quiet. mysterious, gestural depiction of beauty and music." "I think that Emeralds, as a ballet, invites the audience into a world that has been set up by the music, choreography, costumes and stage craft. It is perfect that it is the first ballet, because the viewer must 'lean in' in a sense, and connect the subtleties of the partnering, patterns and gestures and how those inform the world that is Emeralds. It is like a wash of music and light that the dancers inhabit for a time, and they invite the audience to enter, spin and feel and experience, and then end their involvement in the ballet not really as a sentence with a period or an exclamation point but more of a dot-dot-dot that leads you into the very extroverted section of Rubies. ln my opinion, Rubies ends with an exclamation point. Diamonds ends with a very satisfying period." Patricia Neary's Rubies role became known as the "Tall Girl," a part her sister Colleen Neary later danced. Both sisters are repetiteurs for the Balanchine Trust and are among those designated by Balanchine personally to stage his ballets. "I grew up with that ballet and first danced in the Diamonds corps because I was tall," Colleen Neary said. "Later I was cast as the 'tall girl; the part my sister danced. I was thrilled because as the originals retired, the leads in jewels generally were reserved for principal dancers and I was a soloist, but I was always quick with choreography and I was tall which makes Rubies' opening so powerful." As co-artistic director of Los Angeles Ballet, her deep history with Rubies influenced the decision to include that ballet in LAB's repertoire.
Now dividing his time between the Royal Danish Ballet, New York and Los Angeles, Adam Luders was an admired danseur noble who acquired the Jacques d'Amboise role in Diamonds, partnering ballerinas including the original, Suzanne Farrell in the challenging Diamonds pas de deux. While the danseur m that pas de deux receives attention, Luders reflected on the partnering challenges throughout the three ballets including in that climactic pas de deux because "Balanchine wanted the man's partnering to be almost invisible."
Adam luder sard Kanr Von Arold nger. pj,010 cour:esyoftl>e artists
Working with Balanchine, Luders found "it was extraordinary clear how important both the woman and man are in setting a pas de deux like Diamonds. especially a man because of the partnering. For example. in the last partnered turn in Diamonds before he kneels and kisses her hand, the entire pas deux can be utterly ruined if he comes schlepping towards her, using two hands and squatting." That approach might be easier, but Luders believes to the knowing eye "it gives the whole pas de deux a look of amateurism."
Mar ii r sky Ballet ,n "Diamonds. P�oto b-J s�et ara Awa�um
James Fayette and Ringer both echoed Luders' comments about the partnering challenges in
Jewels, particularly in Emeralds where Fayette noted "with Balanchine ballets and the style of
NYCB. male dancers are trained to demonstrate as little effort in partnering as possible. The focus is of course on the woman and you must provide the opportunity for her to shine in every step but not be seen making any effort or add anything extra to the execution."
'The partnering in Emeralds takes that to the extreme and I was always told by the ballet master to do less while the ballerina was asking me to help her more. The male partners of Emeralds are the unsung heroes of the ballet because their success, more so than most other ballets, are to make the ballerina shine but themselves to fade into the background of her dancing. This was one of the most challenging pas de deux that I ever had to do, but for reasons unique almost only to Emeralds," Fayette explained.
Jarl"e sFayetteardjeniferRirger ir"'Er,,eralds. Photo courtesy of /1,ew York C,ty Bal et
As one of the ballerinas supported by partners in Emeralds, Ringer affirmed that the male dancers succeeded more, the less they were noticed. "I just want to say, the only reason the ballerinas look as beautiful as they do is because the men are transitioning them from one movement to the next in such a fluid way," Ringer explained, 'The partnering is very difficult and very subtle, but you wouldn't really know it because they make it look so easy."
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SEARCH JEWELS, A BALANCHINE GIFT FROM THE MARIINSKY. By Joanne D1Vito I Oct 28, 2019 CLICK HERE TO EMAIL US OR SU BSCRI BE1
This October 24¡27, 2019, the Mariinsky, gifted Los Angeles with George Balanchine's JEWELS, a baller in three parts. It is a major offering of Glory Kaufman Presents: Dance at the Music Center at Los Angeles' premiere venue for dance the Dorothy Chandler Pavilion. JEWELS originally opened with New York City Ballet at the New York State Theater on April 13, 1967. lt is more than a masterpiece of a ballet but a remembrance that insists itself, its romance, its sassiness, regality, and history into the viewer until it permeates every cell of the body. Inspired by famed jewelers Van Cleef and Arpels, it is envisaged from a parure (matching set of gems, necklace, earrings, bracelet) of jewels. Each piece represents the rich facets of Emeralds, Rubies and Diamonds. It cries out "Romance", "Culture," "Royalty'', and the brilliance of the life of its creator, George Balanchine. On opening night Thursday, October 24, The Mariinsky's interpretation of JEWELS, began with "Emeralds." With its romantic tenderness, this first movement examines the filigree of breathless emotion, in the charm of its pas de deux, pas de trois, solos and company work. When performed, its magic is like a feather caught in a summer breeze.
This night, the first hush of the sparkling sets and costumes by Karinska, recreated by Holly Hynes, with sets by Peter Harvey reveals the Grand Hall sprinkled with pearls, jewels and a magnificent chandeliered Broach lit in Emerald at the top of the proscenium arch. The company is in a tableau for just a moment to allow the audience to catch their breath and take in the diaphanous emerald tutus and Jade and white tunics of the elegant female and male dancers in arched poses of the Romantic era. Our lead ballerina Daria Daria lonova, and her partner Maxim Zyuzin's began their romantic tryst. With the introduction of Gabriel Faure lyrical music, expectations were high. Miss lonova did not live up to those who came before her. She appeared cold, a bit off balance this night. The burden of perfection and history seemed riding on her shoulders and although Zyuzin was himself physically and technically beautiful there seemed no way to quite capture the soul of his paramore.
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Next came the Charming Mei Nagashisa, Laura Fernandez and David Zaleyev brought "Emeralds" back to a vital lightness with their lyrical pas de trois. Zaleyev partnering two to one, the clever interchange and asymmetrical design of Balanchine was not only aesthetic, but mathematic. It brought an interchange of form that delighted with surprises, interest and charm. It relaxed and breathed air into the dour opening. The stunning strolling section performed by the wide-eyed Maria lliushkina, and adoring Roman Belyakov was delicate, halting, appearing as though walking on air. A coming together of the quite incredible male dancers, inserted their brilliant technical prowess, leading to the final wisp of gossamer green tutus to end of "Emeralds."
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With a rise of the curtain on the Second Act, "Rubies" caused an audible gasp throughout the hall, revealing the blood red recreations of Karinska's costumes again revitalized by Holly Hynes. The powerfully flirtatious quirky and playful Renata Shakirova and Kimin Kim immediately created an off kilter independent and, yes, American vibe. Igor Stravinsky's music with it's halting dissonance and energetic sense of humor. paired with Balanchine's choreography and Mariinsky's dancers in such a brilliant way that it felt improvisational. The free, fierce and playful solo by Yekaterina Chebykina, made us hold our collective breath. Nothing compares to well done Balanchine, and Alexy Atomanov, Yaroslav Baybordin, Viacheslau Hnedchyk and Oleg lgnatev with Kimin Kim in a challenge of male brilliance and energy added to the audience's raucous and surprising outbursts in the middle of the unique moves of this marvelous piece. This set the contrast for the evening to honor the unique work of Balanchine.
The Final gift, "Diamonds" so reminiscent of Tsarist Russia, to Peter Tchaikovsky's Symphony No. 3 in D. was exquisite in its grandeur. The foreplay of the Pas de deux. danced by Alina Samova and Vladimir Shkliarov moved as though in a "cat and mouse game" gliding in deliberate steps around each other, never touching. creating tension until they're gentle embrace. It somehow historically called out to Balanchine's loves. The reach, the withdraw, until finally the melding of art and yearning. All of this culminating in a chilling grand pas, a Polonaise, incomparable in the Russian Culture and the perfect ending to an unparalleled ballet evening with the Mariinsky doing Balanchine, so connected by culture, class, and brilliance. It should not be missed. Written byJoanne Divito for LA Dance Chronicle, October 28, 2019. To visit the Mariinsky Ballet website, click here. To visit the Los Angeles Music Center, click here. Featured image: Mariinsky Ballet - Maria Khorevaxander in "Diamonds" - JEWELS by George Balanchine - Photo by Svetlana Awakum
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It's a rainbow: Balanchine's "Jewels"
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C 24 по 27 октября на сцене Dorothy Chandler Pavilion был показан балет Баланчина «Драгоценности» в постановке прославленного Мариинского театра, для которого этот спектакль стал своего рода визитной карточкой.
лет «Драгоценности» - это нечто совершенно упоительное. Исполнители безупречны, танцуют так, что невозможно отвести взгляд - сам Баланчин был бы доволен такими танцовщиками». А вот мнение американского знатока балетного искусства Тима Шолла: «Балет «Драгоценности», минуя аспект соотношений тела и пространства, смотрит как бы выше, в верхние сферы, и царящее на сцене настроение завораживает. Баланчин представляет три ясно артикулированных эпохи истории балета и, следуя стандартной практике «City Ballet», ставит «сложную» музыку ХХ в середину программы и заканчивает грандиозным финалом». Возможностью увидеть этот балет в
Б
алет состоит из трех частей, и каждая из них – это отдельный шедевр. Первая часть под названием «Изумруды» поставлена на музыку Габриэля Форе, сочинение начала ХХ века. Ее цветовое решение – зеленая гамма. Вторая часть называется «Рубины», и для нее Баланчин выбрал Каприччио для фортепиано с оркестром Игоря Стравинского. Во второй части на сцене царят оттенки красного цвета. В третьей – «Бриллианты» - использована музыка Петра Ильича Чайковского (Третья симфония, II, III, IV и V части), а белый цвет лишь условно ассоциируется с бриллиантами – прозрачными и величественными в своей безупречной, не имеющей цвета первозданной чистоте. Премьера балета «Драгоценности» состоялась в апреле 1967 года в НьюЙорке в исполнении «New York City Ballet», и спектакль покорил публику. До отъезда из России Джордж Баланчин, как известно, работал в Мариинском театре и чрезвычайно ценил классическую школу русского балета. Сплав этой школы с модернистскими течениями, выработанный Баланчиным, и лег в основу его дальнейшего творчества. В этом контексте многие расценивают «Драгоценности» как одну из точек пересечения его хореографического наследия с русской школой балета. Джордж Баланчин – приверженец бессюжетного балета, и в «Драгоценностях»
Долгожданные гастроли Мариинского театра в Лос-Анджелесе
Балет «Jewels»
«Рубины» на музыку «Каприччио» Стравинского у многих ассоциируются с образом Америки, где любят джаз, спорт и искрометные бродвейские шоу. Эта часть, более энергичная и артистичная, исполняется ведущей парой, солисткой и кордебалетом юношей и девушек. А «Бриллианты» - это, безусловно, дань России, и не только потому, что в этой части звучит музыка Чайковского. Она наполнена воспоминаниями об императорском академическом балете, пронизана восхищением той культурой, что взрастила Баланчина. После романтичного изумрудного царства и «заземленной» бойкости рубинов зритель переносится в возвышенную атмосферу той он верен этому принципу, хоть и с ого- эпохи, что породила величайшие традиворкой. Хореограф не раз говорил, что ции русской школы балета, получившей совместное появление на сцене мужчины признание во всем мире. Этой смене наи женщины – это уже готовый сюжет. А строения немало способствует медлентаких микросюжетов в его балете «Дра- ная часть, обозначенная Чайковским как гоценности» немало, и взаимоотношения adagio elegiac. В «Бриллиантах» танцуют их участников на сцене явно «сюжетны». ведущая пара, группа солистов и больПоэтому некоторые эксперты утвержда- шой кордебалет с финальным выступлеют, что балет «Драгоценности» правиль- нием всех участников. Вот что рассказывал сам Джордж Банее называть не бессюжетным, а мультисюжетным. На создание этого балета Ба- ланчин об истории создания своего тволанчина вдохновила увиденная им кол- рения: «Мысль о новом балете, в котолекция драгоценных камней – ему захо- ром танцовщики олицетворяли бы сотелось передать их красоту, уникаль- бой драгоценности, зародилась, когность окраски и связанную с ними сим- да мой друг Натан Мильштейн познаковолику в танце – так был создан слож- мил меня с ювелиром Клодом Арпелем, в нейший по форме и легкий по восприя- нью-йоркской коллекции которого я увидел великолепные камни. Разумеется, я тию виртуозный спектакль «про камни». Балет «Драгоценности» принято счи- всегда любил драгоценности – я все же тать первым значительным абстрактным восточный человек, родом с Кавказа, из творением классического балета, хотя Грузии. Мне нравится игра драгоценных это определение несколько ограниче- камней, их удивительная красота, и я поно – рамки творения Баланчина гораз- разился, увидев, что нашим костюмерам удалось создать столь точный их образ». до шире. Балет «Драгоценности» труден в поХарактер каждой части определяет и специфика костюмов: романтические хи- становке, а потому редко исполняется тоны для «Изумрудов», короткие юбоч- целиком – некоторые труппы ограничики для «Рубинов» и классические пач- ваются лишь отдельными частями. Прики – для «Бриллиантов». Баланчину уда- ятным исключением стал Мариинский телось свести воедино три хореографиче- атр, где 30 октября 1999 года впервые в ские части на музыку трех очень разных, Европе этот балет был поставлен целинепохожих друг на друга композиторов и ком. Балетмейстеры-постановщики – Касоздать спектакль, в котором отражены рин фон Арольдинген, Сара Леланд, Элиз Борн, Шон Лавери, сценография – Питер три балетных эпохи. Сам хореограф говорил, что «Изумру- Харви, костюмы – Каринская. Критика отмечала, что три части бады» - это его воспоминания о Франции с ее элегантными нарядами, благоухаю- лета составляют скорее сюиту разнохащей духами и вином, веселой и галант- рактерных сочинений. Вместо хореограной. В этой части звучит музыка Форе фических образов драгоценных камней к спектаклям «Пелеас и Мелизанда» и даны цветовые (зеленый, красный, бе(Форе, Стравин«Шейлок», а среди исполнителей обращайтесь – две лый) и музыкальные с вопросами по телефону ведущие пары, трое солистов и кордеба- ский, Чайковский) контрасты, а истинными драгоценностями в этом балете должлет из десяти девушек.
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Анонсы, КАлендАрь событий Культурной жизни
ны стать солисты. Задача крайне сложная, но в Мариинском театре ее удалось осуществить самым блистательным образом, что и определило успех премьеры. Он сопровождал «Драгоценности» и на гастролях в США, где спектакль вызвал множество восхищенных отзывов. Вот что написала в своей рецензии театральный критик Лаура Джекобс: «Ба-
Марина Древницкая
самый короткий путь в мир развлечений начинается здесь:
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Анонсы, КАлендАрь событий Культурной жизни с вопросами обращайтесь по телефону
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almanac panorama #44 (2012), October 30 - November 5, 2019
постановке Мариинского театра лосанджелесские театралы обязаны программе «Glorya Kaufman Presents Dance at the Music Center», отметившей в этом году свой 17-й сезон. В последний раз прославленный балет и оркестр Мариинского театра приезжали в Лос-Анджелес по приглашению Музыкального центра в 2015 году, и в конце октября у нас вновь состоялась встреча с этим замечательным коллективом талантливых людей. «Драгоценности» Баланчина в великолепной постановке труппы Мариинского театра под руководством Валерия Гергиева – это жемчужина в короне современного балетного искусства. Как пишет «The Guardian», каждый танцовщик балета Мариинского театра уникален сам по себе, как, впрочем, и каждый музыкант в оркестре Мариинского театра. Их совместные работы безупречны и восхищают даже самых взыскательных зрителей. На сцене «Дороти Чандлер павильон» было дано всего пять представлений, которые шли в дневное и вечернее время в сопровождении оркестра Мариинского театра.
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