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Amelia

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  1. Interview with Oscar Frame: https://melmoth.co/2017/09/10/qa-with-oscar-frame/ Sorry but I want to mention that the correct spelling of Nikolai's name is Tsiskaridze, without "t" in the middle.
  2. The Bolshoi Ballet company has enrolled 22 (!) new dancers: Anna Grigorieva, Anastasia Yermolaeva, Daria Kanshina, Anna Lebedeva, Tatiana Osipova, Stanislava Postnova, Eleonora Sevenard, Sophia Smirnova, Tatiana Tiliguzova, Ekaterina Fateyeva, Valeria Shikina, Maria Shuvalova, Yegor Gerashchenko, Vitaly Getmanov, Pyotr Gusev, Grigory Ikonnikov, Ilya Karpovich, Sergei Kuptsov, Arsenty Lazarev, Igor Pugachev, Oskar Frame, Mark Chino. http://www.bolshoi.ru/about/press/articles/none/242-beginning/ It will be interesting to keep track of their progress.
  3. Tamara Tchinarova (Finch) was 14 when she joined Ballet Russe de Monte Carlo together with other baby ballerinas. Later she danced with the newborn Australian Ballet. I met and worked with her when she was acting as an interpreter for the Bolshoi Ballet in 1986. In 2007 the Dance Books published her very interesting memoir “Dancing Into the Unknown”. Her obituary appeared yesterday in The Telegraph. God rest her… http://www.telegraph.co.uk/obituaries/2017/09/11/tamara-tchinarova-finch-dancer-ballets-russes-obituary/ Tamara Tchinarova Finch, who has died aged 98, was one of the last surviving dancers of the historic Ballets Russes and married the film actor Peter Finch…
  4. The present building of the Moscow State Academy of Choreography (commonly known as the Bolshoi Academy) at 2nd Frunzenskaya Street was constructed in 1968. Architects V.Lebedev and A.Larin. Images of the building: http://www.old.balletacademy.ru/www/fotoexs.shtml The previous home of the Academy (Moscow Imperial School before 1917) was very close to the Bolshoi Theatre, at the corner of Pushechnaya Street and Neglinnaya Street. It is situated inside the courtyard and not facing the street. This building of the XIX c. was not so grand as St.Petersburgh Imperial Theatre School at 2, Rossi Street (not Theatre Street). To find out about the rehearsals in the past try to contact the Museum of the Bolshoi Theatre: Director Lydia Kharina: +7 (495) 692-0642; Research and information: +7 (495) 692-0025 e-mail: museum@bolshoi.ru
  5. Before the shoot, Albert studied the art of Michelangelo and Caravaggio. https://www.youtube.com/watch?time_continue=127&v=HDMgQBQMmLI https://profoto.com/int/profoto-stories/the-light-albert-watson-shapes
  6. Sergei Polunin wins the Creative Maverick of the Year award at the GQ Men of the Year Awards 2017. https://www.youtube.com/watch?v=9oaMHFDr_AU https://www.youtube.com/watch?v=ZSJl6xUJjJQ
  7. I found so much goodness in Natasha Osipova’s interview to the Russian newspaper Kommersant on 4 September 2017 but had no time to translate the whole lot. Just a few extracts from it to answer your question, LinMM: https://www.kommersant.ru/doc/3401758?utm_source=kommersant&utm_medium=culture&utm_campaign=four The contract with the Perm company is signed for one year. Osipova will dance in four productions. The first one, “Giselle”, is scheduled for the 5th of September. In her interview Osipova said: "- We have discussed in which productions I can take part, so that they don’t overlap with my schedule at the Royal Ballet. Since the season in London starts later, the choice fell on “Giselle". - [In London] Arthur Pita is working on a new ballet — “The Wind”. It will be a Wild West story, something spontaneous and dramatic — the kind I love. We worked together with him a lot and are warmly disposed towards each other. After that I will do “Sylvia” — a pleasant “road of sorrows” as I call it. This ballet is very intricate technically and must be rehearsed thoroughly, so that I prove once again that I can dance well. Then "Giselle", which I will dance with my favourite partner David Holberg. I was able to arrange his visit to London, and I’m very much looking forward to this event." Then she answered the question about her own projects: "- By the beginning of next year I’ll prepare a new work — a one-woman show about the fate of Olga Spessivtseva. It is called “Two Feet” and is choreographer by Meryl Tancard from Australia who danced in Pina Bausch’s company. She choreographed it for herself. And then she found me and offered me to do it. This is the best thing that I’ve seen lately. A very strong production. It mixes all genres. I will not only have to dance, but to imitate the choreographic pieces as Spessivtseva herself danced them. And to speak a lot too, and in English! For me it is a challenge. - There will be also my new project at Sadler’s Wells. I want to include there classical and neoclassical pieces, and something quite modern. I hope that David Holberg will join me there. - At the end of the season, in May-June, there will be a new production in London — “The Mother” based on the tale “The Story of a Mother” by Andersen. Pita will choreograph it, and an amazing dancer Jonathan Goddard will be my partner. I would define the genre as a dance drama. The story of maternal love - I didn’t have such a role yet." The interviewer asked: - But you’re not going to freewheeling yet, are you? Is the ROH still your base and is London your home? "- I work only for the Royal Ballet. I do all other performances as a guest. I used to travel a lot in the past, leaping to everything but my approach has changed now: it is important for me to rehearse my roles thoroughly. I settled in London well. I have many friends. I love the people at the ROH very much. It is comfortable for me to live and to work here. At this stage, I’m not going to change anything. I don’t think that I will ever leave this company."
  8. IBSTAGE GALA 2017

    Programme for today: https://ibstage.com/ibstagegalas/ibgalas2/
  9. The aftermath of the 2017 Vaganova Ballet Academy graduation performance at the Kremlin Theatre: http://melmoth.blog/post/162122164983/the-aftermath-of-the-2017-vaganova-ballet-academy Report on the 275th Vaganova Academy Graduation Performance - Kremlin Theatre, Moscow http://www.vaganovatoday.com/275th-vaganova-graduation-performance-kremlin-theatre (It is funny to read there that Kshessinskaya lent her apartment balcony to Lenin. In fact, the mansion was seized by the soldiers of reserved motorised armored battalion and handed over to the Bolsheviks. )
  10. I am quite happy with my seat in Row A at the Balcony bought at the box-office for £20. Only out of curiosity I clicked on the only remaining £400 seat in the Stalls for the opening night: https://londoncoliseum.org/whats-on/project-polunin/ Hoped to find some information on what is offered for this over the top price. No information appeared but the Total was obligingly served without delay: ‪£‬401.50. Had to cancel the order.
  11. I don't know whether this link has been shown earlier. Both the graduates and little pupils are so artistic here. Vaganova Ballet Academy. Graduation performance 2017, Paquita. Mariinsky Theatre. https://www.youtube.com/watch?v=aK3HRdrwvxc
  12. Friday 15 September 2017 at 7pm Illustrated talk “The XIII International Ballet Competition in Moscow, 2017” by ballet critic MARGARET WILLIS at Sutton Russian Circle. (The whole meeting is conducted in English.) http://www.suttonrussiancircle.org.uk/programme.html Admission fee £8, which also includes Russian lemon tea with some traditional Russian and English food. Venue: Friends Meeting House, 10 Cedar Road, Sutton SM2 5DA (3 min. walk from Sutton Railway Station) http://www.suttonrussiancircle.org.uk/our-location.html Contacts: http://www.suttonrussiancircle.org.uk/contact.php
  13. petperj wrote: " In act 2/3 when the prince sees Odile in the window after being enchanted by Odette’s dancing, Odile is shown as a video projection." Shade wrote: "before modern technology another ballerina would appear as Odile in the window." It is just vise versa: Odile is the Black Swan who enchants Siegfried while the white swan Odette appears in the window.
  14. Very good point, MAB. I also admired the lightness and ‘noiselessness’ of Kimin’s jumps. The forceful jumps would have been appropriate to ’Spartacus’ while heavy landings are inappropriate to any ballet. Solor is a purely classical balletic role and Kimin remained true to the character and style of its choreography. Thank you, Geoff, for the clip with the 22-y-o Kimin. The line and harmony of his movements are enchanting. I just want to add that I am so happy to see him back, and especially in La Baydere. A dreadful stress fracture, which he sustained during the 2nd act grand pas in this particular ballet, took him away from the stage for a year. He just recovered from operations and treatment in good time for the London tour. What a joy to see this dancer back in his excellent form!
  15. I am so glad that many people appreciated this lovely ballerina - Ekaterina Osmolkina. Found a previous recording of her Swan with Stepin: https://www.youtube.com/watch?v=Qd400C5bogc#t=47.433449532
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