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FOTO v/d DAG
foto | Ballet
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20 Januari 2012 | 19:02:58
De Notenkraker Kerstballet door het St. Petersburg Ballet
met een togevoegde foto uit een andere voor stelling!!
VANMIDDAG MET INGRID NAAR DE NOTENKRAKER IN HET UITVERKOCHTE NIEUWE LUXOR TE ROTTERDAM.
The Mabel Alter Balletschool is a school with dance history. The private school in the city centre of the Hague was originally founded in 1970 by Mabel Alter (one of the pioneers of Nederlands Dans Theater and former dancer with Sonia Gaskell's Ballet Recital and the Nederlands Ballet). Since 2002 the school is directed by Mirella Simoncini, who runs a program for young professionals which includes scholarships for Summerschool Den Haag and projects such as the Inspiration Project.
Inspiration Project IV staged performances for the Holland Dance Open Stage called Dansfabriek at the Theater aan het Spui in The Hague in November 2011. Various balletschools in the region are part of the Dansfabriek but the Inspiration Project IV enjoys special sponsoring by Holland Dance. For this occassion young choreographer Milena Sidorova has been invited by Mirella Simoncini to create a piece.
About Milena Sidorova
Currently dancing with the Dutch National Ballet, Milena was trained at the Kiev Ballet School and the Royal Ballet School in London. The Dutch National Ballet is committed to the annual choreographic workshop New Moves in order to actively nurture emerging choreographic talent. Milena has been creating pieces for New Moves every year since 2007. Danspubliek wanted to meet the young choreographer in order to find out more about her ambitions.
How did you get involved with the Inspiration Project IV?
'About half a year ago Mirella Simoncini contacted me. She had seen work on youtube that I created before and she liked it. As soon as I knew more about the project I decided to do it. I was allowed by the Dutch National Ballet to create a piece at the Mabel Alter Ballet School and I went there mainly in the weekends to create the ballet. It was hard work during one and a half month but I really liked it and time flew by. It didn't feel like work and I had to force myself to stop and give the dancers a break every now and then.'
Did you create material beforehand or right at the studio in The Hague?
'I had a visual idea, but I was able to see the abilities of the dancers on the spot and so influence the process. We had an audition for this project, which was a new experience to me, and I was able to choose the dancers. But it is one thing to see the girls in class and next have them in a studio for a choreography doing completely different things. I am really glad the management at Dutch National Ballet gives me the opportunity to create on a regular basis. I have done this at New Moves each year since I came to the company here. Some people say I am really young to have my own choreographic language, but I have been doing this for a while so to me it's not strange.'
You were about twenty when you made your first choreography?
'I was actually about 12 or 13 when I made my first choreography.'
That is young indeed. Can you explain how you started with dance?
'To be honest, I don't remember myself not being in dance. I started when I was 3 years old. I do have flashbacks of being on stage about that time in Kiev, Ukraine. When I was 7 years old, I went to the ballet academy and at the age of 9 I joined the Kiev Choreographic Institute - but choreographic is just a name and means the State Ballet School.
When I was 12 or 13, I started to do ballet competitions. Choreography was a requirement and in a way it was a neccesity to have something original, so I made my own solo's. The first one was a spider: I used to be obsessed with spiders as a child. The movement material was succesful and I have been using it up until the Prix de Lausanne and the Moscow International Competition. With a scholarship that I won in 2002 at the Prix de Lausanne I went to the Royal Ballet School. After that I got my first contract here at the Dutch National Ballet, about six years ago.'
Why did you choose the Royal Ballet School?
'Mainly because one of my teachers gave me a very positive advice about it. And also because Gailene Stock, the director of the Royal Ballet School, came up to me at the end of Prix de Lausanne and said she would be really happy if I came to study at the Royal Ballet School. When I went there it was quite difficult because I didn't speak any English and I had to take some private lessons. It was a wonderful time though: I was dancing the lead in Raymonda when the Royal Ballet School went on tour to New York and Japan before graduating from the Upper School with honours. I also had choreographic opportunities there, I could work with students of the school and actually won a Choreographic Development Award from the school.'
How has the Royal Ballet School influenced you?
'I liked the fact that the dancing was more intensive at the Royal Ballet School than in Kiev: more lessons, more rehearsals, it was more intense balletwise. In the beginning I was a little bit rebellious! Coming from a Russian style they really had to calm me down in a way. In England they like very precise arms and positions. Certain things had to be at only 90 degrees height and in Russian Vaganova-style the amplitude is just bigger.'
So, are you as a choreographer now also precise?
(Laughs) 'I believe I have the best of both worlds. I use more of a fusion style. When I work with dancers I think I am easy going. I like to have fun in the process. I think that is also why my pieces come out as being fun.'
How would you like people to see Milena Sidorova as a dancer?
'I would hope as being expressive. My aim is to let the audience feel what the choreographer wants them to feel. To have them get really into the ballet and experience an emotion that ties them to the ballet.'
Would you say that dancers are mere instruments and they should do what the choreographer wants?
'In a way, yes, but they can also bring their own style into it.'
Who is Milena Sidorova as a person?
'Obviously dance is a big part of my life. Sometimes I get very expressive and I will paint. Other times I have dreams in which I see a ballet and I just have to put it on stage or set it in the studio. I almost feel I don't create it because it was already just there. My mom is also very expressive, she studied theatre and taught me some tricks of the trade...'
'When I was young I was living in a boarding school and used to see my parents in the weekends. I learned to be independent at a young age. I like being serious and have fun at times but to be able to work on something concrete and know something will come out of it gives me pleasure.'
In programs you may find large text sections explaining what the ballet is about. There aren't any with your work?
'I hope that the audience will understand my work without textual explanation in the program. And that my idea and the story will unfold itself and everyone has the freedom to interpret what is going on. The ballet Subvocal for instance is about a mood, a thought or expression of one person that can go in one direction or another.'
You use classical ballet technique strongly in your work. How do you see the role of classical ballet in today's dance world?
'I believe it is a great tool to tell a story and to bring an audience into some magical world.'
What is your future ambition as a choreographer?
'To make the audience see what I see.'
'For now I can be a dancer and choreograph a little at the same time and I would like to do more projects such as the Inspiration Project. Of course I would love to start making bigger works. The more I do, the more I can let the ideas out that are in my head. That makes me happy: I feel alive.'
november 2011
Roberto & Shirley
beauty | Ballet
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13 Oktober 2011 | 18:36:40
The origin of the Nutcracker, a Christmas Story,is a fairy tale ballet in two acts centered around a family’s Christmas Eve celebration. Alexandre Dumas père’s adaptation of the story by E.T.A. Hoffmann was set to music by Tchaikovsky and originally choreographed by Marius Petipa. It was commissioned by the director of Moscow’s Imperial Theatres, Ivan Vsevolozhsky, in 1891, and premiered a week before Christmas 1892. Since the 1940’s in western countries, this ballet has become perhaps the most popular to be performed around Christmas time.The story centers around a young girl’s Christmas Eve and her awakening to the wider world and her own romantic yearnings.
The composer made a selection of eight of the more popular pieces before the ballet’s December 1892 premiere, forming the current Nutcracker Suite, Op. 71a, as is heard in Moscow Ballet productions. The suite became instantly popular; however the complete ballet did not achieve its great popularity as the Christmas performance event until almost 100 years later.The Nutcracker Prince in Act I of the Great Russian NutcrackerStanislava Belinskaya as Clara (L) and Vassily Stulkolin as Fritz (R) in the original production of "The Nutcracker," 1892, Imperial Mariinsky Theatre, St. Petersburg.Performance history and the St. Petersburg PremiereThe first performance of the Christmas ballet was held as a double premiere together with Tchaikovsky’s last opera Iolanta around the Christmas holiday seasonon December 18th [O.S. December 6th] 1892, at the Imperial Mariinsky Theatre in St. Petersburg, Russia.It is generally agreed that Lev Ivanov, Second Balletmaster to the St. Petersburg Imperial Theatres worked closely with Marius Petipa, Premier Maître de Ballet of the St. Petersburg Imperial Theatres and widely regarded as the Father of Russian Ballet to create the holiday ballet. The ballet was conducted by Riccardo Drigo, with Antoinetta Dell-Era as the Sugar Plum Fairy, Pavel Gerdt as her Prince, Stanislava Belinskaya as Clara/Masha, Sergei Legat as the Nutcracker Prince, and Timofei Stukolkin as Uncle Drosselmeyer.
In other countriesThe Christmas ballet was first performed outside Russia in England
in 1934. Its first United States performance was in 1944, by the San Francisco Ballet, staged by its artistic director and Balanchine student Willam Christensen. New York City Ballet first performed George Balanchine’s Nutcracker in 1954 and the holiday ballet did not begin to achieve its great popularity until after the George Balanchine staging became a hit in New York City. The now beloved Christmas story has been published in many book versions including colorful children friendly versions. The plot revolves around a German girl named Clara Stahlbaum and her coming of age one Christmas holiday. In Hoffmann’s tale, the girl’s name is Marie or
Maria, while Clara – or “Klärchen” - is the name of one of her dolls. In the Great Russian Nutcracker she is affectionately called Masha.Composition historyTchaikovsky himself was less satisfied with The Nutcracker than his previous ballet.
Though he accepted the commission from director of Moscow’s Imperial Theatres Ivan Vsevolozhsky, he did not particularly want to write it, though he did write to a friend while composing the ballet: “
I am daily becoming more and more attuned to my task.” While composing the music for the charming Christmas ballet, Tchaikovsky is said to have argued with a friend
who wagered that the composer could not write a melody based on the notes of the octave in sequence.Olga Preobrajenskaya as the Sugar Plum Fairy and Nikolai Legat as Prince Coqueluchein in the Imperial Ballet's original production. Circa 1900.Waltz of the Flowers in Act II of Moscow Ballet’s Great Russian NutcrackerTchaikovsky asked if it mattered whether the notes were in ascending or descending order, and was assured it did not. This resulted in the Grand Adage from the Grand Pas de Deux of the second act where Clara/Masha dances with her magical Christmas present the Nutcracker Prince. Among other things, the score of The Nutcracker is noted for its use of the celesta, an instrument that the composer had already employed in his much lesser known symphonic ballad The Voyevoda (premiered 1891). Although well-known in The Nutcracker as the featured solo instrument in the “Dance of the Sugar Plum Fairy” from Act II, it is employed elsewhere in the same act. |
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AIDF 2011 : EPIC MIX
film | Ballet
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01 Oktober 2011 | 19:27:25
jubileummagazine "Vive la Danse"
boek | Ballet
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30 September 2011 | 18:56:58
* Ode aan Het Nationale Ballet
* Unieke samenwerking tussen Het Nationale Ballet & Sanoma Media
* Woensdag 14 september was de feestelijke lancering in de Bijenkorf Amsterdam
Het Nationale Ballet en Sanoma Media brengen ter ere van het 50-jarig jubileum van het gezelschap een eigen glossy magazine uit: Vive la Danse. Het 124 pagina’s tellende blad werdt op woensdag 14 september 2011 feestelijk gelanceerd in de Bijenkorf Amsterdam, aanvang was 13.00 uur.
Vive la Danse
Vive la Danse, een ode aan 50 jaar Het Nationale Ballet, is het ultieme magazine over ballet & lifestyle. Naast interviews met onder andere Hans van Manen en Toer van Schayk, bevat het een bijzondere serie modefotografie door Wendelien Daan en vele persoonlijke verhalen van dansers en solisten van Het Nationale Ballet. In Vive la Danse is er bovendien veel ruimte voor historische én recentelijke foto’s, waaronder de campagnebeelden die Erwin Olaf speciaal voor het jubileumseizoen heeft gemaakt. Vive la Danse bevat bijdragen van onder andere Frenk van der Linden, Hanneke Groenteman en Paul Haenen.
Lancering in de Bijenkorf Amsterdam
De feestelijke lancering van Vive la Danse was op woensdag 14 september om 13.00 uur plaats in de Bijenkorf Amsterdam met een exclusief optreden door dansers van Het Nationale Ballet. Stersolisten Anna Tsygankova en Igone de Jongh zijn aanwezig om het magazine te signeren. Vive la Danse kost €7,95 en is te verkrijgen via de kwaliteitskiosk, de betere boekhandels en via www.het-ballet.nl
FIJNE DAG
Leuk dat je even kwam kijken.
Groetjes Luuk
filmpje
Diverse
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16 September 2011 | 21:22:32
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