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Posts tagged “χορευτής

Svetlana Zakharova, Ekaterina (Katya) Kondaurova and Sylvie Guillem “In the Middle, Somewhat Elevated” – Crossfire Series

Crossfire Series – 1

Svetlana Zakharova, Ekaterina (Katya) Kondaurova and Sylvie Guillem

“In The Middle, Somewhat Elevated”.

Choreographed by Forsythe.
Music by Thom Willems

Svetlana Zakharova

svetlana

Svetlana Zakharova and Andre Merkuriev

Source: You Tube Uploaded video by user icyballerina
(http://www.youtube.com/user/icyballerina)


Svetlana Zakharova

Source: You Tube Uploaded video by user AutomaticTeapot
(http://www.youtube.com/user/AutomaticTeapot)

svetlana2

Svetlana Zakharova - Image by Douglas Kirkland / Corbis

Source: You Tube Uploaded video by user 2milashka1992

(http://www.youtube.com/user/2milashka1992)

Ekaterina (Katya) Kondaurova

yekaterinakondaurovafullsize

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The female soloist at the beginning is

Viktoria Tereshkina.

The male soloist at the end is

Mikhail Lobukhin.

The red-headed, long-legged female doing the pas de deux is

Ekaterina (Katya) Kondaurova.

Source: You Tube Uploaded video by user Chris8300

(http://www.youtube.com/user/chris8300)

Sylvie Guillem


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Sylvie Guillem

sylvie

Source: You Tube Uploaded video by user whereami77

(http://www.youtube.com/user/whereami77)

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Dance With Angels 17 – Natalia Bessmertnova – Наталья Игоревна Бессмертнова

Dance With Angels Series

Dance With Angels

– 17 –

Natalia Bessmertnova – Наталья Игоревна Бессмертнова

photo-by-leonid-zhdanov3

“The Gold Standard”

1941 – 2008

Prima Ballerina Bolshoi


Russia

natalia-bessmertnova-1963

Giselle 1986.
Interviews and rehearsals
with Natalia Bessmertnova, Nina Ananiashvili, Andris Liepa and Galina Ulanova.
Наталия Бессмертнова, Нина Ананишвили, Андрис Лиепа, Галина Уланова.

bessmertnova-in-her-signature-role-as-giselle-photo-by-judy-cameron

Bessmertnova in her signature role as Giselle - photo by Judy Cameron


Natalia Bessmertnova and Alexander Bogatyrev in Legend of Love. Bolshoi Ballet.
Наталия Бессмертнова и Александр Богатырев.

22

as Giselle

31

as Giselle


Natalia Bessmertnova and Marina Semyonova rehearsing Dying Swan.
Bolshoi Ballet.
From an old tape so picture and sound quality is not very good.
In Russian.
Наталия Бессмертнова и Марина Семенова.

photo-by-leonid-zhdanov5

She was born in Moscow in 1941 and trained at the Bolshoi Moscow Ballet School from 1953 to 1961.
Among her teachers were Maria Kozhukhova and Sofia Golovkina, and later Marina Semyonova.
She graduated in 1961 as the first student in the school’s history receiving A+ in the final examinations.
In 1963 she joined the Bolshoi Ballet and was its prima ballerina for three decades.
She was married to Yuri Grigorovich, former Director and Chief choreographer of the Bolshoi.
When Grigorovich was forced to leave the Bolshoi in 1995,
she took part in a historic strike which led to cancellations of scheduled performances.
Bessmertnova
died in Moscow on 19 February 2008, aged 66, from cancer.

biography notes by Wikipedia

12

Natalia Bessmertnova, Ballerina of Innate Lyricism, Dies at 66

posted in NEW YORK TIMES

By JACK ANDERSON

Published: February 20, 2008

Natalia Bessmertnova, a ballerina with the Bolshoi Ballet known for her lightness, delicacy and Romantic style, died on Tuesday in Moscow. She was 66.

Yekaterina Novikova, a spokeswoman for the Bolshoi, announced her death to The Associated Press, but did not give a cause beyond saying that Ms. Bessmertnova had been “suffering from a grave illness.” The Russian media reported that Ms. Bessmertnova had kidney trouble.

The Bolshoi’s general director, Anatoly Iksanov, said her death was “a huge loss for the Bolshoi Theater and to our whole culture,” and declared her “the pride and glory of the company to which she devoted her entire life.”

A slight, pale dancer with large eyes, Ms. Bessmertnova was known for an innate lyricism that gave her dancing a mysterious, almost unearthly beauty. These qualities made her especially notable in the title role of “Giselle.”

Reviewing the Bolshoi’s London season in 1969 for The New York Times, Clive Barnes called Ms. Bessmertnova “the kind of dancer born to dance Giselle.”

“She is as fragile as a bird, has a frail, waif-like innocence, and dances with a fey sense of doom,” he continued.

Ms. Bessmertnova frequently appeared with the Bolshoi in its New York seasons. When she starred at the New York State Theater in “Swan Lake” in 1979 in the dual role of Odette, the innocent maiden transformed into a swan, and Odile, the villainous enchantress, Anna Kisselgoff wrote in The Times that Ms. Bessmertnova “had only to step on stage to establish her great sense of style and authority.” She continued, “Regality was everywhere — from her first high leap to the velvety tone of her unfolding leg extensions.”

Ms. Bessmertnova, whose mother was a homemaker and whose father was a doctor, was born in Moscow and received early dance training in the children’s classes of the Moscow Young Pioneers Palace. Encouraged by her teachers to become a professional dancer, she continued her studies at the Bolshoi’s school and entered the company in 1961, making her debut in “Chopiniana,” a ballet known in the West as “Les Sylphides,” and one in which she could display her sense of Romantic style.

Galina Ulanova, the Bolshoi’s foremost interpreter of “Giselle,” coached her in that ballet, and her repertory also included 19th-century classics and contemporary works, especially those choreographed by her husband, Yuri Grigorovich. She made particularly strong impressions as Phrygia, the poignant wife of a rebellious slave in “Spartacus”; Shirien, a fragile woman stricken with a mysterious disease in “Legend of Love,” for which Mr. Grigorovich based much of his choreography on Persian miniature paintings; and Rita, a variety-show dancer seeking to escape the world of the stage in “The Golden Age.”

Ms. Bessmertnova and Mr. Grigorovich, who had become the Bolshoi Ballet’s artistic director, left the Bolshoi organization in 1995 during a dispute with the theater’s management that prompted the first strike in the Bolshoi’s history.

The couple frequently served on the juries of international ballet competitions. Ms. Bessmertnova received many top Russian honors, including a People’s Artist of the U.S.S.R. title in 1976 and a Lenin Prize in 1986.

Natalia Bessmertnova

One of the leading dancers of the Bolshoi Ballet for more than 30 years

posted in “The Guardian”

Natalia Bessmertnova

Gold standard … Natalia Bessmertnova. Photograph: Yevgeny Umnov/AP

For more than 30 years Natalia Bessmertnova, who has died in Moscow after a long illness aged 66, was one of the leading dancers of Bolshoi Ballet. She will be remembered especially for the roles created for her by her husband, the choreographer Yuri Grigorovich.

Some idea of Bessmertnova’s qualities can be gained from the attention she attracted during the Bolshoi’s visit to London in 1963. She was in only her second year with the company and appeared on the opening night as one of a trio of swans in Swan Lake, but immediately stood out for her striking looks and the sheer beauty of her dancing. Later in that season she danced a solo as the Autumn Fairy in Rostislav Zakharov’s version of Cinderella and a pas de deux in a gala programme, all to increasing acclaim.

Bessmertnova was born in Moscow, the daughter of a doctor. She received early dance training at the Moscow Young Pioneers Palace and entered the Bolshoi school in 1952, graduating nine years later, the first pupil to achieve A-plus, the highest possible mark. She joined the Bolshoi straight after graduation and was given her first leading part, Giselle in the ballet of that name, in 1963. Giselle was to become one of her signature roles, and her interpretation was admired greatly for the lightness and delicacy of her dancing. The following year she created the part of Leili in Kasyan Goleisovsky’s Leili and Medshnun.

She was coached in her early years in the company by the great Soviet ballerina Marina Semyonova and soon added all the classic roles to her repertoire: Odette/Odile in Swan Lake, Aurora in The Sleeping Beauty and the heroine Kitri in Don Quixote.

In 1968 she married Grigorovich, who had been appointed artistic director of the Bolshoi in 1964. Thereafter she became very much associated with the leading women’s roles in his ballets; feminine, submissive, pliant, yearning. These included Shirin in Legend of Love, and Phrygia in Grigorovich’s best known work, Spartacus. She also succeeded Galina Ulanova, the greatest of all Soviet ballerinas, in two of her created roles – the sad heroine Maria in Fountain of Bakhchisarai and Juliet in Leonid Lavrovsky’s version of Romeo and Juliet, a character she would dance again in her husband’s version.

In 1975 Bessmertnova created the role of the Tsarina Anastasia in Grigorovich’s Ivan the Terrible. This was followed the next season by The Angara, a ballet about the building of a dam in Siberia, in which she played the heroine Valentina, whose affections are sought by two of ;the young men working on the project. Her last created role was in Grigorovich’s reworking of The Golden Age, premiered in 1982, where she played Rita, a nightclub dancer who abandons the decadence of the cabaret for a young fisherman – a part created by the young Irek Mukhamedov. In 1984 she danced the role of the eponymous heroine in the premiere of Grigorovich’s heavily revised production of the Petipa classic, Raymonda.

Bessmertnova won the gold medal at the Varna international ballet competition in 1965 and the Anna Pavlova prize in Paris in 1970. She was made a People’s Artist of the Soviet Union in 1976; the following year she won the USSR State prize and in 1986 was awarded the Lenin prize.

She continued as a leading ballerina at the Bolshoi until 1995. By this time discontent among some sections of the company over the lack of new works and Grigorovich’s management style – seen as unacceptably autocratic – had escalated to the point where negotiations began for his replacement. Grigorovich resigned, and Bessmertnova and a group of his supporters among the dancers led a strike in protest, leading to the cancellation of that evening’s performance.

Thereafter she devoted herself to her husband, who returned briefly to the Bolshoi before being appointed to run a company in Krasnodar in southern Russia. She was a judge at the Moscow International Ballet Competition in 1995 and was involved in coaching young dancers, including the controversial ballerina Anastasia Volochkova, who stated in an interview that one of the reasons for her association with the Krasnodar company was the opportunity to work with Bessmertnova.

Bessmertnova accompanied her husband to London last year when a gala was given at the Royal Opera House, Covent Garden, to celebrate his 80th birthday, and was prominent in the front row of the audience at a lecture he gave at Pushkin House in Bloomsbury later that week.

She is survived by him and her younger sister, Tatyana, who was also a soloist with the Bolshoi.

· Natalia Igorievna Bessmertnova, ballerina, born July 19 1941; died February 19 2008


Dance With Angels 15 – Martha Graham – Марта Грэхем

“Dance With Angels” Series

Dance With Angels

– 15 –

Martha Graham / Марта Грэхем

graham
USA – United States of America


“Dance is the hidden language of the body,

Dance is the hidden language of the soul

and every dance is a kind of fever chart,

a graph of the heart”

– Martha Graham –

martha-graham-as-clytemnestra1960

“Martha Graham was a small, birdlike woman

who was also a giant in the 20th world of modern dance.

She invented a movement vocabulary unlike that of classical ballet,

and created dances that delved into the most tortured

and ecstatic convolutions of the human psyche.”

martha-graham-in-letter-to-the-world-1941-phoyo-by-barbara-morgan


“I did not want to be a tree, a flower or a wave.

In a dancer’s body,

we as audience must see ourselves,

not the imitated behavior of everyday actions,

not the phenomenon of nature,

not exotic creatures from another planet,

but something of the miracle that is a human being.”

Martha Graham

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Lamentation – Martha Graham

Choreography: Martha Graham Music by: Zoltan Kodaly

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Dance is a song of the body. Either of joy or pain

The body is a sacred garment.

The body

is your instrument in dance,

but your art is outside that creature,

the body.

The body never lies.

The body says what words cannot.”

Martha Graham


Ovation TV | Martha Graham: The Dancer Revealed

morgankickmartha-graham_letter-to-the-world1940_photo-by-barbara-morgan

Martha Graham "Letter to the World" 1940 - photo by Barbara Morgan

“Dancing appears glamorous, easy, delightful.

But the path to paradise of the achievement

is not easier than any other.

There is fatigue so great that the body cries, even in its sleep.

There are times of complete frustration,

there are daily small deaths.”

Martha Graham

mg_medea_2

Night Journey

Martha Graham "Letter to the World" 1940 photo by Barbara Morgan

Martha Graham "Letter to the World" 1940 photo by Barbara Morgan

Martha Graham

evolved her technique of contraction and release

from the natural exhalation and inhalation of breathing.

In her early abstract works she explored movement initiated in the torso.

In the late 1930’s, Graham became interested in narrative structure and literary subject matter.

With the Japanese-American sculptor Isamu Noguchi

she created narrative locales that were both mythic and psychic.

She danced the roles of female protagonists confronting moments of crisis;

other dancers represented various aspects of the protagonist’s self in crisis.


text from:
Home of Dance Theater of the World and the Performing Arts

at02342s

Martha Graham

is known as one of the pioneers

of modern dance

martha-graham-autob


Dance With Angels 13 – Yulia (Julia) Makhalina

“Dance With Angels” Series

Dance With Angels

– 13 –

Yulia (Julia)  Makhalina – Юлия Махалина

makhalina

Russia

Julia Makhalina : so smooth – so elegant

//dance.bakanova.ru/

Photo by Marina Bakanova http://dance.bakanova.ru/

“Very few careers in the recent history of the Kirov Ballet have been characterized by such curious twists as Yulia Makhalina’s. Makhalina was propelled to stardom at hardly twenty, yet not even ten years later, when at the peak of her artistry, the Kirov seems to have ran out of opportunities for her. Her case is of course not without its precedents in this company, although it often distracts from the fact that we are considering here one of the most intriguing Kirov ballerinas of the last decades.

Considered by some as one of the best ballerinas in the world, Yulia Makhalina is in any case one of the most criticized and disparaged Kirov dancers of her generation. By her physique, tall and long-limbed, and even more by her performance style, frequently challenging stylistic boundaries in the classics with outsized extensions, flexible lines and wayward approaches, Makhalina, initially, often irritated critics and audiences, first in Russia, then in the West. However, few could have predicted that she was in fact nothing less than the harbinger of the now generally cherished and acclaimed type of Petersburg ballerinas.”

extract from site FOR BALLET LOVERS ONLY

read full text – bio of Yulia Makhalina

Raymonda-photo-by-natasha-razina

Raymonda-photo-by-natasha-razina


Raymonda

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The Kirov Ballet – Yulia Makhalina – Igor Zelensky

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Swan Lake, adagio – Julia Makhalina e Andris Liepa Kirov Ballet

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Swan Lake – The Kirov Ballet. Yulia Makhalina

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Queen of the Dryads Variation 1988 Kirov

//dance.bakanova.ru/

Photo by Marina Bakanova http://dance.bakanova.ru/


Nikolai Tsiskaridze and Yulia Makhalina in Legend in Love

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1997 Documentary Part 1 of 4 Yulia Makhalina Kirov Mariinsky

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1997 Documentary Part 2 of 4 Yulia Makhalina Kirov Mariinsky

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1997 Documentary Part 3 of 4 Yulia Makhalina Kirov Mariinsky

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1997 Documentary Part 4 of 4 Yulia Makhalina Kirov Mariinsky

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1/2 Kirov Mariinsky Makhalina 2008 Mata Hari Raymonda

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2/2 Kirov Mariinsky Makhalina 2008 Mata Hari Raymonda

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Makhalina Yulia, Lobukhin Mihail -Mariinsky- Isaac Schwarts

//dance.bakanova.ru/

Photo by Marina Bakanova http://dance.bakanova.ru/

—-

Some photos in this post taken by astonishing photosite

Marina Bakanova

http://dance.bakanova.ru/




Dance With Angels 12 – Uliana Lopatkina

“Dance With Angels” Series

Dance With Angels

– 12 –

Uliana Lopatkina – Ульяна Лопаткина

jr_kirov_leningrad_lopatkina_closeup_500_custom

Uliana Lopatkina: the body's language of perfection


Ukraine

Uliana Lopatkina: making art

principal dancer at the Kirov Ballet/Mariinsky Theatre in St Petersburg

Прима-балерина Мариинского театра

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Ulyana Vyacheslavovna Lopatkina (Russian: Ульяна Вячеславовна Лопаткина, born October 23, 1973, Kerch, Ukraine) is principal dancer at the Kirov Ballet/Mariinsky Theatre in St Petersburg. She studied at the Vaganova Academy in the class of Natalia Dudinskaya. Upon graduation Lopatkina joined the Kirov/Mariinsky Theatre Ballet in 1991 and was promoted to principal dancer in 1995.[1][2] Lopatkina is married to Vladimir Kornev, architect and novel writer, and has one daughter (Masha, born 2002).

(extract from Wikipedia)

Uliana Lopatkina: the body’s language of perfection

uliana-lopatkina-as-odile-in-swan-lake-kirov-ballet


jr_kirov_leningrad_lopatkina_arabesque_500_custom

jr_kirov_leningrad_lopatkina_jettee_500_custom

jr_kirov_leningrad_lopatkina_men_500_custom


in rehearsal

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Lopatkina


Improvisation sur “La Mort du Cygne”

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La Bayadère

Uliana Lopatkina and her daughter

Uliana Lopatkina and her daughter