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Author: Teatro alla Scala
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Author: Teatro alla Scala
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 1443800805
Category : Music
Languages : en
Pages : 275
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Book Description
The composer Ludwig Minkus represents one of music’s biggest mysteries. Who was he? Hardly anything is known about him, and yet he occupied an influential position in the theatres of the Imperial ballet in late nineteenth-century Russia. He has been recognised as a predecessor of Tchaikovsky, but as a musician is commonly held to have been so feeble as to be beneath contempt. Yet despite the scorn heaped on him, and his consequent obscurity, Minkus is far from being forgotten. Since the early 1960s his name has slowly begun to re-surface. Two works, Don Quixote (1869) and La Bayadère (1877), have been presented in their entirety for the first time to new audiences all over the world. The musical and dramatic power of both ballets has taken people by surprise. The stories have a very real human appeal, the choreography attracts the admiration of balletomanes, and the music, with its rhythm, verve, and beauty of melody, holds attention and engages the heart wherever it is heard. This introduction seeks to discover something more behind the blank façade of Minkus’s life and work. What do we actually know about him as a man and as an artist? Are we able to apprehend his oeuvre as a whole, and how much can we establish from the available material? What is the nature of the music he created for those few works that have survived the years, and that have come to the fore again recently to delight those who have ears to hear? This study includes iconography from the life and times of the composer, many musical examples from his works, and a comprehensive bibliography and discography.
Author: Ken Browar
Publisher: Rizzoli
ISBN: 9780847864089
Category : Photography
Languages : en
Pages : 0
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Book Description
Style meets movement: a new photography book featuring more than eighty of today's most famous dancers, captured in movement and styled in garments designed by some of fashion's biggest names. From renowned photographers Ken Browar and Deborah Ory, the husband-and-wife team behind NYC Dance Project and the best-selling photography book The Art of Movement, comes their follow-up book for fans of dance, fashion, and photography. Spotlighting today's greatest dancers--from ballet to modern--in clothing by today's and yesterday's most celebrated designers, this stunning volume takes the relationship between style, fashion, and dance as its subject. The dancers bring the pages to life with their grace and movement, becoming one with what they're wearing. Whether in couture gowns from Dior, Valentino, Oscar de la Renta, vintage Halston, Moschino, and Bill Blass, or in costumes designed by Martha Graham herself, the world-renowned dancers featured in these pages--including Tiler Peck, Daniil Simkin, Misty Copeland, Christine Shevchenko, Xander Parish, and Olga Smirnova--bring movement to style.
Author: Giorgio Lotti
Publisher: William Morrow &Company
ISBN:
Category : Ballet
Languages : en
Pages : 244
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Author: Larraine Nicholas
Publisher: Saint James Press
ISBN: 9781558621589
Category : Performing Arts
Languages : en
Pages : 816
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Arranged alphabetically from Adolphe Adam to Jiri Kylian, this reference includes entries on individual artists, individual ballets, and on ballet companies.
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 66
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Author: DK
Publisher: Penguin
ISBN: 1465407723
Category : Juvenile Nonfiction
Languages : en
Pages : 145
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Book Description
In styles as diverse as flamenco, czardas, and bangra, dance reflects cultural identity and inspires and energizes individuals and groups. Dance contains everything you need to know about world dance. With lively and colorful presentation, young people will discover the joy of movement from cultures all over the globe.
Author: Olga Racster
Publisher: London : Hutchinson & Company
ISBN:
Category : Ballet
Languages : en
Pages : 346
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Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 1443867268
Category : Music
Languages : en
Pages : 340
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Book Description
Excelsior, an extraordinary spectacular ballet in 6 parts and 11 scenes by Luigi Manzotti, with music by Romualdo Marenco, was premiered on 11 January 1881 at La Scala Milan. This unique and remarkable allegorical work depicts the rise of human civilization, and the stormy progress of technical development. This scenario is envisioned as an embittered struggle between the Spirits of Light and Darkness, and their more human personifications as Civilization (or Progress) and Obscurantism. The invention of the steam ship, the iron bridge, electricity, telegraphy, the building of the Suez Canal and the Mont Cenis Tunnel see the Spirit of Darkness admitting defeat. A Grand Festival of the nations of the world in harmony is celebrated with an apotheosis of light and peace. The ballet enjoyed immense popularity and was constantly revived all over Europe. After its Vienna premiere in 1885, it remained in the repertory for 29 years, receiving 329 performances. Modern revivals have been by Ugo dell’Ara for the Maggio Musicale Fiorentino in 1967, at La Scala di Milano in 1974, the Spoleto Festival of Two Worlds in 1990, and at the Teatro Degli Arcimboldi Milano in 2002. Sport premiered at La Scala, Milan on 10 February 1897. This was the third and last of Manzotti’s grand positivist trilogy which started with, and found its apotheosis in, Excelsior. As modern and spectacular as the other two, Sport was intended as a celebration of every kind of athletic activity, especially in the enthusiastic aftermath of the first modern Olympic Games in Athens on 11 April 1896. Although the scenario concerned the eternal triangle, it was only an excuse for displays of skill by soloists and stupendous ensembles for the corps de ballet, whose costumes were very daring for that period. Sport has been seen as the ancestor of the precision manoeuvres of the Hoffmann Girls, and even as an influence on Fokine’s geometric groupings and on the styles of Golejzovsky, Nijinska, Balanchine and Lifar. The popularity of the work was enormous (46 performances in the first season), and was equally successful when revived in 1905 and 1906 under the direction of Achille Copini. Romualdo Marenco (1841–1907) was involved with music from an early age, and began his professional life as violinist and second bassoonist at the Teatro Andea Doria in Genoa. His career as a composer was also launched at this theatre with the music for the ballet Lo sbarco di Garibaldi a Marsala. For a while he became principal violinist in various orchestras before being appointed deputy concert leader and director of ballet music at La Scala Milan, a position he held for seven seasons. Marenco worked with dance masters like Ferdinando and Giovanni Pratesi. But most significantly it was during this period that he met the famous choreographer Luigi Manzotti. He began a musical collaboration with Manzotti that was to bring them both great fame. Luigi Manzotti (1835–1905) was very successful in Rome as a mime artist, and choreographed his first ballet in 1858 (Le Morte di Masaniello). Even in his early works his special gifts for spectacular effects became apparent, as in Cleopatra and Pietro Micca. He went to Milan in 1872, where he found his true metier in collaboration with Romualdo Marenco. Manzotti surpassed his Roman successes, first with Sieba, ossia La spada di Wodan (Turin 1878), but most famously with the positivist trilogy Excelsior (Milan 1881), Amor (Milan 1886) and Sport (Milan 1897). Manzotti was the master of the ballo grande which used historical and allegorical subjects treated with great seriousness for their deeper social and symbolic significance, and employing huge casts and elaborate mise en scène to create an overwhelming spectacle. His ballets were devised as a series of related episodes expressed in mime with simple but effectively devised large ensembles by dancers, and processions with trained supernumeraries. Marenco’s music has been dismissed as a medley of polkas and military band music, yet it was spread all over the world by the success of Excelsior: always carefully moulded to the choreographic action, it is well-written, with melodic verve, formal invention, and an overwhelming sense of rhythmic dynamism. The music is fast-moving and vivacious, rarely sentimental, and often induces a torrential sense of exhilaration. The enduring success of Excelsior, the only full-length Italian ballet to survive from the 19th century, is a tribute to Manzotti’s artistic vision and Marenco’s musical imagination.
Author: Kathrina Farrugia-Kriel
Publisher: Oxford University Press
ISBN: 0190871490
Category : Performing Arts
Languages : en
Pages : 1013
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Book Description
"Nearly four hundred and fifty years in, ballet still resonates-though the stages have become international, and the dancers, athletes far removed from noble amateurs. While vibrations from the form's beginnings clearly resound, much has transformed. Nowadays ballet dancers aspire to work across disciplines with choreographers who value a myriad of abilities. Dance theorists and historians make known possibilities and polemics in lieu of notating dances verbatim, and critics do the daily work of recording performance histories and interviewing artists. Ideas circulate, questions arise, and discussions about how to resist ballet's outmoded traditions take precedence. In the dance community, calls for innovation have defined palpable shifts in ballet's direction and resultantly we have arrived at a new moment in its history that is unquestionably recognized as a genre onto its own: Contemporary Ballet. An aspect of this recent discipline is that its dancemakers, more often than not, seek to reorient the viewer by celebrating what could be deemed vulnerabilities, re-construing ideals of perfection, problematizing the marginalized/mainstream dichotomy, bringing audiences closer in to observe, and letting the art become an experience rather than a distant object preciously guarded out of reach. Hence, the practice of ballet is moving to become a less-mediated and more active process in many circumstances. Performers and audiences alike are challenged, and while convention is still omnipresent, choices are being made. For some, this approach has been drawn on for decades, and for others it signifies a changing of the guard, yet however we arrive there, the conclusion is the same: Contemporary Ballet is not a style. That is to say, it is not a trend, phase, or fashionable term that will fade, rather it is a clear period in ballet's time deserved of investigation. And it is into this moment that we enter"--
