May 122013
 

Black White Ball Milan 8 700x200 Carla Fracci, Luciana Savignano and Svetlana Zakharova go to the ball

To cel­eb­rate 200th Anniversary of the form­a­tion of the Bal­let School at Milan’s , the Academy, which runs the school, threw a Black and White Ball with three excep­tional guests: dan­cers Carla Fracci, Luciana Sav­ig­n­ano and .

The event was held in the ex-ice rink, the Palazzo del Ghi­ac­cio, a 1920s Liberty struc­ture. Almost 500 people (pay­ing €200 for their ticket) atten­ded the even­ing, which was to not only cel­eb­rate the anniversary, but to raise money for a new build­ing which will allow stu­dents who live far from Milan to stay in the city dur­ing the week.

The school’s bal­let stu­dents presen­ted extracts from Paquita and Béjart’s Gaîté par­is­i­enne, a 60-piece orches­tra mixed jazz stand­ards with bal­let scores, and fifty tables with names such a ‘Gis­elle’ (where Carla Fracci was seated, obvi­ously) and ‘Jeune Homme’, let all the guests eat and sip their spumante in comfort.

Dur­ing the even­ing, tele­vi­sion host Fabio Fazio presen­ted the three divas with awards for their careers. Sav­ig­n­ano thanked cho­reo­grapher Mario Pis­toni who spot­ted the tal­ent in this long skinny girl with wide shoulders and in 1968 cast her in his Man­darino Merav­iglioso. Four years later she became a prin­cipal at , going on to col­lab­or­ate extens­ively with who cre­ated Leda e il Cigno for her and Ce que l’amour me dit with Jorge Donn.

Zakhar­ova recalled her audi­tion to join the school in Kiev. She had no , but had devised a cho­reo­graphy to a fam­ous pop­u­lar song, so the com­mis­sion from behind its desk sang the song to accom­pany her audi­tion. She was admitted.

Dan­cing fol­lowed of the less clas­sical type: bankers danced with bal­let stu­dents, Berlusconi’s daugh­ter Mar­ina danced with gos­sip editor Alf­onso Signorini, Carla Fracci danced with the dir­ector of the Academy.

Here’s to the next 200 years.

more pho­tos on Flickr

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  • wp socializer sprite mask 16px Carla Fracci, Luciana Savignano and Svetlana Zakharova go to the ball
  • wp socializer sprite mask 16px Carla Fracci, Luciana Savignano and Svetlana Zakharova go to the ball
  • wp socializer sprite mask 16px Carla Fracci, Luciana Savignano and Svetlana Zakharova go to the ball
  • wp socializer sprite mask 16px Carla Fracci, Luciana Savignano and Svetlana Zakharova go to the ball
  • wp socializer sprite mask 16px Carla Fracci, Luciana Savignano and Svetlana Zakharova go to the ball
  • wp socializer sprite mask 16px Carla Fracci, Luciana Savignano and Svetlana Zakharova go to the ball
  • wp socializer sprite mask 16px Carla Fracci, Luciana Savignano and Svetlana Zakharova go to the ball
  • wp socializer sprite mask 16px Carla Fracci, Luciana Savignano and Svetlana Zakharova go to the ball
Oct 122012
 

Julian Cochran1 Composer Julian Cochran on music, maths and methodCom­poser Julian Cochran has two phrases in his pub­li­city blurb which leap out of the page. One, tender and intim­ate, gives a clue to the man:

Hav­ing taken up piano les­sons at the age of 11 at the encour­age­ment of his mother who sadly died not long after, Julian’s gift to her was the abil­ity at this tender age to cre­ate com­pos­i­tions on the piano, set­ting a path for a lifelong pas­sion for com­pos­ing. “I can still remem­ber play­ing a piano com­pos­i­tion to my grand­mother shortly after my mother’s death – so com­pos­ing wasn’t some­thing that was a pro­fes­sional choice or some­thing I decided to do, but rather a way of think­ing or a man­ner of look­ing at life.”

The other, which gave rise to this art­icle, asks:

How does a Cam­bridge born form­ally trained pure math­em­atician find his clas­sical  com­pos­i­tions per­formed on the world stage at ?… [con­tinue reading]

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Nov 102011
 

Baryyshnikov Mikhail Baryshnikov on boycotts, ballet, Black Swan, Studio 54, Sex and the City, contemporary dance and being a sex symbolAs “In ” arrives in Tel Aviv for nine per­form­ances,  Mikhail Bary­sh­nikov talked to Elad Sam­orzik of Haaretz:

On age and repertoire

“Listen, I am 63 years-old. It depends what you’re dan­cing. The piece we did with Anna Laguna we played ourselves, our age. We are not dan­cing ‘Romeo and Juliet.’ You know, pas de deux. Last year Mats Ek did a piece for me and Nik­las Ek, his brother, who was a fam­ous dan­cer of the cho­reo­grapher Maurice Bejart and worked with James Thi­er­ree. It was a fas­cin­at­ing piece, and he’s much older than me — closer to 70 — and we did the piece together, very dif­fi­cult. And then we did a show with Mats him­self dancing.

“I’m not dan­cing in white tights, after all.… [con­tinue reading]

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Jul 112011
 

In a tele­phone inter­view with Italian news agency ANSA, Carla Fracci spoke about her col­league :

Roland Petit Carla Fracci Carla Fracci talks about her friend Roland Petit

He will remain in my heart forever. As with all the geni­uses that I’ve had the for­tune to work with, you think that they’ll never die, that they can’t disappear.

When I was just 17 or 18 years-old, he chose me to dance with him in his bal­let “Le Loup”. Then came “Les demois­elles de la nuit”, “La chambre”, “Rhaps­odie espagnole”, “Chéri” and many oth­ers. There was a feel­ing between us. He was very fond of me.

I talked to him for the last time at Christ­mas. His great regret was that we were unable to film his bal­let “Chéri” for French tele­vi­sion, but there were a series of dif­fi­culties, even when a French TV crew came to film at .… [con­tinue reading]

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Jul 062011
 

The Pyramids and the Revolution Bejarts ballet Pyramide in Cairo becomes infused by the revolutionBal­let can now be coun­ted amongst the artistic dis­cip­lines touched by Egypt’s recent revolu­tion. The Janu­ary 25 Revolu­tion has promp­ted a wave of cul­tural pro­duc­tion, much of it inspired by scenes and exper­i­ences from the lead up to Hosni Mubarak’s ouster on Feb­ru­ary 11.

“The Pyr­am­ids and the Revolu­tion,” a bal­let adap­ted from famed French cho­reo­grapher Maurice Bejart’s “Pyr­am­ide,” is run­ning this week at the Cairo Opera House. The Cairo Opera Bal­let Com­pany per­form­ance was adap­ted by Abdel Moneim and Erminia Kamel, with arrange­ment by Tarek Sharara.

The decision to adapt Bejart’s “Pyr­am­ide” into an epic ode to the Janu­ary 25 Revolu­tion is apt given the production’s his­tory: the ori­ginal dis­astrous attempt to stage the pro­duc­tion at the base of the Pyr­am­ids back in 1990 was an event that epi­tom­ized Egypt’s rampant cor­rup­tion and inab­il­ity to cap­it­al­ize on its poten­tial.… [con­tinue reading]

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Jun 292011
 

583px Rudolph Nureyev 6 Allan Warren 400x411 Manuel Legris Nureyev tribute ends the Vienna Ballet seasonA trib­ute to Rudolf Nureyev topped off a hit sea­son for Manuel Legris’s Vienna Bal­let with the former French star provid­ing two of the high­lights. The Nureyev Gala, due to become an annual event, marked the end of Legris’s first sea­son as dir­ector of the Vienna ensemble, which has seen a renais­sance on his watch. The dan­cer also kept his prom­ise to appear on the Vienna stage this season.

Clock­ing over three hours, not includ­ing inter­ludes, the mara­thon even­ing kept the audi­ence enthralled with a mix­ture of genres, pas de deux and set pieces. In total, 13 pieces fol­lowed in quick suc­ces­sion, cho­reo­graphed by Nureyev or con­tem­por­ar­ies like , Ken­neth Mac­Mil­lan, Maurice Bejart and Wil­liam Forsythe.

“Before Night­fall” by Nils Christe, a mod­ern piece with four couples, presen­ted a first breath of fresh air, with Nina Polakova and Mikhail Sosnovs­chi steal­ing the show. … [con­tinue reading]

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Feb 122011
 

Bolshoi New Stage 500x404 The Paris Opera Ballet dances at the Bolshoi for the first time since the fall of communismThis week the Bolshoi Theatre’s ‘New Stage’ will host the for a mixed pro­gramme, and next week they will present Preljocaj’s Le Parc. It is the first time the com­pany has been in since the fall of com­mun­ism. Lifar’s , Petit’s L’Arlesienne and Béjart’s Bolero form the triple bill.

“Over the past dec­ade, it was mostly the Bolshoi trav­el­ling to Paris,” said  Anatoly Iksanov, gen­eral dir­ector of the Bolshoi. In fact the Bolshoi has vis­ited Paris three times over the last ten years, and will return again in May of this year.

The Bolshoi’s main stage closed in 2005 for three years of renov­a­tions. How­ever vari­ous fin­an­cial scan­dals which have embar­rassed ’s cul­tural author­it­ies have delayed its com­ple­tion.… [con­tinue reading]

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