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#vladimir fokin
lacalaveracatrina · 6 months
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Владимир Арсеньев, Дерсу Узала, солдат Фокин и Чжан Бао (слева направо) в походе по бассейну реки Такема. Фотография из экспедиции 1907 года.
Vladimir Arsenyev, Dersu Uzala, soldier Fokin and Zhang Bao (from left to right) on a hike along the Takema River basin. Photo from the 1907 expedition.
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tunabuddha · 4 months
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Vladimir Arsenyev, Dersu Uzala, soldier Fokin and Zhang Bao (from left to right) on a hike along the Takema River basin. Photo from the 1907 expedition
Владимир Арсеньев, Дерсу Узала, солдат Фокин и Чжан Бао (слева направо) в походе по бассейну реки Такема. Фотография из экспедиции 1907 год
color by Klimbims
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literaturoved · 2 years
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Europe's surprise that so unusual an idea as universal peace should come out of "semi-barbaric” Russia betrayed its lack of awareness of the richly creative culture which was flourishing there. The early years of Nicholas's reign were a period of such glittering intellectual and cultural achievement that they are known as the “Russian Renaissance” or the “Silver Age.” The ferment of activity and new ideas included not only politics but philosophy and science, music and art. In literature, Anton Chekov was writing the plays and short stories which would become world classics. In 1898, Constantine Stanislavsky first opened the doors of the famous Moscow Art Theatre, and its second play, Chekov's The Sea Gull, written in 1896, determined its success. Thereafter the appearance of Uncle Vanya (1899) and The Cherry Orchard (1904) confirmed the arrival of a new concept of naturalistic acting and a new era in the history of the theatre. In 1902, Stanislavsky directed The Lower Depths, a grimly realistic play by Maxim Gorky, hitherto known primarily for his massive novels. In Kiev, from 1900 to 1905, Sholom Aleichem, who had already lost a fortune trading on the grain and stock exchanges, was devoting himself entirely to writing in Yiddish the scores of short stories which have made him known as the “Jewish Mark Twain.” In philosophy, Vladimir Solov'ev, the preeminent religious philosopher and poet, had begun publishing his works in 1894. In 1904, the poems of Solov'ev's famous disciple Alexander Blok began to appear. At the Institute of Experimental Medicine in St. Petersburg, Ivan Pavlov, one of a group of Russian scientists making significant advances in chemistry and medicine, was conducting the experiments in physiology which won him a Nobel Prize in 1904. Russian painting was in transition. Ilya Repin, then a professor of historical painting at the St. Petersburg Academy of Fine Arts, was crowning a career of painting the great historical scenes of Russia's past. Victor Vasnetsov and Michael Nesterov had gone back even further and were attempting to re-create medieval religious art. Meanwhile, a rank of younger artists was responding excitedly to exhibitions in Russia of Cézanne, Gauguin and Picasso. Serov, influenced by the French Impressionists, painted evocative portraits of many contemporary Russians including, in 1900, the Tsar. In 1896, Vassily Kandinsky, a lawyer in Moscow, gave up his career and left Russia to begin painting in Munich. In 1907, Marc Chagall arrived in St. Petersburg to study with the famous contemporary painter Lev Bakst. At the Imperial Ballet, Marius Petipa was in the midst of a halfcentury reign as choreographer which would last until he resigned in 1903. In richly magnificent succession, he staged sixty major ballets, among them Tchaikovsky's Swan Lake, Nutcracker and Sleeping Beauty. It was Petipa who thrust onto the stage the glittering parade of Russian dancers which included Mathilde Kschessinska, Tamara Karsavina, Anna Pavlova and Vaslav Nijinsky. Even today, the great ballet companies of the world are measured for excellence against the standards set by Petipa. In 1899, Serge Diaghilev founded the influential journal The World of Art and editorially began to criticize Petipa's conservative style. In 1909, Diaghilev, with a daring new choreographer, Michael Fokine, founded the Ballet Russe in Paris and took the world by storm.  
At the Imperial Ballet, Marius Petipa was in the midst of a halfcentury reign as choreographer which would last until he resigned in 1903. In richly magnificent succession, he staged sixty major ballets, among them Tchaikovsky's Swan Lake, Nutcracker and Sleeping Beauty. It was Petipa who thrust onto the stage the glittering parade of Russian dancers which included Mathilde Kschessinska, Tamara Karsavina, Anna Pavlova and Vaslav Nijinsky. Even today, the great ballet companies of the world are measured for excellence against the standards set by Petipa. In 1899, Serge Diaghilev founded the influential journal The World of Art and editorially began to criticize Petipa's conservative style. In 1909, Diaghilev, with a daring new choreographer, Michael Fokine, founded the Ballet Russe in Paris and took the world by storm. In the superlative music conservatories of St. Petersburg and Moscow, an unbroken succession of famous teachers passed their art to talented pupils. Nicholas Rimsky-Korsakov was the conductor of the St. Petersburg Symphony. While writing his own magnificent Golden Cockerel, he was instructing a youthful Igor Stravinsky, whose brilliantly original ballet scores written for Diaghilev, Firebird (1910), Petrushka (1911) and Rite of Spring (1913), were to have gigantic influence on all twentieth-century music. Later, in 1914, another of Rimsky-Korsakov's pupils, Serge Prokoviev, was to graduate from the conservatory. Among the violinists and pianists trained in Imperial Russia were Serge Rachmaninov, Vladimir Horowitz, Efrem Zimbalist, Mischa Elman and Jascha Heifetz. Serge Koussevitsky conducted his own symphony orchestra in Moscow. In 1899, the matchless basso Fedor Chaliapin made his debut and thereafter dominated the opera stage. Across Russia, people flocked to hear music and opera. Kiev, Odessa, Warsaw and Tiflis each had its own opera company with a season of eight to nine months. St. Petersburg alone had four opera houses. In 1901, Tsar Nicholas built one of these, the Narodny Dom or People's Palace. Believing that ordinary Russians should have an opportunity to savor the best in national music and drama, Nicholas had constructed a vast building which included theatres, concert halls and restaurants, with admission fees of only twenty kopecks. In time, the best orchestras and the leading actors and musicians appeared there. St. Petersburg society, enjoying the flavor of something new, trooped to follow.
- Nicholas and Alexandra, Robert K. Massie.
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vestnikra · 4 years
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Attention sustainable gardeners, flat-cutter (Fokin hoe) users - some useful tips from Vladimir Fokin, the inventor of the unique permaculture tool, recommended by the great Sepp Holzer: https://ecominded.net/fokin-hoe-author-tips #sustainable #gardening #permaculture #seppholzer
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bluebeards-wife · 5 years
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Movies
An ever expanding list of Bluebeard movies.
1901: Barbe-bleue (Georges Méliès, 1901)
1923: Bluebeard’s 8th Wife, starring Gloria Swanson (Sam Wood, 1923)
1925: Miss Bluebeard, starring Bebe Daniels (Frank Tuttle, 1925)
1936: Barbe-bleue (Jean Painlevé, 1936)
1938: Bluebeard’s Eighth Wife, starring Claudette Colbert and Gary Cooper (Ernst Lubitsch, 1938)
1940: Rebecca, starring Joan Fontaine and Laurence Olivier (Alfred Hitchcock, 1940)
1941: Suspicion, starring Cary Grant and Joan Fontaine (Alfred Hitchcock, 1941)
1944: Bluebeard, starring John Carradine (Edgar G. Ulmer, 1944) 
1944: Gaslight, starring Charles Boyer and Ingrid Bergman (George Cukor, 1944)
1947: Monsieur Verdoux, starring Charles Chaplin (Charles Chaplin, 1947) 
1948: Secret Beyond the Door, starring Michael Redgrave and Joan Bennett (Fritz Lang, 1948)
1950: Bluebeard’s Six Wives, starring Totò (Carlo Ludovico Bragaglia, 1950) 
1951: Barbe-Bleue, starring Hans Albers (Christian-Jaque, 1951)
1951: Juliette, or Key of Dreams (Marcel Carné, 1951)
1955: Los lios de Barba Azul, staring Germán Valdés, Amanda del Llano & Verónica Loyo (Gilberto Martínez Solares,1955)
1960: Bluebeard’s Ten Honeymoons, starring George Sanders (W. Lee Wilder, 1960) 
1963: Herzog Blaubarts Burg, (Michael Powell, 1963)��
1963: Landru, starring Charles Denner, Michèle Morgan, and Danielle Darrieux (Claude Chabrol, 1963) 
1966: Bluebeard's Last Wife staring Luciana Arrighi, Meg Wynn Owen &  John Preston (John Stoddart, 1966)
1972: Bluebeard, starring Richard Burton, Joey Heatherton, Raquel Welch, and Virna Lisia (Edward Dmytryk, 1972) 
1979: Ochen’ siniya boroda (Very Blue Beard) (Vladimir Samsonov, 1979) 
1986: La Barbe-bleue, (Alain Ferrari, 1986)
1988: Duke Bluebeard’s Castle, staring Robert Lloyd, Elizabeth Laurence & John Woodvine (Leslie Megahey, 1988)
1993: The Piano, starring Holly Hunter, Harvey Keitel and Sam Neill (Jane Campion, 1993)
2005: Bluebeard's Wife, staring Joan Barber, Norm Golden & Isabel Irene Bass (Bobby Webster, 2005)
2008: Blue Beard, starring Anatoly Kotenev, Oleg Kharitonov, Anna Miklosh and Dmitry Isaev (Roman Fokin, 2008)
2009: Barbe Bleue, starring Dominique Thomas and Lola Créton (Catherine Breillat, 2009)
2013: Barbazul, starring Jac Avila, Mila Joya, Amy Hesketh and Veronica Paintoux (Amy Hesketh, 2013)
2015: Crimson Peak, starring Mia Wasikowska, Tom Hiddleston and Jessica Chastain (Guillermo del Toro, 2015) 
2015: Ex Machina, starring Domhnall Gleeson, Alicia Vikander and Oscar Isaac (Alex Garland, 2015)
2018: Elizabeth Harvest, starring Abbey Lee and Matthew Beard (Sebastian Gutierrez, 2018)
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melmothblog · 6 years
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A few days ago, Vaganova Ballet Academy posted an excerpt from Vladimir Teliakovski’s (Director of the Imperial Theatres) diary entry, concerning the ballet “Armida's Pavilion”. I found it very interesting and amusing but didn’t have the time to translate and post it until now. I’ve also added a few more images of Anna Pavlova and Vaslav Nijinsky wearing the costumes in question.
Nov 7, 1907:
“Today, from four to six, I was present at the examination of Benois’s costumes for the ballet “Armida”. The costumes are true and stylish, but ugly, and they all carry some vague erotic overtones. Besides, the ballet is so expensive that had I known about the cost, I never would have agreed to stage such a ballet.”
The ballet premiered on the 25th of November, 1907. It was choreographed by Mikhail Fokine to the music of Nikolai Tcherepnin. The costumes were designed by Alexandre Benois.
Benois selected strongly contrasting colours of black and orange with details of white, to create this dramatic costume for a musician. The studs, which define the pleats of the skirt, are echoed in the round beads on the bodice. The white edging and studs would have sparkled in the stage lights:
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“Armida's Pavilion” was the first production of Diaghilev's company. During the ballet, twelve spirits perform the “Dance of the hours”, representing the passing of time. Their costumes were made from inexpensive cotton and embellished with gold lamé, braid, fringing and paint to create an impression of luxury and refinement typical of the Rococo period of the ballet:
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no-reticence · 6 years
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ÑΣVΣR GΣ† U$ΣD †Ø PΣØPLΣ – ЦΣЛУЙ МΣНЯ
I will keep saying that I'm alright.  On average, a person can tell up to two hundred thousand lies a day. 
ÑΣVΣR GΣ† U$ΣD †Ø PΣØPLΣ  
Official Page https://vk.com/ngutp   https://soundcloud.com/nevergetusedto... 
director - Alina Abramova DOP - Robert Sarukhanyan actors - Christina Isaykina               Nikita Grigoriev
 ___________________________ 
THANKS TO Vladimir Ivanov, Sergey Fokin, Kirill Meshchersky, Daria Mikushina, Serafima Shirinova, Dmitry Lavrov, Kirill Holding, Roman Malyshev, Alexander Aleshkovsky, Serafim Infante-arana, Natalia Akimochkina, Fedor Vinogradov, Ivan Chalov, Ekaterina Vasilyeva, Alexandra Grabovaya
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tessabltheorist · 6 years
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🎶 On the  ninth day of 🎶🎶Christmas my auntie 🎶gave to me.... 🎶A tale of time long gone but which shadows are long.🎶
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This is a over simplified story of a very complex time in the world.
During the turbulent last years of the last Russian Tzar, Tzar Nicholas II, and following the Revolution of 1917, and the brutal murders of the Imperial family, Communism set in Russia. Before the borders were closed and it became very difficult to travel back and forth and to leave their country, many Russians migrated from Russia.  In the communist regime there was no private property, and any such property was seized, intellectuals and artists were at the service of the country, and religion was not permitted (”The opium of the masses”).
Most of the migrating Russians were wealthy, or had been in the imperial Army (officers were usually aristocrats), called the White Army because of the color of the coats of the officers. The Tzar was, as was customary, in the Russian Imperial Navy. 
Some were Jewish, or belonged to persecuted minorities.  Some were intellectuals and artists. Some were aristocrats.  They went all over the world, and they maintained their language and their customs, including religion, which soon be outlawed in the communist Soviet regime.  
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The prevalent religion in the Russian Empire was the Russian Orthodox Church, part of the Eastern Orthodox Churches.  
In the Orthodox Churches, the old calendar, the Julian Calendar is followed for liturgy, so when translated into the modern calendar, the Gregorian calendar, Christmas falls on the Gregorian calendar on January 7. So:
Old Julian calendar December 25th = New Gregorian calendar January 7th
So Christmas 1990 for the Orthodox Christians is on January 7th, 1990. Christmas Eve, 1990 is on January 6th, 1990.
The Russian emigrees went all over, but they tended to concentrate in countries were they had relatives, or Russians were welcomed.  And where by alliances of their rulers, aristocrats and wealthy people had made friends and alliances.
They made substantial contributions to the countries they migrated:
Serge Diaghilev, George Balanchine, Vaslav Nijinsky, Michel Fokine, Anna Pavlova,Oleg Cassini, Dmitri Nabokov,Vladimir Nabokov, Sergei Rachmaninoff, George Sanders, Igor Stravinsky, Wassily Kandinsky, Marc Chagall among many others, military figures, inventors, artist, escaped from Russia at the time.
Now, let us go back to 3 cousins: Tzar Nicholas II of Russia, King George V of Great Britain and Kaiser Wilhelm II,  Emperor of Germany and King of Prussia.  Wilhelm's mother was the sister of George's father; George's mother and Nicholas’s  mother were sisters. They were fifth cousins. Queen Victoria was the grandmother of George and Wilhelm, and George and Nicholas were first cousins.  All 3 were descendants of King George I of Britain
Those 3 were close, even though bonds were different and eventually they found themselves at odds with one another and forming alliances.  They even looked very similar.
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But as is easy to see, Russians flocked to Great Britain and its territories, to the territory of the former German Empire and to the United States. When the rulers are related, marriages between aristocrats who follow a princess when she marries abroad follow, and with them wealthy elites and intellectuals follow too.  And when it is time to leave, people scramble to places they have a tie, like blood ties, or other Russians of their same socio-economical class.
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Among the places was Great Britain, Ireland, South Africa, New Zealand, and parts of Asia, Germany, Eastern Europe, Canada and the United States, which had received a good size migration earlier.
But for the upper social echelons in the old Russia, they went where  relatives and others like them went.  They found relatively little comfort in the poorer Russian who migrated earlier than them. 
 Some of the wealthy who could not get out in time to take their money out, were found doing menial jobs, the Duke serving tables in America, the Countess being the coat check girl in a restaurant in Paris.
All of them of course assimilated, but they kept their customs and language as well as their religion. Important bastions of Russian Orthodox Churches are found in all of those countries, including USA.
And when the cold war started, were they not the ideal covert agents to recruit? Because they could pass for natives of the Soviet Union and because they had a particular drive to end the Soviet Union and return to their homeland. A romantic idea because most of them were completely assimilated into their adopted countries with generations rooted there.
But also,  it was easier to make recruiters from the KGB think they had ties to Russia. the prodigal sons and daughters, realizing their forebears were wrong and that the Soviet regime was the best for the motherland.
And for the Russians who went to Germany and Poland, and the Austro-Hungarian lands, and did not get out in time, they found themselves back in the Soviet Union, greatly expanded after WWII.
All of this will be relevant to an examination of Dom, Katarina, Red, Howard Hargrave, etc.
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gorbigorbi · 6 years
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Viktoria Tereshkina as Zobeide and Vladimir Shklyarov as Zobeide’s Slave, "Scheherazade", choreography by Mikhail Fokine (1910) reconstruction by Isabelle Fokine and Andris Liepa, Mariinky Ballet Photo © Sasha Gouliaev
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watchilove · 5 years
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De Bethune announces partnership with the famous Russian Ballet Jewels: 11 of the world’s greatest ballet stars, 9 world-renowned choreographers, 7 legendary ballet companies, an exclusive selection of classical and contemporary ballet performances in one breathtaking program.
An exceptional gala to be held in Geneva on 23 March 2019 at the Théâtre du Léman.
Geneva, March 13, 2019 – Since its foundation, De Bethune has remained true to the idea of combining tradition and modernity. As an independent “Manufacture de Haute Horlogerie,” all of its timekeepers are designed and produced in-house in the spirit of striving for excellence in a continuous quest for perfection. These are values shared with and exemplified by the Russian Ballet Jewels whose breathtaking performances, in which the world’s best dancers give their heart and soul, celebrate the most beautiful ballets ever choreographed.
The greatest stars – including Elena Vostrotina, Xander Parish, Ekaterina Osmolkina, Yannick Bittencourt, Nancy Osbaldeston, Anna Nikulina, Mikhail Lobukhin, to name but a few – from the ballet companies of the Bolshoi Theatre, the Mariinsky Theatre, the Royal Flemish Ballet, the Zurich Opera Ballet, the Yakobson St. Petersburg Theatre and the Paris National Opera will grace the stage of the Théâtre du Léman in Geneva, performing legendary pas-de-deux and solos of classical ballet that have become the references of Russian choreographic art, and masterpieces of contemporary ballet created by the most talented choreographers of our time.
From The Sleeping Beauty and Swan Lake to Gorsky’s experiments and Fokine’s stylizations, complemented by contemporary works by Nureyev, Fallen… – an evening with the Russian Ballet Jewels is a major event, both for a discerning audience and for those keen to discover fabled masterpieces and a selection of recent productions performed by world-class dancers.
To support this truly contemporary celebration of classicism and eternal elegance is a genuine privilege.
De Bethune is particularly proud to support the Russian Ballet Jewels, a production brought to life by Vladimir Ippolitov whose mission is to promote not only the art of classical and contemporary ballet, but also to share this passion with the world through the best dancers of our time.
By supporting the Russian Ballet Jewels, De Bethune celebrates the historical and steadfast bond that has been forged over the years between the watch brand and Russia.
Prominent Russian clients, great connoisseurs of contemporary Fine Watchmaking, have been loyal to De Bethune since the foundation of the first workshop. Indeed, the very first “starry night” dial created by De Bethune, now a hallmark of the brand, faithfully captures the firmament of the mythical White Nights above St. Petersburg on a 21st of June.
For requests regarding interviews with the organizers and dancers, and seats reserved for the press, please contact De Bethune: De Bethune – International Press Contact: Ouldouze Nadiri – [email protected] – T +41 79 853 74 82
PROGRAM
“ Grand Pas Classique”– D. Auber, choreography by V.Gsovsky E. Vostrotoina, Y. Bittencourt
“The Grand Pas Classique” choreographed by Victor Gsovsky was first staged in Paris in 1949. Since then, this duet, which requires excellent technique and skill to perform a demanding “choreography text” with elegance and poise, became one of the most performed pieces at the Galas and competitions.
White adagio from the “Swan Lake” – P.I. Tchaikovsky, choreography by L. Ivanov
E. Vostrotoina, Y. Bittencourt
“The Swan Lake” is a real icon of the Russian ballet. The duet of Odette, the enchanted swan princess, and prince Siegfried, who came to hunt swans at the lake, is one of the most important and beautiful scenes of the ballet depicting their emerging love. In response to a sad “story” Odette tells the prince about her being enchanted to stay imprisoned in a swan’s body during the day, Siegfried gives a passionate promise that his love will break the spell. Duet from the ballet “Rodin: Eternal Idol” – Claude Debussy, choreography by Leonid Yakobson
A. Bocharova, D. Klimuk
The ballet “Rodin” is composed of chorographical miniatures inspired by works of a great master of sculpture, Rodin. Rodin has revolutionised and created a new language in the art of sculpture. Half a century later Yakobson revolutionised choreography and created a new language in art of movement. Leonid Yakobson created these pieces in different time periods and combined into one composition at a later stage. “Viennese Waltz” – -R. Strauss, choreography by Leonid Yakobson
A. Bocharova, D. Klimuk
The miniature ballet “The Viennese Waltz” is almost a piece of drama on its own. It has everything: an intrigue, a climax and an impressive ending. The plot is quite simple: it is a story of a meeting of a young lady with a young dandy. First she pushes him away, then gives him hope. The mood constantly changes: her capriciousness changes to coquetry; and it all ends with her leading him away. “Requiem » – Gabriel Fauré, Wim Henderickx, choreography by Sidi Larbi Cherkaoui N. Osbaldeston, C. Cangialosi
Fauré’s requiem – traditionally, a Mass for the repose of a dead soul – already unusual in its surprising optimism: free of the bluster and heavy religious overtones typically associated with the funereal mass. It receives new interpretation by a Flemish composer Wim Henderickx and one of the most prominent choreographers of our time Sidi Larbi Cherkaoui. In their Requiem, with great respect for the various traditions the artists blend eastern and western cultures in serene and contemplative plea for the freedom of humankind.
Pas de deux of Princess Aurora and Prince Désiré from the “Sleeping Beauty” – P.I. Tchaikovsky, choreography by M. Petipa E. Osmolkina, X. Parish
It was in “The Sleeping Beauty” ballet in 1890 that the two geniuses – Tchaikovsky and Petipa – worked together for the first time and created the world’s greatest ballet masterpiece ever.
The real jewel of the ballet is the wedding duet of Aurora and Prince Désiré glorifying love and harmony, the victory of good over evil. “Ballet 101” – Jens-Peter Abele, choreography by Eric Gauthier X. Parish Xander Parish performs a routine based on the 101 ballet positions, a demanding voice over calls out the numbers of 101 poses to put him through an increasingly frantic routine.
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An exceptional gala to be held in Geneva on 23 March 2019 at the Théâtre du Léman.
De Bethune announces partnership with the famous Russian Ballet Jewels De Bethune announces partnership with the famous Russian Ballet Jewels: 11 of the world's greatest ballet stars, 9 world-renowned choreographers, 7 legendary ballet companies, an exclusive selection of classical and contemporary ballet performances in one breathtaking program. 992 more words
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gramilano · 5 years
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Marianela Nuñez and Vadim Muntagirov, Sylvia, photo by Graham Spicer
Les Étoiles in Rome – Marianela Nuñez, Vadim Muntagirov, Olesya Novikova, Leonid Sarafanov, Maria Alexandrova, Vladislav Lantratov, Polina Semionova, Dmitry Semionov, Tatiana Melnik, Bakhtiyar Adamzhan, Nicoletta Manni, Sergio Bernal
A gala is a gala is a gala… too many bonbons leaving a slightly woozy sensation as the audience rises to its feet at the end. Daniele Cipriani’s annual galas in Rome manage to avoid that. In the 2019 edition was Don Quixote, yes, but there was also Polina Semionova and her brother Dmitry Semionov in Nacho Duato’s compelling Cello; there was Le Corsaire, but also the considered and passionate pas de deux “Nureyev and Fonteyn” from the Bolshoi’s controversial ballet Nureyev with the choreographer Yuri Possokhov’s originators of the roles dancing: Maria Alexandrova and Vladislav Lantratov.
Maria Alexandrova and Vladislav Lantratov, Fonteyn and Nureyev pas de deux from Nureyev, photo by Graham Spicer
Polina Semionova and Dmitry Semionov, Cello, photo by Graham Spicer
A pleasing mix of the known, the rarely seen and the new, with some of the world’s finest dancers. The evenings had a strong Russian slant, though several of the Russian dancers are now based elsewhere — Vadim Muntagirov in London, Polina Semionova in Berlin, Tatiana Melnik in Budapest — and with the usual generous share of Russian composers and choreographers too.
Two sold-out shows in Renzo Piano’s large Parco della Musica auditorium will be extended to three in January 2020 after this year’s success. Surprised by the enthusiastic applauding and cheering, a photographer, well-known for capturing especially Russian performances, commented that this sort of reception was almost unknown in Russia, and he was delighted by the excitement shown by the audience. Marianela Nuñez, though, only has to walk onstage to bring the house down. She is dearly loved and has danced in most of the Les Étoiles events since they began five years ago. Such is the power of the live cinema relays and DVDs from The Royal Ballet, because aside from Cipriani’s galas she has only danced The Sleeping Beauty (last September) in Rome, though she has become a regular at La Scala in Milan and a large Milanese contingent was present — literally a coachload. A couple sitting next to me had come all the way from Venice principally to see Alexandrova, and there was a group of excited fans who, judging from their accents, had arrived from Switzerland to see Olesya Novikova and Leonid Sarafanov.
Leonid Sarafanov, Grand Pas Classique, photo by Jack Devant
Olesya Novikova and Leonid Sarafanov, Grand Pas Classique, photo by Graham Spicer
Olesya Novikova and Leonid Sarafanov, Romeo and Juliet, photo by Graham Spicer
Maria Alexandrova and Vladislav Lantratov, La fille du pharaon, photo by Graham Spicer
The married pair performed the Grand Pas Classique with a combination of bravura and elegance, as well as the creaky Lavrovsky choreography of the Romeo and Juliet balcony scene which they brought off by their sheer belief in its style and the grand gesture. The other real-life couple, Alexandrova and Lantratov, brought detailed coordination to Pierre Lacotte’s tricky steps in his recreation of Petipa’s La fille du pharaon which was commissioned by the Bolshoi Theatre in 2000. The extract from the Nureyev ballet was one of the most anticipated parts of the evening. Extracts are apparently all that will be seen outside Moscow from this work which is “too big for other theatres”, at least that’s the excuse. Its premiere was postponed, ostensibly because it wasn’t ready to be seen by a paying public, though more probably it was because it depicted homosexuality, and indeed the homosexuality of a Russian dancer, on Moscow’s showcase stage in Vladimir Putin’s Russia. Awkward. The excerpt was charming in its simplicity yet managed to surprise with some unexpected and complex lift combinations. It flowed continually without ‘poses’ to an extract of Liszt’s music chosen by Ashton for his Marguerite and Armand ballet, created for Fonteyn and Nureyev. It’s worthy to be included in gala programmes.
Sergio Bernal, Zapateado de Sarasate, photo by Graham Spicer
Sergio Bernal, Swan, photo by Graham Spicer
Sergio Bernal, Swan, photo by Graham Spicer
Spain’s Sergio Bernal presented a crowd-pleasing Andalusian Zapateado de Sarasate with choreography by Antonio Ruiz Soler. A pause in the music, like a jazz break, let him ‘improvise’ flamenco footwork, building slowly to a dazzling finale which sent the audience into a frenzy. Bernal’s second piece couldn’t have been more different. Although using Saint-Saëns’ music, his Swan died in a very masculine, yet beautiful way, with Ricardo Cue’s well-judged choreography urging his exaggerated cambré then following on with the simplest of gestures — it was a moving performance.
So too was Semionova’s Dying Swan with Mikhail Fokine’s familiar choreography. She has a strong, broad physique but her death was heartrending and tender. Like Bernal, she seemed to be dying as much in her soul as in her body.
Polina Semionova, The Dying Swan, photo by Graham Spicer
Bakhtiyar Adamzhan was scheduled to dance the Diana and Actaeon and Don Quixote pas de deux with Tatiana Melnik. At times he’s a little rough at the edges in his approach, though he undoubtedly thrills with his fearless jumps and pyrotechnical tricks, and he has a stunningly high half-point. Melnik’s musical box ballerina proportions, controlled technique and beautiful legs and feet counterbalanced him nicely. However, he came in to his own with an added piece, due to a last-minute change of programme, which saw La Scala’s Nicoletta Manni scrambling down to Rome to join him for Le jeune homme et la mort. He is an intense actor, his tricks were those demanded by Roland Petit’s choreography, and he and Manni played well off each other and exuding a dangerous sexual tension. It was one of the highlights of the evening.
Tatiana Melnik and Bakhtiyar Adamzhan, Diana and Actaeon, photo by Graham Spicer
Bakhtiyar Adamzhan, Le jeune homme et la mort, photo by Graham Spicer
Nicoletta Manni, Le Jeune Homme et la Mort, photo by Jack Devant
Tatiana Melnik and Bakhtiyar Adamzhan, Don Quixote, photo by Graham Spicer
Tatiana Melnik, Don Quixote, photo by Graham Spicer
Bakhtiyar Adamzhan, Diana and Actaeon, photo by Jack Devant
Nuñez and Muntagirov danced Ashton’s pas de deux from Sylvia and the second act pas from Le Corsaire. Nuñez brought her habitual assuredness and aplomb to every moment with a majestic scenic presence surely enhanced by the audience’s adoration. Muntagirov was meant to have been her partner with Rome Opera Ballet for The Sleeping Beauty, but an indisposition saw Lantratov take over. Rome audiences now had the chance to see his elegant, pure lines and also his sparkling technical wizardry. His honest dancing makes him truly a dancer’s dancer and, as such, Nuñez’s equal. They have the necessary grandeur when they are dancing but always with human warmth at the core, generating the feeling that there’s a twinkle in their eyes just waiting for the right moment to appear.
Marianela Nuñez, Sylvia, photo by Graham Spicer
Vadim Muntagirov, Sylvia, photo by Jack Devant
Marianela Nuñez and Vadim Muntagirov, Le Corsaire, photo by Graham Spicer
Vadim Muntagirov, Le Corsaire, photo by Jack Devant
Les Étoiles in Rome – Nuñez, Muntagirov, Novikova, Sarafanov, Alexandrova, Lantratov, Semionova… Les Étoiles in Rome - Marianela Nuñez, Vadim Muntagirov, Olesya Novikova, Leonid Sarafanov, Maria Alexandrova, Vladislav Lantratov, Polina Semionova, Dmitry Semionov, Tatiana Melnik, Bakhtiyar Adamzhan, Nicoletta Manni, Sergio Bernal…
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marilynngmesalo · 5 years
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‘IT’S A NEW YEAR’S MIRACLE’: Russian baby rescued after nearly 36 hours in frozen rubble
‘IT’S A NEW YEAR’S MIRACLE’: Russian baby rescued after nearly 36 hours in frozen rubble ‘IT’S A NEW YEAR’S MIRACLE’: Russian baby rescued after nearly 36 hours in frozen rubble https://ift.tt/eA8V8J
MOSCOW — Labouring through sub-freezing temperatures, Russian rescue workers were digging into a sprawling heap of jagged rubble from a collapsed apartment building when one heard the faintest sound.
It was the sound of life.
On Tuesday, to everyone’s delight and surprise, they pulled a baby boy out of the rubble alive, nearly 36 hours after the disaster that blew apart his home. His father called it “a New Year’s miracle.”
The building collapse in the Russian city of Magnitogorsk before dawn Monday has killed at least nine people so far, and officials say 32 people who lived in the building have still not been accounted for.
The collapse followed an explosion that was believed to have been caused by a gas leak.
The boy, an 11-month-old named Ivan Fokin, was in extremely serious condition, officials said, with fractures, a head injury and suffering from hypothermia and frostbite after his ordeal in temperatures around minus 20 degrees Celsius (minus 4 degrees Fahrenheit).
He was flown to Moscow late Tuesday in a desperate attempt to save his life. He was in stable condition on arrival in the capital, the head of the national public health institute Vladimir Uiba was quoted as telling state news agency Tass.
Although Ivan’s prospects for survival appeared dire, “it’s a New Year’s miracle,” his father Yevgeny was quoted as saying by the RT satellite TV channel.
The father was at work when his wife phoned to say the building had collapsed. She escaped the rubble with a 3-year-old son, Russian news reports said.
“I was sleeping on the couch with my older son, hugging him and the young one was sleeping in his baby bed,” mother Olga Fokina said on Russian TV. “I and the older one fell down and quickly got out and I didn’t know what happened to the baby bed afterward.”
Rescue worker Pyotr Gritsenko said on Russian television that baby’s discovery came after one of the crew heard faint cries.
“They stopped all the equipment. He began to cry louder,” but the crew couldn’t find him, he said. A search dog was brought in and confirmed that someone was under the rubble, focusing the rescue effort.
The father said he helped rescuers dig in the rubble and “showed them a place where he approximately could be.”
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Regional governor Boris Dubrovsky was quoted as saying by the Interfax news agency that the child apparently had been protected by being in a crib and being wrapped warmly.
The rescue operation, aided by powerful heaters and lights, was continuing overnight into Wednesday in the city about 1,400 kilometres (870 miles) southeast of Moscow.
Russian President Vladimir Putin visited the accident site on Monday and went to a local hospital, where he spoke to a 13-year old-boy who had head injuries and frostbite after spending an hour under the rubble.
“You will get well soon, you are a fighter,” Putin told the boy, one of five people hospitalized from the building collapse.
Russian officials say the odds of finding anyone else alive in the debris look increasingly slim, given the extreme weather.
Late Tuesday, three people died in Magnitogorsk about two kilometres (1.2 miles) down the same street as the collapsed building when their passenger van exploded and caught fire. Police said the vehicle was carrying gas canisters.
In other Russian holiday disasters, seven people including a couple and their three children died in a house fire in the town of Orsk, 1,500 kilometres (900 miles) southeast of Moscow, Interfax reported. The fire early Tuesday is believed to have been caused by an electrical short-circuit, the report said.
In Moscow, the mayor fired the director of the city’s renowned Gorky Park after 13 people were injured when a wooden pedestrian bridge packed with New Year’s celebrants collapsed.
Video on Russian television showed a section of the bridge collapsing early Tuesday as the national anthem played on loudspeakers, marking the beginning of 2019. The park in central Moscow is a popular gathering place for the holiday.
The bridge, 350 metres (1,100 feet) long, runs along the park’s enormous outdoor ice rink.
Click for update news Bangla news http://bit.ly/2s4VPr1 world news
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vestnikra · 4 years
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Sepp Holzer is one of my favorite permaculturists. In his recent book, Desert or Paradise on two pages Sepp recommends the Fokin hoe (Russian flat-cutter or ploskorez Fokina). Vladimir Fokin is the name of the inventor of this tool. It does not look like much, but the great Sepp Holzer says it saves him loads of time, Please watch this video to see it in use: https://www.youtube.com/watch?v=JVct-bWc28M For details and to place an order click on the link: https://ecominded.net/garden-tools
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Baby found alive after nearly 36 hours in rubble of Russian apartment explosion
https://embed-prod.vemba.io/vemba-embed.js
MOSCOW — Laboring through sub-freezing temperatures, Russian rescue workers were digging into a sprawling heap of jagged rubble from a collapsed apartment building when one heard the faintest sound.
It was the sound of life.
On Tuesday, to everyone’s delight and surprise, they pulled a baby boy out of the rubble alive, nearly 36 hours after the disaster that blew apart his home. His father called it “a New Year’s miracle.”
The building collapse in the Russian city of Magnitogorsk before dawn Monday has killed at least nine people so far, and more than 30 people who lived in the building have still not been accounted for.
The collapse followed an explosion that was believed to have been caused by a gas leak.
The boy, an 11-month-old named Ivan Fokin, was in extremely serious condition, officials said, with fractures, a head injury and suffering from hypothermia after his ordeal in temperatures around minus 20 degrees Celsius (minus 4 degrees Fahrenheit).
He was flown to Moscow late Tuesday in a desperate attempt to save his life.
Although Ivan’s prospects for survival appeared dire, “it’s a New Year’s miracle,” his father Yevgeny was quoted as saying by the RT satellite TV channel.
The father was at work when his wife phoned to say the building had collapsed. She escaped the rubble with a 3-year-old son, Russian news reports said.
“I was sleeping on the couch with my older son, hugging him and the young one was sleeping in his baby bed,” mother Olga Fokina said on Russian TV. “I and the older one fell down and quickly got out and I didn’t know what happened to the baby bed afterward.”
Rescue worker Pyotr Gritsenko said on Russian television that baby’s discovery came after one of the crew heard faint cries.
“They stopped all the equipment. He began to cry louder,” but the crew couldn’t find him, he said. A search dog was brought in and confirmed that someone was under the rubble, focusing the rescue effort.
The father said he helped rescuers dig in the rubble and “showed them a place where he approximately could be.”
Regional governor Boris Dubrovsky was quoted as saying by the Interfax news agency that the child apparently had been protected by being in a crib and being wrapped warmly.
The rescue operation, aided by powerful heaters and lights, was continuing overnight into Wednesday in the city about 1,400 kilometers (870 miles) southeast of Moscow.
Russian President Vladimir Putin visited the accident site on Monday and went to a local hospital, where he spoke to a 13-year old-boy who had head injuries and frostbite after spending an hour under the rubble.
“You will get well soon, you are a fighter,” Putin told the boy, one of five people hospitalized from the building collapse.
Russian officials say the odds of finding anyone else alive in the debris look increasingly slim, given the extreme weather.
In a separate Russian holiday disaster, seven people including a couple and their three children died in a house fire in the town of Orsk, 1,500 kilometers (900 miles) southeast of Moscow, Interfax reported. The fire early Tuesday is believed to have been caused by an electrical short-circuit, the report said.
from FOX 4 Kansas City WDAF-TV | News, Weather, Sports https://fox4kc.com/2019/01/01/baby-found-alive-after-nearly-36-hours-in-rubble-of-russian-apartment-explosion/
from Kansas City Happenings https://kansascityhappenings.wordpress.com/2019/01/01/baby-found-alive-after-nearly-36-hours-in-rubble-of-russian-apartment-explosion/
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melmothblog · 7 years
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Sergei Vikharev, Russian danseur, choreographer and Mariinsky ballet master, has passed away at just 55. Rest in peace.
Graduated from the Leningrad Academic Vaganova Academy of Russian Ballet in 1980 (class of Vladilen Semyonov) and joined Leningrad’s Kirov Theatre of Opera and Ballet (now the Mariinsky Theatre). He was the first performer of roles in Oleg Vinogradov’s ballets The Knight in the Tiger’s Skin (Tsarevich Kajei), The Battleship Potemkin (Batman) and Pétrouchka (Pétrouchka). Also danced in the ballets La Sylphide (James), The Sleeping Beauty (Désiré), Chopiniana (the Youth), Giselle (Albrecht, Classical Duet), La Fille mal gardée (Colas), Symphony in C (III. Allegro vivace), Swan Lake (Neapolitan Dance, Friends of the Prince), Romeo and Juliet (Mercutio) and Napoli, or The Fisherman and His Bride (Gennaro, Grand pas variation) among others. Danced in ballets by Boris Eifman, Alexander Polubentsev and Vladimir Karelin. Appeared in performances with Alla Sigalova’s Independent Dance Company (The Queen of Spades, 1991; Cynics, 1996; and Yellow Tango, 1997).
From 1987-88 he coached the Donetsk State Academic Opera and Ballet Theatre (now the Solovyanenko Theatre).
Staged the ballet Leda and the Swan to music by Mahler (1995, Hermitage Theatre, St Petersburg) and the ballet scenes from Ponchielli’s opera La Gioconda (1997) at the Teatro Carlo Felice in Genoa (Italy).
From 1999-2006 he was Principal Ballet Master of the Novosibirsk Opera and Ballet Theatre where he staged productions of the following ballets:
The Sleeping Beauty (1996, choreography by Marius Petipa, revised version by Konstantin Sergeyev), 
The Nutcracker (1998, versions by Lev Ivanov, Vasily Vainonen and his own), 
Bournonville’s Conservatoire, or Caprices of a Ballet Master (1998, after August Bournonville, revised version by Elsa Marianne von Rosen), 
Giselle (1999, choreography by Jean Coralli, Jules Perrot, Marius Petipa), 
Coppélia (2001, revival of the Mariinsky Theatre’s 1894 production), 
Don Quixote (2003, after Alexander Gorsky and Fyodor Lopukhov), 
Michel Fokine’s ballets Chopiniana (2000), Polovtsian Dances from the opera Prince Igor (2000), Le Carnaval and Schéhérazade (2001); and
Dances in the opera Aida (2004, directed by Dmitry Chernyakov).
At the Mariinsky Theatre he has staged reconstructions of ballets including:
The Sleeping Beauty (1999, revival of Marius Petipa’s 1890 production), 
Pétrouchka (2000, revival of Michel Fokine’s production with designs by Alexandre Benois, revised by Leonid Leontiev), 
La Bayadère (2002, revival of Marius Petipa’s 1900 production), 
Le Réveil de Flore (2008, revival of Michel Fokine’s 1910 production with designs by Léon Bakst); and 
Le Carnaval (2008, revival of Michel Fokine’s production 1910 with designs by Léon Bakst); as well as 
Dances in the opera A Life for the Tsar (2004, directed by Dmitry Chernyakov).
Has staged Fokine’s ballets Chopiniana, Polovtsian Dances and Le Carnaval at the Kulyash Baiseitova National Opera and Ballet Theatre (Astana, 2006) and for the NBA Ballet (Tokyo, 2007). 
At the Bolshoi Theatre he has staged revivals of the Mariinsky Theatre’s 1894 production of Coppélia (choreography by Marius Petipa and Enrico Cecchetti, 2009). At the Teatro alla Scala in Milan he staged a production of Marius Petipa’s ballet Raymonda (2011).
Since 2007 he has been a ballet master and coach at the Mariinsky Theatre, working with Olesya Novikova and Andrei Arseniev.
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artemiykoch-blog · 6 years
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👒 ‘Никогда не будьте шляпой, замечайте чудеса’. Этот стритарт Павла Шугурова, не простой ‘ванадлизм’, а визуализация песни ‘Шляпа’ из х/ф ‘Смотрите, как красиво!’ приморского режиссера Владимира Сидоренко. 🎨 'Never be a hat, notice miracles'. This street art by Pavel Shugurov isn’t a simple 'vanadlism', but the visualization of the song 'The Hat' from the movie 'Look how beautiful!' directed by Vladimir Sidorenko. 💌 Адрес арт-объекта: Алеутская 29/31, Владивосток. ⚓ Address: Aleutskaya 29/31, Vladivostok. ……………… © http://artemiykoch.blogspot.com/ ……………… #StreetArt #СтритАрт #OutdoorArt #Street #Fokin #FokinStreet #PekinStreet #Shopping #Walking #Arbat #Арбат #Vladivostok #VladivostokVacation #Vladik #Владивосток #Владик #RulerOfTheEast #海参崴 #符拉迪沃斯托克 #浦塩 #ウラジオストク #ПриморскийКрай #PrimorskiyKrai #Приморье #Russia #Россия #Wanderlust #LoveToTravel ……………… CUT costs (as we do) USING: ✈ OTT (https://goo.gl/VUByU5), JR (https://goo.gl/EvzC4f), Etihad (https://goo.gl/pjKoij) for TICKETS~’билеты’; 🏩 Booking (https://goo.gl/tWBf5S) & HL (https://goo.gl/EtpGJD) for HOTELS~’отели’;det 🌏 MapsMe (https://goo.gl/hHU4zu) for SIGHTSEEING~’достопримечательности’; 👗 БутикРу (https://goo.gl/Jd2NkQ) for CLOTHES & SHOES~’одежда/обувь’; 🔪 AliEx (https://goo.gl/8k7fwp) for EQUIPMENT~’аксессуары’. 🔥TUI (https://goo.gl/ydN1sf) for ‘HOT TOURS’~‘горящие туры’. (at Ул. Фокина)
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