Maria Khoreva (ballet dancer public)
PAQUITA variation BACKSTAGE БОЛЬШОЙ БАЛЕТ 2020 - GRAND BALLET (big ballet) - day_3
updated
00:00 Balerina’s problems
01:14 Bad balance/turning days
04:17 Spending long time sewing pointe shoes but it dies instantly
06:14 Daily pain LMAO
10:01 Ankle injuries & Tendinites
12:17 Bones popping throughout random times of the day
13:37 Toe nails and just feel problems in general from pointe shoes
17:47 Being able to dance all day but getting tired after running 30 minutes
20:52 Body dysmorphia, eating
23:37 Organising life with dance
26:32 The repetitor keeps teaching even after rehearsal finished, but I’m too scared to say it’s time to go home
28:50 Should I keep my «perfect» pointe shoes for the rehearsal or should I wear them for class… I’ll be on my leg in class but then they are going to be too soft for rehearsals
29:47 Doing the bun with short hair
31:32 Doing good turns for practice, then no being able to do good in the exercise in front of the class
32:57 Stamina, literally so hard to keep going through the performance
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https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
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Piano by Ksenia Kolesnichenko
Mariinsky Theatre recording:
youtu.be/J3uL9KCEmuM
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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The crowd scenes of processions and dances of courtiers are mixed with a truly tender duet between Ferkhad and Shyrin which in turn resounds as a provocative contrast to the pitifully frenzied choreographic monologue of Mekhmeneh Bahnu. The scene of Mekhmeneh Bahnu’s pursuit of Ferkhad and Shyrin who have fled the palace to save their love is rhythmic and drama-filled. But the inner lives of the protagonists and the tortuous trials of the spirit that their love must endure are exposed in the trios of the entire three acts with Mekhmeneh Bahnu, Ferkhad and Shyrin: the action literally freezes and only the protagonists remain in the limelight.
The choreographic text of the ballet is based on classical productions. But the classical pas are as if seen through the prism of some oriental plot – the typical poses of the arms, the carrying dance motifs of Persian miniatures and the capricious ornamental script in the lace-like tracery of the Arabic alphabet. In 1961 this ballet restored symphonic dance to the Mariinsky Theatre, linking Grigorovich with the great master of the previous century – Marius Petipa, who created such grand dance and symphonic tableaux.
youtu.be/NxnNm34n5b4
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«Легенда о любви» в театре имени С. М. Кирова (ныне Мариинском) стала вторым по счету спектаклем молодого ленинградского балетмейстера Юрия Григоровича, спектаклем, изменившим его судьбу и судьбу советского балета. Как и «Каменный цветок» – свой первый спектакль на Кировской сцене, – «Легенду о любви» Григорович создал в содружестве с Симоном Вирсаладзе. Декорации художник выполнил в виде раскрытой старинной книги, страницы которой покрыты арабской вязью. Герои «Легенды» словно сходят к нам со страниц этой книги – гордая и беззаветно любящая царица Мехменэ Бану, своей небывалой красотой заплатившая за исцеление умирающей сестры Ширин, художник Ферхад, плененный юной и грациозной Ширин и отвергнувший любовь Мехменэ Бану…
Массовые сцены шествий и танцев придворных сменяются полным нежности дуэтом Ферхада и Ширин, который в свою очередь звучит вызывающим контрастом горестно-неистовому хореографическому монологу Мехменэ Бану. Драматична подчеркнутым ритмом сцена погони Мехменэ Бану за Ферхадом и Ширин, которые бежали из дворца, чтобы спасти свою любовь. А внутренняя жизнь героев и те мучительные испытания духа, через которые заставила их пройти любовь, раскрыты в скрепляющих три акта балета трио Мехменэ Бану, Ферхада и Ширин: действие словно останавливается и луч высвечивает на сцене только главных героев.
Хореографический текст спектакля основан на классике. Но классические па словно увидены сквозь призму ориентального сюжета – характерные позировки рук, варьирующие пластические мотивы персидских миниатюр, прихотливая вязь движений сродни кружеву букв арабского алфавита. В 1961 году этот балет вернул на сцену Мариинского театра симфонический танец, так роднивший Григоровича с мастером ушедшего столетия – Мариусом Петипа, автором больших танцевально-симфонических полотен.
youtu.be/NxnNm34n5b4
PERFORMERS
Conductor: Arseny Shuplyakov
Mekhmeneh Bahnu: Kristina Shapran
Ferkhad: Timur Askerov
Shyrin: Maria Khoreva
Vizier: Alexander Romanchikov
Ferkhad’s friends: Vyacheslav Gnedchik, Pavel Mikheyev, Ruslan Stenyushkin, Ramanbek Beishenaliev
Gold: Anastasia Gorbacheva
Jester: Vladislav Shumakov
CREDITS
Music by Arif Melikov
Libretto by Nazim Khikmet
Choreography by Yuri Grigorovich (1961)
Set, costume and lighting design: Simon Virsaladze
Lighting Adaptation for the Mariinsky II by Anton Nikolaev
https://www.mariinsky.ru/en/playbill/playbill/2022/4/30/1_1930/
mariakhoreva.com
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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Thank you to the showrunner and creator of the series @alexkisa
Thank you so much to the director @sangadzhiev thank you and my biggest love and respect to @allasigalova and thank you to the whole @rentavideostudio team. Can't wait to see our project.
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Скоро. Сериал "БАЛЕТ". Я играю Молодую Руту. После съемок было ощущение, что никогда не буду прежней, такой уж это был "крышесносный" опыт. Пришлось не только танцевать перед камерой, но и взаправду играть, а это тот еще стресс для непривыкшего организма, хочу вам сказать. Но стресс, смею надеяться, необычайно полезный! Теперь это все пойдет в огонь игры на балетной сцене.
Благодарю автора идеи и одного из шоураннеров проекта @alexkisa
Благодарю режиссера @sangadzhiev и невероятную @allasigalova и всю команду под руководством @rentavideostudio . Не терпится увидеть.
Весной эксклюзивно на @wink.russia
#балетсериал
@rentavideostudio
#студиявидеопрокат
#нмгстудия
#thekisa
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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Hello everyone! So it’s been long since I posted a ballet workout for arms and finally here’s an updated one! I’ve been doing this quick series of easy exercises every day during vacation and it kept my arms in shape for the beginning of the season. I see a lot of ballet arm workouts on the internet but most of them include weights while I’m more likely to do a weightless routine since ballet arms should be slim and airy!
So I hope you do this workout with me and enjoy it!
mariakhoreva.com
instagram.com/marachok
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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Some funny videos where you can feel the difference between ballerinas - girls and ballerinas - cats. Or it was a boy?
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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Finally I am uploading the video of ballet master class I gave in Diana Vishneva Context Studio in Saint-Petersburg in January. I tried to dub the sound in English for the viewing convenience. It was so fun to see myself transform into a serious and a bit angry teacher when I was giving the combinations and the corrections to the ladies in class! But I’m so grateful to everyone who came to this ballet class for being passionate and listening closely! The video turned out really long but it’s also really informative so I hope you enjoy watching it!
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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On the 11th of February we performed Don Quixote Pas de Deux at the Mariinsky Theatre. And in this video I'll be watching the video of us performing and giving some comments! Hope you enjoy!
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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I have put together a new selection of viral ballet tiktok for you, which I will watch and react to right now! I definitely didn't expect to see this! What do ballerinas shoot on TikTok that just amazed me? How useful and practical are their advices? You will definitely be surprised when you find out the whole truth! But there were also videos that made me laugh a lot! So watch this video from start to finish to find out all about ballet TikTok in 2022 and 2023 and see my various reactions to it!
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instagram.com/marachok
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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Can a pro dancer repeat the exercises of a professional ballerina? Ballet and dance, it would seem, are similar directions, but there are a lot of differences in it! At least the dancers and ballerinas have completely different physical training! This is a challenge video with a real ballerina and a real dancer. Will a professional ballerina be able to perform all the dancer's exercises, and vice versa, will a professional dancer be able to repeat the ballerina's exercises? Watch this video from start to finish because no one expected this!
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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Today's video is the most important. My last performance at the Mariinsky was at the 5th of May and than I had to skip more than 8 months because I was seriously injured. On the 27th of January I returned to the stage of my beloved Theatre and it was the most anticipated thing and the happiest moment in my life. In this video I share with you the recording of my first performance after a break and also a few thoughts on it...
00:00 Intro
00:35 Concerto DSCH
07:04 Outro
Maria Khoreva, Konstantin Zverev
Elena Yevseyeva, Alexander Sergeev, Alexei Timofeyev
Conductor: Arseny Shuplyakov
Piano: Philipp Kopachevsky
CREDITS
Music by Dmitry Shostakovich
Lighting Designer: Mark Stanley
Costume Designer: Holly Hynes
Adaptation of the Lighting Design for the historic Mariinsky Theatre by Igor Karmanov
Premiere – 29 May 2008, New York City Ballet, New York State Theater
Premiere at the Mariinsky Theatre: 4 July 2013
Running time: 20 minutes
https://www.mariinsky.ru/en/playbill/playbill/2023/1/27/2_1900/?sid=50801
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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How well can novice ballerinas repeat the exercises of a professional ballerina? Ballet is a tough sport, and we have to admit that becoming a ballerina is quite difficult, it requires patience and effort. However, what happens if we take non-professional ballerinas who try to repeat the exercises after an experienced ballerina? Some of the people in this video may shock you, so we recommend watching this video from beginning to end to find out what can happen to beginners if they start doing heavy ballet exercises!
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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In this video I'm trying a new format - reacting to myself teaching at a masterclass. So recently I had a Zoom class with Masters Ballet Academy students on making Arabesque better and improving Back Elasticity and Mobility. I enjoyed the process a lot but will I enjoy watching myself demonstrating all of the exercises and making corrections? Or will it be very cringey? Watch this video to find out how I did and how the students did as well as to see some of the deeper explanations of certain exercises and the stories of how they appeared in my life.
Thanks a lot to Russian Masters Ballet and Asia Lukmanova for the opportunity to give the master class and spend this wonderful time with students! russianmastersballet.com
mariakhoreva.com
instagram.com/marachok
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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In this video I will be reacting to my old ballet videos! How did I perform on stage before, how confident was I in front of the audience? Yes, I am incredibly embarrassed to watch these videos now, because then I was completely different and inexperienced! Being a ballerina is quite difficult, and everyone started somewhere. And I am no exception. And today I will watch my old videos when I just started to be a ballerina! If you want to know how my journey as a real ballerina began, then watch this video from start to finish!
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youtube.com/mariakhoreva
en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
nike.com
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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DONATE if you want buy.stripe.com/aEUcN85iz4RpfjWfYY
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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DONATE if you want buy.stripe.com/aEUcN85iz4RpfjWfYY
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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За мою прекрасную пачку Китри спасибо умелым рукам Евгении Брандт!
Thanks to the skillful hands of Evgenia Brandt for my beautiful Kitri tutu!
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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DONATE if you want buy.stripe.com/aEUcN85iz4RpfjWfYY
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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DONATE if you want buy.stripe.com/aEUcN85iz4RpfjWfYY
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
nike.com
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Thanks a lot to Russian Masters Ballet and Asia Lukmanova for the opportunity to give the master class and spend this wonderful time with students! russianmastersballet.com
You will definitely be shocked when you see the exercises from this workout! How can they be repeated? However, there are exercises that are useful for every ballerina to do! But what are these exercises, and how exactly do they develop flexibility? Be sure to watch this video from start to finish to find out how many exercises from this extreme workout you can repeat, how they develop flexibility, and whether professional ballerinas can pass this workout!
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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TONE your ABS in 9 minutes WORKOUT with Maria Khoreva on Sea Shore
In this quick ballet workout session which we did by the seaside we’re toning our abs using my favourite exercises. Doing the workout in the morning during vacation felt so good and so right! So I hope you guys also enjoy the routine and complete it together with us!
P.S. Thanks so much Sonya for joining!
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
nike.com
youtube.com/user/nike
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DONATE if you want buy.stripe.com/aEUcN85iz4RpfjWfYY
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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I have put together a selection of viral ballet tiktoks for you, which I will watch right now! I definitely did not expect to see this! What do ballerinas shoot on tiktok that just surprised me? To what extent are their tips useful and applicable in practice? You will find answers to these and many other questions in this video! So watch this video from start to finish to learn all about ballet tiktok in 2022 and see my reaction to it, hope you enjoy!
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
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Giselle is arguably the most mystical ballet in the repertoire today. Let’s start with the fact that its libretto is based on a fantastical story about a love that overcomes the barriers between two worlds. It is a story in which the young heroine, dying from a broken heart, mysteriously hears the call of ghosts tempting her to join their round dance, and having become one of them she saves the lover who betrayed her. In the era of romanticism, the apogee of searches in ballet came with Giselle which was created in 1841, and tales of other worlds were well familiar to audiences. Giselle, too, was an ideal embodiment of a romantic dual world where the living energy in scenes from real life in Act I is contrasted with the bewitching incorporeality of the dance of the wilis in Act II. It was not without the influence of this popular production that that the subsequent ballet repertoire was enriched with different shadows, nymphs and other inhabitants of visions. Besides the plot, the history of the ballet is also full of enigmatic transformations. These transformations may not always be mystical, often they are easily explicable in terms of logic, but they are reminiscent of a detective investigation as an attempt to establish those who created the ballet and their share of the input into creating the masterpiece Giselle, and they have ensured the fame of this incredibly mysterious ballet.
Even before the premiere there were legends surrounding the ballet, conceived by the fashionable Parisian news-maker, the litterateur Théophile Gautier, the popular and handsome dancer Lucien Petipa who rehearsed at the Opéra de Paris and the rising star of the ballet world Carlotta Grisi. The success of the dances, ascribed on Paris playbills to the choreographer Jean Coralli, brought Giselle to theatres in cities throughout Europe, including St Petersburg. Over time, in St Petersburg the choreographer Marius Petipa revised these dances to suit his own taste. The production today remains Petipa’s version. In the early 20th century it was performed by St Petersburg dancers in Diaghilev’s company in Paris, where by that time people had already forgotten about the erstwhile incredible glory of this masterpiece. The transformed Giselle once again enchanted audiences. And later researchers wove a story of a romantic relationship into the story of the romantic production, surmising that the creation of the ballet in Paris had included the involvement of Jules Perrot, the husband of the first performer of the title role, known to many from – alas – now lost productions. The list of choreographers who created Giselle brought together three great masters. And the transformation of the surname of the ballet’s composer Adolphe Adam to “Adan” on Soviet playbills continued the train of intriguing metamorphoses of Giselle.
In the 20th century the St Petersburg blueprint of Giselle came to be in great demand and a venerable guest production at many theatres across the globe. A greeting from the age of romanticism, this ballet has come to be an encyclopaedia of performance skill. Judging by interpretations of the lead roles offered by outstanding dancers from different countries and generations, one can study the dynamism of artistic trends and aesthetic preferences of different times. For many performers this production has been an exam of their capacity as an actor, and for a second century now audiences are captivated by the touching and dramatic story of a great love, told using the ideal harmony of classical dance.
Olga Makarova
#shorts
https://www.mariinsky.ru/en/playbill/playbill/2021/5/23/1_1900/
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https://www.mariinsky.ru/en/playbill/playbill/2020/2/23/2_1900/
SYNOPSIS
Prologue
The King and Queen are celebrating the birth of their daughter, Princess Aurora. The Lilac Fairy and her attendants appear to the gentle sounds of harps and violins. The good fairies – the Tender Fairy, the Playful Fairy, the Generous Fairy, the Brave Fairy and the Carefree Fairy – all arrive. Each has brought a gift for the new-born Princess. Terrified servants announce that Carabosse, the evil fairy, is on her way. The old and ugly Carabosse draws up in her chariot, driven by monsters and mice. She is furious that they forgot to invite her to the ball. Carabosse calls forth a vision of the young Aurora and says she will prick her finger on a spindle and die.
The Lilac Fairy drives Carabosse from Aurora’s cradle and promises to protect the Princess. Good has won this battle against Evil. Carabosse leaves the palace, fuming and enraged. In order to prevent the tragedy foretold by the evil witch, the King issues a command forbidding the use of spindles in his kingdom on pain of death.
Act I
Princess Aurora is now sixteen. The palace is filled with guests. The suitors are presented to Aurora. She is kind to them all and dances with each of them, without bestowing her favour on any particular one.
An old woman with a bouquet of roses approaches the Princess. Aurora takes the bouquet and dances a waltz. Suddenly, pricking her finger, the Princess falls, senseless. A sharp needle was hidden amidst the flowers. Everyone is grief-stricken. At this instant, the old woman’s cloak slips from her shoulders.
It is the evil Carabosse, in triumph. Drawing their swords, the suitors throw themselves upon her, but the witch disappears. Aurora’s protectress the Lilac Fairy appears. She is unable to undo Carabosse’s evil spell, but she can soften its effect. “Aurora is not dead-she is merely asleep,” says the good fairy, and with a wave of her magic wand sends the entire kingdom into a one-hundred-year’s slumber. The grounds become overgrown with lilac bushes, hiding the castle deep in a forest.
Act II
Scene I
One hundred years have passed. Prince Désiré is hunting in the woods with his friends and retinue.
Once he is alone, the Lilac Fairy appears before him. She calls forth Aurora’s image. The Prince is captivated and reaches out to her, but Aurora, dancing in the midst of the spirits, moves away and disappears. The Prince desperately wishes to see her again.
Together with the Lilac Fairy, Prince Désiré sails towards the sleeping castle. They are surrounded by the silent forest. The towers of the royal castle can be seen through the dense wood.
Scene II
The overgrown park is inhabited only by the evil Carabosse and her attendants. They bar the way to all who attempt to enter the sleeping kingdom. Suddenly, they hear sounds indicating that the Lilac Fairy is approaching. Carabosse is powerless before her.
In the meantime, Désiré has already reached the walls of the royal castle.
Looking for the Princess, he hurriedly passes by the sleeping court. He approaches the couch where Aurora lies in a deep sleep.
Désiré wakens the sleeping beauty with a passionate kiss. The whole kingdom awakes with her. Aurora and Désiré feel all the passion of first love.
Enchanted by Aurora’s beauty and charm, the Prince asks the King and Queen for their daughter’s hand.
Act III
Aurora and Désiré’s magnificent wedding is being celebrated at the palace.
The many guests include characters from fairytales. There is Bluebird and his wives, Princess Florine and the Bluebird, Puss in Boots and the White Cat, Little Red Riding Hood and the Wolf and Hop O’My Thumb and his brothers, with the Ogre chasing them. Cinderella runs by, losing her slipper. Prince Fortuné picks it up.
The Diamond Fairy, the Sapphire Fairy, the Golden Fairy and the Silver Fairy come to congratulate Aurora and Désiré.
Aurora and Désiré, the radiant newly-weds, perform a festive duet.
Apotheosis
General rejoicing. The fountains are playing. The Lilac Fairy, symbolising the eternal triumph and victory of Good, rises above the gushing cascade.
This video was recorded and prepared by Alina Khanko https://ahanko.ru/, @alinakhanko
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https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
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00:00 BALLET CLASS
00:27 1. warm up
02:58 2. plié
08:42 3. tendu first position
11:44 4. tendu second position
14:05 5. jeté
16:13 6. second jeté
18:45 7. par terre
24:08 8. fondu
27:30 9. en l’air
30:17 10. frappé
32:56 11. adagio
36:44 12. grand battement
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SYNOPSIS
Prologue
The King and Queen are celebrating the birth of their daughter, Princess Aurora. The Lilac Fairy and her attendants appear to the gentle sounds of harps and violins. The good fairies – the Tender Fairy, the Playful Fairy, the Generous Fairy, the Brave Fairy and the Carefree Fairy – all arrive. Each has brought a gift for the new-born Princess. Terrified servants announce that Carabosse, the evil fairy, is on her way. The old and ugly Carabosse draws up in her chariot, driven by monsters and mice. She is furious that they forgot to invite her to the ball. Carabosse calls forth a vision of the young Aurora and says she will prick her finger on a spindle and die.
The Lilac Fairy drives Carabosse from Aurora’s cradle and promises to protect the Princess. Good has won this battle against Evil. Carabosse leaves the palace, fuming and enraged. In order to prevent the tragedy foretold by the evil witch, the King issues a command forbidding the use of spindles in his kingdom on pain of death.
Act I
Princess Aurora is now sixteen. The palace is filled with guests. The suitors are presented to Aurora. She is kind to them all and dances with each of them, without bestowing her favour on any particular one.
An old woman with a bouquet of roses approaches the Princess. Aurora takes the bouquet and dances a waltz. Suddenly, pricking her finger, the Princess falls, senseless. A sharp needle was hidden amidst the flowers. Everyone is grief-stricken. At this instant, the old woman’s cloak slips from her shoulders.
It is the evil Carabosse, in triumph. Drawing their swords, the suitors throw themselves upon her, but the witch disappears. Aurora’s protectress the Lilac Fairy appears. She is unable to undo Carabosse’s evil spell, but she can soften its effect. “Aurora is not dead-she is merely asleep,” says the good fairy, and with a wave of her magic wand sends the entire kingdom into a one-hundred-year’s slumber. The grounds become overgrown with lilac bushes, hiding the castle deep in a forest.
Act II
Scene I
One hundred years have passed. Prince Désiré is hunting in the woods with his friends and retinue.
Once he is alone, the Lilac Fairy appears before him. She calls forth Aurora’s image. The Prince is captivated and reaches out to her, but Aurora, dancing in the midst of the spirits, moves away and disappears. The Prince desperately wishes to see her again.
Together with the Lilac Fairy, Prince Désiré sails towards the sleeping castle. They are surrounded by the silent forest. The towers of the royal castle can be seen through the dense wood.
Scene II
The overgrown park is inhabited only by the evil Carabosse and her attendants. They bar the way to all who attempt to enter the sleeping kingdom. Suddenly, they hear sounds indicating that the Lilac Fairy is approaching. Carabosse is powerless before her.
In the meantime, Désiré has already reached the walls of the royal castle.
Looking for the Princess, he hurriedly passes by the sleeping court. He approaches the couch where Aurora lies in a deep sleep.
Désiré wakens the sleeping beauty with a passionate kiss. The whole kingdom awakes with her. Aurora and Désiré feel all the passion of first love.
Enchanted by Aurora’s beauty and charm, the Prince asks the King and Queen for their daughter’s hand.
Act III
Aurora and Désiré’s magnificent wedding is being celebrated at the palace.
The many guests include characters from fairytales. There is Bluebird and his wives, Princess Florine and the Bluebird, Puss in Boots and the White Cat, Little Red Riding Hood and the Wolf and Hop O’My Thumb and his brothers, with the Ogre chasing them. Cinderella runs by, losing her slipper. Prince Fortuné picks it up.
The Diamond Fairy, the Sapphire Fairy, the Golden Fairy and the Silver Fairy come to congratulate Aurora and Désiré.
Aurora and Désiré, the radiant newly-weds, perform a festive duet.
Apotheosis
General rejoicing. The fountains are playing. The Lilac Fairy, symbolising the eternal triumph and victory of Good, rises above the gushing cascade.
This video was recorded and prepared by Alina Khanko https://ahanko.ru/, @alinakhanko
DONATE if you want paypal.me/MARIAKHOREVA
mariakhoreva.com
instagram.com/marachok
youtube.com/mariakhoreva
en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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SYNOPSIS
Prologue
The King and Queen are celebrating the birth of their daughter, Princess Aurora. The Lilac Fairy and her attendants appear to the gentle sounds of harps and violins. The good fairies – the Tender Fairy, the Playful Fairy, the Generous Fairy, the Brave Fairy and the Carefree Fairy – all arrive. Each has brought a gift for the new-born Princess. Terrified servants announce that Carabosse, the evil fairy, is on her way. The old and ugly Carabosse draws up in her chariot, driven by monsters and mice. She is furious that they forgot to invite her to the ball. Carabosse calls forth a vision of the young Aurora and says she will prick her finger on a spindle and die.
The Lilac Fairy drives Carabosse from Aurora’s cradle and promises to protect the Princess. Good has won this battle against Evil. Carabosse leaves the palace, fuming and enraged. In order to prevent the tragedy foretold by the evil witch, the King issues a command forbidding the use of spindles in his kingdom on pain of death.
Act I
Princess Aurora is now sixteen. The palace is filled with guests. The suitors are presented to Aurora. She is kind to them all and dances with each of them, without bestowing her favour on any particular one.
An old woman with a bouquet of roses approaches the Princess. Aurora takes the bouquet and dances a waltz. Suddenly, pricking her finger, the Princess falls, senseless. A sharp needle was hidden amidst the flowers. Everyone is grief-stricken. At this instant, the old woman’s cloak slips from her shoulders.
It is the evil Carabosse, in triumph. Drawing their swords, the suitors throw themselves upon her, but the witch disappears. Aurora’s protectress the Lilac Fairy appears. She is unable to undo Carabosse’s evil spell, but she can soften its effect. “Aurora is not dead-she is merely asleep,” says the good fairy, and with a wave of her magic wand sends the entire kingdom into a one-hundred-year’s slumber. The grounds become overgrown with lilac bushes, hiding the castle deep in a forest.
Act II
Scene I
One hundred years have passed. Prince Désiré is hunting in the woods with his friends and retinue.
Once he is alone, the Lilac Fairy appears before him. She calls forth Aurora’s image. The Prince is captivated and reaches out to her, but Aurora, dancing in the midst of the spirits, moves away and disappears. The Prince desperately wishes to see her again.
Together with the Lilac Fairy, Prince Désiré sails towards the sleeping castle. They are surrounded by the silent forest. The towers of the royal castle can be seen through the dense wood.
Scene II
The overgrown park is inhabited only by the evil Carabosse and her attendants. They bar the way to all who attempt to enter the sleeping kingdom. Suddenly, they hear sounds indicating that the Lilac Fairy is approaching. Carabosse is powerless before her.
In the meantime, Désiré has already reached the walls of the royal castle.
Looking for the Princess, he hurriedly passes by the sleeping court. He approaches the couch where Aurora lies in a deep sleep.
Désiré wakens the sleeping beauty with a passionate kiss. The whole kingdom awakes with her. Aurora and Désiré feel all the passion of first love.
Enchanted by Aurora’s beauty and charm, the Prince asks the King and Queen for their daughter’s hand.
Act III
Aurora and Désiré’s magnificent wedding is being celebrated at the palace.
The many guests include characters from fairytales. There is Bluebird and his wives, Princess Florine and the Bluebird, Puss in Boots and the White Cat, Little Red Riding Hood and the Wolf and Hop O’My Thumb and his brothers, with the Ogre chasing them. Cinderella runs by, losing her slipper. Prince Fortuné picks it up.
The Diamond Fairy, the Sapphire Fairy, the Golden Fairy and the Silver Fairy come to congratulate Aurora and Désiré.
Aurora and Désiré, the radiant newly-weds, perform a festive duet.
Apotheosis
General rejoicing. The fountains are playing. The Lilac Fairy, symbolising the eternal triumph and victory of Good, rises above the gushing cascade.
This video was recorded and prepared by Alina Khanko https://ahanko.ru/, @alinakhanko
DONATE if you want paypal.me/MARIAKHOREVA
mariakhoreva.com
instagram.com/marachok
youtube.com/mariakhoreva
en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
These videos would not have been possible without the great company Nike, whose clothes and sneakers I do all my workouts in.
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Olga Makarova
https://www.mariinsky.ru/en/playbill/...
CREDITS
Music by Alexander Glazunov
Libretto by Lidia Pashkova and Marius Petipa based on a medieval legend
Choreography by Marius Petipa (1898), revised version by Konstantin Sergeyev (1948)
with choreographic fragments by Fyodor Lopukhov
Set and costume design by Simon Virsaladze
SYNOPSIS
ACT I
Scene 1
Preparations for Raymonda’s birthday celebrations are underway in a grand medieval castle.
The seneschal announces the arrival of foreign nobles. René de Brienne from Hungary enters the hall together with other knights and armour-bearers. He asks for the fair Raymonda’s hand in marriage on his son’s behalf and presents her with a tapestry portrait depicting Jean de Brienne.
The seneschal barely manages to announce the arrival of other guests when Abderakhman, a Saracen sheikh, decisively enters the hall. He is unable to tear his eyes away from the beauty he sees and resolves to do anything in order to have her.
The party lasts late into the night. Alone and exhausted, Raymonda sits down in a chair and falls asleep...
Scene 2
(Raymonda’s Dream)
Raymonda dreams that the tapestry portrait comes to life; the handsome young knight draws her to himself and leads her into a castle.
Raymonda is enchanted with this beautiful world, one she has never seen before. The castle suddenly disappears, however, and in its place stands a desert tent...
Scene 3
(Raymonda’s Dream)
... The Saracen sheikh appears before Raymonda. He is gloomy and threatening and pursues her. Overcome, Raymonda falls, unconscious...
Scene 4
... Waking up, Raymonda can’t understand where she is. Her eyes catch the little Arabs presented to her by Abderakhman: they revive in her memory the image of the Saracen sheikh. A ray of sunlight touches the portrait of Jean de Brienne. So it was just a dream!
ACT II
Scene 5
The inner courtyard of the castle. Guests arrive from various countries to take part in the wedding festivities. Raymonda impatiently awaits the arrival of Jean de Brienne, but Abderakhman approaches her again and again with his passionate and ardent declarations of love. He promises her inestimable riches and supreme control of his lands, anything she desires! Having been refused, Abderakhman and his retinue attempt to abduct Raymonda, but his path is barred by Jean de Brienne. He challenges the sheikh to a duel and Abderakhman dies, slain by the knight’s sword. Raymonda welcomes her groom.
ACT III
Scene 6
Raymonda and Jean de Brienne are happy. The castle celebrates their marriage in an explosion of merriment.
This video was recorded and prepared by Alina Khanko https://ahanko.ru/, @alinakhanko
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My music playlist for this video:
youtube.com/playlist?list=PLDIRxBanTTjehDfeinjdyzofzPsjniUZx
No. 1 - youtu.be/b5ot2dMV4xA - for BEGINNERS
No. 2 - youtu.be/WEx3r0HY9Dg - INTERMEDIATE level
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youtube.com/playlist?list=PLDIRxBanTTjehDfeinjdyzofzPsjniUZx
00:00 INTRO
01:44 FULL BODY LOW IMPACT INTERMEDIATE workout
20:39 OUTRO
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
youtube.com/playlist?list=PLDIRxBanTTjehDfeinjdyzofzPsjniUZx
00:00 INTRO
01:54 FULL BODY LOW IMPACT workout
10:57 OUTRO
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БАЛЕРИНА Мария Хорева - Этот фильм был сделан Санкт-Петербургским каналом "78" и вышел в эфир в конце прошлого года, после чего был выложен на их YouTube канале. Канал также выпустил англоязычную версию фильма и она была выложена на моем YouTube канале. Но, как оказалось, некоторые из подписчиков не смогли найти русскоязычный фильм и попросили его выложить на моем канале - что я и делаю.
Спасибо нашему Питерскому телевидению и его великолепным профессионалам:
- студии "Васильевский остров";
- продюсеру Алексею Васильеву;
- режиссеру Евгении Гончар.
2022©
Официальный сайт телеканала "78": https://78.ru/
DONATE if you want paypal.me/MARIAKHOREVA - Мария Хорева, балерина
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en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
If you have a YouTube channel or ever wanted to start one, I couldn't recommend @TubeBuddy any higher. It's an amazing service to help optimize, manage and grow your channel. Free to install at https://www.tubebuddy.com.
- Гран Па из балета Людвига Минкуса "Талисман"
- Grand Pas from Ludwig Minkus ballet "Talisman"
In a word, it was a real dream concert: the program was surprising, and the stage was crowded. In total, more than 90 dancers took part in the enchanting celebration of choreographic art, of which 20 are absolute world stars.
Гала Dance Open'2021 многие назвали самым эмоциональным и самым счастливым за последние годы. Роскошным, потому что роскошь танца – в его безудержности. Зажигательным – ибо он не только осветил, но и согрел в разгар карантина. Долгожданным, поскольку все – и артисты, и зрители – так устали от пандемии и истосковались по живому театру! А еще – контрастным, концентрированным, мощным, впечатляющим, смелым...
Одним словом, это был настоящий концерт мечты: в программе было сюрпризно, а на сцене – многолюдно. Всего в феерическом празднике хореографического искусства приняли участие свыше 90 танцовщиков, из которых 20 – абсолютные мировые звезды.
danceopen.com/ru/xxi-season-dance-open/gala-2021-video
vk.com/dance_open
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https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
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PERFORMERS
Conductor: Gavriel Heine
Paquita: Maria Khoreva
Andrés: Kimin Kim
Cristina: Alexandra Khiteeva
Carducha: Tatiana Tkachenko
Young Gypsy Man: Nail Yenikeyev
Clemente: Yevgeny Konovalov
Paquita’s Friends: Yana Selina, Anastasia Nuikina, Anastasia Nikitina, May Nagahisa
Students of the Vaganova Academy of Russian Ballet
https://www.mariinsky.ru/en/playbill/playbill/2021/11/18/1_1930/
CREDITS
Music by Édouard Deldevez, Ludwig Minkus and Riccardo Drigo
Libretto by Yuri Smekalov
Choreography: Yuri Smekalov
Reconstruction and staging of Marius Petipa's choreography (Act III Grand Pas): Yuri Burlaka
Production Designer: Andrei Sevbo
Lighting Designer: Konstantin Binkin
Costume Designer: Elena Zaitseva
Conductors: Valery Ovsyanikov, Gavriel Heine
Music edited by Yuri Smekalov
ABOUT THE PRODUCTION
Continuing to revive titles that are significant for the playbill of St Petersburg ballet, the Mariinsky Theatre is presenting a new version of Paquita. This is not a revival of the 19th century production, created in Paris by the ballet-master Joseph Mazilier and which was performed in St Petersburg from 1847 with choreography by Marius Petipa. Choreographer Yuri Smekalov is working on a new three-act ballet using his own libretto based on the plot of the novella La gitanilla by Cervantes. The basis of the score of the new ballet comprises music by Édouard Deldevez that was composed for the Paris premiere of Paquita in 1846. Yet today this one-and-a-half-century-old opus will sound different: the order of the numbers has changed, several of them have been re-orchestrated and, moreover, Deldevez' score has been added to by excerpts from works by Minkus and Drigo. The famous wedding Grand pas staged by Marius Petipa to music by Minkus, which triumphantly crowned the plot of the St Petersburg production, will occupy its place of honour in the new ballet, too. This parade of classical dance that demonstrates the skill of the corps de ballet and the virtuoso qualities of the ballerina and the soloists appeared in the 1881 production, and as an independent piece, unconnected with the ballet's plot, it has survived to this day. It is true that over the decades Petipa's choreographic text has undergone many changes. In the contemporary Paquita, the Grand pas will be included in a version brought close to the historic original – Yuri Burlaka is reviving Petipa's choreography using surviving records of the production from the early 20th century. The new ballet, which combines dances and scenes created by Yuri Smekalov, together with historic rarities, will be a hommage to the golden age of classical ballet, a mark of respect and gratitude of the new ballet generation to the aesthetics of the unsurpassed master of classicism – Marius Petipa.
DONATE if you want paypal.me/MARIAKHOREVA
mariakhoreva.com
instagram.com/marachok
youtube.com/mariakhoreva
en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
If you have a YouTube channel or ever wanted to start one, I couldn't recommend @TubeBuddy any higher. It's an amazing service to help optimize, manage and grow your channel. Free to install at https://www.tubebuddy.com.
PERFORMERS
Conductor: Gavriel Heine
Paquita: Maria Khoreva
Andrés: Kimin Kim
Cristina: Alexandra Khiteeva
Carducha: Tatiana Tkachenko
Young Gypsy Man: Nail Yenikeyev
Clemente: Yevgeny Konovalov
Paquita’s Friends: Yana Selina, Anastasia Nuikina, Anastasia Nikitina, May Nagahisa
Students of the Vaganova Academy of Russian Ballet
https://www.mariinsky.ru/en/playbill/playbill/2021/11/18/1_1930/
CREDITS
Music by Édouard Deldevez, Ludwig Minkus and Riccardo Drigo
Libretto by Yuri Smekalov
Choreography: Yuri Smekalov
Reconstruction and staging of Marius Petipa's choreography (Act III Grand Pas): Yuri Burlaka
Production Designer: Andrei Sevbo
Lighting Designer: Konstantin Binkin
Costume Designer: Elena Zaitseva
Conductors: Valery Ovsyanikov, Gavriel Heine
Music edited by Yuri Smekalov
ABOUT THE PRODUCTION
Continuing to revive titles that are significant for the playbill of St Petersburg ballet, the Mariinsky Theatre is presenting a new version of Paquita. This is not a revival of the 19th century production, created in Paris by the ballet-master Joseph Mazilier and which was performed in St Petersburg from 1847 with choreography by Marius Petipa. Choreographer Yuri Smekalov is working on a new three-act ballet using his own libretto based on the plot of the novella La gitanilla by Cervantes. The basis of the score of the new ballet comprises music by Édouard Deldevez that was composed for the Paris premiere of Paquita in 1846. Yet today this one-and-a-half-century-old opus will sound different: the order of the numbers has changed, several of them have been re-orchestrated and, moreover, Deldevez' score has been added to by excerpts from works by Minkus and Drigo. The famous wedding Grand pas staged by Marius Petipa to music by Minkus, which triumphantly crowned the plot of the St Petersburg production, will occupy its place of honour in the new ballet, too. This parade of classical dance that demonstrates the skill of the corps de ballet and the virtuoso qualities of the ballerina and the soloists appeared in the 1881 production, and as an independent piece, unconnected with the ballet's plot, it has survived to this day. It is true that over the decades Petipa's choreographic text has undergone many changes. In the contemporary Paquita, the Grand pas will be included in a version brought close to the historic original – Yuri Burlaka is reviving Petipa's choreography using surviving records of the production from the early 20th century. The new ballet, which combines dances and scenes created by Yuri Smekalov, together with historic rarities, will be a hommage to the golden age of classical ballet, a mark of respect and gratitude of the new ballet generation to the aesthetics of the unsurpassed master of classicism – Marius Petipa.
DONATE if you want paypal.me/MARIAKHOREVA
mariakhoreva.com
instagram.com/marachok
youtube.com/mariakhoreva
en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
If you have a YouTube channel or ever wanted to start one, I couldn't recommend @TubeBuddy any higher. It's an amazing service to help optimize, manage and grow your channel. Free to install at https://www.tubebuddy.com.
02:54 - workout itself
In this workout we’re going to do my favorite exercises that are quite helpful in ballet in my opinion but we’re also doing no breaks in between the exercises which makes the routine much more intense and improves the stamina! Hope you enjoy!
DONATE if you want paypal.me/MARIAKHOREVA
mariakhoreva.com
instagram.com/marachok
youtube.com/mariakhoreva
en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
If you have a YouTube channel or ever wanted to start one, I couldn't recommend @TubeBuddy any higher. It's an amazing service to help optimize, manage and grow your channel. Free to install at https://www.tubebuddy.com.
My friend said to me after watching this film: "It allows us to observe the fascinating world of ballet from within, as the dancers see it which to me is wonderful." Exactly in this I see the meaning of the work done: to make ballet at least a little closer to at least one person. And if there are ten such people, I will be happy.
Thanks to our St. Petersburg television and its excellent professionals:
- production studio "Vasilyevsky island";
- producer Alexei Vasiliev;
- director Evgenia Gonchar.
2022©
Official website of the TV channel "78": https://78.ru/
Мой друг сказал мне после просмотра этого фильма: "он позволяет нам наблюдать за увлекательным миром балета изнутри, как его видят танцоры". В этом и есть для меня смысл проделанной работы: сделать балет хоть чуточку ближе хотя бы одному человеку. А если таких людей будет десять - я буду счастлива.
Спасибо нашему Питерскому телевидению и его великолепным профессионалам:
- студии "Васильевский остров";
- продюсеру Алексею Васильеву;
- режиссеру Евгении Гончар.
2022©
Официальный сайт телеканала "78": https://78.ru/
DONATE if you want paypal.me/MARIAKHOREVA - Maria Khoreva, ballerina
mariakhoreva.com
instagram.com/marachok
youtube.com/mariakhoreva
en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
If you have a YouTube channel or ever wanted to start one, I couldn't recommend @TubeBuddy any higher. It's an amazing service to help optimize, manage and grow your channel. Free to install at https://www.tubebuddy.com.
01:56 ⁃ Skipping how much time is crucial?
03:21 ⁃ What problems with your shape do you feel after skipping?
06:25 ⁃ What are the reasons that we skip?
12:02 ⁃ The perfect exercising schedule for a ballerina
17:38 ⁃ Do we need to exercise during the vacation?
21:20 ⁃ Do we need everyday ballet class if we want to stay in shape during the vacation?
24:44 ⁃ What’s the difference between men and women in this aspect?
I’m so grateful to be joined by the amazing ballerina Kathryn Morgan! I watched many of her videos when I was a student at Vaganova Academy and they helped me so much! So in this video Kathryn and I decided to share our knowledge and opinion on how to stay in shape for a ballet dancer.
Kathryn's Video "Performance preparation": youtube.com/watch?v=UfOmfdRUjAI
YAGP's Video "Vaganova vs. Balanchine Pirouettes": youtu.be/ujOXQByolP4
DONATE if you want paypal.me/MARIAKHOREVA
mariakhoreva.com
instagram.com/marachok
youtube.com/mariakhoreva
en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
If you have a YouTube channel or ever wanted to start one, I couldn't recommend @TubeBuddy any higher. It's an amazing service to help optimize, manage and grow your channel. Free to install at https://www.tubebuddy.com.
Ballet, world war II, БЛОКАДНЫЙ БАЛЕТ
Вчера вечером я увидела потрясающий фильм, которым не могу не поделиться с вами, дорогие друзья. Он полностью на русском языке, но если я увижу, что он может быть интересен и тем из вас, кто говорит только на английском, мы постараемся сделать ему субтитры. Я не обещаю это, но могу попробовать. Поэтому - пишите комментарии.
Authors: Alexey Vasiliev, Yana Ustinova. Directed by Oleg Shilovsky. Production "Studio Vasilyevsky Island" commissioned by TV channel "78" (St. Petersburg)
Авторы: Алексей Васильев, Яна Устинова. Режиссер Олег Шиловский. Производство "Студия Васильевский остров" по заказу Телеканала "78" (Санкт-Петербург)
Официальный сайт телеканала "78": https://78.ru/
mariakhoreva.com
instagram.com/marachok
youtube.com/mariakhoreva
en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
If you have a YouTube channel or ever wanted to start one, I couldn't recommend @TubeBuddy any higher. It's an amazing service to help optimize, manage and grow your channel. Free to install at https://www.tubebuddy.com.
DONATE if you want paypal.me/MARIAKHOREVA
mariakhoreva.com
instagram.com/marachok
youtube.com/mariakhoreva
en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
If you have a YouTube channel or ever wanted to start one, I couldn't recommend @TubeBuddy any higher. It's an amazing service to help optimize, manage and grow your channel. Free to install at https://www.tubebuddy.com.
PERFORMERS
Conductor: Gavriel Heine
Paquita: Maria Khoreva
Andrés: Kimin Kim
Cristina: Alexandra Khiteeva
Carducha: Tatiana Tkachenko
Young Gypsy Man: Nail Yenikeyev
Clemente: Yevgeny Konovalov
Paquita’s Friends: Yana Selina, Anastasia Nuikina, Anastasia Nikitina, May Nagahisa
Students of the Vaganova Academy of Russian Ballet
https://www.mariinsky.ru/en/playbill/playbill/2021/11/18/1_1930/
CREDITS
Music by Édouard Deldevez, Ludwig Minkus and Riccardo Drigo
Libretto by Yuri Smekalov
Choreography: Yuri Smekalov
Reconstruction and staging of Marius Petipa's choreography (Act III Grand Pas): Yuri Burlaka
Production Designer: Andrei Sevbo
Lighting Designer: Konstantin Binkin
Costume Designer: Elena Zaitseva
Conductors: Valery Ovsyanikov, Gavriel Heine
Music edited by Yuri Smekalov
ABOUT THE PRODUCTION
Continuing to revive titles that are significant for the playbill of St Petersburg ballet, the Mariinsky Theatre is presenting a new version of Paquita. This is not a revival of the 19th century production, created in Paris by the ballet-master Joseph Mazilier and which was performed in St Petersburg from 1847 with choreography by Marius Petipa. Choreographer Yuri Smekalov is working on a new three-act ballet using his own libretto based on the plot of the novella La gitanilla by Cervantes. The basis of the score of the new ballet comprises music by Édouard Deldevez that was composed for the Paris premiere of Paquita in 1846. Yet today this one-and-a-half-century-old opus will sound different: the order of the numbers has changed, several of them have been re-orchestrated and, moreover, Deldevez' score has been added to by excerpts from works by Minkus and Drigo. The famous wedding Grand pas staged by Marius Petipa to music by Minkus, which triumphantly crowned the plot of the St Petersburg production, will occupy its place of honour in the new ballet, too. This parade of classical dance that demonstrates the skill of the corps de ballet and the virtuoso qualities of the ballerina and the soloists appeared in the 1881 production, and as an independent piece, unconnected with the ballet's plot, it has survived to this day. It is true that over the decades Petipa's choreographic text has undergone many changes. In the contemporary Paquita, the Grand pas will be included in a version brought close to the historic original – Yuri Burlaka is reviving Petipa's choreography using surviving records of the production from the early 20th century. The new ballet, which combines dances and scenes created by Yuri Smekalov, together with historic rarities, will be a hommage to the golden age of classical ballet, a mark of respect and gratitude of the new ballet generation to the aesthetics of the unsurpassed master of classicism – Marius Petipa.
DONATE if you want paypal.me/MARIAKHOREVA
mariakhoreva.com
instagram.com/marachok
youtube.com/mariakhoreva
en.wikipedia.org/wiki/Maria_Khoreva
https://www.mariinsky.ru/en/company/ballet/soloists/first_soloists/dancers1/khoreva1
If you have a YouTube channel or ever wanted to start one, I couldn't recommend @TubeBuddy any higher. It's an amazing service to help optimize, manage and grow your channel. Free to install at https://www.tubebuddy.com.


