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"danseur" Definitions
  1. a male ballet dancer
"danseur" Synonyms
mover dancer danseuse bopper coryphée ballerina hoofer coryphee prima ballerina professional dancer ballet dancer figurante figurant company tap-dancer line-dancer belly-dancer Terpsichorean terpsichorean show girl

167 Sentences With "danseur"

How to use danseur in a sentence? Find typical usage patterns (collocations)/phrases/context for "danseur" and check conjugation/comparative form for "danseur". Mastering all the usages of "danseur" from sentence examples published by news publications.

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The company's current ballet director, Manuel Legris, was named danseur étoile (star dancer) by Nureyev at the Paris Opera Ballet in the 1980s.
On compte parmi ses principaux membres Dereke Clements, un danseur afro-américain basé en France, et l'écrivaine Rebecca Walker, fille de la romancière Alice Walker, a rejoint son comité consultatif.
" Mr. Gruen was the author of more than a dozen books, including several authorized biographies: "The Private World of Leonard Bernstein"; "Menotti"; "Erik Bruhn, Danseur Noble," a life of the Danish ballet star; and "Keith Haring.
"It is no secret that young boys who enroll in dance classes face bullying to an outstanding degree—according to the documentary DANSEUR, the number is 28503% of male ballet students in the United States," Courtney Escoyne of Dance Magazine wrote.
He struck difficult tricks with such seeming effortlessness that it requires repeated viewings—maybe two, or even three or four—to register just how fucking fast he is skating, how high he is snapping, how tall the ledges and rails he is blessing are, how truly ridiculous every trick is, a man launching himself with a blink-and-you-miss-it savagery before alighting like a premier danseur.
Jacques d'Amboise (born July 28, 1934) is an American danseur and choreographer.
To achieve the highest rank as Danseur Étoile (only by nomination) you have to perform in leading roles as "Premier Danseur" for many years before you are nominated due to outstanding excellence and merit.La Danse, film by Frederick Wiseman, 2009, 159 min.
He's a very accomplished danseur noble and feels that Masumi holds great promise. He encourages her to work hard and to remember the basics. It's hard to say what goes on in his mind, but he cares for Masumi deeply. ; :An aspiring danseur noble from West Germany.
The Italian derived term prima ballerina (female dancers) (primo ballerino for male dancers) or the French derived term premier danseur (male dancers) have been used to denote similar levels of prominence in non Anglo-Saxon companies. In the Paris Opera Ballet, principal dancers receive the title of Danseur Étoile.
A danseur noble traditionally was a male ballet dancer who projected great nobility of character. Over the last century the term has been used to define a male principal dancer who performs at the highest theatrical level combining grace with ability. Some use danseur noble as the masculine equivalent to a Prima Ballerina.
Erik Belton Evers Bruhn (3 October 1928 – 1 April 1986) was a Danish danseur, choreographer, artistic director, actor, and author.
Josua Hoffalt (born May 19, 1984) is a French ballet dancer who is currently a Danseur Étoile (principal dancer) at the Paris Opera Ballet. He was promoted to Danseur Étoile on March 7, 2012, after dancing la Bayadère by Rudolf Nureyev with Aurélie Dupont at the Opéra Bastille in Paris, France. He is a founding member of 3e étage, directed by Samuel Murez.
There are five ranks of dancers in the Paris Opera Ballet; from highest to lowest they are: Danseur Étoile, premier danseur, sujet, coryphée, and quadrille. Promotions to the higher rank depend on success in the annual competitive examinations, except for danseurs étoiles who are nominated by the Director of the Opera, on a proposal from the Director of the Ballet.
Danseur étoile (for men) or danseuse étoile (for women), literally "star dancer", is the highest rank a dancer can reach at the Paris Opera Ballet. It is equivalent to the title "Primo Ballerino" or "Prima Ballerina Assoluta" in Italian. It is above "Premier Danseur" which is equivalent to "Principal" in another company. It is a title only found in the Paris Opera Ballet.
Hannah O'Neill (born January 8, 1993 in Tokyo) is a New Zealand ballet dancer. She is currently a premier danseur with the Paris Opera Ballet.
Early in his career, it became clear that Moncion would never be a true danseur noble. He lacked the elegance of bearing and refinement required for princely roles. Yet it was equally clear that he was capable of effective portrayals in many different roles as a premier danseur. He was a dashing figure in the Balanchine dances for the Broadway production of The Chocolate Soldier (1947), swirling and twirling with Mary Ellen Moylan.
She performed with the company in Europe and the Americas. While dancing with the company, Larkin met her future husband Roman Jasinski, a premier danseur from Poland.New York Times obituary for Roman Jasinski. Retrieved November 22, 2009.
She was one of the founding members of 3e étage, an independent group of Paris Opera Ballet dancers directed by Samuel Murez. She toured in Japan with Manuel Legris as a member of his group Manuel Legris & Friends. Manuel Legris at the time principal dancer ("danseur étoile") of the Paris Opera Ballet inspired many young gifted dansers several of which became "danseurs étoiles" themselves some timeThe time you need to be nominated principal dancer ("danseur étoile or rather danseuse étoile") of the Paris Opera Ballet is usually many years if not a decade. later.
Premier danseur in the new troupe, Antoine Petipa began creating ballets such as Les Six ingénus (music by Alexandre Piccinni) and Le Berger de la Sierra Morena (1815). Taken on as ballet master at the Théâtre de Marseille, Petipa had his eldest son Lucien in 1815 and Marius in 1818. In 1819, Petipa was recalled to Brussels as ballet master at the Théâtre de la Monnaie, remaining there until 1831. Summoned to Lyon, Marseille and Bordeaux, Petipa returned to Brussels between 1833 and 1835 before moving to Bordeaux, where Lucien became premier danseur.
Tomasz was premier danseur, and Eleanora a soloist. Eleanora continued to tour and dance while having three children, sons Stanislav (b. 29 December 1886 in Tiflis) and Vaslav; and daughter Bronislava ('Bronia', b. 8 January 1891 in Minsk).
He became Coryphée in 2001, Sujet in 2002 and Premier danseur in 2007. He has been appointed Etoile, the highest grade of the company, in 2010 after his performance of Solor in Rudolf Nureyev’s version of La Bayadère.
Alexander Borisovich Godunov (Russian: ; November 28, 1949 – May 18, 1995) was a Russian-American ballet dancer and film actor. He was a member of the Bolshoi Ballet and became the troupe's Premier danseur. In 1979, he defected to the United States.
A fourth Armenian variant (Théodore le Danseur) places a giant named Barogh Assadour ("Dancing Theodore")Garnett, Lucy Mary Jane. Greek folk poesy, annotated translations from the whole cycle of Romaic folk-verse and folk-prose. London: Nutt. 1896. p. 453.
Rapide-Danseur is a municipality in northwestern Quebec, Canada, in the Abitibi-Ouest Regional County Municipality. It covers 185.18 km² and had a population of 312 as of the Canada 2011 Census. The municipality was incorporated on January 1, 1981.
Don Quixote, Prix de Lausanne, 2010 In ballet, a variation (sometimes referred to as a pas seul, meaning to dance alone) is a solo dance. In a classical grand pas de deux, the ballerina and danseur each perform a variation.
At the age of fourteen, Eglevsky joined Colonel W. de Basil's Ballet Russe de Monte Carlo, and after six months was dancing leading roles in such ballets as Swan Lake, Les Sylphides, and Les Présages. In 1935 he joined Igor Youskevitch as the company's Premier Danseur, and a year later joined René Blum's Ballet Russe de Monte Carlo. Eglevsky travelled to the United States in 1937, and was premier danseur in George Balanchine's American Ballet (later New York City Ballet) until 1938. He also danced at the Radio City Music Hall and in the Broadway musical Great Lady.
In 1847, Petipa accepted the position of premier danseur to the Imperial Theatres of St. Petersburg, at that time the capital of the Russian Empire. The position of premier danseur had become vacant upon the departure of the French danseur Emile Gredlu, and Petipa soon relocated to Russia. On the twenty-nine-year-old Petipa arrived in the imperial capital. In 1848 Petipa's father also relocated to St. Petersburg, where he taught the Classe de perfection at the Imperial Ballet School until his death in 1855. For his début, the director of the Imperial Theatres Alexander Gedeonov commissioned Petipa and the Ballet Master Pierre-Frédéric Malevergne to create the first Russian production of Joseph Mazilier's celebrated ballet Paquita, first staged at the Paris Opéra in 1846. The ballet premiered in St. Petersburg on with the Prima ballerina Yelena Andreyanova in the title rôle and Petipa himself in the largely mimed rôle of Lucien d’Hervilly.
His command of classical technique, his height, his good looks, and his aristocratic bearing made him an ideal candidate for a danseur noble. After only one month's study at the school, he was invited to join the Sadler's Wells Ballet at Covent Garden.
Edward Villella (born October 1, 1936) is an American danseur and choreographer. He is frequently cited as America's most celebrated male dancer of ballet at the time.Dancing for Mr. B, and Everything After. The New York Times, January 16, 2009America's Studliest Ballet Dancer Returns.
Yuri Vladimirovich Soloviev () (1940-1977), was a premier danseur of the Kirov Ballet, born in Leningrad, Russia. He was a contemporary of Rudolf Nureyev and Mikhail Baryshnikov, partner of Natalia Makarova, Alla Sizova, and others.«Нож в спину» гею, триумф и самоубийство. Юрий Соловьёв.
On 20 May 2004, following a performance of Don Quixote, he was appointed étoile, bypassing the rank of premier danseur. In 2005 he was awarded the Benois de la Danse as outstanding male dancer. His younger sister, Marine Ganio, is a sujet of the Paris Opera Ballet.
Nevertheless, the ballet was rescheduled for the 1901–1902 season in a version mounted by the Imperial Theatre's Deuxieme Maître de Ballet Lev Ivanov, whose death in December 1901 caused the director to hand the project over to the noted Premier danseur Pavel Gerdt. Perhaps Ivanov's most lasting contribution to the ballet's history was the change of title from Sylvia, ou la nymphe de Diane to simply Sylvia. The cast included the great Prima ballerina Olga Preobrajenska in the title rôle and the danseur Sergei Legat as the shepherd Aminta. Also included among the ballet's secondary characters was a young Agrippina Vaganova as a nymph of the Goddess Diana, and Pavel Gerdt in the rôle of Orion.
La Bayadère was created especially for the benefit performance of Ekaterina Vazem, Prima ballerina of the St. Petersburg Imperial Theatres. The role of Solor was created by the forty-three-year-old Lev Ivanov, Premier danseur of the St. Petersburg Imperial Theatres, with the classical dances of the character Solor being performed by the younger Pavel Gerdt. The celebrated ballerina Maria Gorshenkova created the role of Gamzatti (or Hamsatti, as the character was known in the original production), while the role of the High Brahmin was created by Nikolai Golts. Dugmanta, the Rajah of Golconda was created by Christian Johansson, former Premier danseur of the St. Petersburg Imperial Theatres and an influential teacher.
No one can tell what this aspiring danseur noble will do in the future. ; :A junior of Masumi in the ballet school and her rival. Her mother long ago was Masumi's mother's rival, but she couldn ever never win against Masumi's mother, so she is strict to her daughters. ; :Masumi's teacher.
Noverre was a bay horse bred by Darley Stud and raced by a sister operation, Godolphin Racing. He was sired by Rahy, out of the mare Danseur Fabuleux who was also the dam of 1991 European Horse of the Year, Arazi. Noverre was trained at age two by David Loder.
Tomasz [Russian: Foma] Nijinsky, five years younger, had risen to be premier danseur and ballet master. His wife Eleonora Bareda, orphaned at seven, had followed her elder sister into ballet, and was then dancing as a first soloist.Nijinska (1981), pp. 3–8 (mother), 9–11 (father), 11–12 (marriage), 12–13 (birth.
Clark Tippet (October 5, 1954 in Parsons, Kansas - January 28, 1992 in Parsons, Kansas) was a danseur and choreographer. He was a member of the American Ballet Theatre company in New York City. Among other roles, he was the male Spanish Dancer in Mikhail Baryshnikov's production of Tchaikovsky's ballet The Nutcracker. The production was first televised in 1977.
Bosl quickly becoming a rising star of the company, he specialized in the danseur noble roles of traditional ballet. Bosl also created roles in symphonie fantastique, Encounter in Three Colours and Casanova in London. He partnered Margot Fonteyn on numerous occasions, she took him on two foreign tours in 1973 and 1974. Bosl died aged 28 of leukemia.
He became a dancer for the Ballet Russe de Monte Carlo in 1949, soon becoming lead dancer, or premier danseur. He left the company in 1960. He was later a dancer for the Mia Slavenska Ballet, the New York City Ballet, and the Radio City Music Hall. He established the Pacific Ballet Academy in San Francisco, California.
Brief periods in Paris (1821–1822) and London (1824–1825) were followed by his return to the Paris Opera Ballet (1820–1831), where, enriched by the experience of working abroad, he engaged in a profound renovation of the French repertory, capped by his chef-d'œuvre, Manon Lescaut (1830). His daughter Sophie-Julie married the danseur Étienne Leblond in 1826.
After Saison Nijinsky, Bronislava returned to Russia. She continued her ballet career as danseuse, with Sasha her husband as the danseur. During the war and then the revolution, she went on stage in experimental works as well as in classics. In Petrograd the 1915 theatre program listed "ballet by the prima ballerina- artist of the State Ballet Bronislava Nijinska".
The year 1951 marked a significant shift in administration of San Francisco Ballet. Lew Christensen—premier danseur at the time—partnered with his brother Willam Christensen as co-directors. Then in 1952, Lew Christensen took over as sole director. Under his guidance, San Francisco Ballet began to travel and establish itself as a significant American ballet company.
André Isidore Carey (c. 1790, Paris – ?) was a French ballet dancer. A student of Auguste Vestris, he arrived in Stockholm in 1815 as premier danseur in the Royal Swedish Ballet until 1823. He débuted in December 1815 in La Fille mal gardée by Jean Dauberval, choreographed by Jean-Baptiste Brulo and with a company also including Sophie Daguin.
He also danced in Broadway musicals during these early years.Horst Koegler, "Danielian, Leon," in The Concise Oxford Dictionary of Ballet, 2nd ed. (Oxford University Press, 1987), p. 115. In 1943 he joined Ballet Russe de Monte Carlo as a soloist and remained with that company until 1961, having become a premier danseur with an unusually wide repertory.
French link He was promoted to "Danseur Étoile" (principal dancer) approximately one year later, after André Malraux saw him dance "Pas de Dieux", a choreography by Gene Kelly, and recommended he be promoted. He performed as a Danseur Étoile (principal dancer) in the Paris Opera Ballet from 1960 to 1972, then taught the company as a ballet teacher until his retirement.principal dancer's list He is seen as having brought many technical innovations to the French school, including more acrobatic steps in solos and duets, and moving the foot higher to the "retiré au genou" (knee height) position for pirouettes, from the old "à la cheville" (ankle height) position. He often performed with his wife, "Étoile" Christine Vlassi, as well as with other "Étoiles" such as Margot Fonteyn and Claude Bessy.
LeClercq's costume was not by Sharaff. It was made for her by her mother, Edith Le Clercq. Robbins' setting differs from the original version by Vaslav Nijinsky by placing the danseur in a ballet studio (a three wall set), lounging on the floor. A ballerina enters and they dance facing the audience as though looking into the mirrored wall of the studio.
After that, she became one of the most important teachers and répétiteurs of the Bolshoi Theatre. Natalia Bessmertnova, Marina Kondratieva, Nadezhda Pavlova, Nina Sorokina, Ludmila Semenyaka, Nina Timofeyeva and Nina Ananiashvili were among her adepts. Semyonova retired from her coaching duties at the age of 96. She is known for her friendship with young danseur Nikolay Tsiskaridze, who interviewed her on several occasions.
He also danced as a guest star with Léonide Massine's Ballet Russe Highlights in 1944 and 1945. In 1946, Eglevsky rejoined Col. de Basil, now director of the Original Ballet Russe, and a year later became premier danseur of the Grand Ballet du Marquis de Cuevas. From 1951 to 1958 he was a principal with the New York City Ballet.
Working with Nureyev involved having to surpass oneself and "stepping on it." Rudolf Noureev, danseur et chorégraphe, review by Kader Belarbi, 6 November 2013, website of the Théâtre du Capitol, Paris, extract: "À côté de lui, il fallait vraiment se surpasser. ... À partir de ce moment-là, j’ai commencé à mettre les bouchées doubles." - By his side, you had to surpass oneself.
By 1840, Petipa had made his début with the ballet company of the Comédie Française in Paris. His first performance with this troupe was given as a benefit performance for the actress Rachel where he partnered the legendary ballerina Carlotta Grisi. Petipa also took part in performances at the Paris Opéra where his brother Lucien Petipa was engaged as Premier danseur.
Sæbjørn Buttedahl married Danish stage actress Clare Petrea Margrethe "Maggie" Benelli (1870–1933).Arkivverket. Digitalarkiverket: 1910 census for Kristiania They had one daughter, Ellen (Buttedahl) Sinding (1899–1980), who would marry film director Leif Sinding and become a film actress and dancer.Fehling, Weirt W. Iraïl Gadescov, danseur célèbre: De opmerkelijke carrière van danspionier Richard Vogelesang. Eburon Academic Publishers. 2007. p. 73.
Rory Hohenstein is a danseur with the Joffrey Ballet. Born in Washington, D.C., he began his training at the Kirov Academy of Ballet (class of Vladimir Djouloukhadze). Before finishing high school, he joined Le Jeune Ballet de France in Paris where completed his studies. He joined the San Francisco Ballet in July 2000 and six years later was promoted to soloist in 2006.
At the end of the nineteenth century, the dancer Vladimir Stepanov developed his own method of documenting choreography, which he later detailed in his book L'Alphabet des Mouvements du Corps Humain. In 1893 Stepanov proposed a project to the ruling committee of the St. Petersburg Imperial Ballet School and its parent company, the Imperial Ballet, that would record the choreography of the company's repertory for posterity. The committee, which made decisions on the appointment of dancers, repertory, etc., consisted of Marius Petipa (Premier Maître de ballet of the St. Petersburg Imperial Theatres); Lev Ivanov (second Maître de Ballet); Ekaterina Vazem (former Prima ballerina of the Imperial Theatres and teacher of the classe de perfection); Pavel Gerdt (Premier danseur of the Imperial Theatres); and Christian Johansson (former Premier danseur of the Imperial Theatres and teacher of the male students at the school).
Roberto Bolle Roberto Bolle (born March 26, 1975 in Casale Monferrato) is an Italian danseur. He is currently a principal dancer with the American Ballet Theatre and a principal dancer étoile at La Scala Theatre Ballet. Bolle also dances regularly as a guest artist with the world’s leading companies, including The Royal Ballet, the Mariinsky Ballet, the Bolshoi Ballet and the Paris Opera Ballet.
Premier danseur at the Opéra de Paris from at least 1814, in 1815 he married the dancer Constance-Hippolyte Gosselin. Travelling to Brussels in 1818, Anatole and Eugène Hus revived Nina ou la Folle par amour (a ballet by Louis Milon first put on in Paris in 1813) at the Théâtre de la Monnaie. Anatole remained premier danseur at the Opéra de Paris until 1822, then (after a nearly 10 year blank in the historical record) he is evidenced as a ballet master at the Théâtre de la Porte Saint-Martin, replacing Jean Coralli when the latter was summoned to Vienna by imperial decree. Anatole only held this role for half a season before being reappearing in 1836 as a ballet master at the town theatre in Bruges, before ending his career as a professor at the dance school at the Opéra de Paris.
Konstantin Mikhaylovich Sergeyev (; b. March 5, 1910 (February 20, Old Style) - April 1, 1992) was a Russian danseur, artistic director and choreographer for the Kirov Theatre. When the Kirov Ballet returned to Leningrad from Perm (where it had been moved during the war) Sergeyev became the head choreographer of the company. His first major work was to restage Prokofiev's Cinderella, which is still performed in the present day.
At her 1836 debut in London, Grisi performed with the accomplished danseur Jules Perrot.Review: King's Theatre, in The Times, Wednesday 13 April 1836, p. 5, column C. She next appeared in Paris at the Théâtre de la Renaissance (1840) and a year later, toured with Perrot to other parts of Europe. Through Perrot's contacts, the pair worked in Paris, London, Vienna, Munich, and Milan where she sang and danced.
Godunov joined the Bolshoi Ballet in 1971 and rose to become Premier danseur. His teachers there included Aleksey Yermolayev. In 1973, he won a gold medal at the Moscow International Ballet Competition. After playing Vronsky in 1976's Anna Karenina and Lemisson, the Royal minstrel, in the 1978 film version of J. B. Priestley's 31 June, Godunov became well known in the Soviet Union as a movie actor.
Vladimir Yaroshenko (Russian: Владимир Ярошенко; born November 2, 1985 in Slavyansk-na-Kubani) – Polish-Russian ballet dancer in type danseur noble, first soloist with Yury Grigorovich's Ballet Theatre, Krasnodar, trained in classical Russian ballet school. Polish resident since 2007, engaged with Teatr Wielki, Warsaw, where since September 2010 is a first soloist, and since January 2020 - a principal dancer of Polish National Ballet under direction of Krzysztof Pastor.
Traditionally, gender-specific titles are used for ballet dancers. In French, a male ballet dancer is referred to as a danseur and a female as a danseuse. In Italian, a ballerina is a female who typically holds a principal title within a ballet company; the title for equally ranked males is ballerino. In Italian, the common term for a male dancer is danzatore and a female dancer is a danzatrice.
After the performance, Luca starts spending money lavishly on buying drinks and gambling with some of the beatniks, though he keeps losing. Becoming increasingly drunk on champagne and with guilt nagging at him, he begins to treat Lana badly, as Dino treated her. As Luca leaves the club, his conscience haunts him – he pictures Angelo behind bars in prison. Angelo, now Prisoner 22177, in leather cuffs in the county jailhouse, portrayed by danseur Richard Winsor.
Amy Elkins (born 1979) is an American photographer based in California. Her photographs are formal portraits, through which she captures intimacy while exploring masculinity, vulnerability, and identity. Elkins has several series including Elegant Violence, Danseur, Wallflower, Parting Words, and Black is the Day, Black is the Night. In 2014 she won the Aperture Portfolio Prize for her series Parting Words, a collection of black and white portraits of men and women who have been executed.
Vera Karalli in "Krizantemy" (1914) Postcard 1910s Born in Moscow, Karalli graduated from the Moscow Theatre School in 1906 under the direction of the prominent Russian instructor Alexander Gorsky. Karalli performed with Sergei Diaghilev's Ballets Russes company in 1909, as well as 1919 and 1920.Andros on Ballet She became a soloist at the Bolshoi Theatre after two years and became a ballerina in 1915. Karalli was frequently paired with danseur Mikhail Mordkin.
Albarado scored his first career win on June 29, 1990 aboard One Little Point at Evangeline Downs. His first stakes win came in 1993 with Tuck's Honey Bear at Louisiana Downs in the Grady Madden Memorial. In 1995, he earned his first graded stakes win aboard Snake Eyes in the Stars and Stripes at Arlington Park. His first Grade I victory came in the 1998 Turf Classic at Churchill Downs on Joyeux Danseur.
Zakharova is married to Russian violinist Vadim Repin, and they have one child, daughter Anna (b. 2011). She had withdrawn from the Bolshoi Ballet tour to London in the summer of 2010 citing a hip injury; she was pregnant at the time. Zakharova returned to dancing, and performed in London on , in a gala performance celebrating Soviet ballerina Galina Ulanova. She named the Italian danseur Roberto Bolle as one of her favorite partners.
The Benois de la Danse is one of the most prestigious ballet competitions. Founded by the International Dance Association in Moscow in 1991, it takes place each year on or around April 29 and is jury-based in its judging. The members of this jury change every year and consists of only top ballet personages. Statuettes are given to the winners in the categories of lifelong achievement, ballerina, danseur, choreographer, composer and designer.
Mariia Sergeyevna Surovshchikova was born in St. Petersburg, the illegitimate daughter of a milliner. She studied at the St. Petersburg Imperial Ballet School, graduating in 1854. After her graduation from the institute she entered into the corps de ballet of the Imperial Bolshoi Kamenny Theatre, and in 1854 married Marius Petipa, who at that time served as premier danseur to the St. Petersburg Imperial Theatres. Upon her marriage she took the name of Surovshchikova-Petipa.
Since the 1960s, however, the term has lost this honorific aspect and is applied generally to women who are ballet dancers.Edwin Denby (1965). Dancers, Buildings, and People in the Streets In the original Italian, the terms ballerino (a male dancer, usually in ballet) and ballerina do not imply the accomplished and critically acclaimed dancers once meant by the terms ballerina and danseur noble when used in English. Rather, they simply mean one who dances ballet.
Today this cache of notation is included in the Sergeyev Collection. In 1900 Alexander Gorsky was nominated to be Premier danseur (principal male soloist) of the St. Petersburg Imperial Theatre, only to be moved to the Ballet of the Moscow Imperial Bolshoi Theatre as régisseur (manager) eight days later. What was meant to be a temporary move became permanent. The school was creating many talented students but the company was in decline.
Michel Descombey (28 October 1930 - 5 December 2011)Muere el bailarín y coreógrafo Michel Descombey Michel Descombey was a French ballet dancer, choreographer and director. Descombay studied dancing in Paris, and debuted as a professional dancer of the Ballet de l'Opéra National in 1947. In 1959 he became premier danseur,Michel Descombey, The Oxford Dictionary of Dance. then ballet master, and official choreographer and finally director of the company from 1962 to 1969.
In spring 2015, O'Neill danced the role of Odette/Odile in Swan Lake which is normally reserved for étoiles. Her second leading role as a premier danseur was the title role in Giselle. In 2020, O'Neill danced The Swan in Misty Copeland's fundraiser, Swans for Relief, a response to the impact of the 2019–20 coronavirus pandemic on the dance community, with funds going to participating dancers' companies and other related relief funds.
Portman with husband Benjamin Millepied in 2012 Portman is married to French danseur and choreographer Benjamin Millepied, with whom she has two children, son Aleph (b. 2011) and daughter Amalia (b. 2017). The couple began dating in 2009, after having met while working together on the set of Black Swan, and wed in a Jewish ceremony held in Big Sur, California on August 4, 2012."Natalie Portman Wedding: 'Black Swan' Actress Marries Benjamin Millepied" .
While in Bordeaux, Marius completed his ballet training under the great Auguste Vestris. By 1838 he was appointed Premier danseur to the Ballet de Nantes in Nantes, France. During his time in Nantes the young Petipa began to try his hand at choreography by creating a number of one-act ballets and divertissements. The 21-year-old Marius Petipa accompanied his father on a tour of the United States with a group of French dancers in July 1839.
A grand pas de deux usually begins with an entrée (literally "entrance"), which serves as a short prelude to and also unequivocally denotes the beginning of the dance suite. During the entrée, the dancers first appear on the stage and, typically with great pageantry, acknowledge each other and position themselves near each other in preparation for the subsequent adagio. Depending on the choreography, the ballerina and danseur may enter the stage simultaneously or at different times.
Oxford University Press, USA. In 1951, Willam retired as director of SF Ballet and moved to Utah, where he started teaching ballet in the country's first university ballet department at the University of Utah. With a group of his students, he founded the Utah Civic Ballet (now known as Ballet West) in 1963; the company remained under Christensen's directorship until 1978. Under Balanchine's tutelage at American Ballet, Lew Christensen became the first American-born danseur noble.
His move to Russia in 1841 helped Johansson's career as a dancer. At that time in Europe, the male danseur enjoyed less importance than that of the ballerina. Only in St. Petersburg could a male dancer achieve great success and there perform his own solos, rather than appearing only as a ballerina's partner. This perhaps explains the appearance of the great artistic talents, Marius Petipa, Jules Perrot, Arthur Saint-Leon and Johansson himself, at the Russian Imperial Ballet.
Succeeding in the external audition in July 2013, O'Neill was offered a life-time contract. Now a regular member of the Paris Opera Ballet, O'Neill moved up through the ranks, being promoted in each Paris Opera Ballet internal promotion contest from 2013 to 2015. On 3 November 2015, she was ranked first in the Paris Opera Ballet internal promotion contest. Consequently, since 1 January 2016 she dances as a premier danseur, the second highest rank in the company.
It was in 1891 that many of Petipa's original ballets, revivals, and dances from operas began to be notated in the method of dance notation created by Vladimir Stepanov. The project began with a demonstration to the committee of the Imperial Ballet (consisting of Petipa, Lev Ivanov, the former Prima Ballerina Ekaterina Vazem, the former premier danseur Pavel Gerdt, and the great teacher Christian Johansson) with Stepanov himself notating Lev Ivanov and Riccardo Drigo's 1893 ballet La Flûte magique, and not long afterward the project was set into motion with a revival of Jules Perrot's ballet Le rêve du peintre. After Stepanov's death in 1896 Alexander Gorsky took over the project, all the while perfecting the system. After Gorsky departed St. Petersburg in 1900 to take up the post of Balletmaster to the Moscow Imperial Bolshoi Theatre, the project was taken over by Nicholas Sergeyev, former Danseur of the Imperial Ballet (and later régisseur in 1903) with his team of notators – Alexander Chekrygin joined the project in 1903, and Victor Rakhmanov in 1904.
This was perhaps beside the point, since Nijinsky had never had a contract, nor wages, all his expenses having been paid by Diaghilev. His mother also received an allowance of 500 francs per month (other senior dancers had received 200,000 francs for a six-month season). Fokine was re-employed by Diaghilev as choreographer and premier danseur, accepting on the condition that none of Nijinsky's ballets would be performed. Leonide Massine joined the company as the new attractive young lead for Joseph.
The following year, he was promoted to "Premier Danseur" (first soloist), dancing as a free variation the act I solo from the Phantom of the Opera, by Roland Petit. Notable roles include Basilio, in Don Quixote by Rudolf Nureyev, the Golden Idol, in La Bayadère by Rudolf Nureyev, Frollo in Notre-Dame-de-Paris by Roland Petit, Byraxis in Daphnis et Chloe by Benjamin Millepied He has been a member of the independent dance group 3e étage, directed by Samuel Murez since 2011.
Walter Patrick Bissell (December 1, 1957 - December 29, 1987) was an American danseur. He was a leading principal dancer with the American Ballet Theatre. On his death at age 30 from a drug overdose, he was described by the artistic director of the American Ballet Theatre and personal ballet eminence Mikhail Baryshnikov as "without a doubt one of the brightest lights in American Ballet Theater's history, or, for that matter, in the entire ballet world". Bissell was noted for his height and athleticism.
Attilio Labis (born 1936) is a French ballet dancer and teacher. He began his training at the Opéra de Paris when he was nine years old and rose through the ranks of the school. In 1952 he was accepted into the corps de ballet Paris Opera Ballet, but in 1958 he had to join the military. Upon the completion his military service, he came back and successfully auditioned for a "Premier Danseur" (First soloist) position after only one week of training.
In 1938 Franklin joined the Ballet Russe de Monte Carlo where he was premier danseur until 1952. Known as a quick study and for having an impeccable memory, Franklin also became the company's ballet master in 1944. With the Ballet Russe, Franklin originated many indelible characters and starred in over 45 principal roles by such choreographers as Leonide Massine, Michel Fokine, Bronislava Nijinska, Frederick Ashton, George Balanchine, and Agnes de Mille. In 1949, Franklin went on a concert tour in South Africa.
Peter Martins (born 27 October 1946) is a Danish ballet dancer and choreographer. Martins was a principal dancer with the Royal Danish Ballet and with the New York City Ballet, where he joined George Balanchine, Jerome Robbins, and John Taras as balletmaster in 1981. He retired from dancing in 1983, having achieved the rank of danseur noble, becoming Co-Ballet Master-In- Chief with Robbins. From 1990 until January 2018, he was solely responsible for artistic leadership of City Ballet.
Romola de Pulszky Romola de Pulszky (or Romola Pulszky), (married name Nijinsky; 20 February 1891 - 8 June 1978), was a Hungarian aristocrat, the daughter of a politician and an actress. Her father had to go into exile when she was a child, and committed suicide in Australia. As a young woman she became interested in dance and specifically Vaslav Nijinsky, the noted premier danseur of the Ballets Russes. They married in Buenos Aires in 1913 while the company was on tour.
By the time Marius was six years old, his family had settled in Brussels in what was then the United Kingdom of the Netherlands, where his father was appointed Maître de ballet and Premier danseur to the Théâtre de la Monnaie. The young Marius received his general education at the Grand College in Brussels, while also attending the Brussels Conservatory where he studied music and learned to play the violin. Portrait of Marius Petipa at about fifteen years of age. Circa 1833.
Augustine Albert, also known as Augustine Albert-Himm (28 August 1791 – after 1846) was a French opera singer who sang leading soprano roles at the Paris Opéra from 1806 to 1823. Amongst the many roles she created in their world premieres was the title role of Spontini's Olimpie. Born in Paris and trained at the Conservatoire de Paris, she was also a principal singer of the Chapelle royale until 1830. She was married to Albert, danseur noble of the Paris Opéra.
Giovanni Battista Ambrosiani (born 2 July 1772, Milan – 19 February 1832, Karlberg Palace) was an Italian ballet dancer. He arrived in Stockholm in 1795 and was taken on by the Royal Swedish Ballet as its premier danseur, then as its ballet master from 1823 to 1827. He was also dance master and gymnastics master at the Military Academy Karlberg until 1834. He notably created ballets for operas like Il turco in Italia by Rossini, Preciosa by Weber and Fernand Cortez by Spontini.
He returned to Europe in 1947 to give recitals in Sweden and Finland with Nini Theilade. In 1948 he was invited to join the International Ballet Company as premier danseur, and continued his training with Judith Espinosa in London, and Mmes Preobrajenska and Egorova in Paris. He appeared as 'the Baron' in Gaite Parisienne opposite the choreographer Massine, in his old role. A season at Teatro Municipal in Rio de Janeiro with Tatiana Leskova in 1950 was followed by tours throughout Britain and Europe.
In January 2013 Mathilde Froustey accepted an offer from Helgi Tómasson, to become a principal dancer with the San Francisco Ballet.Interview with Mathilde Froustey, the new SFB Principal by Amélie Bertrand, 25 June 2013.Mathilde Froustey, l'aventurière du Nouveau Monde, article by Philippe Noisette, 13 July 2014, Paris Match Mathilde Froustey and Helgi Tómasson met each other already in 2006 at a competition in Paris through José Martinez, danseur étoile of the Paris Opera Ballet.Une étoile à San Francisco, article by Claire Talgorin, 3 July 2013.
She moved to Paris as a young woman to study ballet with the famed Russian ballerina and teacher, Olga Preobrajenska. It was in her studio that she met her future husband and dancing partner, Vladimir Dokoudovsky, son of Count Dokoudovsky of Tula, Russia. Her partner in later years was the danseur, Kenneth MacKenzie, whom she met while on tour together in the Original Ballets Russes. Her daughter with Vladimir Dokoudovsky, Ludmila Dokoudovsky, was directress of the St. Louis Ballet Company, along with her husband, Antoni Zalewski.
Bruhn dancing with Maria Tallchief in 1961 Bruhn was made a Knight of the Order of the Dannebrog, one of Denmark's highest honors, in 1963, the same year he was awarded the Nijinsky Prize in Paris.Gruen, p. 131 After retiring as a danseur noble in 1972, Bruhn danced character roles, such as Madge the Witch in La Sylphide, Dr. Coppelius, and Petrushka. He was director of the Swedish Opera Ballet from 1967 to 1973 and the National Ballet of Canada from 1983 until his death in 1986.
She initially studied dance at the San Francisco School of Ballet and at Utah University. In 1965 she joined the Alwin Nikolaïs dance company in New York becoming an outstanding dancer of the company.Atelier de Paris Carolyn Carlson () In 1968 she won the International Dance Festival in Paris as Best Dancer (Meilleur Danseur).The New York Times, December 3, 1968 (Article preview) In 1971 she joined the Anne Béranger dance company and in 1972 she presented Rituel pour un rêve mort at the Avignon Festival.
A dancer in Turin in Italy in 1762, then in Lille in 1768 and 1769, he was hired at the Théâtre de la Monnaie in Brussels in 1774. Appointed premier danseur and ballet master with Laurent Bocquet the following year, he left Brussels at the end of the 1777-1778 season. He danced in Maastricht in June 1778, then settled in Ghent where he was dance master until 1786. His last known job was ballet master at the Grand Théâtre de Bordeaux, from 1789 to 1791.
Often "ballerino" is used in English- based countries as slang. As late as the 1950s a ballerina was the principal female dancer of a ballet company who was also very accomplished in the international world of ballet, especially beyond her own company; female dancers who danced ballet were then called danseuses or simply ballet dancers. Ballerina was a critical accolade bestowed on relatively few female dancers, somewhat similar to the title diva in opera. The male version of this term is danseur noble (French).
Born in Melbourne, Coe was spotted, at the age of 16, Dame Peggy van Praagh when she was recruiting for the newly formed Australian Ballet. Within just four years, he became a soloist with the company. He became the company's principal dancer in 1968 and achieved the ultimate position of premier danseur in 1974. By this time he had achieved fame as one of Australia's top male dancers, whilst at the Australian Ballet and whilst touring overseas in the UK, the US and the USSR.
Guido Lauri (23 November 1922 – 27 October 2019) was an Italian dancer, actor, choreographer, ballet master, company director. Born in Rome, he entered the ballet school of then royal Rome Opera House at 6 years-old and in 1939, after a graduation with full marks, he joined the ballet company with the title of primo ballerino étoile.Dal Costanzi al Teatro dell'Opera: dal 1947, Balletto.net A very handsome man, an eclectic artist, a danseur noble with hot-blooded temperament,Alberto Testa, Storia della danza e del balletto – Gremese.
400x400px Rubinald Rofino Pronk (born 17 July ), born and raised in The Hague, is a danseur performing with the Morphoses/The Wheeldon Company. He trained at the Royal (Dutch) Conservatory of Dance and joined the Dutch National Ballet at age 16 and was promoted to soloist. Rubinald performed works by choreographers including Sir Frederick Ashton, George Balanchine, William Forsythe, Jacopo Godani, Martha Graham and Krzysztof Pastor. In 2006 he joined Dwight Rhoden and Desmond Richardson's Complexions Contemporary Ballet, performing works by Rhoden and Ulysses Dove.
Matthew Prescott, born and raised in Idaho, is a danseur performing with the Morphoses/The Wheeldon Company. He attended the Joffrey/New School University in New York City and in 2000 was invited to join the Joffrey Ballet. He has also worked with Donald Byrd's Spectrum Dance Theater, Alonzo King's LINES Ballet and Complexions Contemporary Ballet; in 2005 he joined the Suzanne Farrell Ballet. As a choreographer, he was in charge of the lead boys in the North American productions of Billy Elliot the Musical.
He next danced with Serge Lifar. In 1933 Jasinski joined the Ballets Russe de Monte-Carlo, where he danced works by the leading choreographers of the time, such as George Balanchine, Michel Fokine, Leonide Massine and Bronislava Nijinska. He was premier danseur, ballet master, with the company from 1933 to 1950. He would say that he "couldn't afford an injury" at the start of his involvement with the Ballet Russe de Monte Carlo, because all the repertory was placed on him and only one other male dancer.
Jean-Baptiste Brulo (29 January 1746 in Ghent – ?) was a French ballet dancer, choreographer and ballet master, the son of the French dancers Jean-Baptiste Brulo and Marie-Thérèse Tabary. He danced at Bordeaux (1771–74) then at Montpellier (late 1790s), where his elder brother Mathias was ballet master and his nephew Philippe was theatre director. Brulo arrived at Stockholm in 1803 with his wife Catherine, at the same time as Filippo Taglioni. He became the Royal Swedish Ballet's premier danseur and choreographer, composing ballets for it.
The company of Matthew Bourne's The Car Man, with danseur Alan Vincent in the lead role of Luca. Matthew Bourne's The Car Man is a dance production by British choreographer Matthew Bourne. It previewed for the first time on Tuesday, May 16, 2000 at the Theatre Royal in Plymouth, England, and was subsequently staged at the Old Vic in London in September of that year. The music for the production is based on Russian composer Rodion Shchedrin's Bolshoi Ballet version of Georges Bizet's opera Carmen (1875), with additional music by composer Terry Davies.
François Alu (born 1993 in Fussy, Cher, France) is a French "Premier Danseur" (first soloist), of the Paris Opera Ballet. He entered the Paris Opera Ballet School in 2004, and the Paris Opera Ballet in 2010. At his first promotion competition, he was promoted to Coryphée, dancing as a free variation the act II solo of Solor, from La Bayadère by Rudolf Nureyev. The next year, he was promoted to "Sujet" (soloist), dancing as a free variation the act III solo of Solor, from La Bayadère by Rudolf Nureyev.
Vladimir Vasiliev was the first dancer to be given the award "La médaille d’or du meilleur danseur du monde" ("The Gold Medal of the World's Best Dancer"). Later Mikhail Baryshnikov and Patrick Dupond were also awarded the distinction. Over the years Vladimir Vasiliev has received many of the most prestigious Soviet, Russian and foreign prizes, orders and highest awards including the USSR State Prize, Russian State Prize, Order "For Merit to the Fatherland" and State Order “For Merits” of France, Lithuanian State Order, Order of Rio Branco (Brazil), UNESCO Pablo Picasso Medal and others.
As with the ballet's original inception in 1896, the first performances of Legat's revival of Bluebeard were successful. Nevertheless, the large cast the ballet required and in particular the complex stage effects were impossible to produce by the outset of World War I in 1914. The full-length Bluebeard was performed for the last time in 1913. Excerpts from the ballet were given sporadically in galas and benefit performances until 1916, when the ballerina Elsa Vill and the danseur Fyodor Lophukov were featured in a performance of Petipa's celebrated Pas de deux éléctrique.
The choreography for Solor went through a renaissance as well with the great Premier danseur Chabukiani in the role. Although the dances for the role of Solor had become far more prominent since La Bayadère had been performed in Imperial Russia, Chabukiani's revisions to the choreography would become the standard for all proceeding male dancers. In 1977, the Kirov Ballet's 1941 Ponomarev/Chabukiani production of La Bayadère was filmed and later released onto DVD/video with Gabriella Komleva as Nikiya, Tatiana Terekhova as Gamzatti, and Rejen Abdeyev as Solor.
Jean Malter (died November 1805, London), known as Hamoir, was a French ballet dancer and theatre director. He was one of the last of the Malter family, an 18th-century dynasty of dancers. He appeared in the Comédie-Italienne in Paris in the 1762-1763 season, before staying in London from 1765 to 1772. On his return to Paris the following year, he was engaged as premier danseur at the Comédie-Italienne from 1773 to 1777, all the while continuing to produce from time to time on the London and Dublin stage.
A ballerina appears to be suspended in the air during a grand jeté. Ballon () is the appearance of being lightweight and light-footed while jumping. It is a desirable aesthetic in ballet and other dance genres, making it seem as though a dancer effortlessly becomes airborne, floats in the air, and lands softly. The name is widely thought to be derived from the French word ballon (meaning "balloon"), though it has been dubiously claimed that the name was inspired by French ballet danseur Claude Balon, who was known for performing exceptionally light leaps.
Petipa was offered the position of Premier danseur to the Grand Théâtre in Bordeaux in 1841. There, he studied further with the great Vestris, all the while dancing the leads in such ballets as La Fille Mal Gardée, La Péri and Giselle. While performing with the company his skills as not only a dancer but as a partner were much celebrated. His partnering of Carlotta Grisi during a performance of La Péri was much celebrated, particularly his almost acrobatic lifts and catches of the ballerina that dazzled the audience.
On , an important revival of La Fille mal gardée premiered at the Imperial Bolshoi Theatre in Moscow. This version was staged by Alexander Gorsky, a former danseur of the St. Petersburg Imperial Theatres who served as Premier maître de ballet of the Moscow troupe. Gorsky's 1903 version was based on the Petipa/Ivanov production that he learned during his career in St. Petersburg. Gorsky's version used much additional music added to the score of Hertel, including pieces by Cesare Pugni, Ludwig Minkus, Léo Delibes, Riccardo Drigo and Anton Rubinstein.
Upon learning this, Tchaikovsky was angered by the idea of a Minkus composition being inserted into his ballet score, so he composed a new pas de deux for the ballerina, even matching the structure of the Minkus piece so that she would not have to change Petipa's choreography. It was a standard pas de deux classique, with a short entrée, a grand adage, a variation for the danseur, a variation for the ballerina, and a coda.Roland John Wiley, Tchaikovsky's Ballets: Swan Lake, Sleeping Beauty, Nutcracker (Oxford University Press, 1985), passim. Madame Sobeshchanskaya was, apparently, pleased.
In 1899 Petipa began work on the scenario for a ballet based on episodes from the Italian commedia dell’arte, which he called Les Millions d'Arléquin (The Millions of Harlequin). The ballet premiered at the Imperial Theatre of the Hermitage on with Mathilde Kschessinska in the role of Columbine and the danseur Gyorgy Kyaksht in the role of Harlequin. The audience included the Emperor and Empress as well as the whole of the Imperial court. Within moments of the final curtain, the typically subdued courtly audience erupted into thunderous applause.
The grand Pas des élémens, at Her Majesty's Theatre, 1847 In ballet, a grand pas (; literally, big or large step) is a suite of dances that serves as a showpiece for lead dancers, demi-soloists, and in some cases the corps de ballet. It usually consists of an entrée (introduction), a grand adage, sometimes a dance for the corps de ballet (often referred to as the ballabile), optional variations (solo dances) for the demi-soloists, variations for the lead ballerina or danseur or both, and a coda (sometimes referred to as a coda générale or grand coda), which concludes the suite.
A pupil of the Ballet de l'Opéra de Paris, he was hired by the troupe and became premier danseur in 1933. Very expressive, he was the interpreter of Serge Lifar in several ballets, joined the Nouveau Ballet de Monte-Carlo in 1942, then the ballet of the Opéra-Comique. He choreographed several works for the Grand Ballet du Marquis de Cuevas and founded in Nice in 1955, the Ballets de la Méditerranée. In 1959, he was the ephemeral ballet master of the Théâtre de la Monnaie in Brussels, excluded from the institution following the arrival of Maurice Béjart.
Sadler has directed Together on Broadway: Mary Martin and Ethel Merman, George Abbott: Celebration, and I Hear Music of Frank Loesser and Friends, a concert featuring the composer's widow, Jo Sullivan. He won another Tony for his choreography of the 1971 revival of No, No, Nanette and earned other nominations and awards during his extensive career as a Broadway choreographer. Saddler directed the 1988 Broadway reunion of prima ballerina Cynthia Gregory and danseur Fernando Bujones. His choreographic work for feature films includes April in Paris, Young at Heart, By the Light of the Silvery Moon, and Radio Days.
In many widespread variants, the bird is replaced by a fairy or magical woman the Brother seeks after as part of the impossible tasks set by his aunts, and whom he later marries (The Brother Quests for a Bride format). Very rarely, it is one of the children themselves that reveal the aunts' treachery to their father, as seen in the Armenian variants The Twins and Theodore, le Danseur. In a specific Persian version, from Kamani, the Prince (King's son) investigates the mystery of the twins and questions the midwife who helped in the delivery of his children.
The most celebrated and enduring passage of La Bayadère was Petipa's grand vision scene known as The Kingdom of the Shades. Petipa staged this scene as a Grand pas classique, completely devoid of any dramatic action. His simple and academic choreography was to become one of his most celebrated compositions, with the Sortie des bayadères of the thirty-two member Corps de ballet of shades arguably becoming his most celebrated composition of all. Petipa's final revival of La Bayadère was first given on especially for the dual benefit performance of the Imperial Theatre's Premier danseur Pavel Gerdt and the Prima ballerina Mathilde Kschessinskaya.
In 1940 the Kirov Ballet once again made plans to revive La Bayadère, this time in a staging by the Balletmaster Vladimir Ponomarev and the Premier danseur Vakhtang Chabukiani. This version would be the definitive staging of La Bayadère from which nearly every subsequent production would be based. The Ponomarev/Chabukiani revival of La Bayadère premiered on February 10, 1941 to a resounding success, with Natalia Dudinskaya as Nikiya and Vakhtang Chabukiani as Solor. The choreography for the character of Nikiya went through a renaissance in when performed by the virtuoso ballerina Dudinskaya, whose revisions to the choreography remain the standard.
Des flammes, des flammes qui envahissent le ciel, Qui es-tu, ô Danseur, dans l'oubli du monde ? Tes pas et tes gestes font dénouer tes tresses Tremblent les planètes et la terre sous tes pieds. Des flammes, des flammes qui envahissent la terre, Des flammes de déluge pénétrant tous les cœurs, Effleurant les ondes de l'océan des nuits Des foudres se font entendre au rythme des éclairs. Des flammes, des flammes dans les gouffres souterrains, Des bourgeons de tournesol ouvrent leurs pétales, Des squelettes du passé dans la caresse du feu Engendrent les âmes d'une création nouvelle.
La Bayadère would prove to be among Petipa's most enduring works. To this day his choreography for the scene The Kingdom of the Shades remains one of the ultimate challenges for the classical ballerina and danseur, and particularly for the corps de ballet. The eldest son of Marius Petipa (with the dressmaker Teresa Burden / ru: Тереза Бурден) also Marius (Marius Mariusovich Petipa) was the famous drama actor, and his son Nikolai Radin was famous Russian actor too. Petipa and his wife, the Prima ballerina Mariia Surovshchikova-Petipa separated in 1875, and in 1882 the ballerina died of virulent smallpox in Pyatigorsk.
Théodore), created the role of Lison (or Lise, as the character is known in modern versions), the danseur Eugène Hus created the role of Colin (or Colas), and Francois Le Riche created the role of the Widow Ragotte (now known as Widow Simone in modern versions). The ballet's original title was Le ballet de la paille, ou Il n'est qu'un pas du mal au bien ("The Ballet of the Straw, or There is Only One Step from Bad to Good"). The work met with public success and proved to be Dauberval's most popular and enduring work.
Dancers performing Paquita grand pas de deux entrée In ballet, a pas de deux (French, literally "step of two") is a dance duet in which two dancers, typically a male and a female, perform ballet steps together. The pas de deux is characteristic of classical ballet and can be found in many well-known ballets, including Sleeping Beauty, Swan Lake, and Giselle. It is most often performed by a male and a female (a danseur and a ballerina) though there are exceptions, such as in the film White Nights, in which a pas de deux is performed by Mikhail Baryshnikov and Gregory Hines.
For this staging the ballet's title was changed again as Néméa, ou L′Amour vengé (Néméa, or The Avenged Love). At that time, ballets were performed at the Paris Opéra only as diversions during the intermissions of full-length operas, and as such Saint-Léon's ballet was reduced to two- acts. The first performance took place on 11 July 1864 with an audience that included the Empress Eugénie. Featured along with Muravieva in the title role of Néméa was the celebrated Premier danseur Louis Mérante in the role of Count Molder and the ballerina Eugénie Fiocre in the role of Cupid.
Mathieu Ganio (born 16 March 1984) is a French danseur étoile of the Paris Opera Ballet. Mathieu Ganio was born in Marseille, France, the son of Ballet National de Marseille principal dancers Dominique Khalfouni and Denys Ganio. He began dance lessons at the age of seven and studied at the École Nationale Supérieure de Danse de Marseille from 1992 to 1999, before completing his training at the Paris Opera Ballet School. In 2001 he joined the corps de ballet of the Paris Opera Ballet and won promotion to the rank of coryphée in 2002 and sujet in 2003.
Missing the opportunity, Gaston proves unable to realize that the public's tastes have changed and that his glossy world is on the way to sunset. Now forgotten, disheartened and penniless, Gaston looks for the last chance by returning to perform in a second-rate club with Rosa, an old flame always devoted. But the last performance turns out to be a total fiasco and the bel danseur, reduced to poverty, has only a vain consolation left: to see Nannina again perhaps for one last time, thus leaving the scene convinced that he is, always and in any case, the most beautiful and desired.
After he finished his musical studies, first at the Conservatory of Nice then the Conservatoire de Paris, Roger Dumas was conductor during the 1920s and 1930s at the Casino de Toulon (a city where he also taught at the conservatory). It is in this entertainment venue and under his musical direction that his first operetta, Flouette, was created in 1924. The second was Le Danseur du casino, premiered at Orange in 1935. He became film score composer on two productions respectively released in 1930 (Cendrillon de Paris, with Alibert and Pauline Carton) and 1931 (Les Vagabonds magnifiques, with Nadia Sibirskaïa and Georges Melchior).
A premier danseur, he was recognized for his elegance and style, in both his dancing and choreography, which was fused with unorthodox ballet movements and port de bras that he learned from previous teachers, such as Balanchine. After is son, Roman L. Jasinski, was born, Roman decided to retire from performing and in 1956 he founded a ballet school in Tulsa, Oklahoma with his wife Moscelyne Larkin, the Tulsa Ballet. It is one of numerous regional companies founded by former members of the Ballet Russe de Monte Carlo, and is currently a premiere ballet company in the United States.
Craine & Mackrell 2000, p. 365. He first danced at the Paris Opera in 1674 in Jean-Baptiste Lully's Cadmus et Hermione. Pécour performed as a principal dancer, both at the Opera's Théâtre du Palais-Royal in Paris and for the royal court at the Château de Saint-Germain-en-Laye and Château de Chantilly, and created many dance parts in works by Lully, including the ballet Le triomphe de l'amour (1681), the opera Persée (1682, as premier danseur opposite Mlle Lafontaine), the opera Amadis (1684), the ballet Le temple de la paix (1685), and the opera Armide (1686).Pitou 1983, p. 285.
Altin Kaftira (born 1972 in Albania) is a former danseur with the Dutch National Ballet in Amsterdam, Netherlands. He danced with the Ballet from 1995 on, and from 2000 to 2007 was the Ballet's principal dancer (working with choreographers such as Hans van Manen, Rudi van Dantzig, Jerome Robbins, Alexei Ratmansky, Christopher Wheeldon and Ted Brandsen), and has danced in almost a dozen George Balanchine ballets. In 2007, he left to pursue a career as a filmmaker. One of his first film assignments was the production and direction of the 75th anniversary gala for Hans van Manen.
In 1992 Waldemar Zawodziński, both a director and a stage designer, became the theatre's artistic director and is handling its stages to this day. His works include Fernando de Rojas' La Celestina, Georg Büchner's, Woyzeck, William Shakespeare's A Midsummer Night's Dream, Christopher Marlowe's The Tragical History of Doctor Faustus, Friedrich Schiller's Intrigue and Love, Nijinsky (a solo play based on the life of danseur and choreographer Vaslav Nijinsky) and Witold Gombrowicz The Marriage. In 1995 a third stage was added to the theatre, the Chamber Stage. Sabina Nowacka, who had been a general director of the theatre for quite a number of years, was the initiator of the project.
The critic from the St. Petersburg Gazette commented on the danced numbers in Bluebeard: Although Bluebeard was very successful during its opening run, the ballet did not find a permanent place in the repertory of the Imperial Ballet. The last presentation of the full-length production of Bluebeard was given in 1899 for the benefit performance of Pierina Legnani. In 1901, the first and third acts of the ballet were given as part of a program staged for the farewell benefit of Legnani before retiring to her native Italy. A revival of Bluebeard was mounted for the Imperial Ballet in 1910 by the premier danseur and pedagogue Nikolai Legat.
After leaving the New York City Ballet, Tallchief joined American Ballet Theatre, first as a guest dancer then as prima ballerina. That summer, she appeared alongside Danish danseur Erik Bruhn in Russia, where she was recognized for "aplomb, brilliance, and dignity of the American style." In so doing, she became the first American dancer to perform at Moscow's famed Bolshoi Theater. From 1960 to 1962, Tallchief expanded her repertoire taking on dramatic, as opposed to abstract, roles such as the title roles of Birgit Cullberg’s Miss Julie and Lady from the Sea, as well as the melancholy heroine of Antony Tudor’s Jardin aux Lilas.
Again at the Canobbiana in 1837 I minatori di Salerno was performed for the first time: this was his most performed ballet, not only by Astolfi himself but also by other performers; this was the only work by Astolfi to be performed after his death. He was premier danseur of both Italian and Portuguese dancers at the Royal Theatre of Saint John in Lisbon until the season 1839–40, which was a complete failure for Astolfi. He experienced other failures in Crema and Bergamo in 1837 and at the Teatro Carignano in Turin in 1842. In 1840 he married dancer and leading pantomimic actress Fanny Mazzarelli.
He was appointed premier danseur of the ballet of the Académie Royale de Musique in 1763, and, in 1771, he was named ballet master. From 1781 until 1783, he was engaged as Maître de Ballet to the Académie, and in 1783-84 season in London's King's Theatre. In 1783, Dauberval moved to Bordeaux, where he accepted the post of maître de ballet to the Grand Théâtre de Bordeaux, a position he held until 1791. In 1789, Dauberval created his most enduring ballet, La Fille mal gardée, in which his wife, the dancer Marie-Madeleine Crespé, who is known to history as Madame Théodore, created the role of Lison.
In August 2015, on the shooting of the movie En Moi, Morris photographed the instant where the Dutch model Lara Stone is become actress for her first leading role of the woman. He captured on film the moment where the French actress Laetitia Casta is become film director for the first time. He was the witness of the metamorphosis of the Japanese actor Akaji Maro in his role of the man of service into the butoh-dancer in the Palais Garnier where the French Danseur Étoile Jérémie Bélingard interpreted the lover of the woman in front of the camera of the French film cinematographer Benoît Delhomme.
Jean-Louis Aumer was a French danseur and choreographer, who was born in Strasbourg on 21 April 1774, and who died in Saint-Martin-de-Boscherville in July 1833. Educated at the school of the Paris Opera Ballet, he joined the company in 1801 after an initial engagement with Jean Dauberval in Bordeaux. The Paris Opera's maître de ballet Pierre Gardel presented an obstacle which led Aumer to choose the Théâtre de la Porte Saint-Martin as the venue for which to create his early ballets. Faced with the implacable competition from Gardel, Aumer left France for engagements in Kassel (1808–1814) and Vienna (1814–1820).
Marius Petipa was born Victor Marius Alphonse Petipa in Marseilles, France on 11 March 1818. His mother, Victorine Grasseau, was a tragic actress and teacher of drama, while his father, Jean-Antoine Petipa, was among the most renowned Ballet Masters and pedagogues in Europe. At the time of Marius's birth, Jean Petipa was engaged as Premier danseur (Principal Male Dancer) to the Salle Bauveau (known today as the Opéra de Marseille), and in 1819 he was appointed Maître de ballet to that theatre. Marius Petipa spent his early childhood traveling throughout Europe with his family, as his parents' professional engagements took them from city to city.
And when Lahcen's father found out that he was a student at the conservatory, he kicked him out of the family home. Zinoun went to Belgium because of his admiration of the dancer Maurice Béjart, where he became a danseur étoile in the Ballet royal de Wallonie. In 1973, he decided to return to Morocco to publicize this discipline and give it more recognition, but he was met with resistance. His return was also in order to reconcile with his father, who invited him to a wedding, and he said of his experience, "I saw my father dancing and I understood that we were united again".
Harald Scharff as Gennaro in August Bournonville's ballet Napoli, 1860 Harald Scharff (20 February 1836 - 3 January 1912) was a danseur associated with the Royal Danish Theatre in the mid-19th century who succeeded August Bournonville as the Danish ballet's principal male dancer upon the latter's retirement from the stage. Scharff's physical handsomeness and his flamboyant dance style brought him great acclaim, and his performances in Bournonville's Flower Festival in Genzano and Napoli were triumphs. Scharff was an intimate friend (possibly a lover in the early 1860s) of the poet Hans Christian Andersen. Andersen's "The Snowman" is believed to have been inspired by their relationship.
The National dances are rarely if ever, performed as Petipa and Ivanov first staged them (Petipa staged the Spanish Dance and the Mazurka, Ivanov staged the Neapolitan Dance and the Hungarian Dance). During the premiere of the 1895 revival the Spanish Dance and the Neapolitan Dance left a rather neutral impression, but the Hungarian Dance and Mazurka were both encored. The Hungarian Dance was performed by the Danseur Alfred Bekefi and Petipa's daughter Marie Petipa (famous for creating the role of the Lilac Fairy in The Sleeping Beauty), who wore 12,000 roubles worth of diamonds for the performance. Perhaps the biggest sensation was the Mazurka, danced by a group of dancers with Felix Kschessinsky as soloist.
As a junior member of Ballet Rambert, Bennett made his debut on the professional ballet stage in April 1951 as the peasant Hilarion, the rejected suitor in Giselle, a role that required more acting than dancing. Rambert then took him under her wing and, within eighteen months, transformed him into a brilliant Albrecht, the danseur noble of the ballet. For the next five years, until 1957, Bennett danced with Rambert's company, appearing in both classic and modern works and creating a variety of roles for such inventive choreographers as John Cranko and Robert Joffrey. He also appeared occasionally with the Sadler's Wells Theatre Ballet, where in 1957 he was appointed a principal dancer.
The result was one of those > electrifying performances when everyone both in the audience and on the > stage is aware that something extraordinary is happening. Bruhn formally resigned from the Danish ballet in 1961, by which time he had become internationally known as a phenomenon, although he continued to dance periodically with the company as a guest artist. In May 1961, he returned to Ballet Theatre for its New York season. In its 5 May issue, Time magazine published a major article on the dancer and his art: > Back home Bruhn, 32, is the idol of the Royal Danish Ballet, where he has > brought new life to the classic roles reserved for a premier danseur noble.
In 1843, Petipa was offered the position premier danseur at the Teatro Real in Madrid, Spain. For the next three years he would acquire an acute knowledge of traditional Spanish Dancing while producing new works based on Spanish themes – Carmen et son toréro (Carmen and the Bullfighter), La Perle de Séville (The Pearl of Seville), L’Aventure d’une fille de Madrid (The Adventures of a Madrileña), La Fleur de Grenade (The Flower of Granada) and Départ pour la course des taureaux (Leaving for the Bull Fights). In 1846, he began a love affair with the wife of the Marquis de Chateaubriand, a prominent member of the French Embassy. Learning of the affair, the Marquis challenged Petipa to a duel.
The work was set to music by the composer Catterino Cavos. A production of Jean- Pierre Aumer's 1828 version of La Fille mal gardée, set to the music of Hérold, was first staged in Russia at the Moscow Bolshoi Theatre in 1845 by the Balletmaster Irakly Nikitin. The great choreographer Jules Perrot—Premier Maître de ballet of the St. Petersburg Imperial Theatres from 1850–1859—staged his own version of Aumer's production for the company in 1854, and for this production added new music to the ballet by the composer Cesare Pugni. Perrot's staging was given for the last time in 1880 for a benefit performance for the Imperial Ballet's Premier danseur Pavel Gerdt.
Having become an American citizen, Zoritch settled down in his new, adopted country and moved gradually from performing to teaching. He played an important part in the growth of regional ballet across the United States but remained associated with the Ballet Russe de Monte Carlo until 1962, when the company was dissolved. In 1964, he opened a ballet school in West Hollywood, California, where he exercised strict discipline and often employed sarcasm in giving corrections to his pupils. Finding children disagreeable, he preferred older students, to whom he gave master classes.William Como, "George Zoritch today, as Premier Danseur and Teacher He Prefers Elegance and Tradition," Dance Magazine (New York), September 1964, pp.
Elizaveta Gerdt with Maya Plisetskaya during the morning class, Bolshoi Theatre, 1960s Elizaveta Pavlovna Gerdt (; - 6 November 1975) was a Russian dancer and teacher whose career links the Russian imperial and Soviet schools of classical dance. A daughter of celebrated dancer Paul Gerdt, she studied under Michel Fokine at the Imperial Ballet School, where her chief partner was Vaslav Nijinsky. She married another popular danseur, Samuil Adrianov (1884-1917; the first husband), who danced with Pierina Legnani and Mathilde Kschessinska, two ballerinas she sought to emulate. After the Russian Revolution Elizaveta Gerdt and Olga Spessivtseva were the only world-class dancers who chose to remain in Russia, while others emigrated to the West.
The so-called Flower Festival in Genzano pas de deux has become an extremely popular repertory piece with ballet companies and is often utilized in whole or in part by dancers on the ballet competition circuit. The music of this pas de deux is often erroneously credited to Holger Simon Pauli and/or Eduard Helsted in modern theatre programs, films, etc. The true origins of this famous pas de deux stem from an 1842 staging of Bournonville's Napoli for the ballet of the Kärntnertortheater in Vienna. For this production, the danseur Lorenzo Vienna--who performed the principal role of Gennaro in Napoli--created a pas de deux for the third act to new music by the Austrian composer Matthias Strebinger (1807–1874).
A ballet master at the Théâtre des Variétés-Amusantes from 1779 to 1781, he put on Le Forgeron, La Place publique, Les Bostangis, La Fausse peur, Les Quakers, Les Jardins protégés par l'Amour and Les Ruses villageoises. Hamoir then became ballet master and premier danseur comique at the Théâtre de la Monnaie and Théâtre Royal du Parc in Brussels in 1783, with his sister Rosalie, from whom he could never be separated and who he often had pass for his wife. On his return to England in 1785, Hamoir set himself up as a dance professor in Birmingham and appeared in London until 1791. His last production was L'Heureux Naufrage (The Happy Shipwreck), a ballet "in the Scottish style", at the King's Theatre in July 1796.
Square Dance is a ballet made by New York City Ballet co-founder and balletmaster George Balanchine to Antonio Vivaldi's Concerto Grosso in B minor and the first movement of his Concerto Grosso in E major, Op. 3, nos. 10 and 12, respectively; in 1976 he added Arcangelo Corelli's Sarabanda, Badinerie e Giga, second and third movements. The premiere took place on November 21, 1957, at City Center of Music and Drama, New York, with lighting by Mark Stanley. The original version placed the musicians on stage with a square dance caller calling the steps; from its 1976 revival the caller was eliminated, the orchestra placed in the pit, and a solo added for the premier danseur to the Corelli Sarabanda.
Through his association with Saint-Léon and the St. Petersburg Imperial Ballet, Minkus came to the attention of the renowned choreographer Marius Petipa. Petipa arrived in the imperial capital in 1847, where he was engaged as Premier danseur to the Imperial Theatres, as well as assistant to the Ballet Master Jules Perrot, who served as Premier Maître de Ballet to the company from 1850–1859. Petipa was named second Maître de Ballet after the success of his grand ballet The Pharaoh's Daughter, set to the score of the Italian composer Cesare Pugni. Pugni had served as Ballet Composer of the St. Petersburg Imperial Theatres since 1850, a post which was created especially for him when he accompanied Perrot to Russia that same year.
The term étoile had been used to designate the best soloists of the Paris Opera Ballet since the 19th century, but it was only in 1940 that ballet master Serge Lifar decided to codify the title at the top of the company's hierarchy. Unlike all lower ranks in the Ballet (quadrille, coryphée, sujet, premier danseur), promotion to étoile does not depend on success in the annual competitive examinations. Dancers have to perform in leading roles, sometimes for many years, before they can be accorded the rank by the director of the Paris Opera, after nomination by the head of the ballet (directeur de la danse), in recognition of outstanding excellence and merit.La Danse, film by Frederick Wiseman, 2009, 159 min.
After studying dance under Jean-François Coulon, he began his career on the Boulevards and at the Ambigu-Comique, then made his debut at the Opéra de Paris in 1800, quickly becoming its premier danseur, with rivalries with Auguste Vestris as a dancer and with Pierre Gardel as a choreographer. He unilaterally broke his contract in 1808 and left Paris for Saint Petersburg, via Vienna. At the Mariinsky Theatre, he danced in the ballets by Charles-Louis Didelot, before being made the head of a theatre in Naples and returning to Vienna as professor and director at the Theater am Kärntnertor. After spending many seasons in Naples, London and Turin, he returned to Paris in 1836 and retired from artistic activity.
Le Riche entered the Paris Opera Ballet school at age ten and joined the corps de ballet six years later; his first ròle was in Gsovsky's Grand Pas Classique. He was promoted to sujet in 1990 and premier danseur in 1991. Balletmaster Rudolf Nureyev cast him as Mercutio and subsequently Romeo in his version of Romeo and Juliet, also in his Raymonda; he then performed in Nijinska's Le Train Bleu, in Robbins' In the Night, Neumeier's Vaslaw, Lander's Etudes, Nureyev's La Bayadère, Nijinsky's Afternoon of a Faun, Mats Ek's version of Giselle, Boléro by Béjart and Petit's Le Jeune Homme et la Mort and Les Forains. He was promoted to the Paris Opera Ballet's highest rank, that of étoile (literally, star), after his debut in the róle of Albrecht in the traditional version of Giselle.
Adam's score for Giselle acquired several additional numbers over the course of its history, with some of these pieces becoming an integral part of the ballet's performance tradition. Immediately following the first répétition générale of Giselle on the stage of the Paris Opéra, the danseuse Nathalie Fitz-James used her influence as the mistress of an influential patron of the theatre to have a pas inserted for herself into the ballet. Jean Coralli was required to quickly arrange a number for Fitz-James, which was arranged by Coralli as a pas de deux with the danseur Auguste Mabille serving as Fitz-James's partner. Coralli's original intentions were to have the ballet's composer Adolphe Adam supply the music for Fitz-James's pas, but by this time Adam was unavailable.
Erik Bruhn was a complete > dancer – a far cry from the highly specialized artist he was often made out > to be... His moral example to the rest of ballet came through the > concentration and seriousness with which he committed himself to every role. Bruhn authored Beyond Technique with photos by Fred Fehl (1968, reissued as No. 36 of "Dance Perspectives" in 1973), and with Lillian Moore he co-authored Bournonville and Ballet Technique: Studies and Comments on August Bournonville's Etudes Choregraphiques (1961, reprinted 2005). He was the subject of the book Erik Bruhn: Danseur Noble (1979) by John Gruen, written with his cooperation and based in part on extensive interviews. A 2008 biography in Danish by Alexander Meinertz, Erik Bruhn – Billedet indeni (The Picture Within), has yet to be translated into English.
Christopher d'Amboise (born 1960) is a danseur, choreographer, writer, and theatre director. Born and raised in New York City, the son of dancers Jacques d'Amboise and Carolyn George, d'Amboise became a principal dancer in the New York City Ballet, where he worked closely with George Balanchine and Jerome Robbins, dancing all the major roles as well as originating several new works. He quit the company in 1983 to pursue other interests, including the Broadway production of Song and Dance, which earned him a Tony Award nomination for Best Featured Actor in a Musical for a role in which he only danced. From 1990-94, d'Amboise was the Artistic Director, President, and CEO of the Pennsylvania Ballet, where he presented classic repertoire as well as introduced new works by contemporary choreographers.
In Ivanov's original choreography, when Odette makes her second entrance to beg Benno and the hunting party not to hurt her fellow Swan Maidens, she is followed onstage by eight girl students as Swans. These students also participate in the Waltz of the Swans, which was far more elaborate in Ivanov's original than the traditional version danced today by most companies. The Grand Adagio of the second scene (the Pas de Deux of Odette and Prince Siegfried sometimes referred to as the Love Duet) was choreographed by Ivanov as a Pas de deux à Trois - Pierina Legnani was partnered by both Pavel Gerdt (who danced Prince Siegfried) and Alexander Oblakov (who danced Benno). It was not until the Danseur Nikolai Legat replaced Gerdt in the role of Prince Siegfried in the late 1890s that the pas became a pas de deux.
Irek Mukhamedov OBE (born 8 March 1960 in Kazan, USSR), is a Soviet-born ballet dancer of Tatar origin who has danced with the Bolshoi Ballet & the Royal Ballet He trained at the Moscow Choreographic Institute under the guidance of Alexander Prokofiev between 1970 and 1978. Upon graduation he joined the Classical Ballet Company, where he spent three years touring around the world. It was with this company that he first danced Romeo, a role that was to become one of his most acclaimed. In 1981 he won the Grand Prix and Gold Medal at the International Ballet Competition in Moscow and was immediately invited to join the Bolshoi Ballet as a principal dancer, where he not only became Grigorovich's favourite danseur but went to become the youngest man ever to dance the leading role in Spartacus.
With all of this, Petipa's rocky relationship with the new director of the Imperial Theatres, Vladimir Telyakovsky, appointed to the position in 1901, served as a catalyst to the Ballet Master's end. Telyakovsky made no effort in disguising his dislike of Petipa's work, as he felt that the art of classical ballet had become stagnant under him, and felt that other choreographers should have a chance at the helm of the Imperial Ballet. But even at the age of eighty- three, and suffering from the constant pain brought on by a severe case of the skin disease pemphigus, the old Maestro showed no signs of slowing down, much to Telyakovsky's chagrin. One example of Telyakovsky's efforts in his attempt to "de-throne" Petipa came in 1902 when he invited Alexander Gorsky, former premier danseur to the Imperial Ballet, to stage his own version of Petipa's 1869 ballet Don Quixote.
Italy, 1920s. The suffered glimmers of war seem very far away, especially if and when you have the opportunity to have fun in places like the tabarin: it is here that Gastone, aka Gaston Le Beau, profession danseur mondain, accompanied by the inseparable tailcoat, performs dancing with extreme elegance and entertains the wealthy ladies who go there. Enclosed in the magnificent image of "bell'Adone", a woman-wasting dancer, elegant and sexy, Gastone is actually a frivolous and artless character, a well-known scammer at the police station who not only cares about being desired by the admirers but wants something else: success, that full glory and never achieved due to the outbreak of the Great War. Surrounded by equally fatuous and in some cases dishonest characters, including princes, loan sharks and beautiful women, Gastone cultivates his ambitions when a new student, Nannina, enrolls in his improvised dance school.
McKie is the first dancer from Canada to guest-star with the much celebrated trio of the Mariinsky Ballet, the Bolshoi Ballet and the Paris Opera Ballet and says he owes much of this success to fellow Canadian, Reid Anderson who often facilitated initial contact in Paris and Moscow. In a statement to The Toronto Star, the National Ballet of Canada's Artistic Director, Karen Kain, noted that "McKie is a very intelligent dancer and has the spirit of a true artist", "He loves the contemporary and the process of creation but also absolutely embodies the classical danseur noble." McKie continues to have very close ties with the Stuttgart Ballet, where he trained and rose through the company's ranks. He credits his time there as the rare chance to find harmony between a fascination for classical ballet technique and an innermost passion for (expressionist dance) that would provide the impetus for what would become a global dance career.
Bruhn, Erik Beyond Technique (1968) The performance caused a sensation. Dance critic John Martin, writing in The New York Times, called it "a date to write down in the history books, for it was as if the greatest Giselle of today were handing over a sacred trust to what is probably the greatest Albrecht of tomorrow." In an article entitled "The Matinée that Made History" in Dance News in June 1955, P. W. Machester wrote: > Technically exacting as it is, the role of Albrecht is not beyond the > capabilities of any competent premier danseur, and Erik Bruhn is infinitely > more than that; he is probably the most completely equipped male dancer of > the day, with the flawlessly clean technique that comes only through a > combination of enormous talent allied to correct day-by-day training from > childhood … If his dancing was magnificent, and it was, his partnering of > and playing to Markova were no less so.
When Kschessinskaya learned of this, she appealed to the Emperor's uncle, the Grand Duke Vladimir Alexandrovich, whose influence reinstated the ballerina in the cast in spite of the fact that at this point the Ballet Master Petipa and the composer Drigo had completed all of the choreography and music. Petipa became extremely frustrated when he learned that he and Drigo were nonetheless required to compose a number for Kschessinskaya, which took the form of a classical pas de deux for a new character dubbed "La Perle jaune" (the Yellow Pearl) and her suitor, performed by the danseur Nikolai Legat. Petipa's choice of name for Kschessinskaya's character may have been a slight to the ballerina, since unlike the other pearls in the ballet (white, pink and black), yellow pearls do not exist unless a white pearl's color has become tarnished with age. La Perle was later transferred to the regular repertory of the Imperial Ballet, where it was first performed on at the Imperial Mariinsky Theatre, St. Petersburg.
Pavel Gerdt as Damis in the Glazunov/Petipa Les Ruses d'Amour (AKA The Trial of Damis or The Lady Soubrette), Saint Petersburg, 1900 Pavel Andreyevich Gerdt (), also known as Paul Gerdt (near Saint Petersburg, Russia, 22 November 1844 – Vamaloki, Finland, 12 August 1917), was the Premier Danseur Noble of the Imperial Ballet, the Bolshoi Kamenny Theatre, and the Mariinsky Theatre for 56 years, making his debut in 1860, and retiring in 1916. His daughter Elisaveta Gerdt was also a prominent ballerina and teacher. Gerdt studied under Christian Johansson, Alexander Pimenov (a pupil of the legendary Charles Didelot), and with Jean-Antoine Petipa (Marius Petipa's father, a master of the old pantomime and a student of Auguste Vestris). He was known as the "Blue Cavalier" of the Saint Petersburg stage, creating the roles of nearly every lead male character throughout the latter half of the 19th century, among them Prince Désiré in The Sleeping Beauty and Prince Coqueluche in The Nutcracker.
During this time he danced various contemporary and neo-classical ballets, including pieces from choreographers Van Manen, Rudi van Dantzing, Jan Linkens, Nils Christie, Amodio, Balanchine, Micha Van Hoecke y and Ullate himself. Yebra started his career as a freelance dancer at the end of 1996 and joined Australian Ballet as a guest, despite receiving offers from recognized companies like the New York City Ballet, Ballet Estable del Teatro Colón, Scottish Ballet and American Ballet Theatre. He is mostly recognized as a danseur noble and it is from the time he left Ullate's company that he managed to expand his classical and romantic repertoire to include various choreographed versions of Giselle, Don Quixote, La Sylphide, Romeo and Juliet, Swan Lake, Coppélia, Les Sylphides, The Nutcracker, The Sleeping Beauty and variations from Le Corsaire and La Bayadère. His contemporary repertoire is an array of neoclassical-type ballets, including George Balanchine's Theme and Variations, Concerto Barroco, Allegro Brillante and Tschaikovsky Pas de Deux.
At the time the only part of Swan Lake that was known in the west was the famous second scene (or the "White Act" as it is sometimes called). In an effort to have the audience distinguish Odile from the more well-known Odette, Fedorova-Fokine had Toumanova perform in a black costume, and almost by accident Odile began to be referred to as "The Black Swan." Though Toumanova was not the first ballerina to wear such a costume when dancing Odile, her 1941 performance set the tradition in motion and soon Odile became "The Black Swan," a tradition that quickly spread everywhere, including Russia. What became known in modern times as The Black Swan Pas de Deux, which ends with glittering virtuosity from the ballerina as well as the danseur, was originally staged by Petipa as a Grand Pas de Deux à Quatre demi d'action - Prince Siegfried (Pavel Gerdt) and an additional suitor (danced by Alexander Gorsky) partnered Odile (Pierina Legnani), while Rothbart (danced by Alexei Bulgakov) did most of the acting/mime.
200px Marie-Jean-Augustin Vestris, known as Auguste Vestris (27 March 1760 – 5 December 1842), was a French dancer. He was born in Paris, the illegitimate son of Gaétan Vestris and Marie Allard (1742–1802). His father was a Florentine dancer who had joined the Paris Opéra in 1748, his mother was a French dancer in the same theatre. He was dubbed "le dieu de la danse", (the god of dance), a popular title bestowed on the leading male dancer of each generation (previous 'Gods of the Dance' included his father Gaétan and Gaétan's teacher, Louis Dupré). He made his debut at the Paris Opéra (as had his mother, Marie Allard) in the third divertissement of the pastorale La Cinquantaine (written by Desfontaines-Lavallée and set to music by Jean- Benjamin de La Borde) in 1772 and was immediately recognized for his talent. He was accepted as a regular member of the troupe in 1775, became a soloist in 1776, a "premier danseur" (principal dancer) in 1778, and finally he was appointed "premier sujet de la danse" (roughly corresponding to modern étoile) in 1780, holding this rank in the corps de ballet for the next 36 years.

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