Natalia Osipova. El Lago de los Cisnes (c)Royal Opera House de Londres
El Lago de los Cisnes (c)Royal Opera House de Londres
El Lago de los Cisnes (c)Royal Opera House de Londres
El Lago de los Cisnes (c)Royal Opera House de Londres
Mostrando entradas con la etiqueta Royal Ballet. Mostrar todas las entradas
Mostrando entradas con la etiqueta Royal Ballet. Mostrar todas las entradas
5.3.15
El Lago de los Cisnes del Royal Ballet
6.3.14
La Bella Durmiente por el Royal Ballet de Londres
Marianela Núñez y artistas del Royal Ballet "La Bella Durmiente" ©Royal Ballet de Londres
Steven McRae y artistas del Royal Ballet "La Bella Durmiente" ©Royal Ballet de Londres
Artistas del Royal Ballet "La Bella Durmiente" ©Royal Ballet de Londres
Sarah Lamb "La Bella Durmiente" ©Royal Ballet de Londres
Steven McRae "La Bella Durmiente" ©Royal Ballet de Londres
Sarah Lamb "La Bella Durmiente" ©Royal Ballet de Londres
Sarah Lamb y Steven McRae "La Bella Durmiente" ©Royal Ballet de Londres
Sarah Lamb y Steven McRae "La Bella Durmiente" ©Royal Ballet de Londres
29.1.14
La Giselle de Natalia Osipova
Por Carolina de Pedro - Danza Ballet®
Osipova sublime, Giselle eterna!
Osipova sublime, Giselle eterna!
La transmisión en directo del ballet Giselle, en los cines el pasado lunes 27, en versión de Peter Wright para el Royal Ballet, ha sido un oportunidad de oro para admirar y estudiar de cerca a la estrella del ballet internacional, Natalia Osipova.
Osipova, sola y en si misma, es un himno a Giselle.
Resplandece con tanta luz y personalidad en el escenario del Royal Opera House que todo y todos a su alrededor, quedan en un segundo, o quizás, tercer plano.
A sus jóvenes 27 años, es una intensa artista de gran profundidad dramática, dueña de un baile y una técnica de ballet superior y prodigiosa. Cualidades que sobresalen aún más entre los bailarines del actual Royal Ballet, compañía a la que se ha unido en 2013. Es difícil o tal vez imposible estar a su altura.
Al comenzar el ballet en el 1er. Acto, su personaje Giselle, es el de una joven dulce, tímida, enamorada y de frágil corazón que a medida que avanza la acción, matiza en cada detalle y cada gesto la profundidad del drama que se avecina.
Las variaciones de Osipova como Giselle son alegres, chispeantes y llenas de despliegues técnicos brillantes! Estas variaciones no están exentas de momentos un tanto excesivos, como cuando ejecuta con la velocidad del rayo y fuera de estilo, los piques pirouette en circulo de su famoso solo del 1er Acto.
La famosa escena de la locura, llega con fuerza y golpea el alma; así como abrumador y triste se siente el momento en que delante de Batilde, la pobre Giselle trata de entender una situación humillante y dolorosa, como la de que ella no está prometida con Albrecht pero Batilde, si.
El momento crucial llega cuando Batilde, soberbia, engreída y bien representada por la elegante bailarina Christina Arestis, le muestra su enorme anillo de compromiso. Es entonces cuando Giselle, golpeada y muy consciente de su humilde condición social, esconde sus manos desnudas, sin tener nada que decir.
Una pobre campesina frente a la suprema arrogancia de la hija de un príncipe.
Osipova, merece ganar un Oscar por esos pocos segundos.
Su vívida presencia dramática la lleva al éxtasis total del 2 Acto con una Giselle sumida en el amor y el desgarro más absoluto. Su baile es intenso, elevado y hasta trascendente.
Osipova – Giselle flota y vuela cual espíritu etéreo en medio del bosque. Sus esperados entrechats, seguidos de los Cecchetti son simplemente únicos!
El adagio lo realizó con unas elevaciones de piernas acompañadas de suaves suspiros de sus brazos, y un trabajo de hombros y espalda fenomenal! Su torso, por medio de su estudiada respiración, parecía mágico, y todo el conjunto será definitivamente una interpretación que pasará a la historia del ballet.
Giselle, es el papel ideal para ella. Osipova trasmite con su piel hasta la mas sutil de las notas de la música de Adam.
Debido a tan fuerte y magna presencia, daba la impresión que la estrella rusa estaba sola en medio del escenario del Royal Opera House de Londres, ya que semejante artista no encaja actualmente, ni es coherente con el presente nivel del Royal Ballet. La Cía. que he visto el lunes 27 no está a la altura de semejante profesional llegada del Olimpo ruso.
Myrthe, la Reina de las Wilis, interpretada por Hikaru Kobayashi, es un papel tan fuerte como adulto, y ha estado perdido absolutamente en todo momento, sobre todo frente a Giselle, ya que a medida que la acción transcurría iba ganando en debilidad, pequeñez e intrascendencia.
Sus 24 Willis, muy dispares entre si, bailaron sin pena ni gloria por el ilustre escenario.
La bailarina Deirdre Chapman, como la madre de Giselle en el 1er. Acto ha sido, según mi opinión, lo mejor de la agrupación inglesa.
Carlos Acosta no mostró suficiente química con Osipova, pero aportó soltura, elegancia y seguridad interpretativa como Albrecht. Lamentablemente dejó su capacidad atlética, su brillo y su virtuosismo fuera de escena en esta ocasión, o al menos yo no pude verlo en ningún instante.
¡Qué impresionante actuación la de la ex-bailarina del Bolshoi! Su Giselle es profundamente conmovedora, y como la misma Osipova ha dicho “una bailarina cuenta la historia según el modo en que se mueve”.
Su indeleble marca, su exquisito estilo, es para mi 100 % made in Rusia.
Desde todo punto de vista, incomparable.
Natalia Osipova in Giselle. © courtesy the Royal Opera House
Natalia Osipova in Giselle. © courtesy the Royal Opera House
12.10.13
Clase de ballet del Bolshoi Ballet
Bolshoi Ballet en el Royal Opera House in London, 2013
Ballerina Ekaterina Krysanova del Bolshoi Ballet en el Royal Opera House in London, 2013
14.9.13
Giselle Acto II: Myrtha por Marianela Nunez
Marianela Nunez is by me one of best representative role of Myrtha,Queen of Willis,from most famous second act of romantic ballet Giselle.This video shows several her dances. Filmed in Royal Opera House at Covent Garden in London (know as Royal Ballet) in 2007.
30.10.12
OPI Soft Shades 2012 NEW YORK CITY BALLET
New York City Ballet by OPI is a new spring collection featuring five new SoftShades and a sparkly glitter. The soft colour palette and effortlessly chic style of the urban ballerina comes to life in this elegant ensemble of six dreamy nail lacquers—five soft shades and one scene-stealing glitter to wear alone or layered over the others.
New York City Ballet by OPI features five sheer shades lightly tinged in hues of beige, pink, white, lilac and gray, as well as a silver sparkly lacquer. With various sized glitter particles, this hue can be worn alone or layered over any of the other colors for added shine and dimension.
New York City Ballet by OPI features five sheer shades lightly tinged in hues of beige, pink, white, lilac and gray, as well as a silver sparkly lacquer. With various sized glitter particles, this hue can be worn alone or layered over any of the other colors for added shine and dimension.
Collection
Barre My Soul- A sheer beige
You Callin' Me a Lyre?-A genteel lilac
Don’t Touch My Tutu!- A sheer gray
Care to Danse?- A soft pink
My Pointe Exactly- A sheer white
Pirouette My Whistle- Silver sparkle!
11.8.12
The English National Ballet
The English National Ballet troupe performs during a pre-show at the artistic gymnastics women’s individual all-around competition at the 2012 Summer Olympics in London. (AP)
Swan Lake - The English National Ballet (AP)
18.7.12
Metamorphosis: Titian 2012
a unique collaboration with The Royal Ballet
Metamorphosis: Titian 2012
11 July – 23 September 2012
Sainsbury Wing Exhibition
Admission free
Metamorphosis: Titian 2012 will see a range of contemporary artists – including choreographers, composers, poets and visual artists respond to paintings by Renaissance master Titian. Their work will be displayed at the National Gallery and performed at the Royal Opera House by The Royal Ballet.
‘Metamorphosis: Titian 2012’ – featuring new work by contemporary artists Chris Ofili, Conrad Shawcross and Mark Wallinger in a unique collaboration with The Royal Ballet.
This multi-arts project, part of the Cultural Olympiad's London 2012 Festival, will draw on the powerful stories of change found in Titian’s masterpieces, revealing how these spectacular paintings continue to inspire living artists.
A multi-faceted experience celebrating British creativity across the arts, ‘Metamorphosis: Titian 2012’ brings together a group of specially commissioned works responding to three of Titian’s paintings – Diana and Actaeon, The Death of Actaeon and the recently acquired Diana and Callisto – which depict stories from Ovid’s epic poem ‘Metamorphoses’. The three paintings, displayed at the heart of the exhibition, will be seen together for the first time since the 18th century.
This multi-arts project, part of the Cultural Olympiad's London 2012 Festival, will draw on the powerful stories of change found in Titian’s masterpieces, revealing how these spectacular paintings continue to inspire living artists.
A multi-faceted experience celebrating British creativity across the arts, ‘Metamorphosis: Titian 2012’ brings together a group of specially commissioned works responding to three of Titian’s paintings – Diana and Actaeon, The Death of Actaeon and the recently acquired Diana and Callisto – which depict stories from Ovid’s epic poem ‘Metamorphoses’. The three paintings, displayed at the heart of the exhibition, will be seen together for the first time since the 18th century.
Metamorphosis: Titian 2012
11 July – 23 September 2012
Sainsbury Wing Exhibition
Admission free
Metamorphosis: Titian 2012 - Chris Ofili and Conrad Shawcross© The National Gallery, London
Metamorphosis: Titian 2012 - Chris Ofili, Conrad Shawcross, Mark Wallinger © The National Gallery, London
10.8.10
Invitation To The Ballet: Ninette de Valois and the Story of The Royal Ballet
Invitation to the Ballet: Ninette de Valois and the story of the Royal Ballet, 23 October 2010 – 6 march 2011 - The Lowry, Pier 8, Salfors Quays M50 3AZ
Exhibition on the Story of The Royal Ballet Announced. A major new exhibition collaboration between the Royal Opera House and The Lowry, Salford 22 October 2010 – 6 March 2011.
With the recent revelations of Dame Margot Fonteyn’s part in the attempted Panamanian coup of 1959, it is clear there are many untold stories in the distinguished life of The Royal Ballet. This fascinating story starts in County Wicklow, Ireland and continues each day The Royal Ballet take to the stage.
A new retrospective exhibition Invitation to the Ballet: Ninette de Valois and the story of The Royal Ballet, tells the story of The Royal Ballet from its foundations in the late 1920s to the present day. It is the first exhibition to pay tribute to the Company’s founder, Ninette de Valois, and is the most comprehensive exhibition on The Royal Ballet to be staged outside London.
This unique exhibition, a Royal Opera House collaboration with The Lowry, Salford, and part of the Royal Opera House's ongoing work in the region, will also illustrate LS Lowry’s involvement with ballet in Britain and how his appreciation of art, music and dance affected his work. A highlight of The Lowry’s tenth anniversary year, this exhibition will include some unseen Lowry drawings which are thought to have been influenced by his love of ballet.
The exhibition tells the remarkable story of how De Valois, a young Irish dancer born Edris Stannus, started her career impersonating Anna Pavlova in English seaside pier theatres and went on to found an English ballet school and company, The Royal Ballet, which was to become one of the world’s leading companies.
Highlights of the exhibition include a selection of material from De Valois’ own ballets including Checkmate, The Rake’s Progress, Job and Don Quixote, and a recreation of Margot Fonteyn’s dressing room as it was at the Royal Opera House with her make-up cases, mascot, shoe darning kit, practice clothes, spare shoe ribbons and the Odette tutu from the 1952 production of Swan Lake. A large number of never seen before photographs of The Royal Ballet taken over its 80 year history and including many rehearsal and backstage images are also featured.
Over 40 items of historic costume will be displayed including those worn by Margot Fonteyn, Rudolf Nureyev, Robert Helpmann, Beryl Grey, Michael Somes, Lynn Seymour, Christopher Gable, Anya Linden, Nadia Nerina, Antoinette Sibley, Anthony Dowell, Monica Mason, Darcey Bussell and Jonathan Cope.
From The Royal Ballet’s current repertory there will be costumes worn by Principal dancers Alina Cojocaru, Tamara Rojo, Leanne Benjamin, Marianela Nuñez, Mara Galeazzi, Zenaida Yanowsky, Carlos Acosta, and Edward Watson.
Poster Daphnis and Chloe 1951 (c) ROH Collections - Photos courtesy of Royal Opera House.
A variety of set and costume designs will be exhibited by designers and artists including Pablo Picasso, Edward Burra, William Chappell, Rex Whistler, Oliver Messel and Yolanda Sonnabend alongside numerous letters, press cuttings, music manuscripts dance notation scores, posters and other memorabilia. A series of specially commissioned films can also be viewed and there will be interactive exhibits for younger visitors. Education events will accompany the exhibition.
The life and career of Ninette de Valois ran parallel with that of LS Lowry who saw The Royal Ballet perform on many occasions in Manchester. It is during the Second World War that Lowry is believed to have first seen Coppélia and other productions that were to influence some aspects of his later art, notably his ‘mannequin’ works and his portraits of ‘Ann’ (thought by some to be a persona based on the doll character Swanhilda from the ballet Coppélia). A series of LS Lowry ‘mannequin’ drawings on loan from The Lowry Estate will be shown for the first time.
To coincide with the opening of the exhibition, and as part of the Royal Opera House's mini residency at The Lowry, dancers from The Royal Ballet will pay a special visit to The Lowry with an hour long programme of highlights from the Company’s eight decades of history. Devised by Dame Monica Mason, Director of The Royal Ballet, The Royal Ballet – Step by Step will include extracts from works by choreographers including Ninette de Valois, Frederick Ashton, Kenneth MacMillan and Wayne McGregor. This unique performance takes place on Thursday 21 October 2010.
Michael Simpson, The Lowry’s Head of Visual Arts & Engagement comments “The Lowry has spent ten years delighting, engaging and challenging both local and national audiences with the very best in visual art, performance and community and education activities. Our birthday year presented us with the ideal opportunity to stage a major project which celebrated both the performing and visual arts so we were delighted when Royal Opera House agreed to collaborate on this exciting exhibition.”
Checkmate 1993- Darcey Bussell as The Black Queen © Uli Weber - Photos courtesy of Royal Opera House.
Dame Monica Mason, Director of The Royal Ballet, Royal Opera House, commented “I am thrilled that we are able to collaborate with The Lowry on such a large scale exhibition, one that not only explores the remarkable achievements and legacy of Ninette de Valois but also illustrates the work of The Royal Ballet through the eight decades of its existence. This partnership with The Lowry enables us to bring the Company and its history to Salford and Manchester where we have so many connections.”
In addition to the exhibition, the Royal Opera House will present Pleasure’s Progress, the latest ROH2 commission by director and choreographer Will Tuckett on 22 and 23 October 2010 in The Studio at The Lowry. A fusion of opera, dance and music, it explores the vistas and vision of the English painter, printmaker and satirist William Hogarth (1696 - 1764). The result is a riot of stories and characters with plenty of ribald fun, bawdy language, and even some pointed observations on the human tragedies that lie beneath. With a witty and naughty libretto by Alasdair Middleton, original music by composer Paul Englishby (composer of the award-winning film An Education) and contemporary designs by Jon Bausor this new production has all of Tuckett’s characteristic flair for the unusual and inventive with a collision of styles and influences from classical singing to not-so-classical dance. Expect wit and wonder, fun and frolics and an irreverent take on the darker side of society.
Margot Fonteyn's tutu from TheFirebird 1954, designed by Natalia Gontchorova, (c) ROH Collections - Photos courtesy of Royal Opera House.
Invitation To The Ballet:
Ninette de Valois and the Story of The Royal Ballet in Danza Ballet - courtesy of Royal Opera House.
Notes to Editors:
The exhibition will be opened by Dame Monica Mason DBE, Director of The Royal Ballet and Julia Fawcett OBE, The Lowry’s Chief Executive at a private view on 21 October at The Lowry Galleries, Salford and will run until 6 March 2011. A section of the exhibition focussing on Ninette de Valois can then be seen at the Royal Opera House from 1 April to 1 August 2011. Further sections of the exhibition focussing on Frederick Ashton can also be seen from June to October 2011 in Ipswich in the Town Hall Galleries, the Jerwood DanceHouse and Christchurch Mansions.
The exhibition is drawn almost exclusively from the extensive Collections of the Royal Opera House with additional key items being loaned by private collectors and public institutions. The Lowry Estate is supporting the exhibition with new loans and material relating to Lowry’s interest in ballet.
A full Introduction and Brief Gallery by Gallery Guide by ROH Curator, Cristina Franchi are available on request.
The exhibition and related activity forms part of the Royal Opera House's On the Road programme. The Royal Opera House seeks to make its work as widely available as possible both on the Covent Garden stages and elsewhere across the UK and beyond through its On the Road programme, BP Summer Big Screens, cinema screenings, live broadcasts, CDs and DVDs and digital activity. The On the Road programme is focused primarily in the North West and the East regions and includes touring productions, education projects and exhibitions.
The Lowry Centre Trust is a not-for-profit charitable organisation and registered charity (no. 1053962). All income supports its world-class Theatres and Galleries programme, the care and display of the LS Lowry Collection and its life-changing Community and Education work. The Lowry’s Chief Executive, Julia Fawcett was awarded an OBE for services to the Arts in the Queen’s 2010 New Year Honours list.
The Lowry is delighted to present Invitation to the Ballet with the generous support of Arts Council England Sustain Fund
Gallery Information
The Lowry, Pier 8, Salford Quays M50 3AZ
Information & Box Office Telephone 0843 2086005
www.thelowry.com
Gallery Opening Times:
Galleries open everyday 11am – 5pm (10am – 5pm on Saturdays)
Admission to the Galleries is FREE. On arrival, visitors need an admission ticket from the Galleries Desk.
Theatre Information:
21 October
The Royal Opera House
Step by Step
Time: 7.30pm
Tickets £25. NB As tickets are limited for this event, they will be allocated on a ballot basis. Please apply by emailing roh@thelowry.com by 31 July
Quays Theatre
To complement the opening of this major exhibition, dancers of The Royal Ballet will be making a special visit to The Lowry with a unique hour-long programme of highlights from the Company’s repertory spanning the eight decades of its history. Devised by Monica Mason, Director of The Royal Ballet, the evening will include extracts from works by choreographers including De Valois, Ashton, MacMillan and McGregor.
22 and 23 October
Royal Opera House
Pleasure’s Progress
A Tale of Sex! Wigs! Wags! ‘N’ Bawds!
Suitable for ages 15+.
Generously supported by the Paul Hamlyn Education Fund and the J.P. Jacobs Charitable Trust.
Times: Daily 2pm & 8pm
Tickets Children £8, Adults £14, Schools £8
Quays Theatre
Will Tuckett’s latest commission for ROH2 at the Royal Opera House combines dance, voice and music and takes its cue from William Hogarth’s satirical and cynical portrayals in such famous tales-in-art as his Rake’s Progress, Marriage à-la-mode, A Harlot’s Progress, Beer Street and Gin Lane.
The Lowry Box office: 0870 787 5793 or
www.thelowry.com
Exhibition on the Story of The Royal Ballet Announced. A major new exhibition collaboration between the Royal Opera House and The Lowry, Salford 22 October 2010 – 6 March 2011.
With the recent revelations of Dame Margot Fonteyn’s part in the attempted Panamanian coup of 1959, it is clear there are many untold stories in the distinguished life of The Royal Ballet. This fascinating story starts in County Wicklow, Ireland and continues each day The Royal Ballet take to the stage.
A new retrospective exhibition Invitation to the Ballet: Ninette de Valois and the story of The Royal Ballet, tells the story of The Royal Ballet from its foundations in the late 1920s to the present day. It is the first exhibition to pay tribute to the Company’s founder, Ninette de Valois, and is the most comprehensive exhibition on The Royal Ballet to be staged outside London.
This unique exhibition, a Royal Opera House collaboration with The Lowry, Salford, and part of the Royal Opera House's ongoing work in the region, will also illustrate LS Lowry’s involvement with ballet in Britain and how his appreciation of art, music and dance affected his work. A highlight of The Lowry’s tenth anniversary year, this exhibition will include some unseen Lowry drawings which are thought to have been influenced by his love of ballet.
The exhibition tells the remarkable story of how De Valois, a young Irish dancer born Edris Stannus, started her career impersonating Anna Pavlova in English seaside pier theatres and went on to found an English ballet school and company, The Royal Ballet, which was to become one of the world’s leading companies.
Highlights of the exhibition include a selection of material from De Valois’ own ballets including Checkmate, The Rake’s Progress, Job and Don Quixote, and a recreation of Margot Fonteyn’s dressing room as it was at the Royal Opera House with her make-up cases, mascot, shoe darning kit, practice clothes, spare shoe ribbons and the Odette tutu from the 1952 production of Swan Lake. A large number of never seen before photographs of The Royal Ballet taken over its 80 year history and including many rehearsal and backstage images are also featured.
Over 40 items of historic costume will be displayed including those worn by Margot Fonteyn, Rudolf Nureyev, Robert Helpmann, Beryl Grey, Michael Somes, Lynn Seymour, Christopher Gable, Anya Linden, Nadia Nerina, Antoinette Sibley, Anthony Dowell, Monica Mason, Darcey Bussell and Jonathan Cope.
From The Royal Ballet’s current repertory there will be costumes worn by Principal dancers Alina Cojocaru, Tamara Rojo, Leanne Benjamin, Marianela Nuñez, Mara Galeazzi, Zenaida Yanowsky, Carlos Acosta, and Edward Watson.
Poster Daphnis and Chloe 1951 (c) ROH Collections - Photos courtesy of Royal Opera House.The life and career of Ninette de Valois ran parallel with that of LS Lowry who saw The Royal Ballet perform on many occasions in Manchester. It is during the Second World War that Lowry is believed to have first seen Coppélia and other productions that were to influence some aspects of his later art, notably his ‘mannequin’ works and his portraits of ‘Ann’ (thought by some to be a persona based on the doll character Swanhilda from the ballet Coppélia). A series of LS Lowry ‘mannequin’ drawings on loan from The Lowry Estate will be shown for the first time.
To coincide with the opening of the exhibition, and as part of the Royal Opera House's mini residency at The Lowry, dancers from The Royal Ballet will pay a special visit to The Lowry with an hour long programme of highlights from the Company’s eight decades of history. Devised by Dame Monica Mason, Director of The Royal Ballet, The Royal Ballet – Step by Step will include extracts from works by choreographers including Ninette de Valois, Frederick Ashton, Kenneth MacMillan and Wayne McGregor. This unique performance takes place on Thursday 21 October 2010.
Michael Simpson, The Lowry’s Head of Visual Arts & Engagement comments “The Lowry has spent ten years delighting, engaging and challenging both local and national audiences with the very best in visual art, performance and community and education activities. Our birthday year presented us with the ideal opportunity to stage a major project which celebrated both the performing and visual arts so we were delighted when Royal Opera House agreed to collaborate on this exciting exhibition.”
Checkmate 1993- Darcey Bussell as The Black Queen © Uli Weber - Photos courtesy of Royal Opera House. Dame Monica Mason, Director of The Royal Ballet, Royal Opera House, commented “I am thrilled that we are able to collaborate with The Lowry on such a large scale exhibition, one that not only explores the remarkable achievements and legacy of Ninette de Valois but also illustrates the work of The Royal Ballet through the eight decades of its existence. This partnership with The Lowry enables us to bring the Company and its history to Salford and Manchester where we have so many connections.”
In addition to the exhibition, the Royal Opera House will present Pleasure’s Progress, the latest ROH2 commission by director and choreographer Will Tuckett on 22 and 23 October 2010 in The Studio at The Lowry. A fusion of opera, dance and music, it explores the vistas and vision of the English painter, printmaker and satirist William Hogarth (1696 - 1764). The result is a riot of stories and characters with plenty of ribald fun, bawdy language, and even some pointed observations on the human tragedies that lie beneath. With a witty and naughty libretto by Alasdair Middleton, original music by composer Paul Englishby (composer of the award-winning film An Education) and contemporary designs by Jon Bausor this new production has all of Tuckett’s characteristic flair for the unusual and inventive with a collision of styles and influences from classical singing to not-so-classical dance. Expect wit and wonder, fun and frolics and an irreverent take on the darker side of society.
Margot Fonteyn's tutu from TheFirebird 1954, designed by Natalia Gontchorova, (c) ROH Collections - Photos courtesy of Royal Opera House.Invitation To The Ballet:
Ninette de Valois and the Story of The Royal Ballet in Danza Ballet - courtesy of Royal Opera House.
Notes to Editors:
The exhibition will be opened by Dame Monica Mason DBE, Director of The Royal Ballet and Julia Fawcett OBE, The Lowry’s Chief Executive at a private view on 21 October at The Lowry Galleries, Salford and will run until 6 March 2011. A section of the exhibition focussing on Ninette de Valois can then be seen at the Royal Opera House from 1 April to 1 August 2011. Further sections of the exhibition focussing on Frederick Ashton can also be seen from June to October 2011 in Ipswich in the Town Hall Galleries, the Jerwood DanceHouse and Christchurch Mansions.
The exhibition is drawn almost exclusively from the extensive Collections of the Royal Opera House with additional key items being loaned by private collectors and public institutions. The Lowry Estate is supporting the exhibition with new loans and material relating to Lowry’s interest in ballet.
A full Introduction and Brief Gallery by Gallery Guide by ROH Curator, Cristina Franchi are available on request.
The exhibition and related activity forms part of the Royal Opera House's On the Road programme. The Royal Opera House seeks to make its work as widely available as possible both on the Covent Garden stages and elsewhere across the UK and beyond through its On the Road programme, BP Summer Big Screens, cinema screenings, live broadcasts, CDs and DVDs and digital activity. The On the Road programme is focused primarily in the North West and the East regions and includes touring productions, education projects and exhibitions.
The Lowry Centre Trust is a not-for-profit charitable organisation and registered charity (no. 1053962). All income supports its world-class Theatres and Galleries programme, the care and display of the LS Lowry Collection and its life-changing Community and Education work. The Lowry’s Chief Executive, Julia Fawcett was awarded an OBE for services to the Arts in the Queen’s 2010 New Year Honours list.
The Lowry is delighted to present Invitation to the Ballet with the generous support of Arts Council England Sustain Fund
Gallery Information
The Lowry, Pier 8, Salford Quays M50 3AZ
Information & Box Office Telephone 0843 2086005
www.thelowry.com
Gallery Opening Times:
Galleries open everyday 11am – 5pm (10am – 5pm on Saturdays)
Admission to the Galleries is FREE. On arrival, visitors need an admission ticket from the Galleries Desk.
Theatre Information:
21 October
The Royal Opera House
Step by Step
Time: 7.30pm
Tickets £25. NB As tickets are limited for this event, they will be allocated on a ballot basis. Please apply by emailing roh@thelowry.com by 31 July
Quays Theatre
To complement the opening of this major exhibition, dancers of The Royal Ballet will be making a special visit to The Lowry with a unique hour-long programme of highlights from the Company’s repertory spanning the eight decades of its history. Devised by Monica Mason, Director of The Royal Ballet, the evening will include extracts from works by choreographers including De Valois, Ashton, MacMillan and McGregor.
22 and 23 October
Royal Opera House
Pleasure’s Progress
A Tale of Sex! Wigs! Wags! ‘N’ Bawds!
Suitable for ages 15+.
Generously supported by the Paul Hamlyn Education Fund and the J.P. Jacobs Charitable Trust.
Times: Daily 2pm & 8pm
Tickets Children £8, Adults £14, Schools £8
Quays Theatre
Will Tuckett’s latest commission for ROH2 at the Royal Opera House combines dance, voice and music and takes its cue from William Hogarth’s satirical and cynical portrayals in such famous tales-in-art as his Rake’s Progress, Marriage à-la-mode, A Harlot’s Progress, Beer Street and Gin Lane.
The Lowry Box office: 0870 787 5793 or
www.thelowry.com
20.7.10
Costume 'The Sleeping Beauty" by Oliver Messel
Costume for Princess Aurora in Act l of 'The Sleeping Beauty' worn by Margot Fonteyn - Designed by Oliver Messel.
The Royal Ballet, Royal Opera House, Covent Garden, London
1960 - Museum no. S.301 - 2001.
Ballet Costume Designed by Oliver Messel
Sadler’s Wells Ballet, Royal Opera House, London,
1946 - Museum no. S.12-2006
Messel’s most famous production design was for Marius Petipa’s ballet 'The Sleeping Beauty' designed for the Sadler’s Wells (now Royal) Ballet in 1946. This costume was for the Queen in Act I. Against the muted background, the costumes sang out in his favourite bold colours - claret pink, sage green, turquoise, ultramarine, yellow and grey - which are both characteristic of him and of his time.
Over 25 years, the ballet was danced over 1150 times, adapting to changing fashion and audiences. In 1946, rationing meant that everything had to be on cheap and colour ranges were restricted. With the lifting of rationing and restricted budgets, the costumes were remade in richer silks and gold tissue; details became more fantastic and colour was heightened; the silhouette of the costumes subtly shifted and the amount of decoration was streamlined.
Costume for Princess Aurora in Act I of Marius Petipa’s Ballet 'The Sleeping Beauty'
Designed by Oliver Messel, worn by Margot Fonteyn
Sadler’s Wells (now Royal) Ballet, Royal Opera House, Covent Garden, London
1946, remade about 1960
Museum no. S.55-1992
Fuente www.vam.ac.uk
The Royal Ballet, Royal Opera House, Covent Garden, London
1960 - Museum no. S.301 - 2001.
Ballet Costume Designed by Oliver MesselSadler’s Wells Ballet, Royal Opera House, London,
1946 - Museum no. S.12-2006
Messel’s most famous production design was for Marius Petipa’s ballet 'The Sleeping Beauty' designed for the Sadler’s Wells (now Royal) Ballet in 1946. This costume was for the Queen in Act I. Against the muted background, the costumes sang out in his favourite bold colours - claret pink, sage green, turquoise, ultramarine, yellow and grey - which are both characteristic of him and of his time.
Over 25 years, the ballet was danced over 1150 times, adapting to changing fashion and audiences. In 1946, rationing meant that everything had to be on cheap and colour ranges were restricted. With the lifting of rationing and restricted budgets, the costumes were remade in richer silks and gold tissue; details became more fantastic and colour was heightened; the silhouette of the costumes subtly shifted and the amount of decoration was streamlined.
Costume for Princess Aurora in Act I of Marius Petipa’s Ballet 'The Sleeping Beauty'Designed by Oliver Messel, worn by Margot Fonteyn
Sadler’s Wells (now Royal) Ballet, Royal Opera House, Covent Garden, London
1946, remade about 1960
Museum no. S.55-1992
Fuente www.vam.ac.uk
Suscribirse a:
Entradas (Atom)