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6847	dbpedia	0	73	https://wsccpgh.org/classes/our-instructors/	en	Wilkins School Community Center	https://wsccpgh.org/wp-c….41-PM-32x32.png	https://wsccpgh.org/wp-c….41-PM-32x32.png	[ "https://wsccpgh.org/wp-content/uploads/2021/06/banner-photo.jpg", "https://wsccpgh.org/wp-content/uploads/2024/03/unnamed-200x300.jpg", "https://wsccpgh.org/wp-content/uploads/2023/03/download.jpeg", "https://wsccpgh.org/wp-content/uploads/2023/08/Screenshot-2023-08-21-9.39.56-AM.png", "https://wsccpgh.org/wp-content/uploads/2023/03/DSC_8873-Web-Mona-M-300x175.jpg", "https://wsccpgh.org/wp-content/uploads/2024/03/Screenshot-2024-03-09-12.13.02-PM-300x248.png", "https://wsccpgh.org/wp-content/uploads/2023/03/Artists-studio-pic-Francine-VandenBerg-261x300.jpg", "https://wsccpgh.org/wp-content/uploads/2024/03/IMG_8443-300x225.jpg", "https://wsccpgh.org/wp-content/uploads/2023/03/CScheftic_OpenHouse_FivePhotoCollage_wideEblast-Convergent-Series-300x71.jpg", "https://wsccpgh.org/wp-content/uploads/2023/03/Wayne_Gaye-Gaye-Fifer-242x300.jpg" ]	[]	[]	[ "" ]	null	[]	2023-03-30T18:01:48+00:00	At Wilkins School Community Center (WSCC), we’re proud to offer a diverse and ever-evolving array of classes and workshops led by talented instructors who are deeply committed to sharing their …	en	https://wsccpgh.org/wp-c….41-PM-32x32.png	Wilkins School Community Center	https://wsccpgh.org/classes/our-instructors/	About Karen McCue: With an extensive background spanning over 30 years in the healthcare industry, particularly in Occupational Therapy, Karen brings a wealth of knowledge and experience to the realm of well-being. For the past 12 years, her unwavering passion has been leading fun and functional fitness classes, focusing on the mind, body, and spirit connection. Services: At Rooted in Wellness, Karen offers a diverse range of services tailored to meet your wellness needs: Group Fitness Classes: Join for energizing group fitness classes designed to boost your physical fitness while fostering a sense of community and support. Personal Training Sessions: Experience personalized training sessions that cater to your unique fitness goals, ensuring a tailored approach to your well-being journey. Educational Workshops: Immerse yourself in educational workshops that delve into the realms of wellness for the mind, body, and spirit. Gain valuable insights and practical tools to enhance your overall health. Passion for Fitness: Karen’s passion for leading fitness classes is not just a profession; it’s a calling. Having witnessed the transformative power of wellness in countless lives, Karen is dedicated to creating an environment where individuals can flourish and discover the best versions of themselves. Your Mind is a Garden: Karen believes, “Your mind is a garden, and your thoughts are the seeds. Will you grow flowers or will you grow weeds?” At Rooted in Wellness, we cultivate positivity, growth, and well-being. Together, let’s nurture a garden of flourishing thoughts and resilient spirits. Be Rooted in Wellness: Embrace the journey towards a healthier, happier you. Be Rooted in Wellness with me, Karen McCue, and let’s embark on a path of transformation, empowerment, and holistic well-being. Join the movement – where fitness is not just a routine; it’s a lifestyle. Contact Karen at [email protected].
6847	dbpedia	0	24	https://www.trentonian.com/2000/12/19/nutcracker-performed-at-center-for-the-arts/	en	Nutcracker performed at Center for the Arts	https://www.trentonian.c…021/08/trent.jpg	https://www.trentonian.c…021/08/trent.jpg	[ "https://www.trentonian.com/wp-content/uploads/2021/08/Trentonian-logo.png", "https://secure.gravatar.com/avatar/?s=85&d=mm&r=g", "https://www.trentonian.com/wp-content/uploads/2024/08/24-25-County-TOY-Ceremony-8.6.24.jpg?w=620", "https://www.trentonian.com/wp-content/uploads/migration/2017/11/9f07474bf6ba8c5b7040a0af7ea0e8d7.jpg?w=535", "https://www.trentonian.com/wp-content/uploads/2024/08/image003-9.jpg?w=280", "https://www.trentonian.com/wp-content/uploads/2024/02/police-lights-day-1-webstock-police-5-1.jpg?w=620", "https://www.trentonian.com/wp-content/uploads/2021/08/Trentonian-logo.png" ]	[]	[]	[ "" ]	null	[ "Kathy Kerr" ]	2000-12-19T00:00:00	The music of Tchaiskovsky filled the Washington Township Center of the Performing Arts as two performances of the Nutcracker were given last week by the Donetsk Ballet Company of the Ukraine.With help from local children, the group brought the holiday classic to life.“There were 55 children from this general area that were in the cast […]	en	https://www.trentonian.c…iteicon.png?w=16	Trentonian	https://www.trentonian.com/2000/12/19/nutcracker-performed-at-center-for-the-arts/	The music of Tchaiskovsky filled the Washington Township Center of the Performing Arts as two performances of the Nutcracker were given last week by the Donetsk Ballet Company of the Ukraine. With help from local children, the group brought the holiday classic to life. “There were 55 children from this general area that were in the cast of this ballet,” said Fern K. Helfond, director of the L’Ecole de la Dance, co-sponsor of the production. “Fifteen of the children are from Washington Township. This show gives local children an opportunity to perform with an internationally famous dance company. “It is an excellent chance for young dancers to learn from professional dancers,” said Helfond. The Donetsk Ballet Company has trained children in Italy, Norway and many other European countries as well as across the United States. “We had a matinee performance on Monday,” said Helfond. “There were 2300 students from Washington Township Schools along with 16 special education students who enjoyed the free performance.” Vadim Pisarev, who portrayed the Nutcracker Prince, was trained at the Kiev Academy and has won many awards, including first prize in the International Ballet competition held in Jackson, Mississippi in 1986. Pisarev won a Male Dancer of the Year award in 1990 and is considered by many to be the next ballet superstar. His abilities have earned him a growing fan base in the former Soviet Union, Europe and North America. Inna Dorafeyeva, a 1983 graduate of the Kiev Choreographic School, portrayed Maria, princess of the Nutcracker. She became a member of the Donetsk Opera and Ballet Theatre soon after and is now the prima ballerina. Dorafeyeva has performed in France, South Korea, Poland, India, Sweden and the United States. She has danced the lead in Don Quixote and Sleeping Beauty and won a gold medal at first Ukraine Ballet Competition. Viktor Yeliohin, choreographer for this production of the Nutcracker, has danced soloist roles with the Donetsk Ballet, including Don Quixote, Sleeping Beauty, Giselle and La Bayadere. Yeliohin served as a choreographer for Olympic men’s gymnastic teams from 1982 to 1986. He has continued his career as a choreographer and instructor throughout the United States and since 1992, has served as choreographer for the children for the Donetsk Ballet Company during their annual Nutcracker tour. The Nutcracker was first performed at the Maryinsky Theatre in St. Petersburg, Russia on December 17, 1892. In the years since, the popularity of the ballet has grown throughout the world and is performed by countless dance companies each holiday season. The Nutcracker tells the story of a young girl named Clara who receives a nutcracker doll as a Christmas gift. Her brother breaks the doll, and Clara has a dream that the doll as come to life and is being chased by the Mouse King, the leader of the evil Mice People. The Mice People steal the doll, but Clara’s other dolls come to life and rescue the nutcracker. A grand celebration follows to cap the story.
6847	dbpedia	1	87	https://www.jewelsfestival.com/classes	en	Judges & Founders — Jewels Festival	https://assets.squarespace.com/universal/default-favicon.ico	https://assets.squarespace.com/universal/default-favicon.ico	[ "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/6d9f9af5-e703-44d3-b759-b0ec428eb35b/Logo+Final+%28save+to+web%29+-+Copy.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/3f3c937f-4a72-43a0-ab48-2f1f84747fd1/Logo+-+Copy.jpg?format=1500w", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/6d9f9af5-e703-44d3-b759-b0ec428eb35b/Logo+Final+%28save+to+web%29+-+Copy.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/3f3c937f-4a72-43a0-ab48-2f1f84747fd1/Logo+-+Copy.jpg?format=1500w", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/9127dd67-2f38-4eaf-b0ca-cd62865137bd/Gala2008Jul.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/0ddfcab0-576c-4403-b253-f7d08ebf1d20/albert_hs.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/7c8b7592-c12f-4b88-8e37-ea8a65f98217/DSC_0532.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/f8138764-40fd-4499-a79c-6da09e802ed1/%D0%92%D0%B0%D0%B4%D0%B8%D0%BC+%D0%BF%D0%BE%D1%80%D1%82%D1%80%D0%B5%D1%82.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/e13df549-30af-4fc2-b026-7d4bb7f897bb/Alex_Kedrov_01.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/c5071ed9-181f-4bb3-9b91-c61b1a567f81/20160118_130915%280%29.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/60822c5c-6fb3-492a-9b73-16dc20d2ee58/IMG_6043.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/a69b641b-5b28-4936-994f-44d60f6eb642/unnamed+%282%29.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/fbce14ae-f7d9-4dff-9590-c8c6f6a1ae63/Konstantin.JPG", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/1a47ff81-cd47-4778-916e-3fd214df96ed/IMG_6976.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/19d32e32-f55e-4db5-99d7-d80df25f5e34/unnamed.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/411c79c3-fbb7-49e4-99d1-33a43e959e6e/Viktor-Picture-300x300.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/93ee2426-7fad-42fe-9fce-8659f279d86c/Yuri.jpeg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/3fa78c4a-1bcd-4f5c-a992-c01911d46f3b/rj+2.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	https://assets.squarespace.com/universal/default-favicon.ico	Jewels Festival	https://www.jewelsfestival.com/classes	Founder / Executive Director Has won the hearts of all who experienced her delicate, refined performances. Treating audiences to many masterful and memorable roles, Ms. Julia danced the starring role in many ballets including Giselle, Nutcracker, Swan Lake, Macbeth, Spartacus, Romeo and Juliet, Sleeping Beauty and Allegro Brilliant, Concerto Barocco, Sylvia Pas De Deux, Who Cares, Raymonda of Balanchine and other beautiful pieces of acclaimed masters. She scored tremendous critical success and the New York Times ballet critic Anna Kisselgoff praised her work in the title role of ballet Esmeralda with NJBallet Co. Ms. Julia’s career began in Moscow at the world famous Bolshoi Ballet Academy (Degree of Ballet Artist) and the Bolshoi Institute of Choreography (Bachelor degree of Ballet teacher). She toured throughout the world as a principal artist with the Moscow Classical Ballet and Russian State Ballet. She performed at the world famous Bolshoi Theatre, Vienna State Opera and other big stages of the world. From 1998 she was with the New Jersey Ballet Co. as a principal dancer. As a teacher Ms. Julia has been praised for her extraordinary ability to work with today’s young generation of dancers. Her thorough knowledge of the most current teaching methods and styles has produced many dancers who have been accepted into some of the most prestigious dance programs and companies. In 2020 she founded the Duet School of Russian Ballet (Duet-SRB) with her late husband Konstantin Dournev. She created International Summer Ballet program for ballet students and Intensive Summer Ballet Camp. The students under leadership of Ms Julia have great performing skills, competition experience and scholarships. All of Duet’s students were able to get accepted to various art schools such as; Mark Twain, Bay Academy, La Guardia and more. Artistic Director American Youth Ballet’s Artistic Director, Albert Davydov, was born in Russia and trained at the Kazan Choreographic School of Ballet. Upon graduation, he joined the Tatar State Theater of Opera and Ballet where he danced solo and principal roles and toured with the company throughout Europe and the United States. Albert has won numerous prizes in international ballet competitions. Albert’s professional career in the United States includes principle positions with New Jersey Ballet from 2004 through 2017. His repertoire includes the Nutcracker, Coppelia, Don Quixote, Cinderella, Corsare, Paquita, Sleeping Beauty, Romeo and Juliet, amongst others. Prior to becoming the Artistic Director of American Youth Ballet he has taught at the Sharon Miller Academy, New Jersey Ballet School and continues to teach master classes at the Valentina Kozova’s Dance Conservatory, and International Ballet Theater.
6847	dbpedia	3	71	https://www.cia.gov/readingroom/document/cia-rdp86t00608r000100240045-7	en	DIRECTORY OF SOVIET OFFICIAL VOLUME 1: NATIONAL ORGANIZATIONS			[ "https://www.cia.gov/readingroom/sites/all/themes/foia_theme/images/bt/Glyph-FOIA.svg", "https://www.cia.gov/readingroom/sites/all/themes/foia_theme/images/bt/ic_search.svg", "https://www.cia.gov/readingroom/sites/all/themes/foia_theme/images/bt/ic_search.svg", "https://www.cia.gov/readingroom/sites/all/themes/foia_theme/images/bt/Menu-Close-NoBorder.svg", "https://www.cia.gov/readingroom/sites/all/themes/foia_theme/images/bt/ic_search.svg", "https://www.cia.gov/readingroom/modules/file/icons/application-pdf.png", "https://www.cia.gov/readingroom/sites/all/modules/contrib/print/icons/print_icon.png", "https://www.cia.gov/readingroom/sites/all/themes/foia_theme/images/bt/IG.svg", "https://www.cia.gov/readingroom/sites/all/themes/foia_theme/images/bt/Fb.svg", "https://www.cia.gov/readingroom/sites/all/themes/foia_theme/images/bt/Tw.svg", "https://www.cia.gov/readingroom/sites/all/themes/foia_theme/images/bt/Li.svg", "https://www.cia.gov/readingroom/sites/all/themes/foia_theme/images/bt/YT.svg", "https://www.cia.gov/readingroom/sites/all/themes/foia_theme/images/bt/Fl.svg" ]	[]	[]	[ "" ]	null	[]	null			https://www.cia.gov/readingroom/sites/all/themes/foia_theme/favicon.ico		https://www.cia.gov/readingroom/document/cia-rdp86t00608r000100240045-7	Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 NOTICE FOR RECIPIENTS OF THE DIRECTORY OF SOVIET OFFICIALS, CR 75-45 The publication, Directory of Soviet Officials; Volume I: National Organizations (CR 75-45), December 1975, contains an error. Page 342 was not printed; page 362 was printed in its place, as well as in the proper place. The reverse side of ti's notice contains page 342. It should be inserted in the proper place in the directory. 7 January 1976 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 KOCHNEV, A. T 207 KUCFNEV, Gs 146 KUCHUBEYEVA, M. 116 KUFTUNt YE. 0 189 KOGAN, A. 199 ROKAHEV, ALCKSANDR AKIMOVICH 9,217 KUKHUNOV, FILIPP LAVRENT'YEV1CH 197 KUKUREV, BORIS VASILiVEVICH 221 KOKOSHIN1 ANDHEY AFANAS'VEVICH 280 KUKOULIN, As G. 245 KOLOASVUKt I. Pe ? ? ? ? 0000000000000 99 KOLBETSKAYAt MARIYA ANDREYEVNA 326 5?1: 15 15,103 40 48 159 306 120 77 103 84 101 15 237 . ? 100 s ? 154 44,145 37 151' 110 101240,242 319 152 264 262 o? 124 299 244 115 177 195 101 305 39 173 246 176 220 286 245 72 244 207 244 294 192 125 19 201 107 153 295 271 08 192 119 23 282 262 291 46 177 97 107,269 257,266 42 84 154 )VONGRATOVp Le A 72 105 40 69 48 ? ? ? 306 48 9 89 238 KOLCHENKO, NIKOLAY IVANOVICH KULCHINA, OL'GA PAVLOVNA KULDUNOV, ALEKSANDR IVANUV/CH KULDUNOVAt K. N KOLESNEV, N. I. KOLESNECHENKOp ANATOLIY SEMENOVICH KOLESNICHENKO, TOMAS ANA700YEVICH KULESNIKp DMITR1V NIKOLAYEVICH KOLESNIK, H. VA KULESNIKt RAVEL STEPANOVICH KOLESNIKOV, A KOLESNIKOV, A. M. KULESNIKOV, ALEKSANDR YAK0VLEV1CH KOLESNIKOV, le A. KOLESNIKOV, IVAN STEPANOVICH ? ? oo KULESNIKOV, LEV NIKOLAYEVICH ? ? . ? KULESNIKOV, NIKULAY SERGEYEVICH o KULESNIKOV, SERGEY IVANOVICH 000 ? ? ? ri KOLESNIKOV, V KOLESNIKOV, V. G., KOLESOVt ANATOLIY IVANOVICH KOLESOV, NIKOLAY VLADIMIROVICH KULIBAOt KONSTANTIN YEVGEN'YEV1CH KOLLIN', Ne VA KOLLONTAY, VLADIMIR MIKHAYLOVICH KOLOKOLONe, BORIS LEONIUOVIrH KOLOKOOTSEV, NIKITA ALEKSANDRUV CH KOLUMEYETS, M. D. KULDMIYETS, FEDOR STEPANOVICH KULUMIVISEV, K. G KOLGHIYISEV, PETR ARKAOIYEVICH .KOLGMYTSEVt 1 KOLGSOV, ALEKSANDR FOMICH KOIOSOV, ALEKSANOR NIKOLAIIVICH KULUSGV, N.. . KOLUTIY, NIKOLAY PETROVICH KOLPAKOV, VLADIMIR SERGEVEVICH KULPASHNIKOV0 M KULITSUV, ANATOLIY KULTAUV, A. B. KOLTUNOV, V P. KOLYAKIN, A. N. litSIOYEVICH KOLYCHEV, BORIS SERGEYEVICM KOLYCHEVAt L. F KOMA4, VIKTOR GRIGOR'YEVICH KUMAROV, LEV YEVGEN'YEV1CH KUMAROVt NIKOLAY DMITRIYEV1CH KOMAROVA, DONNA PAVLOVNA KOMIN, ANATOLlY NIKOLAYEVICH KUMISSAROV, B. A. KUMISSAROV, V KOMITAS KOMKOVt GENNADIY DANILOVICH KOMUV, IVAN TIKHONOVICH KOMOV, SERGEY IL'ICH KOMPLEKTOV, VIKTOR GEORGIVEVICH KUMYAKHOV, VASILIY GR1GOR'YEVICH KOMZINg BORIS IVANOVICH. ? o KOMZINt IVAN V. OWN, IGOR' SEMENOVICH KUNAKH, IVAN DMITRIYEVICH KONAREV, N. S KONCHITS, V. N. KONDAKOV, MIKHAIL IVANOVICH KUNGRA.SNINt K1RILL PETROVICH KONDISHINA, A. A , KONDkASHOV, V. A. '-.KGNORATKUV, YEVGENIY FEUUROVICH 140NORATOVICHt A. le KONDRAT'YEV, L. A KONDRATIVEV, V. !..ONDkAT'YEV, V. A KONDRAVENKOV, GEORGIY RIKHAYLOVICM KONDYUKOV, A. M KONEV, IVAN STEPANOVICH KUNEVp V. KONNOV, VLADIMIR K. KONONOVg ALEKSANDR PAVLOVICH 136 KONONOVg N. Vo ? ? ? ? ? ? ? ? ? n 0000000 217 KONOPLEV, BORI: VSEVOLODOVICN 228 KONOSHENKO, LYUBOVI ALFKSANDROVNA ? 162 KONOTOPt VASILIY IV",NOVICH ? ? ? ? ? ? 90226,229,265 KONOVALOV, NIKOLAY LEONT'YEVICHe 00000 R ? ? 19 KONOVALOVg NIKOLAY SEMENOVICH 9 KONOVALOV? V. N 48 KONOVALOV, VIKTOR ANAN'YEVICH 139 KONSTANTINOV, ANATOLIY UST1NOVICH 103 KUNSTANTINOV, FEDOR VASILIYEVICH 260,270 %0NSTANTINOV, Ge A.. ? ? ? ? 000000000 166 NTI VNIKOLAY PAVLOVICH 101 KUNSIANTINOV, VLADIMIR IIDOROVICH 160 KONSTAN7INOVICH, FEDOR OSIL'YEVICH 251 KONYGIN, ALEKSANDR A 67 KONYUKHOV, N. 213 KONVUKHOVA, V. M. 80,81 KONYUSHAYA, VULIYA 192 KON2111440V, 1ZMAIL BEDREDDINOV1CH 121 KOPSHTALEt VEL1A ALFONSOVNA 248 KOPLOV, VANN PAVLOVICH 150 KOPYTIN, ALEKSANDR IVANOVICH 00000 ? ? ? .91e315 KORABEONIKOV, Me. ? . ? ? 00000000 ? AO KORBUTSMIRNOV, ANATOLIY LAVROVICH 148 KORBUT: LEONID ALEKSEYEVICH 224 181 KORCHAGIN, !4DRI5 ANTONOVICH 000 202 KORCHAKt V. 68 KORENDYASOVI YEVGENIY N 36 KORNUTg V KOkFt VA. A KORNELYUAg V. A. ? . . KORNESHUV, LEV RONSTANT1NOVICH KORNEV, K KORNEV, VASILIY IVANOVICH KORNEYCHUK, ALEKSANDR YEVDOKIMOVICH. ? KORNEVEV, STEPAN GI7NRILOVICH ? ? oo KOkNEYEV, V. YE KOkNEYEVAI le KORNILOV, VIKTOR SERGEYEVICH ? KORNILOV, YURIY EMMANUILOVICH KORNIYENKOg A. I. KORNIYENKOp GEORGIY MARKOVICH KORN1YETc., IEDNID ROMANOVICH KOROBEYNIKOV, Be V. KOROBKOV, IVAN IVANOVICH KOROBOVAb IMASKOV'YA NIKGLAYEVNA KOROLEV, A. M KOROLEV, ALEKSEY MAKS1MOVICH KUROLEV, M. A KOROLEV, MIKHAIL YAKOVLEVICH KOROLEV, V. KOROLEV, VENIAMIN :TEPANOVICH KOROLEV, YU. K. KOROOKOV, N. K KOROTCHENKO, DEMVAN SERGEYEV1CH KOROTKOV, BORIS FEDOROVICH e ? KOKOTKOV, PAVEL VASILIVEVICH KOROTOV, VIKTOR MIKHAYLOVICH KOROVRIN, G KOROVKINg IVAN PETROVICH KORSAKOV, B KORSHSABLINs V. V. KORSHUNOV, V. N KORSHUNOVp. YEVGENIY STEPANOVICH KORT, VLADIMIR GR1GOR'YFVICH KOATOSHKIN, I. F. KORTUNOV, ALEKSEY KIRILLOVICHe ? KORTUNDV, VADIM VASILIVEVICH ? ? KORUSHION, YEVGENIY NIKOLAYEVICH 66 KORZUNt VALENTIN IGNAT'YEVICH t: KORYAGIN, IVAN ALEKSANDROVICH. ? ? .48 KORYAGIN, V 3 KORVTKOV, NIKOLAY GAVR1LOVICH KORZHEV, C. M KOSAREVg ALEKSEY TIKHONOVICH KOSAREV, YEVGENIY ALEKSANDROVICH KOSARIK, LOOK' AFANASYEVICH, KOSAR1MOV, VLADIMIR ALEKSEYEVICH MOSENCHENKOt V. F KOSENKO, V. M 144 31 240,2421302 162 124 9.2..O:vt2561260 0000 ? 270 72 241 ? 0000000 .29 319 242 117,119 25 233 196 260 48 54 217 306 296 129 252 211 23 9 39 107 198 202 152 ? 253 302 2.38 264 242 ? 0000000 15 0 ? ? . 9 252 214,215 39 123 135 22" 242 215 KOSHAYEV, A. ? . ? . ? ? 000000000000 321 KOSHELEV, GEORG'', MIKHAVLOVICH 71 KOSHENTWIEVSKIYg V1TALIY SERGEYEVICH KOSHEVOY, PTR KIRILLOVICH 25 242 201 48 KOSITSYN, ALEKSANDR PAVLOVICH 291 KOSLOVp AA M. 135 KOSHKINt K. N KOSHUTAg A. A KOSINSKAYAg H. S ?? 342? Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 . e ,A-RDP..TOOSOBRO001002.40045, Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Reference Aid DIRECTORY OF SOVIET OFFICIALS VOLUME I: NATIONAL ORGANIZATIONS A (CR) 75-45 (Supersedes CR A 73-31) December 1975 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 This publication is prepared for the use of U.S. Government officials. The format, coverage and contents of the publication are degigned to meet the specific requirements of those users. U.S. Government officials may obtain additional copies of this document directly or through liaison channels tram the Central Intelligence Agency. Non-U.S. Government users may obtain this along with similar CIA publications on a subscription basis by addressing inquiries to: Document Expediting (DOCEX) Project Exchange and Gifts Division Library of Congress Washington, D.C. 20540 Non-U.S. Government users not interested in the DOCEX Project subscription service may purchase reproductions of specific publications on an individual basis from: actcduplication Service Library of Congress Washington, D.C. 20540 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 REFERENCE AID DIRECTORY OF SOVIET OFFICIALS VOLUME I: NATIONAL ORGANIZATIONS A (CR) 75-45 (Supersedes CR A 73-31) December 1975 Approved For Release 1999/09/26: CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 PREFACE The Directory of Soviet Officials identifies individuals who hold positions in selected Party, government, and public organizations in the USSR, and in international organizations as representa- tives of the USSR. The Directory may be used to find either the incumbents of given positions within an organization or the positions of given individuals. For some organizations, notably government ministries, the Directory also lists all known major components, including those whose leading administrators were not known at the time of publication; hence the Directory is in a limited sense also a guide to the internal structure of these organizations. Coverage. This publication is a revision of Directory of Soviet Officials, Volume I: National Organizations (CR A 73-31, November 1973), and copies of the November 1973 publication should be destroyed. Volume I covers organizations only at the national level. RSFSR organizations are treated in Volume II (CR A 71-21, July 1971); organizations in the other union republics are covered in Volume III (A (CR) 75-18, May 1975). Directory Entries. The date,following an official's name is that of his appointment, assign- ment, election, or, where the abbreviation "i." precedes it, his earliest known identification in positicn. All entries in the Directory have been checked as of March 1975, and all officials who were identified in position after 1 January 1966, and not known to be deceased or transferred, have been included. Names of deceased persons do appear in the Party leadership graphs on pages 5 and 6 and in the membership lists of major elected bodies, such as the CPSU Central Committee. Names are given in full where known. Transliteration from Russian follows the system authorized by the Board of Geographic Names (BGN). Non-Russian names (such as those of Estonian or Ukrainian origin), for which original Latin-alphabet spellings or separate BGN transliteration ystems exist, are treated as Russian names and are tranSliterated from their Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Russian spellings. Hence the Ukrainian surname Honchar is rendered Gonchar. Organizations. An effort has been made to verify and standardize the names of organizational components and the position titles of individuals, but some unverified entries remain where the sole source is a non-Soviet publication. Addresses and Russian titles of organizations based in Moscow are taken from Moskva: Kratkaya Adresno-Spravochnaya Kniga (Moscow: A Short Address and Reference Book), 1971. Date of Information. Information within this volume of the directory is current as of 1 March 1975. Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Addendum The following major high-level governmental and Party changes have occurred since .1 March 1975: 1. Nuclear physicist Anatoliy Petrovich Aleksandrov was elected President of the USSR Academy of Sciences on 25 November 1975. He replaced Vladimir Aleksandrovich Kotelinikov who had served as Acting President since 19 May 1975 when Mstislav Vsevolodovich Keldysh retired (page 269). Keldysh remains a member of the Presidium of the Academy and continues to hold the other positions in the directory. 2. Valentin Borisovich Aleskovskiy was identified as Rector of Leningrad State University on 21 May 1975, vice Gleb Ivanovich Makarov (page 273). 3. Boris Vladimirovich Bakin became Minister of Installation and Special Construction Work on 23 May 1975, vice deceased Fuad Borisovich Yakubovskiy (page 147). 4. Radomir Georgiyevich Bogdanov was identi- fied on 16 June 1975 as the third Deputy Director of the Institute of the USA and Canada (page 280). 5. Nikolay Timofeyevich Glushkov became Chairman of the State Committee for Prices on 21 August 1975, replacing Vladimir Ksenofontrwich Sitnin, who was apparently relieved some time before July 1974 (lotAge 201). 6. Afanasiy Kondrat'yevich Mel'nichenko became Minister of the Medical Industry of 22 May 1975, vice deceased Petr Vasil'yevich Gusenkov (page 163). ImiApproved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Addenduffl (cont.) 7. Viktor Nikolayevich Polyakov became Minister of the Automotive Industry on 18 July 1975 following the death of Aleksandr Mikhaylovich Tarasov. Polyakov had been one of Tarasov's deputies since September 1966 (page 69). 8. Aleksandr Nikolayevich Shelepin was released as a full member of the CPSU Central Committee Politburo on 16 April 1975 (page 1) and as chairman of the All- Union Central Council of Trade Unions on 22 May 1975 (page 235). It is not known if he retains his membership on the Con- stitutional Commission (page 229). On 26 May 1975 Shelepin was appointed a Deputy Chairman (one of five) of the State Committee for Vocational and Technical Education (page 208). 9. Ivan Dmitriyevich Sosnov became Minister of Transport Construction on 6 March 1975, replacing Yevgeniy Fedorovich Kozhevnikov who retired (page 183). 10. On 4 September 1975 Nikolay Vladimirovich Tulyzin became Minister of Communications, replacing Nikolay Dem'yanovich Psurtsev who retired (page 80). 11. Lev Mordkovich Volodarskiy became Chairman of the Central Statistical Administraticn on 6 August 1975, replacing Vladimir Nikonovich Starovskiy, who retired (page 217). 12. On 29 May 1975 the Ministry of Heavy, Power and Transport Machine Building split into two ministries--the Ministry of Heavy and Transport Machine Building and the Ministry of Power Machine Building. Vladimir Fedoro- vich Zhigalin, who was head of the original - vi - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 ministry, remains as Minister of Heavy and Transport Machine Building. Viktor Vasil'- yevich Krotov, formerly Zhigalin's First Deputy, became the new Minister of Power Machine Building (page 143). 25 November 1975 vii - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 TABLE OF CONTENTS Page Preface iii Addendum Directory of Soviet Officials, Volume I: National Organizations Part I: Communist Party of the Soviet Union (CPSU) CPSU Executive Bodies Politburo of the CPSU Central Committee 1 Secretariat of the CPSU Central Committee 2 Secretariat of the General Secretary of the CPSU Central Committee 2 Aides to Other Members of the Politburo and Secretariat 3 Charts: Members of CPSU Executive Bodies since 1952 5 CPSU Central Committee Full Members 7 Candidate Members 14 CPSU Central Auditing Commission 19 Former Members of CPSU Central Bodies 23 Departments of CPSU Central Committee Chart: Executive and Administrative Apparatus 27 Administration of Affairs Administrative Organs Department 30 Agriculture Department 30 Department for Cadres Abroad 32 Chemical Industry Department 32 Construction Depari:mert 33 Culture Department.... 34 Defense Industry Departm,:'- 34 Department for Economic Collaboration with Socialist Countries 34 General Department 35 Heavy Industry Department 35 Information Department 36 International Department 36 Department for Liaison with Communist and Workers' Parties of Socialist Countries 37 Light and Food Industry Department 38 Machine Building Department 38 Organizational Party Work Department 39 Planning and Finance Organs Department 41 Propaganda Department 41 Science and Educational Institutions Department 43 Trade and Domestic Services Department 44 Transport and Communications Department 45 Officials of Unidentified Components of CPSU Central Committee 45 Other Organizations of the CPSU Central Committee Academy of Social Sciences 53 Higher Party School 54 Institute of Marxism-Leninism 55 Institute of Social Sciences 57 Party Control Committee 57 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 TABLE OF CONTENTS Page Part II: Government of the USSR USSR Council of Ministers Members of USSR Council of Ministers Presidium of USSR Council of Ministers 59 Other Members of USSR Council of Ministers 59 Secretariat of USSR Council of Ministers 62 Chart: USSR Council of Ministers 63 Organizations Under the Council of Ministers Ministry of Agriculture 65 Ministry of the Automotive Industry 69 Ministry of the Aviation Industry 71 the Chemical Industry 71 Chemical and Petroleum Machine Building 74 Civil Aviation 75 the Coal Industry 78 Communications 80 Communications Equipment Industry 82 Construction 82 Ministry of Construction of Heavy Industry Enterprises 83 Ministry of the Construction Materials Industry 84 Ministry of Construction of Petroleum and Gas Industry Enterprises 86 Ministry of Construction, Road, and Municipal Machine Building Ministry Culture Ministry Defense Ministry the Defense Industry Ministry Education Ministry Industry Ministry Ministry Ministry of Ministry of Ministry of Ministry of Ministry of Ministry Ministry of of of cf of of of of Ministry of Ministry of Ministry of Ministry of Ministry of Ministry of of of of of Ministry Ministry Ministry the Electrical Equipment the Electronics Industry Ferrous Metallurgy Finance the Fish Industry the Food Industry Foreign Affairs Foreign Trade the Gas Industry General Machine Building Geology Health Heavy, 88 89 90 107 107 108 110 110 112 113 115 117 125 138 140 140 141 Ministry Power, and Transport Machine Building 143 Ministry of Higher and Secondary Specialized Education 145 Ministry of Industrial Construction 146 Ministry of Installation and Special Construction Work 147 Ministry of Instrument Making, Automation Equipment and Control Systems 149 Ministry of Internal Affairs 150 Ministry of Justice 152 Ministry of Land Reclamation and Water Resources 153 Ministry of LighL Industry 154 Ministry of Machine Building 156 Ministry of Machine Building for Animal Husbandry and Fodder Production 156 Ministry of Machine Building for Light and Food Industry and Household Appliances 156 - x - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R00T0A131H12409611,5.-l4Ts Page Ministry of the Machine Tool and Tool Building Industry 158 Ministry of the Maritime Fleet 159 Ministry of the Meat and Dairy Industry 162 Ministry of the Medical Industry 163 Ministry of Medium Machine Building 164 Ministry of Nonferrous Metallurgy 164 Ministry of the Petroleum Industry 166 Ministry of the Petroleum Refining and Petro- chemical Industry 168 Ministry of Power and Electrification 169 Ministry of Procurement 172 Ministry of the Pulp and Paper Industry 173 Ministry of the Radio Industry 175 Ministry of Railways 175 Ministry of Rural Construction 178 Ministry of the Shipbuilding Industry 179 Ministry of the Timber and Wood Processing Industry 180 Ministry of Tractor and Agricultural Machine Building 180 Ministry of Trade 182 Ministry of Transport Construction 183 State Committee for Cinematography 186 State Committee for Civil Construction and Architecture 186 State Committee for Construction Affe_rs 187 State Committee for Foreign Economic Relations 189 State Committee for Forestry 192 State Committee for Inventions and Discoveries 192 State Committee for Labor and Wages 193 State Committee for Material and Technical Supply 194 State Planning Committee 197 State Committee for Prices 201 State Committee for Publishing Houses, Printing Plants and the Book Trade 202 State Committee for Science and Technology 203 State Committee for Standards 204 State Committee for Supervision of Safe Working Practices in Industry and for Mine Supervision 205 State Committee for Television and Radio Broadcasting 206 State Committee for Utilization of Atomic Energy 207 State Committee for Vocational & Technical Education 208 State Commission for Stockpiling Useful Minerals 208 Committee on International Lenin Prizes for the Strengthening of Peace Among Nations 208 Committee for Lenin Prizes and State Prizes in Literature, Art, and Architecture 209 Committee for Lenin Prizes and State Prizes in Science and Technology 209 Committee for Physical Culture and Sports 210 Committee for State Security (KGB) 211 Committee for People's Control 213 Military-Industrial Commission (VPK) 214 Commission of Presidium of USSR Council of Ministers for CEMA Affairs 214 Commission of Presidium of USSR Council of Ministers for Foreign Economic Questions 214 Main Archives Administration (GAU) 214 Main Administration of Geodesy and Cartography (GUGK) 214 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 TABLE OF CONTENT:; Page Main Administration of Hydrometeorological Service (GUGMS) 214 Main Administration of the Microbiological Industry 216 Main Administration for Safeguarding State Secrets in the Press (Glavlit) 216 Main Administration of State Material Reserves 217 Administration of Affairs of the Council of Ministers 217 Central Statistical Administration 217 Administration for Foreign Tourism 218 USSR State Bank (Gosbank) 220 All-Union Bank for Financing Capital Investments (Stroybank) 221 USSR Chamber of Commerce 221 Council for Religious Affairs 223 Main Committee for Exhibition of Achievements of the National Economy 223 Association for the Sale of Agricultural Equipment and the Organization of Mach...nery Repairs and Utilization (Soyuzsel'khoztekhnika) 224 State Board of Arbritration (Gosarbitrazh) 224 Commission for the Establishment of Personal Pensions 225 Higher Certification Commission 225 USSR Supreme Soviet Presidium 226 Council of the Union 227 Council of Nationalities 228 Constitutional Commission 229 USSR Parliamentary Group 230 USSR Judiciary USSR Supreme Court 232 USSR Procuracy 233 Part III: Mass, Cultural, Educational and Other Organizations Mass Organizations All-Union Central Council of Trade Unions (AUCCTU) 235 All-Union Komsomol 239 All-Union Voluntary Society for the Promotion of the Army, Aviation and Navy (DOSAAF) 246 Central Union of Consumers' Cooperatives USSR (Tsentrosoyuz SSSR) 247 Union Council of Collective Farms 248 Cultural and Professional Organizations Association of Soviet Jurists 250 Soviet Association of International Law 250 Soviet Association of Political Science (State Studies) 250 Soviet Sociological Association 250 All-Union Copyright Agency 250 All-Union Society for Knowledge (Znaniye) 251 Union of Societies of the Red Cross and Red Crescent of the USSR 251 USSR Union of Architects 252 USSR Union of Artists 252 USSR Union of Cinema Workers 253 USSR Union of Composers 254 USSR Union of Journalists 255 - xii - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608RAMORM5-7 Page USSR Union of Writers 256 Choral and Dance Groups 256 Libraries 257 Museums 257 Symphony Orchestras 257 Theaters 257 Propaganda and Foreign Liaison Organizations Committee of Soviet Women 258 Student Council of the USSR 258 Committee of Youth Organizations of the USSR 258 Soviet Committee for European Security 259 Soviet Association for Assistance to the United Nations 260 Soviet Committee for the Defense of Peace 260 Soviet Committee for Solidarity with Asian and African Countries 261 Soviet. Committee for Support to Vietnam 262 Soviet Committee for Solidarity with Chile., 262 Soviet Committee of War Veterans 263 Union of Soviet Societies or Friendship and Cultural Relations with Foreign Countries 263 Institute of Soviet-American Relations 266 National Academies All Union Academy of Agricultural Sciences (VASKhNIL) 267 USSR Academy of Arts 267 USSR Academy of Medical Sciences 268 USSR Academy of Pedagogical Sciences 268 USSR Academy of Sciences 269 Selected Soviet Academic Institutions Prominent Universities Leningrad State University 273 Moscow State University 274 Institute of Oriental Languages 274 University of Friendship of Peoples imeni Patrice Lummba 275 Social Science Institutes under the USSR Academy of Sciences Economic and Foreign Studies Institutes Institute of Africa Institute of Economics Institute of Economics of the World Socialist System Institute of the Far East Institute of the International Workers' Movement Institute of Latin America Institute of Oriental Studies Institute of the United States of America and Canada Institute of World Economics and International Relations 276 276 277 278 278 279 279 280 281 History Institutes Insttute of Archeology 283 Institute of Art History 283 Institute of Ethnography imeni N. N. Miklukho-Maklay 283 Institute of General History 284 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 AppAolitedfornRelesase 1999/09/26 : CIA-RDP86T00608R000100240045-7 Page Institute of History of Natural Science and Technology 285 Institute of the History of the USSR 286 Institute of Slavic and Balkan Studies 287 Literature and Linguistics Institutes Institute of Linguistics 288 Institute of Literature 288 Institute of World Literature imeni A. M. Gor'kiy 289 Literature Institute imeni A. M. GorIkiy 289 Russian Language Institute 289 Philosophy, Law and Social Research Institutes Institute of Philosophy 290 Institute of Sociological Research 291 Institute of State and Law 291 Other Institutes All-Uninn Institute of Cinematography 293 All-Uni.on Institute for the Study of Causes of Crime and Crime Prevention Measures 293 All-Union Research Institute of Soviet Legislation 294 Scientific Research Institute of Cinema Photography 294 Religious Denominations Armenian Apostolic Church 295 Spiritual Administration of Buddhists in the USSR 295 Evangelical Christian-Baptists 295 Georgian Orthodox Church 295 Islam 296 Jewish Faith 296 Lutheran Church 296 Old Believer Churches 296 Roman Catholic Church 297 Russian Orthodox Church 297 Publications and Information Media Selected Soviet Publications 299 Selected Soviet Publishing Houses 313 Selected Soviet Reference Works 317 Press Agencies 318 Part IV: Representation in International Organizations United Nations Permanent Representation, New Yoll. 323 Permanent Representation, Geneva 323 International Atomic Energy Agency (IAEA) -- Vienna 323 International Labor Organization (ILO) -- Geneva 323 UN Educational, Scientific and Cultural Organization (UNESCO) -- Paris 323 UN Tndustrial Development Organization (UNIDO) -- Vienna 323 World Health Organization (WHO) -- Geneva 324 Communist Front Organizations Afro-Asian People's Solidarity Organization (AAPS0).... 324 International Association of Democeatic Lawyers (rADL). 34 International Federation of Resistance Fighters (FIR).. 324 International Medical Association 324 International Organization of Journalists (I0J) 325 - xiv Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 III=11111111111i1M Approved For Release 1999/09/26 : CIA-RDP86T00608R0001[0024013457s Internationa) Radio and Television Organization (OIRT) International Union of Students (IUS) Women's International Democratic Fede 'tion (WIDF: World Federation of Democratc Youth .1,131) World Federation of Related Cities World Federation of Scientific Workers (WFSW) World Federation of Trade Unions (WFTU) World Intellectual Property Organization (WIPO) World Peace Council (WPC) Page 325 325 325 325 325 325 326 326 327 Other International Organizations Council for Economic Mutual Assistance (CEMA) 328 Inter-Parliamentary Union 328 League of Red Cross Societies 328 World Federation of United Nations Associations 328 Index of Names 329 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 0 Pp CD CD CD -& CD CD CD 8 CD cn CIA-RDP86T00608R000100240045-7 PART I: COMMUNIST PARTY OF THE SOVIET UNICI; (CPSU) Politburo of the CPSU Central Committee CPSU EXECUTIVE BODIES CD 0. -11 0 KPSS Russian: Politburo Tsentral'nogo Kpmiteta Address: Moscow, K-132, Staraya Ploshchad', 4 CD Members Birthdate Elected Other Positions (T:r a) ANDROPOV, Yuriy Vladimirovich 15 Jun 1914 Apr 73 Chairman, USSR Committee for State Security (KGB) CD BREZHNEV, Leonid Il'ich 19 Dec 1906 Jun 57 General Secretary, CPSU Central Committee " GRECHKO, Andrey Antonovich 17 Oct 1903 Apr 73 USSR Minister of Defense CD GRISHIN, VP:tor Vasil'yevich 18 Sep 1914 Apr 71 First Secretary, Moscow City Party Committee CD GROMYKO, Andrey Andreyevich 18 Jul 1909 Apr 73 USSR Minister of Foreign Affairs CD8 KIRILENKO, Andrey Pavlovich 8 Sep 1906 Apr 62 Secretary, f_PSU Central Committee KOSYGIN, Aleksey Nikolayevich 21 Feb 1904 May 60 Chairman, USSR Council of Ministers CD KULAKOV, Fedor Davydovich 4 Feb 1918 Apr 71 Secretary, CPSU Central Committee r?.3 KUNAYEV, Dinmukhamed Akhmedovich 12 Jan 1912 Apr 71 First Secretary, Central Committee, CP of Kazakhstan MAZUROV, Kirill Trofimovich 7 Apr 1914 Mar 65 First Deputy Chairman, USSR Council of Ministers ? ? PEL'SHE, Arvid Yanovich 7 Feb 1899 Apr 66 Chairman, Party Control Committee 0 PODGORNYY, Nikolay Viktorovich 18 Feb 1903 May 60 Chairman, Presidium, USSR Supreme Soviet POLYANSKIY, Dmitriy Stepanovich 7 Nov 1917 May 60 USSR Minister of Agriculture SHCHERBITSKIY, Vladimir 17 Feb 1918 Apr 71 First Secretary, Central Committee, CP of Ukraine Vasil'yevich SHELEPIN, Aleksandr Nikolayevich SUSLOV, Mikhail Andreyevich 18 Aug 1918 21 Nov 1902 Nov 64 Jul 55 Chairman, All-Union Central Council of Trade Unions Secretary, CPSU Central Committee 110 co Candidate Members -1 CD DEMICHEV, Petr Nilovich 3 Jan 1918 Nov 64 CD USSR Minister of Culture Cr) MASHEROV, Petr Mironovich Feb 1918 Apr 66 First Sccretary, Central Committee, CP of Belorussia PONOMAREV, Boris Nikolayevich 17 Jan 1905 hay 72 Chici. International Department, CPSU Central Committee() RASHIDOV, Sharaf Rashidovich 6 Nov 1917 Oct 61 First Secretary, Central Comnittee, CP of Uzbekistan PD ROMANOV, Grigoriy Vasil'yevich 7 Feb 1923 Apr 73 first Secretary, Leningrad Oblast' Party Committee SOLOMENTSEV, Mikhail Sergeyevich 5 Nov 1913 Nov 71 Chairman, RSFSR Council of Ministers USTINOV, Dmitriy Fedorovich 30 Oct 1908 Mar 65 Secretary, CPSU Central Committee L-91700n001.000N80900198dCIN-V10 : 9Z/60/6661, eseeieN .10d peA0.1ddV CPSU EXECUTIVE 130DIES (continued) Secretariat of the CPSU Central Committee Russian: Sekretariat Tsentral'nogo Komiteta Address: Moscow, K-132, Staraya Ploshchd', 4 General Secretary BREZHNEV, Leonid Irich Other Members DOLGIKH, Vladimir Ivanovich KAPITONOV, Ivan Vasil'yevich KATUSHEV, Konstantin Fedorovich KIRILENKO, Andrey Pavlovich KULAKOV, Fedor Davydovich PONOMAREV, Boris Nikolayevich SUSLOV, Mikhail Andreyevich USTINOV, Dmitriy Fedorovich Birthdate 19 Dec 1906 1924 Feb 1915 1 Oct 1927 8 Sep 1906 2 Feb 1918 17 Jan 1905 21 Nov 1902 30 Oct 1908 Secretariat of the General Secretary of the CPSU Central Committee Russian: Sekretariat General'nogo Sekretarya Members (Aides to L. I. Brezhnev) Elected Oct 64 Dec 72 Dec 65 Apr 68 Apr 66 Sep 65 Oct 61 Mar 47 Mar 65 Other Positions Member, Politburo, CPSU Central Committee None; apparently has general responsibility industry sector Chief, Organizational Party Work Department, Central Committee None; active in Bloc Parties liaison work Member, Politburo, CPSU Central Committee Member, Politburo, CPSU Central Committee Candidate member, Politburo, CPSU Central Member, Politburo, CPSU Central Committee Candidate member, Politburo, CPSU Central Committee 3 CD a_ -11 0 CD CD for heavy (/) CPSU CD CD CD Committee Tsentral'nogo Komiteta KPSS ALEKSANDROV-AGENTOV, Andrey Mikhaylovich, i. Mar 66 BLATOV, Anatoliy Ivanovich, i. Jan 73 GOLIKOV, Viktor Andreyevich, i. Mar 66 RUSAKOV, Konstantin Viktorovich, i. Jun 72 SAMOTEYKIN, Yevgeniy M., i. Aug :3 TSUKANOV, Georgiy Emmanuilovich, i. Mar 66 - 2 - 0) 0 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 (continued) 4.1 0 ?,-1 . ..-1 ??? .0 '? U A ?.-I U WN N > >0??? in N) - In >1 4-) ?.1 > - O to 0. o .-i WZW Z4 )4 tn In cu ? . fli E-? .-1 ? ??I > ..-1 al ?? ?.E .ri ? ... ? 4,1 1-i >. ? two o 0 to al . > . > ?? 44: . > .. > 0 .0 ? 4 o o >4 6 V-I 2 Ft El E-1 cd F:4 H HO MI r.I W Aides to A. N. Kosygin Aides to N. V. Podgornyy Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 CD 0- 11 0 CD CD a) C,) CD CD CD CD CD 0 0 Co a a a Co a a a a a 4=k a a cri 2,1 CPSU Politburo, 1952-75 CPSU CENTRAL COMMITTEE PLENUMS AFFECTING POLITBURO COMPOSITION C?I C..) 03 til CO N. N- in En LO til LO 0 < D D LU LU D 0 2 -3 -3 N. I,- a) 0 03 er, C%1 03 CO CC) CV 03 L0 Co Co Co Co Co Co Co Co CO CO 03 1.- > Z 0- _J Z I- CC > 0 F-> CC 0 cr z > >- o cc o Ow D in CC CL 0 CC 0 zMCC >00 0 13 Ministry of Foreign Affairs (cont.) 13 Regional Officials 7: Leningrad Diplomatic Agency < Diplomatic Representative POPOV, Georgiy Ivanovich, i. Aug 71 CD CL Deputy Diplomatic aepresentative CHERNOV, Yuriy Sergeyevich, i. Sep 72 nn Ambassadors 0 -1 Afghanistan PUZANOV, Alesandr Mikhaylovich, Sep 72 Algeria GRUZINOV, Sergey Sergeyevich, Apr 70 PU Argentina DYUKAREV, Semen Petrovich, Sep 72 CD Australia BASOV, Aleksandr Vasil'yevich, Jan 75 ET Austria 0.1 Bangladesh FOMIN, Andrey Andronovich, Feb 73 0 Belgium SOBOLEV, Vladimir Mikhaylovich, Jul 73 CD Bolivia SHCHERBACHEVICH, Aleksey Florianovich, Feb 70 -& CID Botswana BELOKOLOS, Dmitriy Zakharovich, Sep 70 CID Brazil ZHUKOV, Dmitriy Aleksandrovich, May 74 CID Bulgaria BAZOVSKIY, Vladimir Nikolayevich, Apr 72 8 Burma YELIZAVETIN, Aleksey Ivanovich, May 71 CID Burundi POZHIDAYEV, Dmitriy Petrovich, Jun 74 1;3 Cameroon MALYSHEV, Aleksandr Yevgen'yevich, Jun 72 CO Canada YAKOVLEV, Aleksandr Nikolayevich, May 73 .. Central African Republic MELINIKOV, Yevgeniy Nikolayevich, Jun 72 Chad SOKOLOV, Arkadiy Vasil'yevich, Aug 74 C) Chile > China, People's Republic of TOLSTIKOV, Vasiliy Sergeyevich, Aug 70 1 Colombia ANDREYEV, Vladimir Ivanovich, Jul 71 Congo Brazzaville AFANASENKO, Yevgeniy Ivanovich, May 72 0 Costa Rica KAZIMIROV, Vladimir Nikolayevich, Jul 71 1D Cuba ToLUBEYEV, Nikita Pavlovich, Nov 70 CO Cyprus ASTAVIN, Sergey Timofeyevich, Jul 73 CO Czechoslovakia MATSKEVICH, Vladimir Vladimirovich, Apr 73 -i CD Dahomay ZHUKOVSKIY, Igor' Nazariyevich, Nov 69 CD Denmark YEGORYCHEV, Nikolay Grigor'yevich, Apr 70 CO Ecuador SHLYAPNIKOV, German Yevlampiyevich, Feb 75 CD Egypt POLYAKOV, Vladimir Porfir'yevich, Mar 74 CO Equatorial Guinea KAZANSKIY, Arkadiy Nikolayevich, Feb 72 PU Ethiopia RATANOV, Anatoliy Petrovich, Oct 73 CD Fiji BASOV, Aleksandr Vasil'yevich CD CD Finland STEPANOV, Vladimir Sevast'yanovich, Dec 73 -& France CHERVONENKO, Stepan Vasil'yevich, Dec 73 CD CD ha Ambassadors to Zambia, Brazil, Australia, Senegal, Sri Lanka, and the United Kingdom are also accredited, respective, to t;:e. .N CD following countries, where the Soviet Union has no resident diplomatic representation: Botswana, Guyana, Fiji, The Gambia, CD The Maldives and Malta. .P - 122 - Ch 44 > 13 13 7: < Ministry of Foreign Affairs (cont.) CD CL Ambassadors (cont.) nn Gabon FILATOV, Vladimir Gerasimovich, Aug 74 O The Gambia TER-GAZARYANTS, Georgiy Artashesovich -1 German Democratic Republic YEFREMOV, Mikhail Timofeyevich, Oct 71 PU Germany, Federal Republic of FALIN, Valentin Mikhaylovich, Jan 71 CD Ghana BERNOV, Yuriy Vladimirovich, Apr 74 ET Greece YEZHOV, Igor' Matveyevich, Feb 73 0.1 Guinea MUSATOV, Leonid Nikolayevich, Oct 73 O Guinea Bissau SLMENOV, Vyacheslav Mikhaylovich, Feb 75 CD Guyana ZHUKOV, Dmitriy Aleksandrovich Hungary PAVLOV, Vladimir Yakovlevich, Mar 71 -& CD Iceland KIRICHENKO, Yuriy Alekseyevich, Jun 73 CD CD India MAL'TSEV, Viktor Fedorovich, Dec 73 8 Indonesia KUZNETSOV, Pavel Stepanovich, Jun 72 CD Iran YEEOFEYEV, Vladimir Yakovlevich, Dec 67 Iraq 1;3 Ireland BAPKOVSKIY, Anatoliy Aleksandrovich, Dec 73 KAPLIN, Anatoliy Stepanovich, Mar 74 CO Italy RYZHOV, Nikita Semenovich, May 66 Japan TROYANOVSKIY, Oleg Aleksandrovich, Mar 67 .. C) Jordan VORONIN, Aleksey Leonidovich, Oct 72 > Kenya MIROSHNICHENKO, Boris Panteleymonovich, Ncv 73 I 3 Khmer Republic Korea, Democratic People's Republic of KRIULIN, Gleb Aleksandrovich, Aug 74 0 Kuwait TUPITSYN, Nikolay Kuz.mich, Jun 70 1D Laos VDOVIN, Valentin Petrovich, Oct 72 CO Lebanon SOLDATOV, Aleksandr Alekseyevich, Oct 74 CO Liberia SAFONOV, Dmitriy Fedorovich, Sep 72 -i Libya YAKUSHIN, Ivan Nesterovich, Feb 70 CD CD Luxembourg KOSAREV, Yevgeniy Aleksandrovich, Aug 59 CO Madagascar ALEKSEYEV, Aleksandr Ivanovich, Mar 74 CD Malaysia BENDRYSHEV, Vladimir Nikolayevich, Dec 73 CO Maldives NISHANOV, Rafik Nishanovich, Aug 70 PU Mali ZOLOTOV, Yuriy Mikhaylovich, Aug 74 CD Malta LUN'KOV, Nikolay Mitrofanovich CD CD Mauritania STARTSEV, Vladimir Ivanovich, Feb 75 _& Mauritius BANDURA, Nikolay Ivanovich, Jun 73 CD Mexico TARASOV, Nikolay Konstantinovich, Aug 72 CD Mongolia SMIRNOV, Aleksandr Ivanovich, Jun 73 ha Morocco GORYUNOV, Dmitriy Petrovich, Nov 73 .P CD Nepal KIRNASOVSKIY, Boris Yefremovich, Oct 70 CD Netherlands ROMANOV, Aleksandr Iosifovich, Apr 73 .P New Zealand SELYANINOV, Oleg Pavlovich, Jul 74 CM Niger SOKOLOV, Gennadiy Dmitriyevich, Jun 72 44 Nigeria TETERIN, Aleksandr Vasil'yevich, Oct 74 - 123 - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Foreign ffairs (cont.) Ambassadors (cont.) Norway ROMANOVSKIY, Sergey Kalistratovich, Jan 68 Pakistan AZIMOV, Sarvar Alimdzhanovich, Dec 74 Peru LEBEDEV, Yuriy Vladimirovich, Mar 69 Poland PILOTOVICH, Stanislav hntonovich, Mar 71 Portugal KALININ, Arnolld Ivanovich, Jul 74 Romania DROZDENKO, Vasiliy Ivanovich, M7.= 71 Rwanda ZHILYAKOV, Grigoriy Vasil'yevich, May 72 Senegal TER-GAZARYANTS, Georgiy Artashesovich, Apr 73 Sierra Leone FILIPPOV, Ivan Filippovich, Sep 70 Singapore BEZRUKAVNIKOV, Boris Vasillyevioh, Feb 71 Somalia SAMS0NOV, Georgiy Yegorovich, Oct 74 Sri Lanka NISHANOV, Rafik Nishanovich, Aug 70 Sudan Sweden YAKOVLEV, Mikhail Danilovich, May 71 Switzerland GERASIMOV, Pavel Ivanovich, Mar 73 Syria MUKHITDINOV, Nuritdin Akramovich, Feb 68 Tanzania SLIPCHENKO, Sergey Aleksandrovich, Dec 72 Thailand IL'ICHEV, Boris Ivanovich, Mar 74 Togo SLYUSARENKO, Petr Konstantinovich, Oct 70 Tunisia KOLOKOLOV, Boris Leonidovich, Aug 73 Turkey RODIONOV, Aleksey Alekseyevich, Dec 74 Uganda ZAKHAROV, Aleksey Vasil'yevich, Mar 72 United Kingdom LUN'KOV, Nikolay Mitrofanovich, Apr 73 United States of America DOBRYNIN, Anatoliy Fedorovich, Dec 61 Upper Volta TIKUNOV, Vadim Stepanovich, Mar 74 Uruguay DEMIDOV, Nikolay Vasil'yevich, Jun 70 Venezuela LIKHACHEV, Viktor Ivanovich, Sep 70 Vietnam, Democratic KeTablic of CHAPLIN, Boris Nikolayevich, Oct 74 Yemen Arab Republic KORNEV, Vasiliy Ivanovich, May 72 Yemen, People's Democratic Republic of SEmioSHKIN, Aleksandr Semenovich, Jun 74 Yugoslavia STEPAKOV, Vladimir Il'ich, Dec 70 Zaire LAVROV, Ivan Mikhaylovich, Dec 70 Zambia BELOKOLOS, Dmitriy Zakharovich, Jun 70 L-91700n001.000N80900198dCIN-V10 : 9Z/60/6661. eseeieN .10d PGAOJCidV -0 -0 Ministry of Foreign Trade (A-U) Russian: Ministerstvo Vneshney Torgovli SSSR CD Address: Moscow, G-200, Smolenskaya-Sennaya Ploshchad 32/24 a nn Leading Officials 0 Minister PATOLICHEV, Nikolay Semenovich, Aug 58 First Deputy Ministers KUMIN, Mikhail Romanovich, i. Mar 65 SEMICHASTNOV, Ivan Fedorovich, i. Jun 65 CD Deputy Ministers ALKHIMOV, Vladimir Sergeyevich, i. Mar 67 GORDEYEV, Boris Stepanovich, Sep 70 GRISHIN, Ivan Timofeyevich, Sep 59 Cfl KOMAROV, Nikolay Dmitriyevich, i. Feb 65 CD MANZHULO, Aleksey Nikolayevich, i. Aug 70 -& OSIPOV, Nikolay Grigor'yevich, i. Jul 65 CD SMEL'YAKOV, Nikolay Nikolayevich, Sep 59 SUSHKOV, Vladimir Nikolayevich, Dec 74 ZHURAVLEV, Gennadiy Kirillovich, i. Aug 72 ZORIN, Leonid Ivanovich, i. Sep 63 Other Collegium Members KLOCHEK, Vasiliy Ivanovich, i. Jun 70 LOSHAKOV, Mikhail Georgiyevich, i. Mar 49 CO MASLENNIKOV, Anatoliy Ni::clavevich, 1. Jun 72 Main Administrations, Major Operational Branch Departments Main Administration for Export of Industrill Equipment PU Chief RODNOV, Viktor Ivanovich, i. Mar 67 0 Deputy Chiefs OKONECHINIKOV, Nikolay Aleksandrovich, i. Mar 66 -0 SOBKO, V. A., i. Mar 66 CO Main Administration for Export CO of Manufactured Goods and Consumer Goods -i Chief KUZNETSOV, Mikhail Ivanovich, i. Mar 66 CD Deputy Chief DEMIDOVSKIY, Yu. A., i. Jun 72 CD CO Main Administra'...ion for Export CD of Raw Materials CO Chief BAKHTOV, Konstantin Konstantinovich, i. Dec 71 PU Deputy Chief BABATRIN, Aleksandr, i. May 74 CD Main Administration for Export CD of Transportation Equipment, CD Roadbuilding and Agricultural Machinery -& CD Chief KHARCHENKO, Boris Ivanovich, i. Jul 74 CD Deputy Chief DOLGUSHEVSKIY, Aleksandr Vladimirovich, i. Jun 73 4h. 4h. cn 44 - 125 - L-9P0017Z001.000N80900198dCIN-V10 : 9Z/60/6661. eseeieN .10d PeA0iddV Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 J Ministry of Foreign Trade (cont.) Main Administration for Import of Industrial Raw Materials, Foodstuffs and Manufactured Goods Chief Deputy Chiefs Main Administration for Import of Machinery from Capitalist Countries Chief Deputy Chiefs Main Administration for Import of Machinery from Socialist Countries Chief Deputy Chief Administrations, Commercial Policy Departments Administration for Trade with African Countries Chief Deputy Chief Administration for Trade with America and Latin America Chief Deputy Chief American Department Chief Administration for Trade with Eastern Socialist Countries Chief Deputy chief Administration for Trade with European Socialist Countries Chief Deputy Chief SAKUN, Pavel Iosifovich, i. Jul 67 GOLIMBIYEVSKIY, Vyacheslav Aleksandrovich, i. Mar 66 PROKOF'YEV, I. T., i. Jun 72 STESNOV, Aleksandr Leont'yevich, i. Dec 74 CHERSKOV, I. Ya., i. Jul 73 VELIKIY, Georgiy Petrovich, i. Mar 66 SELDYAKOV, P. S., i. Oct 66 LIMARENKO, Anatoliy Nikitich, i. Mar 66 ZAKHARIKHIN, Petr Akimovich, i. May 72 TARZIMANOV, Rustem Fuadovich, i...eb 69 ZINOV'YEV, Nikolay Vasil'yevich, i. Dec 71 MEL'NIKOV, Albert, i. May 74 VORONKOVA, Yekaterina A., i. Jun 71 SAMSONOV, Nikolay Stepanovich, i. Feb 69 LOSHAKOV, Mikhail Georgiyevich, i. Jan 54 POPOV, Georgiy Pavlovich, i. Feb 69 - 126 - L-9170017Z001.000N90900.1.99dCIN-V10 : 9Z/60/6661. aseeieN .10d PeA0iddV 7 Ministry of Foreign Trade (cont.) Administration for Trade with Southeast Asia and the Middle East Chief Deputy Chiefs Japanese Department Chief Indian Department Chief Administration for Trade with Western Countries Chief Deputy Chief Southwest European Department Chief Northern Countries Department (Scandinavia) Chief Administrations, Functional Departments Foreign Exchange (Currency) Chief Deputy Chiefs International Organizations Administration Chief Deputy Chiefs Administration Main Customs Administration Chief Deputy Chiefs Chief, Moscow Customs Admin. Planning-Economic Administration Chief Deputy Chiefs Treaty and Legal Administration Chief Deputy Chiefs SHIRYAYEV, Nikolay Pavlovich, i. Mar 68 AZOV, Viktor Nikolayevich, i. Jun 68 BRUZHES, Konstantin Vladimirovich, i Oct 63 INYUTIN, Serafim Trofimovich, i. Mar 66 PIROZHKOVA, Aleksandra Gavrilovna, i. Oct 63 SEYFULMULYUKOV, Adgem Mustafyevich, i. Feb 69 AGEYEV, Nikolay Ivanovich, i. Feb 61 SEMENILKOV, Gennadiy Pavlovich, i. Oct 63 SIMAKOV, Vladimir Ivanovich, i. Sep 70 IVANOV, A. I., i. Feb 75 KOSHENTAYEVSKIY, Vitaliy Sergeyevich, i. Nov 53 MAYOROV, Boris Vasil'yevich, i. Oct 71 BUGAKOV, Vasiliy G., i. Mar 71 OZHOGIN, V. F., i. Oct 63 SHEVCHENKO, KUZMINSKIY, POLEZHAYEV, Sergey Andreyevich, i. Mar 71 Nikolay I., i. Sep 65 V. N., i. Jun 69 PRIMEROV, Yuriy Nikolayevich, i. Jul 73 KALANTAROV, Viktor Gavrilovich, i. May 68 NOKS, Aleksey Pavlovich, i. Dec 61 TITOV, Valentin Fyodorovich, i. Sep 73 KLOCHEK, IPATOVA, KIRILOV, Vasiliy Ivanovich, i. Jun 70 M. S., i. Jun 72 Vladimir Vasil'yevich, i. Jun 72 BURGUCHEV, Georgiy Stepanovich, i. Mar 66 KOZHEVNIKOV, 0. V., i. Jun 72 KUTuZ0V, V. M., i. Oct 63 MEDVEDEV, Yevgeniy Konstantinovich, i. Mar 66 - 127 - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Foreign Trade (cont.) Protocol Department Chief Deputy Chiefs Technical Department Chief Deputy Chiefs Transport Department Chief Deputy Chief State Inspectorate on Quality of Export Goods Chief All-Union Foreign Trade Associations (V/0) and Offices (V/K) V/0 Almazyuvelireksport (exports diamonds, jewelry and pLecious stones and metals) Chairman Deputy Chairmen V/0 Aviaeksport (,export of aircraft) Chairman Deputy Chairmen V/0 Avtoeksport (export and import of motor vehicles and agricultural machinery) Chairman Deputy Chairmen RAKHMANIN, Vladimir Anatol'yevich, CHUKASHCHEV, A. D., i. Jun 72 SHATAGIN, F. N., i. Jul 67 SHPINKOV, N. M., i. Oct 71 MAL'KEVICH, V. L., i. Oct 71 AZAROV, V. N., i. Feb 72 KHRIYANIN, V. S., i. May 67 PORFIR'YEV, Valentin, i. Jul 72 ZOBNIN, B. S., Jul 62 MALOV, Sergey Sergeyevich, i. Jun 72 SYURIN, Y., i. Nov 73 Ct 74 DASHEVSKIY, Yuriy Vladimirovich, i. Apr 73 MANAKHOV, Yevgeniy Fedorovich, Feb 72 KHROMOV, Vladimir Pavlovich, Apr 70 KRYUCHKO, Fedor Kirillovich, Jan 72 KURSKIY, Pavel Petrovich, Mar 72 POPOV, Yuriy Yevdokimovich, Jan 72 STUDENIKIN, Vasiliy Savel'yevich, May 74 FLER0v, Yuriy Ivanovich, i. Sep 70 IVANOV, Aleksandr Ivanovich, i. Jul 73 KHRISTYAKOV, Boris Anatol'yevich, Mar 70 SEROV, Vyacheslav Mikhaylovich, Jul 70 TITOV, Yuriy vasil'yevich, Dec 70 PETROV, Vladimir Mikhaylovich, i. Aug 61 CHERKASOV, V. G., i. Oct 63 DMITRIYEV, Nikolay Mikhaylovich, i. Jun 69 PANKRATOV, Ivan Aleksandrovich, i. 1968 SALOSHIN, Nikolay Petrovich, Dec 69 YAROTSKIY, 7eliks Fedorovich, Dec 71 - 128 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 L-9170017Z001.000N80900198dCIN-V10 : 9Z/60/6661. eseeieN .10d PGAOJCIdV Ministry of Foreign Trade (cont.) All-Onion Foreign Trade Associations (V/0) and Offices (V/K) V/0 Avt.9promimport (import of automotive equipment) Chairman Deputy Chairmen Dalintorg (coastal trade with Japan) Director Deputy Directors Eksportkhleb (export and import grain products) Chairman Deputy Chairmen V/0 Eksportlen (export and import of fibers and textiles) Chairman Deputy Chairmen V/O Eksportles (export and import of lumber products) Chairman Deputy Chairmen 4r BUTKO, Anatoliy Aleksandrovich, i. Dec LYACHKOV, Nikolay Vasil'vevich, i. Oct SHKREBTIYENKO, Daniil Onufriyevich, i. SURIN, Vitaliy Vasil'yevich, May 73 ZAVELEV, Georgiy Borisovich, i. Oct 66 BYLEYEV, Voldemar Serafimovich, Mar 72 RUMYANTSEV, Oleg Yevgen'yevich, Jun 72 URUSOV, Boris Dmitriyevich, Aug 71 66 66 Jan 71 PERSHIN, Viktor Ivanovich, i. Sep 74 MIKHAYLOV, Ivan Fedorovich, i. Dec 71 MUTAIOV, Abdurashid Rakhimovich, i. Feb 72 VLASOV, Nikolay Petrovich, i. 1968 SOBOLEV, Vladimir Alekse,.-evich, i. Oct 68 DOVBNYA, Anton Stepanovich, i. Apr 68 DROZDOV, Vadim Grigcr'yevich, i. Oct 71 DYAKOV, Ivan Nikolayevich, i. Apr 71 KHRYASHCHEV, Vladimir Mikhaylovich, i. Mar 69 PISULIN, Ivan Grigorlyevich, i. Nov 69 TSVETOV, I. N., i. Jun 61 VISKO, Georgiy Stepanovich, i. 1968 AKKURATOV, Valerian N., i. 1967 FRUMKIN, Aleksandr Iosifovich, i. Mar 69 IL'IN, Igor' Mikhaylovich, i. Dec 67 KOROLEV, Veniamin Stepanovich, i. Nov 67 NIKOLAYEV, Gleb Aleksandrovich, i. May 70 ZUBAREV, Oleg Nikolayevich, i. Apr 72 - 129 - L-9170017Z001.000N80900198dCIN-V10 : 9Z/60/6661. eseeieN iod peAcuddv Ministry of Foreign Trade (cont.) All-Union Foreign Trade Associations (V/0) and Offices (V/K) (cont.) V/0 Elektronorgtekhnika (exports and imports computational technique and electronic components as well as spare parts) Chairman KISLENKO, Yuriy Antonovich, Apr Ti Deputy Chairmen IVANOV, Boris Sergeyevich, Feb 71 KLIM07, Vladimir Filippovich, Feb 71 SHCH_RBINA, Yuriy Dmitriyevich, Feb 71 V/0 Energomasheksport (export of power machinery) Chairman ZARUBKIN, Georgiy Aleksandrovich, i. Mar 66 Deputy Chairmen ELOKHIN, Aleksey Anatol'yevich, Jan 74 CAVRILOV, Aleksandr Mikhaylovich, Mar 74 PAVLOV, Vladimir Pavlovich, i. Mar 66 POKROVSKIY, Boris Alekseyevich, i. Mar 72 RYZHIKOV, Nikolay Alekseyevich, i. 1968 V/K Lenfintorg (trade with Finlead) Deputy Directors GLADK0V, Viktor Nikolayevich, Jun 66 GUSAROV, O. V., i. Jun 72 V/0 Litsenzintorg (export and import of patents) Chairman SALIMOVSKIY, Vladimir Aleksandrovich, i. Oct 62 Deputy Chairmen BORISENKO, Dmitriy Grigor'yevich, i. Oct 65 IVANOV, S. N., i. Jul 74 KUZ'MIN, Aleksandr Konstantinovich, i. Mar 71 NOMOKONOV, Petr Petrovich, i. Nov 71 TOMACHINSKIY, Vasiliy Yefimcvich, i. Nov 62 VORON, Sergey Yakovlevich, i. 1974 V/0 Mashinoeksport (export of heavy machinery) Chairman VORONTSOV, Vsevolod Ivanovich, Apr 70 Deputy Chairmen KAKOVKIN, Igor' P., i. Feb 71 LEBEDEV, Yevgeniy Sergeyevich, Nov 71 ROMASHKO, Boris Mikhaylovich, i. Jan 65 RYBALKO, Yevgeniy Alekseyevich, Jul 72 RYABCHENKO, Semen Kondrat'yevich, i. May 72 SEMENOV, Ivan Kuz'mich, May 70 VASILEVSKIY, Oleg Aleksandrovich, i. Mar 72 - 130 - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Foreign Trade (cont.) All-Union Foreign Trade Associations (V/0) and Offices (V/K) (cont.) V/0 Mashinoimport (import of power, oil, and mining equipment, export of rolling stock, etc.) Chairman Deputy Chairmen V/0 Mashpriborintorg (export and import of precision instruments) Chairman Deputy Chairmen V/0 Medeksport (export and import of medical and pharmaceutical goods) Chairman Deputy Chairmen V/0 metallurgimport (imports machinery for the extraction industries, especially ferrous metals) Chairman Deputy Chairmen V/0 Mezhdunarodnaya Kniga (export and import of books, periodicals, and sheet music) Chairman Deputy Chairmen VOLCHKOV, Stanislav Fedorovich, i. May 74 GVOZDEV, Boris Grigor'yevich, Dec 65 KSENOFONTOV, Yevgeniy Norkisovich, Jul 73 NEKHOROSHEV, Viktor, i. Jun 60 PLATONOV, Vladimir Nikolayevich, May 65 ZAMYATIN, Aleksandr Petrovich, i. 1973 PETROV, Dmitriy Vasil'yevich, i. 1972 BESPALOV, Boris Mikhaylovich, May 71 KOZIN, Mikhail Sergeyevich, Feb 71 MANTOROV, Mark V., i. Oct 72 POPOV, Aleksandr Sidorovich, i. 1968 POTEKHIN, Nikolay Pavlovich, i. Oct 71 SEM1NEYEV, Yakov M., i. 1968 VAZIL'YEV, Mikhail Vladimirovich, May 70 FILIMANOV, Ivan Nikitovich, i. Sep 61 GOSTENIN, Konstantin Mikhaylovich, i. Oct 71 LEVIN, Boris Markoiich, Feb 70 MAKsim0v, Nikolay Pavlovich. Sep 70 PERMYAKOV, venedikt vladimirovich, 1. Jun 72 ZAYTSEV, Nikolay Sergeyevich, May 72 ZUBATOV, Nikolay Alekseyevich, Oct 70 LEONOV, Yuriy Borisovich, i. 1973 BELOSTOTSKIY, Aleksandr Yakovlevich, i. 1968 BRAGA, Vitaliy Nikolayevich, Mar 73 GORDEYEV, Nikc lay Yemelyanovidh, i. Oct 73 KAL'YANKO, Raisa Fadeyevna, i. 1968 PAVLOV, Aleksandr Andriyanovich, i. 1968 - 131 - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 L-9170017Z001.00a190900.1.99dCIN-V10 : 9Z/60/6661. aseeieN .10d peA0iddV Ministry of Foreign Trade (cont.) /11-Union Foreign Trade Associations (V/O) and Offices (V/K) (cont.) V/K Novoekaport (export Of carpets, jewelry, sculpture, handicrafts and antiques) Director Deputy Directors V/0 Prodintorg (export and import of foodproducts of animal origin and also sugar and vegetable oils) Chairman Deputy Chairmen V/0 Prommashimport (export and import of pulping and paper-making machinery) Chairman Deputy Chairmen V/0 Promayr'yeimport (export and import of pig iron and ferro alloys, steel wire, metal products) Chairman Deputy Chairmen YEROKHIN, Aleksey Yevdokimovich, Sep 72 NEDOSHVIN, Boris Nikolayevich, i. 1968 NEDOSHVINA, Natal'ya Ivanovna, i. 1968 SAFRONOV, Sergey Yakovlevich, i. 1968 ALEKSEYENKO, Viktor Lanilovich, i. Jul 67 AvAKOV, Tevodros Grigor'yevich, i. Feb 61 USOL'TSEV, Veniamin Vasil'yevich, i. Feb 71 VISHNYAKOV, Sergey Andreyevich, Nov 55 MEL'NIKOV, Nikolay Ivanovich, i. Sep 66 BARTSEV, Oleg Nikolayevich, Aug 71 BELYAYEV, Yevgeniy Fedorovich, i. 1968 KULAKOVIN, Vladimir V., Jan 68 MALININ, Sergey Vasil'yevich, i. Aug 65 MARGASYUK, Pavel Fedorovich, May 73 OLEYNIK, Boris Moiseyevidh, i. Feb 67 RAKHIMBAYEV, Gairat Faizullayevich, Jan il RODOVNICHENK0, Audrey Sergeyevich, 1. Jul 74 BREZHNEV, Yuriy Leonidovich, Nov 70 AFANASIYEV, Gleb S., i. 1973 DENISENKO, Yevgeniy Dem'yanovich, i. 1968 ONGIRSKIY, Leonid Stanislavovich, Nov 70 SHCHERBAKOV, Boris Nikolayevich, i. Apr 61 - 132 - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Foreign Trade (cont.) All-Union Foreign Trade Associations and Offices (V/K) (cont.) V/0 Raznoeksport (export and import of light industrial and consumer goods) Chairman Deputy Chairmen ('70) V/0 Raznoimport (export and import of non-ferrous metals, rubber and cork products) Chairman Deputy Chairmen V/0 Soyuzkhimeksport (export and import of chemical products) Chairman Deputy Chairmen V/0 Soyuzgazeksport (export of gas and gas products) Chairman Deputy Chairmen BORODKO, Aleksandr Adamovich, i. Jul 73 AKOLZINA, Vera Aleksandrovna, i. 1968 - CHISTYAKOV, Mikhail Aleksandrovich, Jul 69 GORSHUNOV, Fedor Dmitriyevich, i. 1968 KHRAMTSOV, Igor' Sergeyevich, i. 1973 NAUMOV, Oleg Vasil'yevich, i. Gct 63 TALIYEV, Rafail Nikolayevich, i. Jun 73 VASIL'YEV-SAPRYKIN (aka SAPRYKIN), Yevgeniy Nikolayevich, i. Aug 65 RUSSOV, Ivan Aleksandrovich, Feb 72 MIKHAYLOV, Vladimir Ivanovich, i. Feb 66 NOVIKOV, T. S., i. Oct 63 ORLOV, Vladimir Nikolayevich, Jan 73 YEGOROV, Yuriy Aleksandrovich, Apr 72 MOLODTSOV, Viktor Grigor'yevich, 1. Sep 71 AKISHIN, Leonard Aleksandrovich, i. Mar 69 KIRYANOV, Pavel Dmitriyevich, Jun 73 OSIPOV, Igor' Aleksandrovich, May 74 SOLOMENTSEV, Yevgeniy Konstantinovich, Jan 72 TABAKOV, Viktor Mikhaylovich, 1. Feb 61 BARANOVSKIY, Yuriy Vyacheslavovich, i. Jun 73 DOMPACHEV, Oleg A., i. May 74 MIKHALEV, Vladimir Nikolayevich, i. Sep 73 - 133 - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Foreign Trade (cont.) All-Union Foreign Trade Associations (V/0) and Offices (V/K) (cont.) V/0 Soyuznefteeksport (export and import of petroleum products) Chairman Deputy Chairmen V/0 Soyuzplodoimport (export and import of foodstuffs and agricultural products of vegetable origin) Chairman Deputy Chairmen V/0 Soyuzpromeksport (export and import of ferrous metals, coals, precious metals) Chairman Deputy chairmen V/0 Soyuzpushnina (oxport and import of raw and semi-finished furs) Chairman Deputy Chairmen MERKULOV, Vasiliy Yefimov:ch, i. Oct 68 FEDOROV, Igor' Ivanovich, i. Mar 65 GRACHEV, Vladimir Nikolayevich, 1. Feb 51 SHUSHPANOV, Lev Andreyevich, i. May 65 SLOVTSOV, Viktor Konstantinovich, i. Feb 72 ZHIZHIN, Yuriy Borisovich, i. Mar 14 BATOV, i. Mar 72 MAYOROV, L. G., i. Jun 72 MUKHE:, riktor Nikolayevich, i. 1968 BORIN, Vadim Ivanovich, i. Feb 75 BORISOV, Igor' Nikolayevich, Sep 69 KOZACHENKO, Yevgeniy Nikolayevich, Jan 74 KRYLOV, Nikolay Zinov'yevich, i. May 70 KURAPOV, Nikolay Alekseyevich, i. Oct 63 IVANOV, Viktor Mikhaylovich, BARAYEV, Sergey Nikolayevich FROLKIN, Sergey Lazar'yevich GOLOULIN, Vladimir Ivanovich RADIVILOV, Boris Lukyanovich i. May 72 , i. 1968 , i. Feb 61 ? i. Sep 66 , Mar 72 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Foreign Trade (cont.) All-Union Foreign Trade Associations (y/) and Offices (V/K) (cont.) VIO Soyuzvneshtrans (transport of exports and imports and shipments of transit goods through the USSR) Chairman Deputy Chairmen V/0 Stankoimport (export and import of machine tools and precision instruments) Chairman Deputy Chairmen V/0 Sudoimport (export, import, and repair of ships) Chairman Deputy Chairmen V/0 Tekhmasheksport (exports equipment for food, textile, light and electronic industries) Chairman Deputy Chairmen V/0 Tekhmashimport (imports refrigeration equipment and goods for chemical and textile plants) Chairman Deputy Chairmen ZHINKIN, Vasiliy Sergeyevich, Jul 74 ISMAYEV, Mubarak Khasnullovich, i. 1968 KOSARIK, Igor' Afanasyevich, Jan 72 SAFRAY, Aleksandr Semenovich, May 71 MASLOV, Ivan Mikhaylovich, i. Jun 66 GRIBAKIN, Viktor Ivanovich, i. 1968 KOST,OV, A. M., i. Mar 72 MUKHIN, Aleksandr Stepanovich, Jan 69 STOLYAROV, Mikhail Mikhaylovich, i. 1947 YEVGRAFOV, A. M., i. Jun 72 YEVSEYEV, Anatoliy Ivanovich, i. 1968 OCHERETIN, Viktor Ivanovich, 1973 KHANGALIDYAN, Ivan Artem'yevich, i. Oct 60 KRAYNOV, Tvan Dmitriyevich, i. Aug 73 MEWNIA0V, Gennadiy Alekseyevich, i. Oct 69 KURMAZENKO, Aleksandr Kirillovich, i. May 66 BYCHKOV, Nikolay Aleksandrovich, i. Mar 66 KALININ, Igor' Vladimirovich, i. Mar 66 SHILOV, Ivan Ivanovich, Mar 69 LUK'YANOV, Leonid Konstantinovich, Sep 72 KHROMUSHKIN, Ivan Grigor'yevich, Nov 72 SEDOV, Vyacheslav Alekseyevich, i. Oct 68 SOBOLEV, Konstantin Stepanovich, i. Jan 67 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 9Z/60/6661. eSeele A-RDP86T00608R000100240045 Ministry of Foreign Trade (cont.) All-Union Foreign Trade Associations (y/) and Offices (V/K) (cont.) V/0 Tekhnopromimport (import of equipment for light industry) Chairman Deputy Chairmen V/K Tekhsnabeksport (export and import of radioactive isotopes, rare metals and nuclear engineering equipment) Director Deputy Directors V/0 Traktoroeksport (export, import and servicing of farm and road building machinery) Chairman Deputy Chairmen V/0 Vneshposyltorg (export of Soviet industrial and food products to Soviet citizens and institutions abroad) Chairman Deputy Chairmen DASHKEVICH, Vladimir Pavlovich, i. Dec 64 BRYKIN, Boris Ivanovich, Au j 71 ISAAKOV, Yuriy Mikbaylovic11: i. May 66 KALMYKOV, Grigoriy Danilovich, Dec 71 KARMAZIN, Georgiy Yefimovich, May 72 PARMENOV, Konstantin Konstantinovich, Jan 71 SEWTSOVSKIY, Leon Yakovlevich, i. Apr 66 VOLCHKOV, Yevgeniy Petrovich, Apr 73 ANDREYEV, Leonid Mikhaylovich, i. Jul 66 GLAZYRIN, Mikhail Ivano.rich, Nov 69 MELKOSEROV, Aleksey Fedoseyevich, 1. Jun 69 MYSHKOV, Vasiliy Nikitovich, i. Feb 75 AFRIKAYAN, Aleksandr Leparitovich, i. Sep 74 CHERNIKOV, Boris Nikolayevich, Oct 71 GAMALIY, Ivan Aleksandrovich, i. 1968 KONONOV, Aleksandr Pavlovich, i. Jun 65 KRYLOV, Georgiy Konstantinovich, i. Oct 63 MONAYENKOV, Dmitriy Nikolayevich, i. 1974 SERGEYEV, Yuriy Artashesovich, Mar 72 GRACHEV, Anatoliy Petrovich, Jun 74 AP.RHIPKIN, Nikolay Stepanovich, i. Dec 66 GAVRILOV, Sergey Fedorovich, Apr 69 KOVALCHUK, Vladimir Timofeyevich, i. Jun 67 - 136 - (I) 0- 0 (I) CD C,) (I) CD CD CD CD . . 0 Co a a a Co a a a a a ?Ibk a a c^ ri ?&1 73 73 CD a 0 CD CD a) C,) CD CD CD CD CD r-z3 . . 0 Ministry of Foreign Trade (cont.) All-Union Foreign Trade Associations (V/0) and Offices (V/K) (cont.) V/0 Vneshtorgreklama (foreign trade advertising organization) Chairman Deputy Chairmen V/0 Vneshtorgizdat (publishes foreign trade advertising matter and technical documents on Soviet exports) Chairman Deputy Chairmen V/0 Vostokintorg (export and import trade with Mongolia, China, Afghanistan, Iran, Yemen and Turkey) Chairman Deputy Chairman V/0 Zapchast'eksport (export of spare parts for Soviet machinery sold abroad) KARPOV, Boris Grigor'yevich, i. Jul 73 BARYSHNIKOV, Nikolay Ivanovich, Feb 72 BEKLESHEV, Dmitriy Vasil'yevich, i. Aug 68 VINOGRADOV, Dial Semenovich, i. 1968 MOROLEV, Rostislav Vasil'yevich, 1. Jun 72 ALEKSANDROV, B. A., i. Oct 63 KADYSHEV, Vladimir Petrovich, i. Oct 63 MITIN, V. I., i. Jun 72 YEREMIN, A. P., i. Oct 63 ALEKPEROV, Aziz Agayevich, i. Jan 66 LIZIN, Mikhail Dmitriyevich, i. 1968 73 73 CDa 0 CD CD a) CD CD CD CD CD . . 0 0 Co -4 a a a Co a a a a a 4=k a a cri Chairman Deputy Chairmen Scientific and Educational Organizations Academy of Foreign Trade Rector Scientific Research Institute of Market Research (NIKI) Director Deputy Directors PUSHKIN, Boris Konstantinovich, Oct 69 LAVRUKHIN, Georgiy Konstantinovich, Nov 73 MIRONOV, Yevgeniy Mikhaylovich, May 72 POLYANSKIY, Leonard Yakovlevich, i. 1968 ZHLOBICH, Anatoliy Yefremovich, Jul 66 VAGANOV, Loris Sergeyevich, i. 1967 ORLOV, Nikolay Vasil'yevich, Dec 47 KAPELINSKIY, Yuriy Naumovich, i. Jul 72 KOSTYUKHIN, D. I., i. Jan 66 Co a a a Co a a a a a 4=k a - a - 137 - L-9170017Z001.000N90900.1.99dCIN-V10 : 9Z/60/6661. aseeieN .10d PeA0iddV Minist':y of the Gas Industry (A-U) Russian: Obshchesoyuznoye Ministerstvo Gazovoy Address: Moscow, Ts, Ulitsa Kirova, 13 Leading Officials Minister First Deputy Minister Deputy Ministers Other Collegium Members Promvshlennosti SSSR Administrators Chief, First Main Admin. Deputy Chief, Main Admin. of Capital Construction Chief, Main Admin. for Gas Accounting & Distribution Chief, Main Admin. for Gas Condensate Drilling Chief, Main Admin. of Gas Equipment Supplies Chief, Main Admin. for Gas Extraction Deputy Chief, Main Admin. for Natural Gas Production Chief, Main Admin. for Geology in the Tyumen' Region (Glavtgumen'geologiya) Chief, Main Admin. for Production & National Economic Supply of Liquid & Rare Gases Chief, Main Admin. for Tyumen Gas Industry (Glaytyw'enigazprom) Chief, Main Admin. for Special Underground Const,:uction (Glavspetspodzemstro0 Chief, Main Admin. for Utilization of Gas in the National Economy Chief Foreign Relations Admin Chief, Moscow Admin. for Main Gas Trunklines (Mostsentrtransgaz) ORUDZHEV, Sabit Atayevich, Sep 72 SIDORENKO, Mikhail Vasil'yevich, i. Oct 65 AGAPCHEV, Mikhail Ivanovich, i. May 73 BOKSERMAN, Yuriy Izraylevich, i. Oct 65 DINKOV, Vasiliy Aleksandrovich, i. Nov 70 KORSHUNOV, Yevgeniy Stepanovich, Mar 73 VOVCHENKO, Nikolay Lavrent'yevich, i. Feb 65 ZAYTSEV, Yuriy Vasil'yevich, i. Apr 73 GUDZ', A. G., i. Jun 73 MARGULOV, Rantik Dzhavanshirovich, i. Apr 74 TONKONOGOV, P., i. Oct 72 VASIL'YEV, Viktor Grigorlyevich, i. Dec 67 GORDEYEV, Dmitriy Kuz'mich, i. Jul 70 CHENKOV, Sergey Vlasovich, i. Sep 72 SMIRNOV, G., i. Nov 73 VASIL'YEV, Viktor Gricror"yevich, i. Jun 74 ODINTSOVAYA, i. Oct 73 NURSHANOV, V., YUDIN, Al'bert GOLOVTSOV, M., i. Oct 71 Grigor'yevich, i. Jan 74 i. Mar 73 ALTUNIN, Yevgeniy Nikiforovich, I. May 68 DVORNIKOV, Nikolay, i. Aug 73 SIDOROV, D., i. Jul 72 DEREZHOV, Stepan Romanovich, i. Jun 68 SAFRONOV, Anatoliy Ivanovich, i. Feb 74 - 138 - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 pproved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of the Gas Industry (cont.) Administrators (cont.) Chief, Te'zhlical Admin. Chief, Uk:7ainian Gas Industry Admin. Chief, Kiev Pipeline Admin. Chief, Minsk Natural Gas Pipeline Admin. Chief, Production & Technical Section Chiefs, Unidentified Admins. Director, Planning Office ALEKSANDROV, Aleksandr Vasillyevich, i. Jul 70 TUMANOV, A. G., i. Sep 67 CHERNOVOL, V. S., i. 1967 DZAGNIDZE, G. M., 1. 1967 ZHELEZNYAKOV, A. V., i. 1967 KONOVALOV, Viktor Anan'yevich, i. Mar 74 SEDYKH, Aleksandr Dmitriyevich, i. Sep 74 BUDAGYAN, A. A., i. Apr 67 Components, Chiefs Unknown Main Admin. of Assembly & Special Work, i. 1967 Main Admin. for Complementing of Equipment, i. 1967 Main Admin. for Complementing of Equipment of Enterprises Supplying Gas Apparatus to Experimental & Mechanical Rt,pair Plants. i. 1967 Main Admin. of Enterprises of the Construction Industry for Construction of Oil Lines & Refractories, i. 1967 Main Admin. of Enterprises Supplying Gas Apparatus to Experimental & Mechanical Repair Plants, i. 1967 Main Admin. for Exploitation of Gas Trunklines, i. 1967 Main Admin. of Material & Technical Supply, i. 1967 Main Admin. for Production & National Economic Supply of Liquid & Rare Gases, i. 1967 Admin. for Cadres & Educational Institutions, i. 1967 Co.lsolidated Dispatching Admin. of the Gas Trunklines System, i. 1967 Admin. for Construction of Compressor Stations, Petroleum Repumping Stations & Reservoir Parts, i. 1967 Admin. of Construction Mechanization, i. 1967 Geological Admin., i. 1967 Admin. of Labor Organization, Wages & Worker Cadres, i. 1967 Admin of Manpower Supply, i. 1967 Moscow Admin. of Gas Trunklines, i. 1967 Admin. of Underwater Engineering & Construction Work, i. 1967 Admin. for Utilization of Gas in the National Economy, i. 1967 Bukhara-Urals Natural Gas Pipeline Admin., i. 1967 Central Asia-Central Russia Transcontinental Gas Pipeline Admin., 1. 1967 Moscow Order of Lenin Gas Pipeline Admin., 1. 1967 Dept. for utilization of Internal Terrestrial Heat, i. 1967 Dept. of Labor Safety & Security Engineering, i. 1967 Transport Dept., i. 1967 Directorate of Gas Pipelines under Construction, i. 1967 All-Union Production Association for Gas Development of Rural Regions of the USSR, i. 1967 Scientific & Technical Council, i. 1967 - 139 - L-9170017Z001.000N90900.1.99dCIN-V10 : 9Z/60/6661. aseeieN .10d PeA0iddV 73 Ministry of General Machine Building. (A-U) 73 Te) CD Minister Deputy Minister nn 0 Ministry of Geology (U-R) PU Russian: Soyuzno-respublikanskoye CD Address: Moscow, D-242, Bol'shaya ET w Russian: Obshchesoyuznoye Ministerstvo Obshchego CD CD CD CD 8 CD Leading Officials Minister First Deputy Minister Deputy Ministers Other Collegium Members Mashinostroyeniya SSSR AFANAS'YEV, Sergey Aleksandrovich, Mar 65 UDAROV, Grigoriy Rafailovich, i. Aug 69 Minis terstvo Geologii SSSR Gruzinskaya Ulitsa, 4/6 Administrators Chief, Main Admin. of Hydrogeology Chief, Admin. of Geophysical Work Chief, Admi,. of Marine Geological Research Deputy Chief, Nonferrous Metallurgy Admin. Chief, Admin. of Petroleum & Gas Exploration Chief, Unidentified Admin. Foreign Relations Dept. Scientific Director Chief, New Techniques & Geological Investigations Dept. SIDORENKO, Aleksandr Vasil'yevich, Oct 65 YEVSEYENKO, Mikhail Andreyevich, i. Sep 66 IGREVSKIY, Valeriy Ivanovich, i. Aug 66 RYASNOY, Aleksey Alekseyevich, i. Apr 66 SHCHEGLOV, Aleksey Dmitriyevich, i. Jun 71 YARMOLYUK, Viktor Andreyevich, i. Jan 67 FEDYNSKIY, Vsevolod Vladimirovich, i. 1957 PERVAGO, Vladimir Aleksandrovich, i. Jan 68 SEMENOVICH, Vladimir Vladimirovich, i. Jun 66 DANILOVICH, Mikhail Yakovlevich, i. Feb 69 FEDYNSKIY, Vsevolod Vladimirovich, i. 1957 BUDNIKOV, Nikolay Pavlovich, i. Oct 72 CHEBOTAREV, Mikhail Vasil'yevich, i. Feb 71 SEMENOVICH, Vladimir Vladimirovich, i. Feb 71 POGREBNOV, N. I., i. Feb 69 SHREYDER, Aleksandr Anatol'yevich, i. Feb 67 BUGAKOV, Yuriy Dmitriyevich, i. Oct 72 Components, Chiefs Unknown Main Admin. of Material & Technical Supply & Export Finance Admin., i. Jan 66 Technical Help to Developing Countries Section, Geophysics Dept, i. Aug 67 Deliveries, i. 1967 Foreign Relations Dept., i. Dec 67 - 140 - -0 -0 CD a -n 0 CD CD C,) CD CD CD CD CD . . 0 Co a a a Co a a a a a 4=k a a 01 ?=.1 13 13 7: CD Ministry of Health (U-R) a 0 9Z/60/6661. eSeele Russian: Soyuzno-respublikanskoye Minis terstvo Zdravookhraneniya SSSR Address: Moscow, K-51, Rakhmanovskiy Pereulok, 3 Leading Officials Minister First Deputy Minister Deputy Ministers Other Collegium Members Administrators Chief, Main Admin. Capital Construction & Design Chief, Main Admin. Educational Institutions Chief, Fourth Main Admin. Chief Surgeon Deputy Chief, Main Admin. for General Health Assistance Chief, Main Admin. of Medical Technolcgy (Soyuzmedtekhnika) Chief, Main. Pharmaceutical Admin. Main Sanitary-Epidemiological Admin. Chief Deputy Chief Chief Sanitary Physician (Inspector) Deputy Chief Sanitary Physician Chief, Main Admin. of Therapeutic & Preventive Aid to Children & Mothers Main Admin. of Therapeutic & Prophylactic Aid Chief Deputy Chief PETROVSKIY, Boris Vasillyevich, Sep 65 BURENKOV, Sergey Petrovich, Mar 71 BURGASOV, Petr Nikolayevich, Dec 65 BURNAZYAN, Avadalik Ignat'yevich, i. Feb 62 CHAZOV, Yevgeniy Ivanovich, i. Jun 68 GERASIMOV, Petr Ivanovich, i. Jul 67 NOVIKOVA, Yelena Cheslavovna, i. Nov 72 SERENKO, Aleksandr Fedorovich, Jan 63 VENEDIKTOV, Dmitriy Dmitriyevich, i. Jan 66 GRISHAKOVA, A. P., Jan 66 ISAKOV, Yuriy Fedorovich, i. Jun 66 KABANOV, Vladimir Ivanovich, i. Jun 66 PAVLOV, Aleksandr Varlamovich, i. Aug 71 RESHETOV, Aleksandr Fedorovich, i. Jan 70 SAFONOV, Aleksey Georgiyevich, i. Mar 63 KUTEPOV, Ye., i. Apr 72 ISAKOV, Yuriy Fedorovich, i. Apr 67 CHAZOV, Yevgeniy Ivanovich, i. Apr 67 MAYAT, Valentin Sergeyevich, i. Feb 69 SYAGAYEV, S. A., i. Apr 72 RADZEVICH, Eduard Vikent'yevich, KLYUYEV, M. A., i. Oct 68 1. Jan 73 KOVSHILO, Vsevolod Yevgen'yevich, i. Feb 74 ZAYCHENKO, Anatoliy Ivanovich, i. Apr 73 BURGASOV, Petr Nikolayevich, i. Mar 70 PAVLOV, Aleksandr Varlamovich, i. May 68 NIKITINA, M. N., i. Apr 72 SAFONOV, Aleksey Georgiyevich, i. Nov 63 SYAGAYEV, S. A., i. Jun 72 - 141- L-91700n001.000N80900198dCIN-V10 : 9Z/60/6661. eseeieN .10d PeA0iddV pproved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Health (cont.) Administrators (cont.) Chief, Computer Automation Admin. Foreign Relations Admin. Chief Deputy Chiefs Protocol Dept. Chief Deputy Chief US Desk Officer Admin. for Introduction of rew Drugs & Medical Equipment Chief Deputy Chief Chief, Pharmacology Committee Chief, Pharmacopoeia Committee Chairman, Standing Committee for Narcotics Chief, Admin. of Neuropsychiatry Chief, Admin. of Personnel & Higher Education Admin. for Quarantinable Infections Chief Deputy Chief Chief, Second Admin. Chief, Admin. of Accounting, Bookkeeping & Financial Control Chief, Planning-Finance Dept. Public Hygiene Dept. Chief Chief Inspector Chief, Dept. of medical Statistics Chief, Dept. for Space Biology & Medicine, Third Main Admin. Chairman, Committee for Control of Influenza Scientific-Medical Council Chairman First Deputy Chairman Deputy Chairmen SUDARIKOV, L. G., i. 70 SHCHEPIN, Oleg Prokof'yevich, i. Jun 68 NOVIKOV, Nikolay i. Mar 73 SAVEL'YEV, Mikhail Nikolayevich, i. Jun 72 ERISTAVI, G. V., i. Sep 72 KISELEV, Andrey Konstantinovich, i. Sep 72 ORLOV, Dmitriy Alekseyevich, i. Jul 68 BABAYAN, Eduard Armenakovich, Sep 67 ZAKHAROV, Vladimir P., i. Aug 73 PERSHIN, Grigoriy Nikolayevich, 1953 MASHKOVSKIY, Mikhail Davidovich, i. Sep 67 BABAYAN, Eduard Armenakovich, i. Oct 73 SEREBRYAKOVA, Zoya N., i. Aug 65 SHISHOVA, Antonina Mikhaylovna, i. Nov 63 MARCHUK, L. N., i. Jun 69 LADNYY, I. D., i. Jul 71 RESHETOV, Aleksandr Fedorovich, i. Sep 69 YAKOVCHENKO, A., i. Nov 69 GOLOVTEYEV, V. V., i. Nov 66 PEROZSKAYA, Antonina Sergeyevna, i. Jun 68 NEDOGIBCHENKO, M., i. Dec 67 TSERKOVNYY, Grigoriy F., i. 1973 GUROVSKIY, Nikolay Nikolayevich, i. Apr 68 BURGASOV, Petr Nikolayevich, Jun 67 VOLKOV, Mstislav Vasil'yevic, Nov 70 GALKIN, V. A., i. Apr 68 KRICHAGIN, V. I., i. Nov 72 SOKOLOV, V., i. 1974 - 142 - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 CD 0- 0 CD (7) a) C,) CD CD CD CD CD . . 0 0 Co a a a Co a a a a a 4=k a a cri Ministry of Health (cont.) Administrators (cont.) Deputy Chairman, Scientific-Technical Council Chief Anesthiologist Chief of Forensic Medicine Chief Specialist in Infectious Diseases Chief Inspector for Food Hygiene Chief Oncologist Chief Radiologist Chief Stomatologist Chief Surgeon Chief Traumatologist-Orthopedist Chief Urologist Director, State Central Scientific Medical Library Chairman, Council of Physical Culture USHAKOV, G., i. Jun 70 BUNATYAN, Armen Artavazdovich, 1. Jul 66 PROZOROVSKIY, Viktor Il'ich, i. 1941 NISEVICH, Nina Ivanovna, i. Apr 72 SHEVCHENKO, Mariya Grigoriyevna, i. Oct 64 CHAKLIN, Aleksandr Vasil'yevich, i. Oct 68 ZUBOVSKIY, German Aleksandrovich, i. Dec 70 YERMOLAYEV, Igor' Ivanovich, i. Nov 68 KUZIN, Mikhail Illich, i. Jan 69 VOLKOV, Mstislav Vasil'yevich, i. Apr 67 KARPUKHIN, Vasiliy Timofeyevich, i. Nov 68 YAKUNIN, Nikolay Ya., i. Nov 72 & Sports SERENKO, Aleksandr Fedorovich, Jun 72 Components, Chiefs Unknown Main Admin. of Material & Technical Supply, i. 1967 Main Admin. for Production of Bacterial & Viral Preparations, i. 1967 Main Admin. for Supply & Sales, i. May 64 Admin. for Production, Procurement, & Processing of Medicinal Plants (Lekarsprom) Committee on New Medical Equipment, i. Sep 67 Commission on Demographic Problems, i. Sep 67 All-Union Association for Sale, Assembly & Repair of Medical Equipment, i. 1967 Ministry of Heavy, Power, and Transport Machine Building (A-U) Russian: Obshchesoyuznoye Ministerstvo Tyazhelogo, Energeticheskogo, i Transportnogo Mashinostroyeniya SSSR Address: Moscow, Ts, Ulitsa Bogdana Khmel'nitskogo, 12 i. Jan 65 Leading Officials Minister First Deputy Minister Deputy Ministers Other Collegium Member ZHIGALIN, Vladimir Fedorovich, Oct 65 KROTOV, Viktor Vasil'yevich, i. Jul 67 EYSMONT, Andrey Grigor'yevich, i. Oct 67 MATVEYEV, Yevgeniy Stepanovich, i. Jan 71 MORGUNOV, M. T., i. Apr 66 POLISHCHUK, Vatslav L., i. Jul 72 SEMENOV, Georgiy Pavlovich, i. Aug 66 SIRYY, Pavel Osipovich, i. Nov 66 SOTNIKOV, G. G., i. Apr 67 ZHEREKHOV, Nikolay Vasil'yevich, i. Jan 66 SHCHUKIN, M. N. (possibly Mikhail Nikolayevich), i. Oct 67 - 143 - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Heavy, Power, and Transport Machine Building Administrators Chief, Main Admin. for Capital Construction Chief, Mai: 1 Admin. of Coal Machine Building Chief, Main Admin. for Development of Coal Ore Mining & Peat Machine Building Chief, Main Admin. of Diesel Engine Construction Chief, Main Admin. of Lifting & Transporting Machine Building Chief, Main Admin. of Metallurgical Machine building Economic Planning Admin First Deputy Chief Deputy Chief Chief, Admin. of Financing, Bookkeeping, & Accounting Technical Admin. Chief Deputy Chief Chief, Estimate-Contract Department Director, Secretariat Director, Legal Section, Arbitration Board (cent.) PASTERNAK, V. A., i. Spe 72 KUZNETSOV, D. A., i. Mar 69 MORIN, Vladimir Nikitich, i. Jan 65 BRZHESSKIY, K., i. Aug 72 KHLOPOTUNOV, A., i. Jun 72 MAL1KOV, Pavel Andreyevich, i. Jan 70 BUSYTSKAYA, L. A., i. Dec 69 CHULKOV, D., i. Aug 73 TITOV, K., i. Nov 70 POLISHCHUK, BOKOV, V. M YEFREMOV, V KORF, Ya. A MARKARYANTS Vatslav L., i. Jul 72 ^ i. Feb 75 ^ i. Dec 67 i. Aug 67 , V. P., i. Aug 67 Components, Chiefs Unknown Main Admin. of Boiler Construction Industry, i. 1967 Main Admin. of Internal Combustion Locomotive Construction, i. Main Admin. of Material & Technical Supply, i. 1967 Main Admin. of Mining Machine Building. i. 1967 Main Admin. of Railroad Car Construction, i. 1967 Main Admin. of Turbine Industry, i. 1967 Admin. of Cadres & Educational Institutions, i. 1967 Admin. of Design & Capital Construction, i. 1967 Admin. of Equipment & Complement Deliveries, i. 1967 Admin. of Labor Organization, Wages, & Worker Cadres, i. 1967 Admin. of Metallurgy, i. 1967 Finance Dept., i. Jun 66 Sales Dept., i. 1967 Technical Section, i. Oct 67 Arbitration Board, i. Aug 67 Scientific & Technical Council, i. 1967 - 144 - 1967 CD 0- 0 CD (7) a) C,) CD CD CD CD CD . . 0 Co a a a Co a a a a a 4=k a a cri Ministry of Higher and Secondary Specialized Education (U-R) Russian: Soyuzno-respublikanskoye Ministerstvi Address: Moscow, K-31, Ulitsa Zhdanova, 11 Leading Officials Minister First Deputy Minister Deputy Ministers Other Collegium Members Vysshego i Srednego Spetsiallnogo Obrazovaniya SSSR Administrators Chief, Financial Planning Admin. Foreign Relations Admin. Chief Deputy Chief Chief, Capitalist Countries Section USA Desk Officer Chief, Admin. for Instruction of Students, Postgraduates, and On-the-job Trainees from Foreign Countries Chief, acholastic Methods Admin. for Higher Educational Institutions Chief, Scholastic Methods Admin. for Secondary Specialized Education Chief, Admin. of Social Sciences Instruction Chief, Juridical Dept. Chief, Dept. of University & Humanities Chairman, Scientific-Technical Council Chief, Building & Architecture Section Chief, Energetics & Electrical Engineering Section chief, Machine Building Section Chief, Metallurgy Section Chief, Petroleum & Gas Section YELYUTIN, Vyacheslav Petrovich, Jun 59 KRASNOV, Nikolay Fedorovich, Jun 66 MOKHOV, Nikolay Ivanovich, i. Dec 67 POLUKHIN, Petr Ivanovich, Apr 60 SHAPOSHNIKOVA, Alla Petrovna, i. Oct 71 SOFINSKIY, Nikolay Nikolayevich, i. Dec 64 YEGOROV, Nikolay Sergeyevich, i. Oct 67 BOGOMOLOV, Anatoliy Ivanovich, i. Feb 63 CHUPRUNOV, D. I., i. Aug 67 KOLESNIKOV, Nikolay Sergeyevich, i. Feb 73 KUZ'MIN, Boris Aleksandrovich, i. Aug 68 ZHITENEV, Vladimir Andreyevich, i. Jul 70 CHUPRUNOV, D. I., i. Feb 70 BAZHANOV, Lev Borisovich, i. Jan 69 SLAVIN, G. I., i. Jul 74 SEMENOV, Aleksey Semenovich, i. May 73 SHITOV, Pavel Ivanovich, I. Tan 69 SOKHIN, Sergey Ivanovich, i. Sep 68 BOGOMOLOV, Anaroliy Ivanovich, i. Jun 68 KUZ'MIN, oris Aleksandrovich, i. Aug 68 SHEPTULIN, P., i. Oct 72 VOYLENKO, Yevgeniy Ivanovich, i. Mar 73 SHNITKO, Konstantin Iosifovich, i. 1967 KRUTOV, Vitaliy Ivanovich, i. 1967 RYBTEV, I. A., i. Sep 70 VENIKOV, Valentin Andreyevich, i. Sep 70 MESHCHERIN, Viktor Timofeyevich, i. Sep 70 YAVOYSKIY, Vladimir Ivanovich, i. Sep 70 VINOGRADOV, Vladimir Nikolayevich, i. Sep 70 - 145- Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Higher and S3condary Specialized Education (cont.) 13 13 Administrators (cont.) Chief, Political Economy Section BORISOV, Ye. F., i. Feb 65 Chief, Scientific & Technical Collaboration CD with Socialist Countries CL Senior Legal Consultant KAYRUKSHTIS, V. B., i. Jul 61 nn O Components, Chiefs Unknown Main Admin. for Higher Educational Institutions, i. 1972 Administrative & Scientific-Pedagogical Personnel Admin., i. 1972 CD Cadres Dept., i. 1967 aT General & Methodological Section, i. Nov 68 -Council for Higher Schooling, 1. Mar 73 CD Ministry of Industrial Construction (U-R) -& UD Russian: Soyuzno-respublikanskoye Ministerstvo Promyshlennogo Stroitel'stva SSSR (Minpromstroy SSSR) UD UD Address: Moscow, K-25, Prospekt Marksa, 4 UD Leading Officials Minister TOKAREV, Aleksandr Maksimovich, Feb 67 ? First Deputy Minister TROFIMOV, Konstantin Vasilryevich, i. Nov 67 CO Deputy Ministers CHIZH, Grigoriy Akimovich, i. Jun 68 KURDYUKOV, S. S., i. Oct 67 OSTROVSKIY, Nikolay Grigorlyevich, i. Nov 67 PANKOV, Aleksandr Nikolayevich. i. Mar 68 SHCHEPET'YEV, Andrey Ivanovich, 3- Feb 68 PU ZEYDE, Ye. S., i. Feb 69 Other Collegium Members BELOV, Vladimir Petrovich, i. Jul 70 1D IKONNIKOV, Mikhail Alekseyevich, i. Aug 71 CO OGNEV, A., i. Feb 71 CO ZAYTSEV, Aleksey Vasillyevich, i. Mar 71 C- D CD Administrators CO Chief, Main Admin. of Construction Material CHARCHIYAN, i. Feb 69 CD Supply CO Chief, Main Admin. of Economic Planning RAKHMANOV, Yu., i. Jul 69 PU Chief, Main Admin. for Industrial Enterprises PODLESNYKH, V., i. Jan 74 CD of the Construction Industry CD CD (Glavpromstroyindustriya) -& Deputy Chief, Main Admin. for the Light, Food KOCHNEV, G., i. ALg 74 CD and Medical Industry CD ha CD CD -146- 0^ 1 44 L-9P0017Z001.000N80900198dCIN-V10 : 9Z/60/6661. eseeieN .10d PeA0iddV 13 13 Ministry of Industrial Construction (cont.) 7:3 < Administrators (cont.) CD Chief, Main Admin. for Nonmetal Ore Industry BORISOV-REBRIN, M., i. Oct 73 a Chief, Main Production & Distribution Admin. IKONNIKOV, Mikhail Alekseyevich, i. Aug 71 nn Main Technical Admin. O Chief BELOV, Vladimir Petrovich, i. Jul 70 Deputy Chief KISHKO, B. S., i. Feb 74 Chief, Admin. for the Chemical Industry VORONKOV, Vasiliy Vasil'yevich, i. Mar 73 CD Admin. of Leading Cadres & Educational ET Institutions SU Chief ZAYTSEV, Aleksey Vasil'yevich, i. Mar 71 O Deputy Chief KIRYACHEV, Vasiliy Alekseyevich, i. Sep 71 CD Chief, Petroleum Extraction & Petrochemical ROVENSKIY, Semen Yakovlevich, i. Aug 70 _& Industry Admin. CID Chief, Transport Admin. POPOV, Ye., I., i. Jan 71 CID Deputy Chief, Unidentified Admin. ASHUROV, Likhail Petrovich, i. Oct 71 CID Chief, Economics Dept. . MATYUSHIN, V., i. Aug 71 Chief, Dept. for Organization & Technology IVASHCHENKO, V. (possibly Vladimir Leontlyevich), i. Oct 67 of Construction Production Chief, Unidentified Dept. NIKITIN, M., i. Jan 72 CO Deputy Chairman, Scientific-Technical Council MICHKO, Frants Frantsevich, i. May 71 91700n001.000N80900198dCIN- Components, Chiefs Unknown Central Planning Admin. for Design of Industrial Construction, i. Aug 67 Admin. of Worker Cadres, i. Mar 69 Ministry of Installaticm and Special Construction Work (U-R) Russian: Soyuzno-respublikwiskoye Ministerstvo Montazhnykh i Spetsial'nykh Stroitelinykh Rabot SSSR Address: Moscow, K-379, Bol'shaya Sadovaya Ulitsa, 8a Leading Officials Minister YAKUBOVSKIY, Fuad Borisovich, Oct 65 First Deputy Ministers PODOBEDOV, S. V., i. Jan 67 SOLODENNIKOV, Leonid Dmitriyevich, i. Nov 68 )eputy Ministers BARIN, B. V., i. Aug 63 CHUBUKOV, A., i. Nov 13 KOCHANOV, Kliment Semenovich, i. Mar 66 LIPODAT, Konstantin Kondrat'yevich, i. Oct 71 MEKRYUKOV, Ivan Aleksandrovich, i. Jan 68 SOKOLOV, Konstantin Mikhaylovich, i. Feb 70 Other Collegium Member BORICHEV, Ivan Yemel'yanovich, i. May 70 - 147 - L-9170017Z001.000N80900198dCIN-V10 : 9Z/60/6661. eseeieN iod peAcuddv pproved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Installation and Special Construction Work (cont.) Administrators Deputy Chief, Southeast Asia Dept. Main Admin. for Building Construction Abroad Deputy Chief, Main Economic Plannihg AdAin. Deputy Chief, Main Engineering Admin. Chief, Main Admin. for Industrial Distribution Chief, Main Admin. for Mechanization of Installation & Special Construction Work Chief, Admin. for Northwestern Production- Distribution Chief, Main Production Disposition Admin. Chief, Main Admin. for Production of Sanitary Engineering Work (Glavaantekhmontazh) Deputy Chief, Admin. of Capital Construction Chief, Central Production & Distribution Admin. ZYABKOV, M. A., i. Mar 70 TROTS, N., i. Feb 71 SHCHERBAKOV, Sergey Nikolayevich, i. Jan 70 BORICHEV, Ivan Yemellyanovich, i. May 70 SOTNIKOV, A. A., i. Aug 64 ZENKOV, N., 1. Jul 73 VARDANYAN, Mamikon Avetisovich, i. Jun 68 KORBUT-SMIRNOV, Anatoliy Lavrovich, i. Feb 72 PALEY, S. M., i. Feb 70 Components, Chiefs Unknown Man Admin. for Design & Installation of Means of Automation, i. 1967 Main Admin. for Design & Production of Electrical Installation Work, i. 1967 Main Admin. for Design & Production of Heat Engineering & Insulation Work, 1967 Main Admin. for Installation of Equipment at Construction Sites for Light & Food Industry, i. 1967 Main Admin. for Installation of Technological Equipment in Enterprises of the Chemical Industry, i. 1967 Main Admin. for Installation of Technological Equipment in Enterprises of the Construction Materials Industry, the Construction Industry, the Machine Building Industry, & other Branches of the Economy, i. 1967 for Installation of Technological Equipment at Enterprises of the Metallurgical Industry, 1. 1967 for Installation of Technological Equipment at Enterprises of the Petroleum Processing & Petroleum Industry, i. 1967 for Installation Work in Industrial Ventilation, Air Conditioning, Pneumatic Carriers, & Suction i. 1967 of Material & Technical Supply & Transport , i. 1967 for Preparation of Steel Structures & for Installation of Steel & Complex Ferro-concrete Structures in Industrial Construction, i. 1967 Main Production Disposition Admin., i. 1967 Main Admin. of Production Enterprises, i. 1967 Main Admin. for Production of Sanitary Engineering Work, i. 1967 Main Admin. for Production of Special Construction Work, i. 1967 Admin. of Cadres & Educational Institutions, i. 1967 Admin. of Labor & Wages, i. 1967 Technical & Economic Council, i. 1967 Main Admin. Main Admin. Extracting Main Admin. Apparatus, Main Admin. Main Admin. - 148 - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 od peAspiddv elease 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Instrument Making, Automation Equipment, and Control Systems (A-U) Russian: Obshchesoyuznoye Ministerstvo Priborostroyeniya, Address: Moscow, K-9, Ulitsa Ogareva, 5 Leading Officials Minister First Deputy Minister Leading Officials Deputy Ministers Other Collegium Members Chief Engineer Administrators Chief, Main Admin. of Automated Systems of Production Guidance (Glaysistemprom) Deputy Chief, Main Admin. of the Jewelry Industry Chief, Main Admin. for Production of Guidance & Calculating Machines (Computers) Chief, Main Admin. of the Timepiece Industry Chief, Economic Planning Admin. Chief, Finance Admin. Chief, Admin. of Labor Organization, Wages & Worker Cadres Chief, Admin. of Mechanical Power Engineering (& Chief Power Engineer) Production Admin. Chief Deputy Chief Chief, Legal Dept. (& Chief Arbiter) Sredstv Avtomatizatsii i Sistem Upravleniya SSSR RUDNEV, Konstantin Nikolayevich, Oct 65 TRETIYAKOV, Vasiliy Nikitich, i. Feb 66 ARUTYUNOV, Konstantin Bagratovich, i. Aug 65 BAZILEVSKIY, Yuriy Yakovlevich, i. Jun 73 BEzuS, Nikolay Aleksandrovich, i. Sep 66 KARIBSKIY, Valentin Vladimirovich, i. Oct 66 KAVALEROV, Gennadiy Ivanovich, i. Apr 74 MATKIN, B. A., Feb 69 ZHURBENKO, G. L., Aug 66 ASHASTIN, Rudol'f Leonidovich, i. Aug 68 BRITSKO, K. M., i. Dec 69 SHKABARDNYA, M. S., i. Mar 68 ASHASTIN, Rudol'f Leonidovich, 1. May 70 TSMEL', Antonina Leont'yevna, i. Aug 70 KHRAPCHENKO, S. BRITSKO, K. M., ZHIGAREV, Ye., MERGELOV, G. S. DONCHEYEV, N., KHOMENKO, V., i F., i. Jan 71 i. Dec 69 i. Aug 70 i. Dec 68 i. 1974 . Aug 67 ADAMOV, P., i. May 71 ZAYDEFTER, G., i. Dec 71 FAYN, Khonon Davidovich, Apr 70 L-9170017Z001.000N90900.1.99dCIN-V10 : 9Z/60/6661. eseeieN JOd peACUCIdV od peAwddv elease 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Instrument Making, Automation Equipment, and Control Systems; (cont.) Components, Chi Main Admin. Main Admin. Main Admin. Main Admin. Main Admin. Main Admin. Main Admin. Main Admin. Main Admin. Main Admin. Main Admin. efs Unknown for Branch & Departmental Systems, i. 1967 of Electrical Appliances, i. Apr 70 of Equipment & Complement Deliveries, i. 1967 of Industrial Instruments, i. Feb 69 for Material & Technical Supply, i. 1967 for Production of Analytical Devices & Devices of Glass & Quartz, i. 1967 for Production of Devices to Measure Mechanical Values & Testing Equipment, I. 1957 for Production of Electro-Measuring Devices & Means of Telemechanics, i. 1967 for Production of Guidance & Calculating Machines (Computers), i. 1967 for Production of Instruments to Control & Regulate Technological Processes, i. 1967 for Production of Means of Organizational Technology, i. 1967 Main Admin. for Production of Physics & Hydrometeorological Devices, i. 1967 Special Main Admin. for Direction of Institutions Producing Office Equipment, i. 1967 Admin. of Cadres c. Educational Institutions, i. 1967 Admin. of Design & Capital Construction, i. 1967 All-Union Planning & Installation Admin., i. Apr 66 Dept. of Design & Blueprint Expertise, i. 1967 Sales Dept., i. 1967 Transport Dept., i. 1967 All-Union Association for Scientific Instruments, i. 1967 Division of Scientific & Technical Information on Instrument Building, Means of Automation, Scientific & Technical Council, i. 1967 & Control Systpmc, i. 1967 Ministry of Internal Affairs (U-R) Russian: Soyuzno-respublikanskoye Ministerstvo Vnutrennykh Del SSSR Address: Moscow, K-9, Ulitsa Ogareva, 6 Note: Called Ministry for the Protection of Public Order (Ministerstvo po Okhrane Obshchestvennogo Poryaeka /00P7) from September 1961; to November 1968. Abolished at the All-Union level between 1960 and September 1966. Leading Officials Minister SHCHELOKOV, Nikolay Anisimovich, Sep 66 First Deputy Minister PAPUTIN, Viktor Semenovich, Sep 74 Deputy Ministers BOGATYREV, I. T., Sep 74 NIKITIN, Konstantin Ivanovich, i. Dec 66 SHUMILIN, Boris Tikhonovich, i. Jun 66 VIKTOROV, Boris Alekseyevich, I. Jul 67 Other Collegium Members KARPETS, Igor' Ivanovich, i. Apr 70 KRYLOV, Sergey Mikhaylovich, i. Jun 71 - 150 - CD 0- 0 CD (7) a) C,) CD CD CD CD CD . . 0 Co a a a Co a a a a a a a 01 CD 0- 0 CD CD a) C,) CD CD CD CD CD ? ? 0 0 Co a a a Co a a a a a 4=k a a cri 2,1 Ministry of Internal Affairs (cont.) Administrators Chief, Main Admin. of Militia Chief, Cadres Admin. Chief, Admin. of Criminal Investigation Foreign Relations Admin. Chief Deputy Chief Inspector Chief, Internal Security Forces Chief, Political Admin. of Internal Forces Chief, State Motor Vehicle Inspection Admin. Chiefs, Unidentified Administrations Chief, Political Indoctrination Dept. Chief, Dept. of Visas & Registration (ovin) Chief, Scientific Research Laboratory of Road Safety Chief of Staff Chief, Academy of the USSR Ministry of Internal Affairs Components, Chiefs Unknown Main Admin. for Fire Pxotection, i. 1972 Watch Officer, i. Nov 73 Higher School, i. Jun 71 KUDRYAVTSEV, Aleksey Yakovlevich, Nov 67 RYABIKr Ivan Il'ich, i. Mar 70 KARPETS, Igor' Ivanovich, i. Apr 69 TKACHEV, Anatoliy Alekseyevich, 1. Jun 71 UL'YANOV, Vladimir Alek5androvich, i. Sep 71 NERSESYAN, Karen Vigenovich, i. Oct 74 YAKOVLEV, Ivan Kirillovich, Col Gen., i. Aug 68 KOTOV, Vasiliy I., Aug 68 LUK'YANOV, Valeriy Vital'yevich, i. Apr 72 GLEBOV, Ivan Aleksandrovich, i. Feb 75 OBUKHOV, Fedor Vasil'yevich, i. Apr 68 VETROV, N. I., i. Nov 69 ZAZULIN, Aleksey Mitrofanovich, i. Nov 69 VEREIN, Andrey Vladimirovich, i. Sep 71 ZHULEV, V. I., i. Jan 74 KRYLOV, Sergey Mikhaylovich, i. Sep 74 - 151 - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Justice (U-R) Russian: Soyuzno-.respublikanskoye Ministerstvo Yustitsii SSSR Address: Moscow, G-260, Ulitsa Voroskogo, 15 Note: Abolished at the All-Union Leading Officials Minister First Deputy Ministers Deputy Ministers Other Collegium Members level in May 1956; peestablished as union-republic ministry in August 1970. Administrators Chief, Court Organs Admin. Chief, Bar Dept. Chief, Foreign Relations Dept. Chief, Admin. for Legal Work in the National Economy Chief, Legal Propaganda Dept. Chief, Military Tribunals Dept. Chief, Notary & Civil Status Acts Registration Dept. Chief, Admin. for Systematization of Legislation & the Preparation of Bills Senior Consultant Chief, Unidentified Component Components, Chiefs Unknown Legal Expert Institutions Dept., i. 1972 Legal Statistics Dept., i. 1972 TEREBILOV, Vladimir Ivanovich, Sep 70 MISHENIN, Ivan Sergeyevich, i. Jul 71 SUKHAREV, Aleksandr Yakovlevich, i. M. 71 KHOLYAVCHENKO, Aleksey Alekseyevich, i. Jan 71 OSETROV, Nikolay Aleksandrovich, i. Oct 70 BATUROV, Geniy Pavlovich, i. Oct 71 KOLIBAB, Konstantin Yevgen'yevich, i. Apr 73 KORSAKOV, B., i. Jun 73 TRESHCHETENKOV, Yuriy G., i. Oct 72 SUKHOVIY, Yuriy Sergeyevich, i. Sep 74 NATRUSKIN, S. V., i. Jun 72 MOROZOV, Mikhail Kuzimich, i. Sep 71 KORSAKOV, B., i. May 72 TRESHCHETENKOV, Yuriy G., i. Nov 73 MAKSIMOV, S. S., Maj Gen Justice, i. May 74 MAKAROV, Mikhail Sergeyevich, i. Jan 73 KOLIBAB, Konstantin Yevgen'yevich, i. Apr 73 KORYAGIN, V., i. Nov 73 MITIN, Vasiliy Yefimovich, i. May 73 - 152 - 91700n001.000N80900198dCIN- Ministry of Land Reclamation and Water Resources (11-11) Russian: Soyuzno-respublikanskoye Ministerstvo Address: Moscow, 1-139, Orlikov Pereulok, 1/11 Leading Officials Minister First Deputy Minister Deputy Ministers Other Collegium Members Melioratsli i Vodnow Khozyaystva SSSR Administrators Chief, Main Central Asian Rdmin. for Irrigation & Construction of State Farms Chief, Main Admin. for Comprehensive Utilization of National Water Resources Chief, Main Admin. for Construction of Rice State Farms Chief, Main Admin. for Irrigation Construction . in Foreign Countries Chief, Main Admin. for Land Improvement Construction in the AzSSR (Glavazmeliovostroy) Deputy Chiefs, Main Admin. of Land Reclamation Chief, Main Admin. of Mechanization Main Admin. for Production & Management Chief Deputy Chief Chief, Main Admin. for Rice Paddy Construction in the Kuban' (Glaykubanirisostroy) Chief, Admin. for Cultivation of Newly Irrigated Land Chief, Admin. of Economy & Planning Chief, Admin. of Science & Technology Chiefs, Unidentified Administrations ALEKSEYEVSKIY, Yevgeniy Yevgen'yevich, ALEKSANKIN, Aleksandr Vas111yevich, i. Dec 71 BORODAVCHENKO, I. I., i. Mar 66 KANATOV, Oleg Borisovich, i. Jan 67 KATRAN, V., i. Nov 70 KUDRIN, Boris Aleksandrovich, Jul 66 PETERSON, Kharal'd Teodorovich, i. Mar 66 SHTEPA, B., i. Dec 71 YAKIMUK, Petr Grigorlyevich, i. Jan 66 IVANOV, Serafim A., i. Oct 69 SHTERNOV, A., i. Apr 68 Oct 65 SARKISOV, Akop Abramovich, i. Mar 66 ?LYSE, M. Ya., i. May 74 GUKASOV, Ye. Kh., 1. Jun 66 IVAN0y,Serafim A., i. Oct 69 GADZHIYEV, S. G., i. Nov 74 BESEDNOV, Aleksandr Vasil'yevich, i. Jan 71 NEFEDOV, Vasiliy Dmitriyevich, i. Feb 71 KRAKOVETS, V., i. Nov 71 BOYKO, I., i. Oct 73 KOMISSAROV, V., i. Jul 71 BRAUN, Georgiy Pavlovich, i. Feb 70 KOZIN, Mikhail Alekseyevich, i. Feb 69 TOMILOV, V., i. Jul 69 BONCHOVSKIY, Flaviy Nikolayevich, MIKHAYLOV, B. Ye., i. Jan 71 VINOKUR, Yakov Yefimovich, i. Apr 72 1. - 153 - Oct 67 L-9170017Z001.000N80900198dCIN-V10 : 9Z/60/6661. eseeieN iod peAcuddv 1, 1, Ministry of Land Reclamation and Water Resources (cont.) 73 Administrators (cont.) CD Dept. of Scientific & Technical Cooperation CL Chief CHUELOV, M. G., 1. Aug 68 nn Deputy Chief KOLESNIKOV, Lev Nikolayevich, i. Nov 73 o Chief, Peat Section SEDOV, I., i. Oct 68 Chief, Water Problems Division, State KUTYR1N, I., i. May 70 PU Water Inspectorate CD aT Components, Chiefs Unknown Main Admin. of Designing Work, i. 1967 cn Main Admin. for Exploitation of Water Management Systems & Structures, i. 1967 CD Main Admin. of Material & Technical Supply, i. 1967 -& Main Admin. of Water Economy Construction, i. 1967 UD Admin. of Cadres, i. 1967 UD Admin. of Labor & Wages, i. Jul 68 UD Admin. of Pasture Irrigation & Agricultural Water Supply, i. 1967 a Admin. of Watering Mechanization & Technology, i. 1967 UD State Inspectorate for Protection of Water Sources, i. 1967 1Z3 Board of International Relations, i. Aug 68 CO Planning Section, i. Oct 66 C) Ministry of Light Industry (U-R) Russian: Soyuzno-respublikanskoye Ministerstvo Legkoy Promyshlennosti SSSR i3Address: Moscow, C-19, Prospekt Marksa, 11/1 Leading Officials la Minister TARASOV, Nikolay Nikiforovich, Oct 65 CO CO First Deputy Minister PLOKHOV, A. I., i. Nov 71 Deputy Ministers ALEKSEYEV, K. G., i. Apr 72 C- D ANIKIN, Vladimir Sergeyevich, i. Jan 74 CD BARABANOV, Leontiy Grigor'yevich, i. Dec 73 CO CD KONDRATKOV, Yevgeniy Fedorovich, i. Mar 66 CO LAVRENT'YEVA, Alla Tikhonovna, i. Jan 66 PU MARSIMOV, Pavel Ivanovich, i. Apr 66 CD MEL'NIKOV, Yevgeniy Yevgen'yevich, i. Apr 66 CD ZABELIN, A. N., i. Aug 71 CD Other Collegium Members MIL'DZIKHOV, V. K.-B., i. Jul 70 -& POKACHEV, A. K., i. Feb 72 CD CD ha CD CD CM 44 - 154 - L-9P0017Z001.000N80900198dCIN-V10 : 9Z/60/6661. eseeieN .10d PeA0iddV Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Light Industry (cont.) Administrators Chief, Main Admin. of the Cotton Industry Main Admin. of the Footwear, Leather & Leather Goods Industry Chief Deputy Chiefs Chief, Main Admin. of Material & Technical Supply Chief, Main Admin. of the Porcelain & Earthenware Industry (GZavfarfor) Chief, Main Admin. of the Sewing Industry Chief, Main Admin. of the Silk Industry Chief, Main Technical Admin. Chief, Main Admin. of Toy Production Manager, Assortment Division, Main Admin. of Wool, Fulling & Felting Industry & the Primary Wool Processing Industry Chief, Equipment Admin. Chief, Admin. of Labor Organization, Wages & Worker Cadres Chief, Transport Admin. Deputy Chief, Unidentified Admin. Chiefs, Unidentified Departments Chief Bookkeeper POKACHEV, A. K., i. Feb 72 BALAKIN, Ye., i. May 71 KITAYEV, V. V., 1. Feb 74 LANENKIN, M., i. Aug 68 MILIDZIKHOV, V. K.-B., i. Jul 70 LYUTENKO, A. P., i. Dec 69 ANTONOVA, Galina Pavlovna, i. Aug 67 PAVLOV, S. A., i. Nov 67 GOLOVASTIKOV, B., i. Jul 71 LYUBINOV, D., i. Feb 66 TUGARINOV, K., i. Oct 68 KARASEV, D. M., i. Feb 66 DENISOV, V., i. Nov 70 STRASHNOV, N. M., i. Apr 74 PROKHORENKO, Yegor Grigor'yevich, i. Dec 71 DENISOV, Nikolay Taekseyevich, i. Feb 71 PAPIYAN, Yuriv Vladimirovich, i. Dec 71 CHUFAROVSKIY, Yu., i. May 66 Components, Chiefs Unknown Main Admin. of the Cotton Ginning Industry, i. 1967 Main Admin. for Delivery of Raw Materials for Light Industry, i. 1967. Main Admin. for Design of Light Industry Enterprises, i. 1967 Main Admin. of the Flax, Hemp & Jute Industry, i. 1967 Main Admin. for Primary Processing of Bast Fiber, i. 1967 Main Admin. of Scientific Research Organizations, i. 1967 Main Admin. of Tricot, Garment Textile & Nonwoven Materials Industries, i. 1967 Admin. of Cadres & Educational Institutions, i. 1967 Admin. of Capital Construction, i. 1967 Economic Planning Admin., Jan 67 Finance Dept., i. May 66 All-Union Association of Artificial Hides & Sheet Materials, i. 1967 All-Union Association of the Fur & Sheepskin Industry, i. 1967 All-Union Association for Production of Accessory Materials, i. 1967 Scientific & Technical Council, i. 1967 - 155 - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Machine Building (A-U) Russian: Obshchesoyuznoye Leading Officials Minister Deputy Ministers Ministerstvo Mashinostroyeniya Ministry of Machine Building for Animal Husbandry SSSR BAKHIREV, Vyacheslav Vasil'yevich, MEDVEDEV, D., 1. Aug 68 ZAKHAROV, N. S., i. Oct 73 and Fodder Production (A-U) Feb 68 7: CD CL nn 0 Pp CD ET Russian: Ministerstvo Mashinostroyeniya dlya Zhivotnovodstva i Kormoproizvodstva SSSR Address: Kalinin Prospekt, 27 CD -& UD UD Leading Officials UD Minister BELYAK, Konstantin Nikitovich, Oct 73 8 First Deputy Ministe.- PISAREV, Yu. N., i. Feb 74 UD Deputy Minister MIRAKOV, E. S., i. Feb 74 1;3 co Ministry of Machine Building for Light and Food Industry and Household Appliances (A-U) Russian: Obshchesoyuznoye Ministerstvo Mashinostroyeniya dlya Legkoy i Pishchevoy Promyshlennosti i BytovykA Priborov sSA2 Address: Moscow, D-22, Presnenskiy Val, 17 Note: Created in October 1973. Leading Officials Minister DOYENIN, Vasiliy Nikolayevich, Oct 65 0 First Deputy Minister PUDKOV, I. I., i. Jul 72 13 co Deputy Ministers KOPYLOV, Vadim Pavlovich, i. Mar 66 CO MAKRUSHIN, M. M., i. Mar 71 -i SHALASHOV, Viktor Alekseyevich, i. Dec 65 CD ZAYTSEV, Vasiliy Sergeyevich, i. Dec 69 CD Other Collegium Members I.APSHIN, V. P., i. May 72 CO MONTYTSKIY, V. A., i. Apr 74 CD CO ZARUVINSKIY, G. L., i. Aug 73 - 156 - P3 4=1. 4=1. 01 4.1 pproved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Machine Building for Light and Food Industry Administrators Chief, Main Admin. of Dyeing, Decorating & Chemical Fiber Producing .Tquipment (Glavkhimlegmash) Chief, Main Admin. of the PriLting Machine Industry & Equipment for the Glass & Pyroceramic Industry Chief, Main Admin. for Production of Household Machines & Appliances Chief, Main Admin. for Production of Spare Parts for Equipment of Light & Food Industry (Glayzapchast) Main Technical Admin. Chief Deputy Chief Chief, Main Admin. of Textile Machine Building Chief, Unidentified Main Admin. Chief, Foreign Relations & Export & Import Deliveries Admin. Chief, Admin. of Labor Organization, Wages & Worker Cadres Chief, Production Admin. Chief, Unidentified Admin. Chief, Financial Dept. Chief, Legal Seccion Senior Legal Adviser and Household Appliances (cont.) PRYADCHENKO, B. G., i. May 69 BOGLAYEV, L. I., i. Mar 66 VAZHNOV, Ye. N., i. May 73 VIKHLYANTSEV, S. I., Mar 72 LAPSHIN, V. P., i. Aug 70 PISHCHIKOV, Dmitriy Petrovich, i. Oct 73 ZARUVINSKIY, G. L., i. Mar 72 KOLESNIKOV, V., i. Jul 70 MARTYNKIN, F. F., i. Oct 71 GAL'TSOV, A., i. Jul 70 SMIRNOV, P. P., i. Aug 68 KALACHEV, G. M., i. Feb 71 IVANOV, I., i. Sep 67 LINT7NBURG, G., i. Nov 67 ZAVGORODNENKO, A., i. Nov 67 Components, Chiefs Unknown Main Admin. of Food Machine Building, i. 1967 Main Admin. of Light Machine Building, i. Aug 67 Main Admin. of Machine Building for Light Industry, i. 1967 Main Admin. of Material & Technical Supply, i. 1967 Main Admin. for Production of Equipment for Enterprises of Trade & Public Dining, i. 1967 Main Admin. for Production of Equipment for Grain Mills, Grain Elevators & the Meat & Dairy Industry, i. 1967 Main Admin. of Iaxtile Machine Building, i. 1967 Admin. of Cadres & Educational Institutions, i. 1967 Admin. of DesicIn & Capital Construction, i. 1967 Admin. of Equipmt & Complement Deliveries, i. 1967 Admin. for Provision of Fittings & Purchases for the Manufacture of Technological Equipment, i. 1967 Scientific-Technical Council, i. Jul 66 - 157 - Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Approved For Release 1999/09/26 : CIA-RDP86T00608R000100240045-7 Ministry of Machine Tool and Tool Building Industry (A-U) Russian: Obshchesoyuznoye Ministerstvo Stankostroitellnoy i Instrumental'noy Promyshlennosti SSSR Address: Moscow, K-50, Ulitsa Gorlkogo, 20 Leading Officials Minister First Deputy Minister Deputy Ministers Other Collegium Members Administrators Chief, Main Admin. for Production of Heavy & Unique Machine Tools Chief, Main Admin. for Production of Standardized General Machine Building Parts & Assemblies Main Admin. for Production of Technolo=fical Fittings, As
6847	dbpedia	1	68	http://www.granddanceacademy.com/en/jury	en	Jury			[ "http://www.granddanceacademy.com/images/logo_bg_new2.png", "http://www.granddanceacademy.com/images/mail.png", "http://www.granddanceacademy.com/pic/jury/sm/5_Юрий-Григорович-685x1024.jpg", "http://www.granddanceacademy.com/pic/jury/sm/82_LeonovaMK_L-1.jpg", "http://www.granddanceacademy.com/pic/jury/sm/8_malahov.jpg", "http://www.granddanceacademy.com/pic/jury/sm/14_preview_andrienko.jpg", "http://www.granddanceacademy.com/pic/jury/sm/35_guest8.jpg", "http://www.granddanceacademy.com/pic/jury/sm/41_75b44b0e9c2e5d305fa323c6c51d3476_XL.jpg", "http://www.granddanceacademy.com/pic/jury/sm/54_12650823_10153269886016759_4124227096064154406_n.jpg", "http://www.granddanceacademy.com/pic/jury/sm/29_NTerrada.jpg", "http://www.granddanceacademy.com/pic/jury/sm/69_TAKANE Photo.jpg", "http://www.granddanceacademy.com/pic/jury/sm/79_фото-Усанова-680x1024.jpg", "http://www.granddanceacademy.com/images/bgr/image3_SU.png", "http://www.granddanceacademy.com/images/rose1.png", "http://www.granddanceacademy.com/pic/partners/sm/23_logo globex.jpg", "http://www.granddanceacademy.com/pic/partners/sm/38_лого ИФБЦ.jpg", "http://www.granddanceacademy.com/pic/partners/sm/8_logo.png", "http://www.granddanceacademy.com/pic/partners/sm/11_fon.jpg", "http://www.granddanceacademy.com/pic/partners/sm/14_1001605_351730781621092_1424129324_n.jpg", "http://www.granddanceacademy.com/pic/partners/sm/5_LogoLeft.png", "http://www.granddanceacademy.com/pic/partners/sm/17_logo-Grishko.png", "http://www.granddanceacademy.com/pic/partners/sm/26_FERRY.jpg", "http://www.granddanceacademy.com/pic/partners/sm/29_c92a802b0be1bf3e7d7d2b76472d4f4c.jpg", "http://www.granddanceacademy.com/images/facebook.png", "http://www.granddanceacademy.com/images/youtube.png" ]	[]	[]	[ "Jury", "competition", "festival", "grand dance academy", "Bulgaria", "Bolsjoi theater" ]	null	[]	null	Jury Festival		/images/favicon_balet.ico		null	YURI GRIGOROVICH Russia Chairman of the International Jury,President of International Federation of Ballet Competitions,People’s Artist of the USSR,President of the International Union of Choreographers,Ballet master and choreographer at the Bolshoi Theatre,Professor at the Bolshoi Ballet Academy,Yuri Grigorovich has repeatedly transferred his own and classical ballets to the stages of other theaters in Russia and in the world. In each new production, whether his own performance is transferred, or a performance of ballet classics, Grigorovich never repeats himself, but finds new creative approaches and techniques in the implementation of his artistic ideas as a choreographer, stage director, librettist. In every performance, staged by the renowned choreographer, the hand of the Great Master of the Art of Ballet is clearly visible. MARINA LEONOVA Russia Prof. Marina Leonova . Rector of the Bolshoi Ballet Academy (the Moscow State Academy of Choreography, Russia). Master teacher of Classical Dance. Prof. Leonova began her ballet career when she graduated the Bolshoi Ballet Academy. She was invited to join the famous Bolshoi Ballet Theatre and was soon promoted to prima ballerina. She became a rector of the Bolshoi Ballet Academy in 2002. Awarded numerous prestigious national and international prizes, including the highest honorary title of People’s Artist of Russia. Laureate of the Russian Federation Government Award. VLADIMIR MALAKHOV Germany The ballet critique has given him the title "Dancer of the Century". He is one of the prominent alumni of the Moscow State Academy of Choreography. After graduation in 1986 Vladimir Malakhov was accepted as a leading soloist in the Moscow Classical Ballet. Numerous awards from international ballet competitions are won in Varna, Moscow, Paris, Jackson (USA), Venice, Monte Carlo. In 1992 Malakhov made his debut in Vienna State Opera, in 1994 - the National Ballet of Canada and in 1995 - The American Ballet Theater. He performed on the famous stages of Bolshoi and Mariinskiy Theater, in Stuttgart, Berlin and Japan. In 2002 Malakhov became a director of the Staatsoper Berlin. Sice 2004 he is appointed as an artistic director of the joined ballet troupes of the Staatsoper Berlin and Deutsche Opera ELENA ANDRIENKO Russia Prima ballerina of Bolshoi Theatre and honored People’s Artist of Russia. She was born in Kiev (Ukraine). She studied at the Bolshoi Ballet Academy (Moscow State Academy of Choreography), where she trained in Sophia Golovkina's graduates’ class. In 1991, having completed her studies, she joined the Bolshoi Theatre and became prima ballerina. She has performed in numerous leading and solo roles in spectacles: Swan Lake, Don Qiuxote, Nutcracker, Giselle and many others. She is a prize winner at the international Ballet Dancers Competition of Moscow (1993) and at the First International Serge Lifar Ballet Dancers Competition in Kiev (1994). Docent in Department of Choreography BalletMaster faculty of Russian Academy of Theater Arts SARA-NORA KRASTEVA Bulgaria In 1996 has graduated the National School for Dance Art in Bulgaria. The same year she was awarded for the best participant in the International Ballet Competition in Osaka, Japan and in 1997 she was a finalist in the International Ballet Competition in Moscow. After her graduation she was accepted in the ballet troupe of the National Opera in Sofia, Bulgaria and in 2003 she became a leading soloist. In 2009 - Director of the Ballet of Sofia Opera and Ballet Theatre. MASHA ILIEVA Bulgaria Prima ballerina of the Bulgarian National Opera and Ballet. She graduated the Ballet Academy “Vaganova” in Saint Petersburg, Russia. In 1986 she was a laureate of the International Ballet Competition in Varna and in 1988 Juriy Grigorovich has given her a role in his spectacle in Sofia – “The Nutcracker”. Maria Ilieva has been a director of the Bulgarian National Ballet during the period 2001 – 2003. She set up a private ballet school for children in Sofia. Maria Ilieva has a Master Degree in Ballet choreography and pedagogy and has received a Doctoral Degree as well. She is ballet master in folk and traditional dance, and classical repertoire in the Music Academy “Pancho Vladigerov” in Sofia, Bulgaria. NOBUHIRO TЕRADA Ukraine People’s Artist of Ukraine. Art Director of Kiev School Ballet. In 1995 he became a soloist of the National Opera of Ukraine. In the same year he became also a prize-winner in the International Ballet Competition in Japan. In 1999 he graduated Dance Academy and became a prize-winner at the International Serge Lifar Ballet Dancers Competition. Mr. Tеrada is a Director of “Grand Prix Kiev” International Ballet Festival and a sponsor of “World Ballet Stars” International Festival. TAKANE YAMAMOTO Japan TAKANE is choreographer, he choreographs any dancers from children to pro dancers in all genre of dance, and their dance style is new unseen fusion. He is pursuing the meaning, the role, and the new possibility of DANCE from the international vision, and challenging international activities. 2005 founded“ DANCE WORLD made in TAKANE” 2005 Gold Medal as a dancer , The 5th Japan International Ballet & Modern Dance Competition, in Nagoya 2007＆08 Gold Medal, International Dance Festival TANZOLYMP in Berlin (Choreography) 2008 Choreograph the opening ceremony of at Beijing Paralympics 2008 China . 2011 Grand Prix, “World Ballet Stars 2011”in Donetsk Ukraine. (Choreography) 2013 Special Prize, at 10th Anniversary GALA of International Dance Festival TANZOLYMP in Berlin 2014 Vladimir Vasiliev Prize , The XIII Russian Open Ballet Competition “Arabesque‐2014” 2017 Grand Prix, Grand Dance Academy in Varna, Bulgaria 2018 Vladimir Vasiliev Prize , The XV Russian Open Ballet Competition “Arabesque‐2018” 2018 VARNA international ballet competition 2018 Super GALA Concert“Meeting of Generations” And works choreographed by TAKANE was awarded 1st prize at dance competition in Tokyo, Kobe, Kyoto, Nakano and Okinawa in Japan. Now about 1500,000 or more people in the world are viewing TAKANE's program 『Little Swan』on YouTube. SERGEY USANOV Russia General Director of International Federation of Ballet Competitions,First Vice-President of the International Union of Choreographers,From 1998 until 2002 was the Director of the Central Special Music School of the Moscow Conservatory named after P.I.Tchaikovsky.In 1998 Sergey Usanov was elected First Vice-President of the International Union of Choreographers.From 1981 is engaged in preparatory work and carrying out the International Ballet Competition and Contest of Choreographers in Moscow. In 2007 he was elected General Director on the General Assembly of the International Federation of Ballet Competitions. (President of the International Federation of Ballet Competitions is an eminent choreographer of the Bolshoi Theatre Yury Grigorovich).He was member of the Jury of many International and National Ballet and Music Competitions in the Soviet Union, Russia and other countries.
6847	dbpedia	3	67	https://www.themoscowtimes.com/2013/11/14/shoigu-and-lavrov-in-egypt-to-sell-weapons-a29603	en	Shoigu and Lavrov in Egypt to Sell Weapons	https://static.themoscow…3cc285f98d78.jpg	https://static.themoscow…3cc285f98d78.jpg	[ "https://static.themoscowtimes.com/img/mt_logo.svg", "https://static.themoscowtimes.com/img/logo_tmt_30_yo.svg", "https://static.themoscowtimes.com/img/logo_tmt_30_yo.svg", "https://static.themoscowtimes.com/img/flipboard_mrrw.png", "https://static.themoscowtimes.com/image/article_1360/7f/e88dafcc8a91445f9244387fe5fe761e.jpg", "https://static.themoscowtimes.com/img/contribute/payment_icons.png", "https://static.themoscowtimes.com/img/flipboard_mrrw.png", "https://static.themoscowtimes.com/image/article_640/17/TASS_73108789-3.jpg", "https://static.themoscowtimes.com/image/article_640/2c/photo_2024-08-16_18-02-52.jpg", "https://static.themoscowtimes.com/image/article_640/8d/8563456farete.jpg", "https://static.themoscowtimes.com/image/article_640/d5/FNVt_IpXoAoee9u.jpg", "https://static.themoscowtimes.com/img/logo_tmt_30_yo.svg", "https://static.themoscowtimes.com/image/320/6c/626x0w.jpg", "https://www.themoscowtimes.com/image/320/ed/euractiv.jpg" ]	[]	[]	[ "" ]	null	[ "Gabrielle Tetrault-Farber" ]	2013-11-14T00:00:00	Defense Minister Sergei Shoigu and Foreign Minister Sergei Lavrov arrived in Cairo on Thursday for a two-day visit with their Egyptian counterparts to discuss the expansion of Russian-Egyptian military cooperation, in a move that marks renewed partnership after more than three decades of stagnation.	en	https://static.themoscowtimes.com/img/icons/favicon.ico	The Moscow Times	https://www.themoscowtimes.com/2013/11/14/shoigu-and-lavrov-in-egypt-to-sell-weapons-a29603	Defense Minister Sergei Shoigu and Foreign Minister Sergei Lavrov arrived in Cairo on Thursday for a two-day visit with their Egyptian counterparts to discuss the expansion of Russian-Egyptian military cooperation, in a move that marks renewed partnership after more than three decades of stagnation. The visit comes amid Cairo's attempts to secure military assistance after the U.S. suspended its $1.3 billion military aid to the country in response to its lack of democratic governance, a situation that has given Russia the opportunity to strengthen its relations with the North African country of 81 million. Following his meeting with his Egyptian counterpart, General Abdel Fattah al-Sisi, Shoigu said Russia hoped to improve military relations with Egypt and increase the frequency of bilateral exchanges. "We agreed that in the nearest future, we will take steps for the legal implementation of our deals," Shoigu said after the meeting, referring to projects for military and technical cooperation. The news of such deals signals renewed military cooperation after Egypt stopped purchasing weaponry from Russia in the 1970s. The countries' current political and economic relations are cordial, but largely insignificant. In 2010, approximately 0.83 percent of the country's exports were sent to Russia, while Egypt accounted for a mere 0.69 percent of Russia's foreign trade. Russia is now re-emerging on Egypt's weaponry market in the hopes of rekindling the Soviet-Egyptian friendship that thrived during the presidency of Gamal Abdel Nasser from 1956 to 1970. But some observers say the move is not purely coincidental. "It is clear that Russia is trying to capitalize — politically, militarily and economically — on the United States' disengagement with Egypt," said Alexei Malashenko, co-chair of the of the Carnegie Moscow Center's Religion, Society, and Security Program. Egypt is hoping to purchase as much as $2 billion in Russian weaponry, including MiG-29 fighter jets, air-defense systems and anti-tank missiles, according to Ruslan Pukhov, head of the Moscow-based Center for Analysis of Strategies and Technologies. In comments after Thursday's meeting, Lavrov hinted at the potential Russia sees in Egypt, stressing that Egypt's stability was of primary importance for securing a strong partnership. "We have confirmed before and are confirming again that Russia wants to see stability in Egypt, with a steadily developing economy and effective political system. We are hopeful that the work being done right now, including on preparing the new constitution … will allow the country to move forward in achieving the desired goals," Lavrov said, Interfax reported. Malashenko, who remains skeptical that Russia will revive the golden age of its relations with Egypt, was ambivalent about the long-term effects of Russia's outreach to its former ally, however. "I cannot predict how well Russia will use this chance," he said. "Nor can we tell whether Egypt views Russia as a true strategic partner or only as a tool to put pressure on the United States." The Soviet Union provided Egypt with hefty military assistance and contributed to large infrastructure projects during Nasser's presidency, including the Aswan Dam on the Nile River. But in 1972, Egyptian President Anwar El Sadat, who replaced Nasser after his death, expelled 20,000 Soviet military advisers. Egypt has not purchased weaponry from Russia since then, instead forging a strong partnership with the United States. Egyptian Foreign Minister Nabil Fahmy attempted to silence talk of Russia and the United States switching places, however, saying that "Russia's weight is too heavy to be a substitute for anyone," The Associated Press reported. While the Egyptian side refused to speak about the change of its allies, a senior American official told Buzzfeed that U.S. military aid to Egypt was "irreplaceable." Since the suspension of American military aid, Saudi Arabia, the United Arab Emirates and Kuwait have pledged at least $12 billion to Egypt. The Egyptian army, which removed President Mohamed Morsi in July and engaged in bloody clashes with the ousted leader's supporters, has held the spotlight on the country's political stage for decades. Egypt has been headed by active or retired military men since the country became a republic in 1953, with the exception of Morsi, the country's first democratically elected head of state, who is currently on trial for inciting his supporters to commit violent acts.
6847	dbpedia	3	88	https://dancetabs.com/2012/04/nina-ananiashvili-30-years-on-stage-gala-tbilisi/	en	Nina Ananiashvili – 30 years on stage gala – Tbilisi	https://dancetabs.com/wp…sh-style_360.jpg	https://dancetabs.com/wp…sh-style_360.jpg	[ "https://dancetabs.com/wp-content/uploads/2020/10/dancetabs-logo-standardx1.png", "https://dancetabs.com/wp-content/uploads/2022/03/dm-two-cigarettes-dominique-mercy-gown_950-150x150.jpg", "https://dancetabs.com/wp-content/uploads/2022/02/be-mozartiana-anthony-huxley-sterling-hyltin-pdd_950-150x150.jpg", "https://dancetabs.com/wp-content/uploads/2022/02/hm-romeo-anna-rose-osullivan-marcelino-sambe-pdd-lean_1000-150x150.jpg", "https://dancetabs.com/wp-content/uploads/2022/02/dl-kin-flying-1-stage-wide_1000-150x150.jpg", "https://dancetabs.com/wp-content/uploads/2020/10/dancetabs-logo-mini-32.png", "https://dancetabs.com/wp-content/uploads/2020/10/dancetabs-logo-mini-32.png", 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The simple fact that she lives, breathes and demonstrates the finest techniques of Russian classical ballet. She is fastidious in her footwork, has the most be…	en		DanceTabs	https://dancetabs.com/2012/04/nina-ananiashvili-30-years-on-stage-gala-tbilisi/	The Celebrations for Nina Ananiashvili’s 30 Years on Stage Celebrations & Gala: Nina Ananiashvili – 30 years on stage State Ballet of Georgia and guests Georgia, Tbilisi, Rustaveli Theatre 14-18 March 2012 www.opera.ge Once upon a time, in a far-away city surrounded by mountains, a little girl dreamed of becoming a champion ice-skater. Fortunately for us, her fairy Godmother had other plans and, while preparing choreography for the ice-rink, her balletic skills were spotted and she was recommended to try for a place at the famed Bolshoi Ballet School. She was accepted and, aged ten, she set of on the long journey from her home in Tbilisi, Georgia for her new dancing experience accompanied by her beloved babushka who would care for and chaperone the young innocent girl. And the rest, as they say, is history and that ‘little girl’ who became an international ballerina, has just celebrated an unprecedented 30 years of her life on stage – and is still dancing. Nina Ananiashvili has grown into a remarkable woman, continuing to perform with fantastic style and technique – who else, approaching their half century can pirouette and fly across a stage with such grande vitesse and yet retain the fun, youthfulness – and giggles – of the young girl we all love and remember? Her technique remains flawless, imbued with deep feeling and her lovely long limbs still convey the graceful, lyrical ballerina she has been all her life, and she retains her youthful natural beauty still. She has grown into a gracious lady, greeting everyone with charm and real affection, makes excellent speeches filled with humour, is the prima ballerina of the State Ballet of Georgia, the company she also directs, teaches in such far-away places as Beijing, is the mother of sweet Elena, a lively six year old, is the wife of Georgia’s Foreign Minister and a faithful friend to thousands. So what has made her a ballet legend? The simple fact that she lives, breathes and demonstrates the finest techniques of Russian classical ballet. She is fastidious in her footwork, has the most beautiful pliable back, expressive arms and has perfect proportions and great sensitivity. She has coloured her multitude of ballet characters like the greatest painter, making huge splashes of vibrancy and colour, attending to the most miniscule of details, and embracing her multi-faceted roles with the very evident fact – she loves, and lives, to dance. She was blessed in her Bolshoi years by two great legendary dancers and coaches; she received the nurturing of Marina Semyonova who refined her every classical movement, and of vivacious Raisa Struchkova who put spice into her characterizations, making them come alive as real people to believe in. And to Nina’s credit, she was the tireless pupil, grasping every opportunity for new facets of each role. The winner of a multitude of international competitions, she has not been afraid to take risks and try different styles – she and Andris Liepa were the first Soviet dancers to be invited to New York City Ballet during the Cold War era, where both young things eagerly absorbed the finesse of Balanchine. She studied and danced with Royal Danish Ballet, danced Ashton and MacMillan with The Royal Ballet, and of course has had a very special relationship with American Ballet Theatre. However in my humble opinion, her phenomenal world-wide success lies in the fact that she has a truly loving and kind nature, and this sentiment pours out from deep inside her, influencing not only her work but filling her audiences and all those who come into contact with her with admiration. How many times was it said during this past weekend of celebrations that she was always a delight to work with, that she filled her audiences with joy and fulfilment with her exuberance, that she was always so friendly and patient to each and everyone, that she accepted direction, that she would always go that extra mile to oblige and never acted as a ‘prima’. So, no wonder she was always such a popular dancer to invite. This celebration of Nina’s 30 years of performing on stage, held on the eve of her 49th birthday, brought back so many happy remembrances of her, transporting us back to past performances with her many young handsome partners. So it was wonderful to sit and chat to all those who have different memories of her over these thirty years (my own go back to 1978 when she was still a school pupil.) Breakfasts were long as we lingered chatting with her ex-partners, Andris Liepa, Alexei Fadeyechev, Yuri Possukhov, Vadim Pisarev, Sergei Filin, Kenneth Grieve and Jose Manuel Careno, all of whom are all still as charming as ever, (though some are somewhat portlier than their dancing days.) And there were also her directors, Frank Andersen and Kevin Mckenzie, and countless friends from the US, Europe and Japan. Since the Paliashvili State Opera and Ballet Theatre is still being repaired – hopefully it will re-open in two years – the first evening saw a triple bill by The State Ballet of Georgia at the Rustaveli Theatre. The opening ballet was Sagalobeli created by Yuri Possukhov (Bolshoi now San Francisco Ballet) to Georgian folk music and played on fascinating old instruments. The piece is not intended to be a pastiche of the exciting Georgian national dance as seen through the eyes of a Russian choreographer, but to bring the essence of the pride and beauty of that style in a classical form. The women’s arms are fluid and soft, they bouree on pointe rather than ’roller-skate’ with quicksilver tiny runs on high demi-point, while the men show their bravura in spinning turns and high leaps – but not by dancing on the knuckles of their feet as in true Georgian dancing. Next came a world premiere, Tampopo, created by Estonian Teet Kask with music by Arvo Part for two men and one woman and three musicians who also play an active part in the piece. It is a madcap, Gothic, tongue-in-cheek piece which starts with a dancer crying his eyes out front of stage. Then the cellist, outfitted in stiff black angular cape and a hat with rabbit’s ears sits, stands, carries his cello around. The violinist is carried onstage like a parcel by one of the dancers, spends time under the piano, plays on her knees and intermingles with the dancers. The women musicians wear voluminous angular black costumes of the same stiff material and eared hats. When all three play, a spotlight creates shadows of them on the back wall making them look like Easter bunnies. The woman (Nina) in royal blue starched skirt-like tutu with geometric bodice, black tights and jazz shoes moves with jerky movements to the scrapings of the cello until she finally orders him off stage. Vasily Akhmeteli crawls out from under the piano and is joined by Otar Khelashvili and the three of them continue to do whacky things, often joined by the musicians. The piece culminates with Nina coming downstage, doing a St Vitas dance, and laughing out loud until the lights go out, leaving a bemused audience. The final ballet was far more comprehensible being Ashton’s Marguerite and Armand and performed by Nina and her Georgian partner, Vasil Akmeteli. It is the perfect vehicle to see Nina’s maturity as a dancer – fastidious technique with arabesques that don’t shoot skywards but are tastefully unfurled gradually – and her deep understanding of the acting. Her face and whole body registers the puzzlement of Armand’s youthful daring at the soiree and his obvious passion for her when he initially claims her to dance, and she clearly shows the gradual budding joy that such heart-felt attention brings her until she finally gives herself in complete submission to his charms and demands. It is this inner understanding and soul of knowing her characters that lets Nina light up the stage. It was instilled in her by her beloved coach, Raisa Struchova, who taught her how to embed passion and intensity into each role. Here, with Marguerite, every thought and desire were explicitly evident especially when challenging Armand’s rejection, and the heart-breaking pleadings with his father. As Armand, Akhmeteli faced a few wobbles at the start – the small stage couldn’t offer the space to make grand entrances – but he has a beautiful line and clear technique that showed his ardour and desire though somewhat lacking in facial expression in all his dancing roles. The following day there was a reception for the release of a new book on Nina and later the opening of an exhibition of her glorious costumes, tastefully presented at the National Library of Parliament And penultimately there was the gala – a gathering of talents and friendships that came together to celebrate Nina’s remarkable anniversary. Internationally famous dancers, ex-partners, choreographers and friends from around the world with also the presence of the President of Georgia, Mikhail Sakhashvili and several Cabinet members, (to say nothing of the mass of armed body-guards), were in the audience. And it seemed that all of the Georgian press was there – banks of cameras stood in the concert hall with microphones being popped under foreign noses asking such questions: Why are you here? Why do you like Nina Ananiashvili? The opening number, performed by Nina’s own company was an extract from the world premier of Reflections to Mendlessohn’s Symphony No. One by Yuri Possukhov. Standing in front of panels of mirrors which gave the illusion of double the quantity of dancers, twelve women and three soloists in white pancake thin tutus performed stabbing syncopated steps and flying leaps with Amazonian force. They were joined by twelve more women, this time in red tutus and it seemed as though the stage was now the setting for a pseudo chess game where the players vied for space as they sped and criss-crossed the stage. The second movement saw Nina in white tutu, her short black hair loose, and Vasil Akhmeteli in a 1920’s bathing suit, posing in front of three mirrors before bending that supple back and unfolding her long graceful limbs to dance together in more gentle mode. There followed a short film with dozens of nostalgic mini-clips of Nina introduced by the famous Georgian film director, Levan Uchaneishvili, who stated that the world had seen only a few Russian ballet ‘assolutas’- Pavlova, Ulanova, Plisetskaya, and also ‘our Nina Ananiashvili, a little girl who loved football and basketball but had became a ballerina and a swan’. The first guests to perform came from the Bolshoi – Dmitri Gudanov and that company’s newest principal, Evgenia Obraztsova – who performed a filigree and dainty Grand Pas from The Sleeping Beauty, gorgeously adorned with sparkling white costumes and powdered wigs. Next were the first of several Georgian dancers now working abroad. David Makhateli (The Royal Ballet) and his sister Maia Makhateli (Dutch National Ballet) danced Lavrovsky’s balcony pas deux from Romeo and Juliet. Both were beautifully fluid – she as light as a butterfly with the smoothest bourees – both possessing high easy extensions. They danced well together and nobly overcame the challenges of expressing passion when your partner is your sibling! Two Chinese dancers from Lianoning Ballet – Dong Ting Xing and Ren Zhong – performed a duet from La Sylphide. Resembling little porcelain dolls, they danced with Bournonville bounce and neatness, he showing good, sharp leaps and turns, while she, light as thistledown, floated admirably, though she found it hard to express the mischief needed for her role. Someone who has no trouble communicating is Angel Corella, one of Nina’s partners at ABT. He springs onto the stage with the most wonderful smile and sense of fun and even before he had danced anything, he had won all the women’s hearts. He and Momoko Hirata (formerly with Birmingham Royal Ballet, now Corella Ballet in Barcelona) performed Tchaikovsky Pas de deux with great style and strong clear footwork, though I have never seen such lightening speed as in his solos, which always ended with perfect positioning. She kept pace with him and showed strong yet delicate action with a real sense of enjoyment. The charismatic Jose Manuel Carreno performed Igal Perry’s Ave Maria with deep feeling, musicality and control and the last piece in the first half was Le Corsaire pas de trois with Nina, Akmateli and Denis Matvienko of the Mariinsky Ballet. Matvienko was in full throttle and took his feline jetes around the stage faster than the orchestra could keep up with him. In her purple sparkling tutu, Nina oozed confidence and happiness, taking her pique turns at the gallop and offering dangerously fast fouettes – all 32 – as the audience roared, especially when she ended with a quizzical shrug as if to say – “See, I can still do them!” She was still in cheeky mode in the second half when she danced Alexei Ratmansky’s Waltz. Here in a luscious red and black ballgown she rejects the attentions of four elegant frock-coated men who vie for her attention – Carreno, Matvienko, Corella and Akhmeteli – leaping off stage in a grand jete as they race after her. If you were searching for Sergei Polunin, he was here in Tbilisi with Elena Glurdjidze, performing an elegant and meticulous Raymonda pas de deux. She danced with gracious style and technical beauty while he soared and turned with such ease that one thought, ’He just mustn’t stop dancing!’ A couple from ABT, Maria Riccetto and Blaine Hoven, delightfully performed Twyla Tharp’s Known by Heart a quirky, non stop work with demanding choreography, and this was followed by Denis and his wife Anastasia Matvienko in Gsovsky’s Grand Pas Classique. They showed fantastic balances and assurance with multiple jumps and furious turns, battling the too-slow tempi again. Yet another Possukhov creation was seen – this time a romantic, intense and demanding work entitled Bells (to Rachmaninoff’s Piano Sonata No 2 op.36), performed by two Georgian dancers who now work at Joffrey Ballet – Victoria Jaiani and Temur Suluashvili. She has a ‘rubber’ body, able to bend and mould lyrically to the demands of her partner, who is strong and attentive. The young Bolshoi couple, Anastasia Stashkevich and Vyacheslav Lopatin, performed what must now be their gala signature piece – the Diana and Acteon pas de deux. They do it well with high strong jumps and good balances but were hampered here by a very slow tempo which dragged their steps somewhat. However, they didn’t let on and were radiant throughout. Angel Corella was the last foreigner to perform, this time in Suspended in Time by young British choreographer and dancer Russell Ducker. It is a perfect piece for Corella, showing off all his pyrotechnical skills and his charismatic nature and the audience loved it.
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6847	dbpedia	2	1	https://www.usaibc.com/vadim-pisarev/	en	International Ballet Competition	https://www.usaibc.com/w…510779468286.jpg	https://www.usaibc.com/w…510779468286.jpg	[ "https://www.facebook.com/tr?id=1185257768696162&ev=PageView&noscript=1", "https://www.usaibc.com/wp-content/themes/usaibc/images/logo.png", "https://www.usaibc.com/wp-content/uploads/2017/05/ThaliaHallNight2-e1510779365950-1400x540.jpg", "https://www.usaibc.com/wp-content/themes/usaibc/images/logo-mark.png" ]	[]	[]	[ "" ]	null	[]	2018-05-11T14:58:40+00:00	People’s Artist of Ukraine Artistic director of the Donetsk National Academic Opera and Ballet Theater. A.B. Solovyanenko VADIMA PISAREVA He was born on 01/02/1965 in …	en		International Ballet Competition	https://www.usaibc.com/vadim-pisarev/	People’s Artist of Ukraine Artistic director of the Donetsk National Academic Opera and Ballet Theater. A.B. Solovyanenko VADIMA PISAREVA He was born on 01/02/1965 in Donetsk, Ukraine. In 1983 Graduated from the Kyiv State Choreographic School under the program of the Choreographic Academy named after I. A. Vaganova, St. Petersburg. Teachers: G. Kirillov, V. Denisenko. In 1984-85gg. passed an internship at the Bolshoi Theater (Moscow). Teachers: V. Nikonov, R. Struchkova, A. Messerer. In 1991 trained at the Mariinsky Theater (Kirov-ballet) of St. Petersburg. Teachers: I. Kolpakova, V. Semenov. Since 1983 – soloist of Donetsk ballet troupe. Since 1983 – soloist of the Donetsk Ballet Company. International competitions. Awards. 1983 All-Ukrainian competition of ballet dancers (Kiev) – Gold medal. 1984g. January. V All-Union Contest of Ballet Dancers (Moscow) – Gold Medal. June. International Competition of Ballet Dancers (Helsinki) – Silver Medal November. International Competition of Ballet Dancers (Paris) – Bronze Medal International Competition of Ballet Dancers (Moscow) – Gold Medal 1986. International Competition of Ballet Dancers (Jackson, USA) – Gold Medal. In 1986 he was awarded the title of People’s Artist of Ukraine. In the 1992-95 gg. worked under the contract as the leading soloist of the ballet troupe German opera on the Rhine, Dusseldorf. Choreographer and choreographer – Shpoerly. He worked with choreographers: Y. Grigorovich, B. Eifman, X. Shpoerli, Mannes and others. Danced in classical and modern repertoire in ballet companies USA, Canada, China, Russia, Germany, France, Japan. A participant in annual international festivals and gala concerts in Montreal, Tokyo, Moscow, Athens, Vienna, Genoa, Paris, Beijing, Jerusalem, Oslo, New York. Since 1989. annually toured the United States. He has toured in more than 70 countries around the world. He was personally invited to perform a special program at the opening of the Olympic Games in Calgary and Seoul. In 1995, he took part in the Gala des Etoiles in Montreal, where he acted as the director of the “Hopak” from the ballet “Taras Bulba”, which opened the festival.The leading stage masters danced in the room: Fernando Bukhones (USA), Tibor Kovacs (Hungary), Kenny Larson (Canada), Vadim Pisarev (Ukraine), it was the variation from the ballet “Taras Bulba” that brought Vadim Pisarev gold medals at many international competitions of ballet dancers. In 1990 was awarded the prize of the Moscow public – “The best dancer of the USSR”, Moscow. In 1992 organized at the Donetsk Opera and Ballet Theater a children’s ballet school – “School choreographic skill Vadim Pisarev.” In 1993 received the title of “Honorary Citizen of Donetsk.” Since 1994. – the founder and director of the International Festival “Stars of World Ballet” in Donetsk. For 17 years, more than 450 outstanding ballet dancers from 30 countries of the world have visited the festival in Donetsk. The performances of 70 choreographers of the past and modern times were shown. In 1995 Awarded the UNESCO Prize “The Best Dancer of the World”. Since 1995. – Honorary Professor of Donetsk State University. In 1996 at the request of the Norwegian government, staged the ballet “Per Gynt” and performed the main part with the Donetsk troupe at the celebrations in honor of the 1000th anniversary of the first capital of Norway, Trondheim. For staging the ballet and playing the role of Per Gynt was awarded the prize of the Norwegian press “Golden Rose”. In 1996 awarded the title of “Man of the Year in Ukraine” In 1997 participated with a special program at the celebrations in honor of the 3000 anniversary of Jerusalem. In 1997 Diploma “Golden Scythian”. In 1998 Awarded the prize of the Union of theatrical figures of Ukraine – “Triumph”. In 1999 was awarded the Order of Ukraine “For Merit”. In 1999 Awarded with the prize “Prize of Traditions”, Kazakhstan. In 1999 he was a laureate of the all-Ukrainian award “Recognition”. In 2001 awarded the Commander Cross – the Order of St. Stanislaus III degree. In 2001 he graduated from the Kiev National University of Culture and Arts. In 2003 he was awarded with the Certificate of Honor of the Cabinet of Ministers of Ukraine “For a significant personal contribution to the development of national culture and art, high professionalism”. In 2004 he was awarded the Order of Ukraine “For Merit” of the II degree. Repertoire: Leading parties in ballets: “Don Quixote”, “Swan Lake”, “Vain precaution “,” The Nutcracker “,” Giselle “,” Walpurgis Night “,” Paquita “,” “Sleeping Beauty”, “Per Gynt”, “La Bayadere”, “Corsair”, “Spartacus”, “Romeo and Juliet “,” Songs of Solomon “, etc. In modern ballets: “Dead-end”, “Josef legend”, “Due”, “Adagio”, “Fantasia”, “Four Kisses”, “Requiem”, “Pulcinella”, “Polovtsian Dances”. In total, V. Pisarev’s repertoire includes more than 50 ballet parts, pas de deux and choreographic compositions. Yuri Grigorovich about Vadim Pisarev: “… he shocked the spectators and us, many who saw the professionals, their technical perfection and bravura performance of classical parties.” September, 1986 The magazine “Soviet Ballet”. “You can say that” Songs of King Solomon “demonstration
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He continues his studies at the Rostov Conservatory under the same tutelage. He is the winner of the Nutcracker International Television Contest for Young Musicians (Moscow, 2016), the Astana Piano Passion (2017), and the Grand Piano Competition (Moscow, 2021). He has participated in various festivals such as 'Stars on Baikal' (Irkutsk), 'Stars of the White Nights' (Saint Petersburg), 'White Lilac' (Kazan), and the Mariinsky International Piano Festival (2022). He has performed at the Mariinsky Theatre Concert Hall, the Great Hall of the Moscow Conservatory, the Tchaikovsky Concert Hall, and at the Philharmonics of Saint Petersburg, Kislovodsk, North Ossetia, Rostov, Surgut, and Tver. Born in 2003 in Los Angeles. Graduated from the Central Music School - Academy of Performing Arts (Moscow). Student of the Moscow Conservatory (class of Professor Natalia Trull). Participated in master classes by Alexander Ghindin, Daniel Pollak, Andreas Frölich, Philip Ruskin, Antonio Pompa-Baldi and others. The winner of the Moscow International G. G. Neuhaus Competition (Moscow, 2018) and International Rachmaninoff Piano Competition (Moscow, 2020), the International Piano Competition Val de Travers (Switzerland, 2021), the Premio Jaen International Piano Competition (Spain, 2022) and others. Scholarship recipient of the Vladimir Spivakov Foundation and the Life Line Charity Foundation. Participant of the Pianissimo Festival (Russia), the Rheingau Muzik Festival (Germany), the American Fine Arts Festival, etc. Collaborates with symphony orchestras of Moscow, Spain, the Malaga Philharmonic Orchestra, the Madrid Virtuosi Symphony Orchestra, etc. He gives solo concerts in the USA, Russia, and European countries. He has performed at the Carnegie Hall in New York, the Vienna Musikverein, the halls of the Moscow Conservatory, the Zaryadye Concert Hall, the St. Petersburg State Academic Capella, the Ridotto del Teatro Comunale in Ferrara, the Minsk Philharmonic. Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in F major, BWV 880, from The Well-Tempered Clavier, Book 2 Ludwig van Beethoven Piano Sonata No. 23 in F minor Appassionata, Op. 57 Allegro assai / Andante con moto / Allegro ma non troppo – Presto Pyotr Tchaikovsky Valse sentimentale, Op. 51 No. 6 Franz Liszt Étude d’exécution transcendante No. 2 in A minor Frédéric Chopin Étude in C-sharp minor, Op. 10 No. 4 Sergei Rachmaninoff Étude-tableau in D major, Op. 39 No. 9 Round 2 Enrique Granados Quejas o la maja y el ruesenor, No. 4 from Goyescas Franz Liszt Piano Sonata in B minor Pyotr Tchaikovsky Dumka, Op. 59 Igor Stravinsky Three movements from Pétrouchka Danse russe / Chez Pétrouchka / La Semaine grasse Round 3 Pyotr Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso – Allegro con spirito / Andantino semplice – Prestissimo / Allegro con fuoco Benjamin Britten Piano concerto in D major, Op. 13 Toccata. Allegro molto e con brio / Waltz. Allegretto / Impromptu. Andante lento / March. Allegro moderato sempre a la marcia Born in 2001 in Nizhny Novgorod, Valentin Malinin graduated from the Central Music School at the Moscow Conservatory in 2020 (class of Honored Teacher of Russia, Mira Marchenko). He continued his education at the Berlin University of the Arts (Professor Kirill Gerstein). Currently, he is a student at the Moscow Conservatory (Professor Ksenia Knorre). Valentin is a laureate of the International Scriabin Competition (Italy, 2023), "Jaén Prize" International Piano Competition (Spain, 2021), Vladimir Krainev Moscow International Piano Competition (2019; Grand Prix). He has also received accolades at the international competitions: Ferruccio Busoni (Italy, 2019) and Maria Canals (Spain, 2023). A participant in renowned Rheingau Music Festival (Germany) and Rafael Orozco Piano Festival (Spain). Valentin has performed in Austria, Germany, Spain, Italy, France, and Switzerland. Since the age of eight he has been engaged in composition (class of Karina Baras, Russian Composers' Union member). He is a laureate of international composers' competitions and released a recording of his compositions in collaboration with the Naxos label in 2022. Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in C major, BWV 870, from The Well-Tempered Clavier, Book 2 Ludwig van Beethoven Piano Sonata No. 23 in F minor (“Appassionata”), Op. 57 Allegro assai / Andante con moto / Allegro ma non troppo – Presto Franz Liszt Étude No. 6 in A minor from Grandes études de Paganini Frédéric Chopin Étude in B minor, Op. 25 No. 10 Sergei Rachmaninoff Étude-tableau in F-sharp minor, Op. 39 No. 3 Pyotr Tchaikovsky Tendres reproches, Op. 72 No. 3 Scherzo à la russe, Op. 1 No. 1 Round 2 Sergei Prokofiev Piano Sonata No. 6, Op. 82 Allegro moderato / Allegretto / Tempo di valzer, lentissimo / Vivace Pyotr Tchaikovsky Nocturne in F major, Oр. 10 No. 1 Impromptu in F minor, Op. 72 No. 1 Alexander Scriabin Three études, Op. 65 Allegro / Andante / Allegro moderato Valse in A-flat major, Op. 38 Piano Sonata No. 4 in F-sharp major, Op. 30 Andante / Prestissimo volando Round 3 Alexander Scriabin Piano Concerto in F-sharp minor, Op. 20 Allegro / Andante / Allegro moderato Pyotr Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso – Allegro con spirito / Andantino semplice – Prestissimo / Allegro con fuoco George Studied at the Royal Birmingham Conservatoire under Pascal Nemirovski until 2023. Priour to this studied with William Fong at the Purcell School and a the Junior Department of the Royal Academy of music in London, before going on to complete his undergraduate studies with Vanessa Latarche at the Royal Colloge of Music in London, 2021. Participated in master classes by Dmitry Bashkirov, Vladimir Ashkenazi, Vladimir Ovchinnikov and Simon Lepper. Prize winner of the Grand Piano Competition (Moscow), Sendai International Music Competition (Japan), Gina Bachauer Piano Competition (Salt Lake City, USA), Concours International de Lagny-sur-Marne (France), and the Dinu Lipatti Piano Competition in Bucharest. George performs in the USA, Russia, Europe, and Asia: at the Wigmore Hall and the Royal Albert Hall (London), the Berlin Philharmonic, the Chicago Symphony Centre, the Zaryadye Hall, the Frankfurt Alte Oper, etc. He plays with the Mariinsky Orchestra, the Tatarstan National Symphony Orchestra, the New Millennium Orchestra of Chicago, the Frankfurt Opera Orchestra, the Tyumen and Sendai Philharmonic Orchestras, etc. Collaborates with Denis Matsuev, Valery Gergiev, Alexander Sladkovsky, Sebastian Weigle. Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in C minor, BWV 847, from Well-Tempered Clavier, Part 1 Ludwig van Beethoven Piano Sonata No. 18 in E-flat major, Op. 31 No. 3 Allegro / Scherzo. Allegretto vivace / Minuet. Moderato e grazioso / Presto con fuoco Pyotr Tchaikovsky Nocturne, Op. 19 No. 4 Frédéric Chopin Étude in F major, Op. 10 No. 8 Sergei Rachmaninoff Étude-tableau in A minor, Op. 39 No. 6 Franz Liszt Transcendental Étude No. 5 Harmonies du soir Round 2 Franz Schubert Fantasia in C major Wanderer, D 760 Pyotr Tchaikovsky Méditation from 18 Pieces, Op. 72 No. 5 Maurice Ravel Une Barque sur l’océan from Miroirs Igor Stravinsky Three movements from Pétrouchka Danse russe / Chez Pétrouchka / La Semaine grasse Round 3 Sergei Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18 Moderato / Adagio sostenuto / Allegro scherzando Pyotr Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso – Allegro con spirito / Andantino semplice – Prestissimo / Allegro con fuoco Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in E minor, BWV 879, from The Well-Tempered Clavier, Book 2 Ludwig van Beethoven Piano Sonata No. 30 in E major, Op. 109 Vivace ma non troppo, sempre legato – Adagio espressivo / Prestissimo / Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo Frédéric Chopin Étude in A minor, Op. 25 No. 11 Sergei Rachmaninoff Étude-tableau in B minor, Op. 39 No. 4 Franz Liszt Étude No. 6 in A minor from Grandes études de Paganini Pyotr Tchaikovsky Theme and Variations, Op. 19 № 6 Round 2 Robert Schumann Three Romances, Op. 28 Sehr markiert / Einfach / Sehr markiert Camille Saint-Saëns – Franz Liszt Danse macabre, Op. 40 (arrangement by Vladimir Horowitz) Pyotr Tchaikovsky Echo rustique (No. 13) and Chant élégiaque (No. 14) from 18 Pieces, Op. 72 Sergei Rachmaninoff Piano Sonata No. 2, Op. 36 (first version) Allegro agitato / Non allegro – Lento / L’istesso tempo – Allegro molto Round 3 Pyotr Tchaikovsky Piano Concerto No. 2 in G major, Op. 44 (composer’s version) Allegro brillante e molto vivace / Andante non troppo / Allegro con fuoco Sergei Rachmaninoff Piano Concerto No. 3 in D minor, Op. 30 Allegro ma non tanto / Intermezzo. Adagio / Finale. Alla breve Born in Seoul. Suah He is studying with Arie Vardi at the University of Music, Drama and Media in Hanover and has studied with Soo-Jung Shin in Korea. Winner of the Tchaikovsky Competition for Young Musicians in Novosibirsk (2015) and the Arthur Rubinstein International Youth Piano Competition in Beijing (2016). Laureate of the Seoul International Music Competition (2020), winner of the Mendelssohn Academy Prize 2022 in Leipzig. She has performed with the Moscow State, Novosibirsk and Israel Symphony Orchestras and others on the stages of Carnegie Hall, Moscow Conservatory, St. Petersburg Philharmonic, Seoul Arts Center, Tel Aviv Performing Arts Center, Auditorium Parco della Musica in Rome, Beijing Forbidden City Concert Hall. Suah served as a junior jury at the Arthur Rubinstein International Piano Competition in Tel Aviv (2017) and a member of the jury at the Tchaikovsky International Competition for Young Musicians in Moscow (2022). Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in G minor, BWV 885, from Well-Tempered Clavier, Part 2 Ludwig van Beethoven Piano Sonata No. 21 in C major, Op. 53 Allegro con brio / Introduzione. Adagio molto / Rondo. Allegretto moderato – Prestissimo Franz Liszt Étude No. 2 in F minor from 3 Études de Concert Sergei Rachmaninoff Étude-tableau in E-flat minor, Op. 33 No. 6 Frédéric Chopin Étude in A minor, Op. 25 No. 11 Pyotr Tchaikovsky – Mikhail Pletnev Andante Maestoso from The Nutcracker Round 2 Frédéric Chopin Andante Spianato and Grande Polonaise Brillante in E-flat major, Op. 22 Alexander Scriabin Piano Sonata No. 5 in F-sharp major, Op. 53 Pyotr Tchaikovsky Un poco di Chopin (No. 15) and Scène dansante. Invitation au trépak (No. 18) from 18 Pieces, Op. 72 Robert Schumann Études symphoniques, Op. 13 Round 3 Sergei Rachmaninoff Piano concerto No. 3 in D minor, Op. 30 Allegro ma non tanto / Intermezzo. Adagio / Finale. Alla breve Pyotr Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso – Allegro con spirito / Andantino semplice – Prestissimo / Allegro con fuoco Born in 1998 in Conegliano (Italy). Alessandro studied at the Slovenian Center for Musical Education E. Komel in Gorizia (class of Professor Siavush Gadjiev). Since 2017 he has been studying at the Mozarteum University of Salzburg (class of Professor Pietro De Maria). He also took lessons with Jacques Rouvier, Pavel Gililov, Alfred Brendel, Imre Rohmann, and Natalia Trull. Laureate of the Rachmaninoff Competition in Frankfurt am Main (2010), the International Piano Competition in Usti nad Labem, (Czech Republic, 2011), winner of the International Piano Talents Competition in Milan (2011), the Master Orchestra Competition in Brescia (2022), the Amadeus Piano Competition in Lazise (2022), Giulio Rospigliosi Piano Competition (2022), etc. He has performed at the Lucca Classica Festival, held recitals, and participated in chamber music concerts in Slovenia, Austria and Italy. Since 2022 he has been teaching at a private school in Munich. Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in B-flat major, BWV 866, from Well-Tempered Clavier, Part 1 Sergei Rachmaninoff Étude-tableau in D minor, Op. 33 No. 4 Franz Liszt Transcendental Étude No. 5 Feux follets Pyotr Tchaikovsky Four excerpts from The Seasons March (Song of the Lark) / August (The Harvest) / October (Autumn Song) / December (Christmas) Frédéric Chopin Étude in C-sharp minor, Op. 10 No. 4 Muzio Clementi Piano Sonata in B minor, Op. 40 No. 2 Round 2 Wolfgang Amadeus Mozart Variations on a theme by Paisiello, KV 398 Johannes Brahms Fantasien, Op. 116 Capriccio in D minor / Intermezzo in A minor / Capriccio in G minor / Intermezzo in E major / Intermezzo in E minor / Intermezzo in E major / Capriccio in D minor Pyotr Tchaikovsky Impromptu, Op. 72 No. 1 Sergei Prokofiev Piano Sonata No. 7 in B-flat major, Op. 83 Allegro inquieto / Andante caloroso / Precipitato Round 3 Sergei Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18 Moderato / Adagio sostenuto / Allegro scherzando Pyotr Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso – Allegro con spirito / Andantino semplice – Prestissimo / Allegro con fuoco Born in Moscow in 1993, Timofey Dolya completed his studies at the Moscow Conservatory and its assistantship-internship under Professor Andrey Pisarev. He studied at the University of Music and Performing Arts in Vienna (Professor Jan von Arnim, 2019–2022). Currently, he is studying at the Graz University of Music and Performing Arts (Professor Markus Schirmer) and at the Imola Piano Academy (Professor Boris Petrushansky). He has participated in masterclasses with Sergey Dorensky, Dmitry Bashkirov, Michel Beroff, and others. Winner of the Pianale (Germany, 2016), Grand Prix of the Rudolf Kehrer International Piano Competition (Moscow, 2021), etc. Received a scholarship from the President of Russia (2016). Soloist of the St. Petersburg House of Music (since 2017), Moscow Philharmonic (since 2018). He performed with the Mariinsky Orchestra, Tchaikovsky Symphony Orchestra, Svetlanov State Symphony Orchestra of Russia, etc. Artist of KNS Classical. Released debut album in 2017. Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in G minor, BWV 861, from The Well-Tempered Clavier, Book 1 Joseph Haydn Piano Sonata in F major, Hob.XVI:23 Allegro / Adagio / Finale. Presto Pyotr Tchaikovsky Romance, Op. 5 Nocturne in F major, Oр. 10 No. 1 Scène dansante. Invitation au trépak, Op. 72, No. 18 Frédéric Chopin Étude in B minor, Op. 25 No. 10 Franz Liszt Concert étude No. 3 in D-flat major Un sospiro Sergei Rachmaninoff Étude-tableau in D major, Op. 39 No. 9 Round 2 Johannes Brahms Klavierstücke, Op.118 Intermezzo in A minor / Intermezzo in A major / Ballade in G minor / Intermezzo in F minor / Romance in F major / Intermezzo in E-flat minor Nikolay Medtner Three Tales, Op. 42 Pyotr Tchaikovsky Méditation, Op. 72 No. 5 Sergey Prokofiev Piano Sonata No. 7 B-flat major, Op. 83 Allegro inquieto / Andante caloroso / Precipitato Round 3 Pyotr Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso – Allegro con spirito / Andantino semplice – Prestissimo / Allegro con fuoco Sergey Prokofiev Piano Concerto No. 3 in C major, Op.26 Andante – Allegro / Tema con variazioni / Allegro, ma non troppo Born in 2003. He is currently studying at the Mozarteum University in Salzburg with Professor Pavel Gililov. Participated in master classes by Konstantin Bogino, Dmitry Alexeev, Dina Yoffe, and others. Laureate of the International Piano Competition Isidor Bajic Piano Memorial in Novi Sad (Serbia, 2021), Maj Lind International Piano Competition (Finland, 2022), Arona International Piano Competition (Italy, 2022), etc. Scholarship recipient of the Accademia Lorenzo Perosi in Biella (Italy, 2019) and the Dobar Glas Foundation (2022), the scholarship for the gifted young artists, supported by the Serbian Government. Collaborated with the Helsinki Radio Symphony Orchestra, the Serbian Symphony Orchestra, the Serbian Radio and Television Symphony Orchestra, the Royal Strings of St. George Orchestra, the Kamus Quartet; performed under the baton of Anna-Maria Helsing, Bojan Suđić and many others. Bogdan played at the Belgrade Philharmonic Concert Hall, the Helsinki Music Centre, etc. Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in G minor, BWV 885, from The Well-Tempered Clavier, Book 2 Ludwig van Beethoven Piano Sonata No. 7 in D major, Op. 10 No. 3 Presto / Largo e mesto / Menuetto. Allegro / Rondo. Allegro Pyotr Tchaikovsky Dumka, Op. 59 Frédéric Chopin Étude in B minor, Op. 25 No. 10 Franz Liszt Transcendental Etude No. 8 Wilde Jagd Sergei Rachmaninoff Étude-tableau in E-flat minor, Op. 33 No. 6 Round 2 Frédéric Chopin Piano Sonata No. 2 in B-flat minor, Op. 35 Grave – Doppio movimento / Scherzo / Marche funèbre / Presto Pyotr Tchaikovsky February (Carnival) from The Seasons, Op. 37-bis Claude Debussy Images (Book 1) Reflets dans l’eau / Hommage à Rameau / Mouvement Sergei Prokofiev Piano Sonata No. 7 in B-flat major, Op. 83 Allegro inquieto / Andante caloroso / Precipitato Round 3 Pyotr Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso – Allegro con spirito / Andantino semplice – Prestissimo / Allegro con fuoco Sergei Prokofiev Piano Concerto No. 2 in G minor, Op. 16 Andantino – Allegretto / Scherzo. Vivace / Intermezzo. Allegro moderato / Finale. Allegro tempestoso Born in 1995 in Kazakhstan, Yelaman Yernur graduated from the A. Zhubanov Republican Kazakh Specialized Music Boarding School for Gifted Children (class of Gulzhan Kazybekova) before completing his studies at the Moscow Conservatory and its postgraduate internship program (under the guidance of Professor Alexander Mndoyants). He further honed his skills under the tutelage of Ekaterina Mechetina. Yernur is an award-winning pianist, having earned accolades at the A. Zhubanov Young Talents Competition in Almaty (2012), the Abu Dhabi Piano Competition (UAE, 2015), the Almaty Piano Competition (2017), the Cidade de Vigo competition (Spain, 2020), the N.K. Metner Memorial Competition in St. Petersburg (2022), and the Shabyt Creative Youth Competition in Astana (2022), among others. He performs solo and as part of chamber ensembles in Russia, Kazakhstan, and Japan. Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in B-flat minor, BWV 867, from The Well-Tempered Clavier, Book 1 Joseph Haydn Piano Sonatа (Partita) in G major, Hob.XVI:6 Allegro / Menuetto / Adagio / Molto allegro Pyotr Tchaikovsky Berceuse, Op. 72 No. 2 Franz Liszt Étude d’exécution transcendante No. 10 in F minor Pyotr Tchaikovsky Chant élégiaque (No. 14) and Un poco di Chopin (No. 15) from 18 Pieces, Op. 72 Frédéric Chopin Etude in A minor, Op. 25 No. 4 Pyotr Tchaikovsky Scène dansante: Invitation au trépak, Op. 72 No. 18 Sergei Rachmaninoff Étude-tableau in D major, Op. 39 No. 9 Round 2 Claude Debussy Prélude No. 8 La fille aux cheveux de linImages (Book 1) Reflets dans l’eau / Hommage à Rameau / MouvementÉtude No. 5 Pour les octaves from Études Nikolay Medtner Piano Sonata in F minor, Op.5 Allegro / Intermezzo. Allegro/ Largo / Finale. Allegro risoluto Pyotr Tchaikovsky Dumka, Op. 59 Round 3 Sergey Prokofiev Piano Concerto No. 1 in D-flat major, Op. 10 Allegro brioso / Andante assai / Allegro scherzando Pyotr Tchaikovsky Piano Concerto No. 2 in G major, Op. 44 Allegro brillante e molto vivace / Andante non troppo / Allegro con fuoco Born in 2000 in Saransk, Alexander Klyuchko is an alumnus of the Moscow College of Musical Performance (class of Sergey Artsibashev) and the Alfred Cortot School of Music in Paris (Professor Rena Shereshevskaya). Since 2021 he has been a student at the Moscow Conservatory (Professor Pavel Nersessian). He emerged victorious at various competitions as Astana Piano Passion (2017), Ile-de-France Piano Competition (2018), Manhattan Music Competition (2020), and the Rachmaninoff Competition for Pianists, Conductors, and Composers (2022). Klyuchko has graced the stages of the Moscow Conservatory, St. Petersburg Academic Capella, Cortot Hall (Paris), Palace of Catalan Music (Barcelona), etc. He has participated in the "Stars on Baikal" festival (Irkutsk), Gradus Piano Festival (Denmark), and "Musical Olympus" (St. Petersburg), performing with the Svetlanov State Symphony Orchestra of Russia, the Mariinsky Orchestra, the National Philharmonic Orchestra of Russia, the Spanish Radio and Television Orchestra, etc. Since 2022 he has been a Yamaha artist. Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in B-flat minor, BWV 867, from The Well-Tempered Clavier, Book 1 Ludwig van Beethoven Piano Sonata No. 32 in C minor, Op. 111 Maestoso – Allegro con brio ed appassionato / Arietta. Adagio molto semplice cantabile Pyotr Tchaikovsky Passé lointain, Op. 72 No. 17 Sergei Rachmaninoff Étude-tableau in E-flat minor, Op. 33 No. 6 Frederic Chopin Étude in F major, Op. 10 No. 8 Franz Liszt Étude d’exécution transcendante No. 8 Wilde Jagd Round 2 Franz Liszt Four Études d’exécution transcendante Preludio / Molto vivace / Paysage / Mazeppa Pyotr Tchaikovsky Scherzo (Allegro molto vivace) from Symphony No. 6, Op. 74 (arranged by Samuil Feinberg) Karol Szymanowski Variations in B-flat minor, Op. 3 Sergei Rachmaninoff Piano Sonata No. 2, Op. 36 ( 2nd version) Allegro agitato / Non allegro / L’istesso tempo – Allegro molto Round 3 Pyotr Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso – Allegro con spirito / Andantino semplice – Prestissimo / Allegro con fuoco Johannes Brahms Piano Concerto No. 2 in B-flat major, Op. 83 Allegro non troppo / Allegro appassionato / Andante / Allegretto grazioso Born in Moscow in 1994, Nikolay Kuznetsov completed his studies at the Moscow Conservatory and its postgraduate program (Professor Sergey Dorensky and his assistants Nikolay Lugansky, Andrey Pisarev, and Pavel Nersessian). A recipient of scholarships from the Moscow Government and President of the Russian Federation, he holds the Grand Prix of Monte Carlo Piano Masters competition and Prince Rainier III Award (Monaco, 2021). He has also emerged victorious in the Ricardo Viñes Competition (Spain, 2018), Wandering Music Stars (Israel, 2019), Euregio Piano Award (Germany, 2020), etc. Kuznetsov has toured across Russia, Italy, France, Germany, Estonia, Ukraine, Slovenia, Japan, Oman, Colombia, and Panama. He has performed accompanied by the Svetlanov State Symphony Orchestra of Russia, the Mariinsky Orchestra, Monte-Carlo Philharmonic Orchestra, Jerusalem Symphony Orchestra, etc. Since 2018, he has been a participant in the "Stars of the 21st Century" Moscow Philharmonic's federal program. Born in 1992 in Kanagawa Prefecture. He graduated from the Tokyo University of the Arts, then studied at the Liszt Ferenc Academy of Music (Budapest). Winner of the Tokyo and Japanese music competitions, the Kyungsung International Piano Competition (South Korea) and others. Koki has been playing the piano solo and chamber music, has appeared as a soloist with the Tokyo Philharmonic Orchestra, the Tokyo Symphony Orchestra, the Japanese and New Japanese Philharmonic Orchestras, the Royal Philharmonic Orchestra (London), the Roma Tre Orchestra (Rome), the St. Petersburg State Academic Symphony Orchestra, etc. He has released two albums: "Sailing Day" and "Pictures at an Exhibition". Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in B major BWV 892, No. 23 from The Well-Tempered Clavier, Book 2 Joseph Haydn Piano Sonata in B minor, Hob.XVI:32 Allegro moderato / Menuet / Finale. Presto Pyotr Tchaikovsky Dumka, Op. 59 November (On the Troika) from The Seasons, Op. 37-bis Frédéric Chopin Étude in E minor, Op. 25 No. 5 Franz Liszt Étude No. 3 La campanella from Grandes études de Paganini Sergei Rachmaninoff Étude-tableau in D major, Op. 39 No. 9 Round 2 Pyotr Tchaikovsky – Mikhail Pletnev Concert Suite from The Nutcracker Alexander Scriabin Fantaisie in B minor, Op. 28 Mily Balakirev Nocturne No. 3 in D minor Sergei Rachmaninoff Piano Sonata No. 2 in B-flat minor, Op. 36 Allegro agitato / Non allegro – Lento / L’istesso tempo – Allegro molto Round 3 Pyotr Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso – Allegro con spirito / Andantino semplice – Prestissimo / Allegro con fuoco Sergei Rachmaninoff Piano concerto No. 3 in D minor, Op. 30 Allegro ma non tanto / Intermezzo. Adagio / Finale. Alla breve Born in China. She studied at the Shenyang Conservatory of Music, Mannes School of Music of The New School in New York, the Manhattan School of Music with Jerome Rose, Victor Rosenbaum and Alexandre Moutouzkine. Currently studying under the tutelage of Matti Raekallio in New York. Winner of the New York Artist International Competition, the Singapore International Piano Competition, the Bradshaw & Buono Piano Competition, the Rondo Young Artists Competition, the Montecatini International Piano Competition, the Asian TOYAMA Piano Competition and Xinghai Cup Piano Competition, etc. Participates in the Honeywell Arts Academy Festival, the International Keyboard Festival, the Piano Island Festival. She has played at the Carnegie Hall, The DiMenna Center for Classical Music, Marc A. Scorca Hall at the National Opera Center, the Paderewski Pomeranian Philharmonic Hall (Bydgoszcz), Meininger Theater and the Montecatini Terme Concert Hall, etc. Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in G-sharp minor, BWV 863, from The Well-Tempered Clavier, Book 1 Franz Liszt Concert étude in D-flat major Waldesrauschen Sergei Rachmaninoff Étude-tableau in B minor, Op. 39 No. 4 Frédéric Chopin Étude in A-flat major, Op. 10 No. 10 Pyotr Tchaikovsky Nocturne in F major, Op. 10 No. 1 Ludwig van Beethoven Piano Sonata No. 31 in A-flat major, Op. 110 Moderato cantabile molto espressivo / Allegro molto / Adagio ma non troppo – Arioso dolente – Fuga. Allegro ma non troppo Round 2 Samuel Barber Piano Sonata in E-flat minor, Op. 26 Allegro energico / Allegro vivace e leggiero / Adagio mesto/ Fuga. Allegro con spirito Pyotr Tchaikovsky Valse sentimentale, Op. 51 No. 6 Claude Debussy Images (Book 1) Reflets dans l’eau / Hommage à Rameau / Mouvement Sergei Rachmaninoff Piano Sonata No. 2 in B-flat minor, Op. 36 Allegro agitato / Non allegro – Lento / L’istesso tempo – Allegro molto Round 3 Pyotr Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso – Allegro con spirito / Andantino semplice – Prestissimo / Allegro con fuoco Ludwig van Beethoven Piano Concerto No.4 in G major, Op. 58 Allegro moderato / Andante con moto / Rondo. Vivace Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in A-flat major, BWV 862, from Well-Tempered Clavier, Part 1 Ludwig van Beethoven Piano Sonata No. 30 in E major, Op. 109 Vivace ma non troppo, sempre legato – Adagio espressivo / Prestissimo / Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo Pyotr Tchaikovsky Méditation from 18 Pieces, Op. 72 No. 5 Frédéric Chopin Étude in A minor, Op. 10 No. 2 Franz Liszt Transcendental Étude No. 5 Feux follets Sergei Rachmaninoff Étude-tableau in A minor, Op. 39 No. 6 Round 2 Pyotr Tchaikovsky Dumka, Op. 59 Alexander Scriabin Piano Sonata No. 2 in G-sharp minor (Sonata-Fantasy), Op. 19 Andante / Presto Robert Schumann Piano Sonata No. 2 in G minor, Op. 22 So rasch wie möglich / Andantino. Getragen / Scherzo. Sehr rasch und markiert / Rondo. Presto Franz Liszt Four Transcendental Études Prelude / Molto vivace / Paysage / Mazeppa Round 3 Pyotr Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso – Allegro con spirito / Andantino semplice – Prestissimo / Allegro con fuoco Sergei Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18 Moderato / Adagio sostenuto / Allegro scherzando He studied at Seoul National University with Professor Hie-Yon Choi, at the Royal College of Music in London with Professor Dmitri Alexeev, at the Hochschule für Musik und Theater München with Professor Michael Schäfer. He is currently studying at the Universität der Künste Berlin under Professor Markus Groh. Laureate of the Singapore International Piano Competition, the Isang Yun International Music Competition (South Korea), the Vladimir Horowitz Memorial International Competition for Young Pianists (Ukraine - Switzerland). Winner of the Windsor International Piano Competition, the Artur Schnabel Piano Competition in Berlin, winner of the First Prize of the München Gasteig Culture Centre. He has performed as a soloist with the Suisse Romande Orchestra, the London Royal Philharmonic Orchestra, the Mihail Jora Philharmonic Orchestra (Romania), the orchestra of the TIMF Orchestra of the Music Festival in Tongyeong (TIMF, South Korea) and the Korea University Orchestra. Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in B-flat major, BWV 866, from Well-Tempered Clavier, Part 1 Joseph Haydn Piano Sonata in C major, Hob.XVI:50 Allegro / Adagio / Allegro molto Frédéric Chopin Étude in C minor, Op. 10 No. 12 Franz Liszt Étude No. 6 in A minor from Grandes études de Paganini Sergei Rachmaninoff Étude-tableau in D minor, Op. 39 No. 8 Pyotr Tchaikovsky May (White Nights) from The Seasons, Op. 37-bis Pyotr Tchaikovsky Theme and Variations, Op. 19 No. 6 Round 2 Pyotr Tchaikovsky March (Song of the Lark) from The Seasons, Op. 37-bis Frédéric Chopin Rondo in C major, Op. 73 Sergei Bortkiewicz 10 Preludes, Op. 33 Igor Stravinsky Three movements from Pétrouchka Danse russe / Chez Pétrouchka / La Semaine grasse Round 3 Pyotr Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso – Allegro con spirito / Andantino semplice – Prestissimo / Allegro con fuoco Wolfgang Amadeus Mozart Piano Concerto No. 17 in G major, KV 453 (cadenza by Kyoungsun Park) Allegro / Andante / Allegretto Marcel Tadokoro was born in Japan in the Littératuri family to a Japanese father and a French mother. Graduated from the National Conservatory of Music and Dance of Paris. He is currently studying at the École Normale de Musique de Paris ‘Alfred Cortot” under the guidance of Professor Rena Shereshevskaya. Laureate of several international competitions, including the Paloma O'Shea Santander International Piano Competition (Spain, 2022), winner of the John Giordano Jury Chairman Award of the Van Cliburn International Piano Competition (USA, 2022). Finalist at the Montréal International Musical Competition (2021). He has played with the Royal Chamber Orchestra of Wallonia, the National Philharmonic of Ukraine, and the Ural Philharmonic Orchestra. He makes frequent recital appearances across France and in Japan. Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in D minor, BWV 875, from Well-Tempered Clavier, Part 2 Ludwig van Beethoven Piano Sonata No. 16 in G major, Op. 31 No. 1 Allegro vivace / Adagio grazioso / Rondo. Allegretto – Presto Frédéric Chopin Étude in A minor, Op. 10 No. 2 Franz Liszt Transcendental Étude No. 5 Feux follets Sergei Rachmaninoff Étude-tableau in E-flat major, Op. 33 No. 7 Pyotr Tchaikovsky Danse caractéristique (No. 4) and Scherzo fantaisie (No. 10) from 18 Pieces, Op. 72 Round 2 Evgeny Svetlanov Moderato (No. 1) and Vesnyanki (No. 9) from 12 Preludes Alexander Scriabin 3 Études, Op. 65 Allegro fantastico / Allegretto / Molto vivace Sergei Rachmaninoff Variations on a Theme by Corelli, Op. 42 Pyotr Tchaikovsky Piano Sonata in C-sharp minor, Op. posth. 80 Allegro con fuoco / Andante / Allegro vivo / Allegro vivo Charles Trenet – Alexis Weissenberg En avril à Paris Round 3 Wolfgang Amadeus Mozart Piano Concerto No. 27 in B-flat major, KV 595 Allegro / Larghetto / Allegro Pyotr Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23 (original version) Allegro non troppo e molto maestoso – Allegro con spirito / Andantino semplice – Allegro vivace assai / Allegro con fuoco He graduated from the Colburn School of Music (class of Professor Myong-joo Lee) and the New England Conservatory of Music in Boston (class of Professor Alexander Korsantia). He is currently studying at the Juilliard School with Professors Jerome Lowenthal and Hung-Kuan Chen. He has performed at the Alfred Lener Hall of Columbia University in New York City, the Alice Tully Hall of the Lincoln Center for the Performing Arts, the Boston Jordan and Boston Symphony Halls, the Zipper Hall in Los Angeles, the Sala dei Notari and Teatro Del Pavone (Perugia), the Maestro Georgi Atanasov Concert Hall, the Shanghai Symphony Concert Hall, the Quanzhou Grand Theater and others. Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in C-sharp minor, BWV 849, from Well-Tempered Clavier, Part 1 Ludwig van Beethoven Piano Sonata No. 31 in A-flat major, Op. 110 Moderato cantabile molto espressivo / Allegro molto / Adagio ma non troppo – Arioso dolente – Fuga. Allegro ma non troppo Pyotr Tchaikovsky Méditation from 18 Pieces, Op. 72 No. 5 Frédéric Chopin Étude in C minor, Op. 10 No. 12 Franz Liszt Transcendental Étude No. 7 Eroica Sergei Rachmaninoff Étude-tableau in E-flat minor, Op. 33 No. 6 Round 2 Pyotr Tchaikovsky June (Barcarolle) and October (Autumn Song) from The Seasons, Op. 37-bis Johann Sebastian Bach – Ferruccio Busoni Chaconne from Violin Partita in D minor Alexander Scriabin Fantaisie in B minor, Op. 28 Sergei Rachmaninoff Piano Sonata No. 2 in B-flat minor, Op. 36 Allegro agitato / Non allegro – Lento / L’istesso tempo – Allegro molto Round 3 Pyotr Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso – Allegro con spirito / Andantino semplice – Prestissimo / Allegro con fuoco Maurice Ravel Piano Concerto No. 1 in G major Allegramente / Adagio assai / Presto Born in 1995 in Moscow, Konstantin Khachikyan graduated from the Moscow Conservatory (Professor A.A. Pisarev). He is currently pursuing postgraduate degree (Professors A.A. Pisarev and N.L. Lugansky). He is a laureate of multiple international competitions, including the Chopin Competition in Canberra (Australia, 2017), Piano Competition in Lyon (France, 2018), Rachmaninoff Competition for Pianists, Conductors, and Composers (Moscow, 2022), and Piano Competition in Hong Kong (2022). Furthermore, he clinched victory in the Chopin Competition in Moscow (2016), Vienna International Music Competition (Austria, 2021), and All-Russian Music Competition (2022). He has graced the stage in the most prestigious concert halls across Russia and beyond, including performances in Germany, France, Austria, Italy, Japan, Australia, among others. He collaborates with leading orchestras and eminent conductors such as V. Fedoseyev, T. Currentzis, D. Raiskin, F. Korobov, V. Uruypin, M. Alsop, and others. Repertoire Round 1 Johann Sebastian Bach Prelude and Fugue in E major, BWV 878, from The Well-Tempered Clavier, Book 2 Wolfgang Amadeus Mozart Piano Sonata No.18 in D major, KV 576 Allegro / Adagio / Allegretto Frédéric Chopin Étude in G-sharp minor, Op. 25 No. 6 Franz Liszt Étude d’exécution transcendante No. 12 Chasse-neige Sergei Rachmaninoff Étude-tableau in D minor, Op. 33 No. 4 Pyotr Tchaikovsky Méditation, Op. 72 No. 5 Nocturne in C-sharp minor, Op. 19 No. 4 Scherzo humoristique, Op. 19 No. 2 Round 2 Frédéric Chopin Polonaise-fantaisie in A-flat major, Op. 61 Pyotr Tchaikovsky Three pieces from The Seasons, Op.37-bis June (Barcarolle) / July (Song of the Reaper) / August (Harvest) Sergei Rachmaninoff Variations on a Theme of Corelli, Op. 42 Maurice Ravel La Valse (arrangement for piano) Round 3 Pyotr Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso – Allegro con spirito / Andantino semplice – Prestissimo / Allegro con fuoco Sergei Rachmaninoff Piano concerto No. 3 in D minor, Op. 30 Allegro ma non tanto / Intermezzo. Adagio / Finale. Alla breve Born in China in 1997, she concluded her studies at the Wuhan Conservatory Мusic Сchool (Wang Xian, Associate Professor; Pan Chun, Central Conservatory Professor). She subsequently graduated from the Moscow Conservatory (Professor Olga Zhukova and her assistant Eleonora Karpukhova). Now she continues her postgraduate training at the Moscow Conservatory (Associate Professor Dmitry Kaprin). She participated in masterclasses led by Alexander Kobrin, Vovka Ashkenazy, and Philipp Kopachevsky. She is the winner of "Islamey" Moscow Interregional Competition (2019), Allegretto Grazioso in Moscow International Art Festival-Competition (2021), and she was a laureate at the Klavierpodium competition in Munich (2021). In 2022 she was chosen as a participant in the Glocal Piano Project, that served as a first round of the 64th Ferruccio Busoni International Piano Competition. She has performed in many prestigious concert halls across Russia, Europe, and China. She currently serves on the Faculty of Arts at Moscow University. Kim Gyehee studied at the Curtis Institute of Music, Seoul National University, and University of Music and Performing Arts Munich with violinists Joseph Silverstein, Young Uck Kim, Lena Neudauer and Christoph Poppen. Kim Gyehee is the winner of the George Enescu, Andrea Postacchini, Munetsugu and Gnessin Junior International Music competitions. She is also a laureate of the International Tchaikovsky Competition for Young Musicians, Torún and Isang Yun International Music Competition. She has been invited to perform at the "Moscow Meets Friends" Festival, George Enescu Festival, Kronberg Academy, Mozarteum International Summer Academy among others. She has played with the Korean Symphony Orchestra, George Enescu Philharmonic, Novosibirsk Philharmonic Chamber Orchestra, and many others. Born in 1990 in Nagoya. Takamori Arai studied under the guidance of Professors Takashi Shimizu, Eszter Perényi, and Pierre Amoyal. Graduated with honors from the Tokyo University of the Arts, having been awarded the Acanthus Music Prize. He improved his skills under the guidance of Professor Eduard Schmieder at the Boyer College of Music at Temple University (Philadelphia). He is currently an associate violinist at Musashino Academia Musicae (Tokyo). Laureate of many national and international competitions. He performs in Japan, the USA and Europe. He has played in many concert halls and at various festivals, including the Mozarteum Salzburg and Los Angeles’ iPalpiti Festival. Takamori Arai has collaborated with such conductors as Douglas Bostock, Kazuki Sawa and Ken Takaseki. In 2022, he gave his debut solo performance at Carnegie Hall in New York, winning the IBLA Grand Prize International Music Competition. Born in 1999 in Dalian. Currently studying at the Central Conservatory (Beijing) with Ti Zhang, previously studied with Yaoji Lin. Chenming Wang participated in master classes by Midori Goto, Zakhar Bron, Lewis Kaplan, Zhou Qian, Feng Ning, Kun Hu, Paul Roczek, William van der Sloot, Gwen Hoebig. Laureate of the Alice & Eleonore Schoenfeld International String Competition (2014, 4th prize), Leonid Kogan International Violin Competition (2021, 3rd prize), Savshinsky International Music Competition (2021, 3rd prize), the Futian International String Competition (2016, 3rd prize), Chengdu Guangya International Violin Competition (2019, 5th prize), London Young Musician International Music Competition (2021, 1st prize), as well as competitions in Hong Kong, Bonn, Salzburg, Moscow, and other cities. Winner of the Danubia Talents International Music Competition and ISCART online contest. She performs as a soloist in China and Europe, at festivals in Morningside and Singapore, collaborates with conductors Li Xincao and Lin Chen, plays as part of a string quartet, in an ensemble with Siqing Lü, Bonian Tian, Diyang Mei, Liwei Qin and David Geringas. Born in 1999 in Moscow. Agafia graduated from the Moscow Conservatory (class of Professor Eduard Grach) with the title of "Best Graduate of the Year", ". She is currently an trainee assistant-intern at the conservatory. Laureate of the Kloster Schöntal International Violin Competition (Germany, 2015, 3rd prize and special prize), the Yampolsky International Competition (2017, 2nd prize), the International Violin Competition in Astana (2019, Grand Prix), the International Eduard Grach Violin Competition (Moscow, 2020, 2nd prize). Scholarship of the Vladimir Spivakov Foundation. Agafia participated in the foundation's projects in many cities of Russia, as well as abroad in Mexico, GermanyGermany, and France. She has performed at festivals and master classes in Greece and Israel, played in the halls of the Moscow Conservatory, the Moscow International House of Music, the Tchaikovsky Concert HallHall, and others. She performed six Ysaÿe's violin sonatas in her solo concert recital in the Small Hall of the Moscow Conservatory in 2021, and in 2022, she played all the 24 Paganini caprices in one concert there. Born in 1998 in Voronezh. Sofia graduated from the Moscow Conservatory (class of Professor Alexey Koshvants) where she is currently an assistant intern. Sofia participated in workshops by Marina Keselman, Alexander Revich, Vladimir Ivanov, Alexander Vinnitsky, Maxim Fedotov, and others. She won a silver medal at the Youth Delphic Games of Russia (Volgograd, 2014), laureate of the Mravinsky International Competition for Youth (St. Petersburg, 2016, 3rd prize), Beethoven International Music Competition (Sankt Pölten, Austria, 2017, 3rd prize), International Eduard Grach Violin Competition (Moscow, 2020, 3rd prize), All-Russian Music Competition (Kazan, 2022, 3rd prize) and others. Participated in programs of the St. Petersburg House of Music. Sofia pursues an active artistic endeavor as a soloist and as a part of chamber ensembles. Born in 1994 in Moscow. Leonid studies at the Gnessin Moscow Special School of Music (class of Yelena Malkina). He continued his studies with Professor Alexander Vinnitsky at the Central Music School, Moscow Conservatory, as well as assistant intern. Laureate of the Vladimir Spivakov Competition (Ufa, 2016, 3rd prize), International Music Competition Harbin (3rd prize), the All-Russian Music Competition (Moscow, 2018, 2nd prize) and others. Winner of the Grand Prix of the International Violin Competition in Astana (2017). Special award recipient of the Viktor Tretyakov International Violin Competition (Krasnoyarsk, 2018), the International Tchaikovsky Competition (2019), the Fritz Kreisler International Violin Competition (Vienna, 2022). Played with the Svetlanov State Symphony Orchestra, the Novaya Rossiya and "Musica Viva" orchestras, and many others. Participant of the concert programs of the St. Petersburg House of Music, soloist of the Moscow Philharmonic Society. Born in 1998 in Ljubljana. Rok Zaletel Černoš graduated from the Music Academy of the University of Ljubljana (class of Professor Vasilij Melnikov). Currently studying at the University for Music and Performing Arts Vienna (class of Professor Anton Sorokow). Participated in master classes by Maxim Vengerov, Viktor Tretyakov, Stefan Milenkovic, Igor Ozim, Chaim Taub, etc. Winner of the Valsesia Musica Competition (Varallo, Italy, 2nd prize), the Fritz Kreisler International Violin Competition (Vienna, special prize), the Stephanie Hohl International Violin Competition (Vienna, 2nd prize), the Young Virtuoso International Piano Competition (Zagreb, 1st prize), and others. Winner of the Prešeren Prize. He has performed in Italy, Switzerland, Belarus, France, Serbia, Croatia, Germany, Slovenia, Austria, Japan, Spain, Portugal, Luxembourg. He has played with the RTV Symphony orchestra of Slovenia, Vivaldi Orchestra of Italy, SNG Maribor Symphony Orchestra, the Mendelssohn Chamber Orchestra, the Amadeo Orchestra and others. Born in 1998. Kokoro graduated from the Moscow Conservatory (class of Professor Sergei Kravchenko) in 2023. Participated in master classes by Zakhar Bron, Midori Goto, Mikhail Vayman, Ingolf Turban, etc. Laureate of the Kyoto Art Festival (2016, Encouragement Award), the International Johannes Brahms Competition (Pörtschach, Austria, 2016, special prize of the jury), the Marine Iashvili International Competition for String Instruments (Tbilisi, 2019; 1st prize), the "Violino" International Competition (St. Petersburg, 2021, 1st prize) and the International Violin Competition "Rodolfo Lipizer Prize" (Gorizia, Italy, 2022, special prize). Kokoro performs in Russia and abroad. She has played with the Ulyanovsk State Academic Symphony Orchestra, the Kazan Chamber Orchestra "La Primavera", the Central Military Band of the Ministry of Defense of the Russian Federation, and others. Plays the violin made by the Italian master of the first half of the 19th century George Panormo, provided for free use by Moscow’s Violin House "Scroll Fine Instruments". Born in Tokyo in 2002. Eugene began his violin studies at the age of two. Having completed his bachelor’s degree at the Tokyo University of Arts with Professor Natsumi Tamai, he currently continues his studies in its graduate school with Professor Masafumi Hori. He often attends master classes and receives musical guidance from Maestro Viktor Tretyakov. Recipient of the first prizes at the 13th Lipinski and Wieniawski International Competition (2015), the 10th International Tchaikovsky Competition for Young Musicians (2017), and the 2nd Viktor Tretyakov International Violin Competition (2021). In 2023 Eugene Kawai was selected as one of the jury members at the 11th International Tchaikovsky Competition for Young Musicians in Moscow. Appeared as a soloist with many orchestras including the Moscow Philharmonic Orchestra, the Russian National Orchestra, the Tokyo Symphony Orchestra, the Sichuan Symphony Orchestra, and others. He plays the violin by Antonio Stradivari “Lyall” 1702 on generous loan from the ITOH Foundation. Graduated with honors from the Tokyo University of the Arts. Issei Kurihara is currently studying at the Toho Gakuen College (Tokyo, class of Professor Takashi Shimizu) and the University of Music and Performing Arts Graz (class of Professor Boris Kuschnir). Laureate of the Eurasia International Music Competition (Grand Prix), the Vladimir Spivakov International Violin Competition (Ufa, 3rd prize), the "Rodolfo Lipizer Prize" International Violin Competition (Gorizia, Italy, 2nd prize and special prize), the International Tadeusz Wroński Solo Violin Competition (Warsaw, 1st prize), the Joseph Mayseder International Violin Competition (St. Florian, Austria, 1st prize and special prize), the Yankelevitch International Violin Competition (Omsk, 1st prize). Participates in festivals in France, Russia, Spain, Italy, Austria, the Netherlands, China, South Korea, the USA, Japan and Taiwan. Issei has performed with Vienna’ Camerata Orphica, the National Symphony Orchestra of the Republic of Bashkortostan, the Tokyo Philharmonic Orchestra, etc. Alexandra was born in Primorsky Krai. She studied at the Central Music School at the Moscow Conservatory (class of Eduard Grach). A graduate of the Royal College of Music in London and the Manhattan School of Music (classes of Professors Felix Andrievsky and Albert Markov). Winner of the Moscow International David Oistrakh Violin Competition (Moscow, 2008, 1st prize), the Yampolsky International Competition (Moscow, 2009, 2nd prize), the Gershwin International Music Competition (New York, 2018, 1st prize), the All-Russian Competition for Symphony Orchestra Artists (Moscow, 2021, 1st prize) and others. Recipient of the Yamaha Music Award (2016). Alexandra has performed at Carnegie Hall, in the UK, Italy, Germany, Austria, France, Estonia, South Korea, and Japan. She has collaborated with conductors Leonard Slatkin, Mikhail Pletnev, Yuri Simonov, James Judd, Vladimir Fedoseyev, Yuri Bashmet, and others. She is currently a concertmaster of the Sochi Symphony Orchestra. Alexandra plays the violin made by Honoré Derazey, a French violin maker. Hao Li studied at the Central Conservatory of Music Primary School (Beijing) and at the Central Conservatory itself. He is currently under the tutelage of Professor Xiao Liu. In 2016, he was admitted to the Aspen Music Festival and won the Lin Yaoji Scholarship. Laureate of the Moscow Conservatory International Competition (2018). He has performed as a soloist, orchestral and chamber musician in Belgium, Germany, the Netherlands and other European countries, and as a concertmaster of the Four Seasons Chamber Orchestra, Hao Li has collaborated with violinist Lü Siqing and conductor Li Xincao. He played at Carnegie Hall with pianist Yujia Wang (2017), as well as in US cities as concertmaster of the Chinese Youth Symphony Orchestra, collaborating with pianist Olga Kern and conductor Ludovic Morlot. Born in 2000 in Moscow. Mariya graduated from the Gnessin Moscow Special School of Music, currently a student at the Moscow Conservatory (class of Professor Vladimir Ivanov). Participated in master classes by Pierre Amoyal, Boris Kushnir, Dora Schwarzberg, etc. Winner of the Leopold Auer International Violin and String Quartet Competition (St. Petersburg, 2017, 4th prize), Marine Iashvili International Competition for String Instruments (Georgia, 2019, 1st prize), "Rodolfo Lipizer Prize" International Violin Competition (Italy, 2019, 6th prize and three special prizes). Bronze medalist of the Youth Delphic Games of Russia (Vladivostok, 2018). She has performed as a soloist and accompanied by orchestras in Italy, Spain, Germany, Switzerland, and the Baltic States. Mariya toured in many cities of Russia. She has played in the halls of the Moscow Conservatory, the Chamber Hall of the Moscow International House of Music and at many other venues. Born in 2000 in Almaty. Studied at the Kulyash Baiseitova Special Music School (class of Olga Danilova). Graduated from the Central Music School at the Moscow Conservatory, Abylay Nurlybek is currently a student at the Moscow Conservatory (class of Associate Professor Anna Sokolova). Laureate of a number of international competitions, including Astana-Merey (2012, 1st prize), the International Open Contest of Instrumental Performers "Open Italy" (Rimini, 2014), the International “Istedod” Competition (Tashkent, 2016, 1st prize), the Valery Gavrilin Governor's International Competition for Young Musicians (Vologda, 2016, 2nd prize), International Competition of the Central Music School (2016, 3rd prize). Scholarship of the Vladimir Spivakov Foundation. Member of the orchestra "Persimfans". He performs in the halls of the Moscow Conservatory. Collaborated with the Moscow Chamber Orchestra "Musica Viva" conducted by Alexander Rudin, with the Omsk Academic Symphony Orchestra conducted by Dmitry Vasiliev. Program participant of the Russian Academic Youth Theater. Born in 2004 in Ussuriysk. Aleksandr graduated from the Central Music School – Academy of Performing Arts, currently studying at the Moscow Conservatory (class of Professor Sergei Kravchenko). Participated in master classes by Mikhail Gantvarg. Laureate of the All-Russian Open Competition of Performing Arts named after Ippolitov-Ivanov (Moscow, 2020, 1st prize), the All-Russian Music Competition (Kazan, 2022, 2nd prize and special prize), the competition "Young Talents of Russia" (2022, 1st prize), the International Tchaikovsky Competition for Young Musicians (Moscow, 2023, 2nd prize and special prize), etc. Scholarship of the "New Names" Foundation and the Vladimir Spivakov Foundation. Performed with the Svetlanov State Symphony Orchestra, the orchestra of the Primorsky Regional Philharmonic, the Kostroma Provincial Symphony Orchestra, the Moscow Youth Chamber Orchestra, etc. Aleksandr toured in Italy, Spain, China. Born in 1994 in Bratsk. Anna graduated from the Moscow Conservatory and continues her studies as an intern assistant (class of Professor Vladimir Ivanov). She's improving her skills under the tutelage of Eduard Wulfson in Switzerland. Laureate of the David Oistrakh Music Competition (Moscow, 2006 and 2008, 1st prize), the Louis Spohr Competition (Weimar, 2007, 1st prize), International Violin Competition in Astana (2014, Grand Prix), Buchenau Spring Competition (Eiterfeld, Germany, 2018, 1st prize), Sendai International Music Competition (Japan, 2013 and 2016, 4th prize), Savshinsky Competition (St. Petersburg, 2021, 2nd prize), etc. She played in the Vienna Konzerthaus and Musikverein. Anna has performed with the Mariinsky Orchestra and the Tchaikovsky Symphony Orchestra, the Svetlanov State Symphony Orchestra, and others. Participant of concert programs of the St. Petersburg House of Music, as well as festivals in Verbier, Colmar, etc. She currently plays the 1752 violin by Tommaso Balestrieri. Born in 2005 in Harbin. He Xu graduated with honors from the Music Middle School of the Shanghai Conservatory of Music (class of Professor Ding Xiaolei), then studied at the conservatory itself, where he won a number of scholarships. Since 2022, he has been studying at the University of Music and Performing Arts Munich (class of Professor Markus Wolf). Participated in master classes by Qian Zhou, Ning Feng, and Christoph Poppen. He Xu participated in the German-Austrian Summer Festival in 2018. Lisa Yasuda skipped a grade and entered the Tokyo University of the Arts. After the graduation, she studied at the Toho Gakuen School of Music (master’s degree). She got a special scholarship from the Tokuji Munetsugu Foundation while studying. She studied under Pierre Amoyal, Takashi Shimizu, and others. Laureate of the Singapore International Violin Competition, the International Tchaikovsky Competition for Young Musicians (Novosibirsk), the Kloster Schöntal International Violin Competition (Germany), the Shlomo Mintz International Violin Competition (Beijing), etc. Scholarship recipient of the ROHM Music Foundation and Yamaha Music Foundation. Lisa was an artist of CHANEL Pygmalion Days in Tokyo in 2022. Lee Youngeun studied with Sungzhin Peter Lee, then attended Seonhwa Arts High School (class of Jisuk Shin) and at the Seoul National University College of Music (class of Yeongsuk Yun). She is currently studying at the Tianjin Juilliard School with Yeonjin Kim and Nicholas Tzavaras. She has also performed in master classes with cellists Richard Aaron, Miklos Peréni, Qin LiWei, Richard Narroway, Jensen Horn-Sin Lam, Mario Carneiro, Marcel Bardon, Edward Aaron, and Philippe Tribot. Laureate of numerous competitions organized by Korean newspapers, TV and radio broadcasting companies of Daegu, Busan, etc. Youngeun Lee performed as a soloist with the Daegu Symphony Orchestra, Gyeongbuk Province Orchestra, Seoul National University Symphony and Tianjin Juilliard Symphony Orchestras, and as a part of chamber ensembles in South Korea and China. Born in 2001 in Moscow. She graduated from the Gnessin Moscow Special School of Music (class of Igor Zimin and Oleg Bugaev). At the present time, she is a student of the Maimonid Academy (class of Associate Professor Oleg Bugaev). She participated in workshops by Boris Andrianov, Justus Grimm, Alexander Zagorinsky, Alexander Knyazev, Martti Rousi, Alexander Rudin, Frans Helmerson, Denis Shapovalov. Laureate of the Antonio Janigro International Competition (2020; 2nd prize), Svyatoslav Knushevitsky International Cello Competition (2021; 1st prize), All-Russian Musical Competition (2022; 1st prize). Scholarship of the Mstislav Rostropovich Foundation. She performed at the Great Hall of the Moscow Conservatory, Great Hall of the St Petersburg Philharmonia, in the Netherlands, Spain, Lithuania, France, Croatia, the Czech Republic, Switzerland and Estonia. Ivan Sendetckii graduated from the St. Petersburg Conservatory (class of Professor Anatoly Nikitin), the Hochschule für Musik Hanns Eisler Berlin (class of Troels Svane), New England Conservatory in Boston (class of Professor Laurence Lesser), the Hochschule für Musik Basel, Switzerland (class of Professor Danjulo Ishizaka). Winner of the Svyatoslav Knushevitsky International Cello Competition (2012 and 2014), the All-Russian Competition for Symphony Orchestra Artists (2020), laureate of the Khachaturian International Competition (2022). In 2019, he was awarded a special prize at the International Tchaikovsky Competition. During the season 2020-2021 he debuted with Armenian State Symphony Orchestra (conductor Sergey Smbatyan) and Le Orchestre Royal de Chambre de Wallonie (conductor Vahan Mardirossian). He has performed at festivals in Verbier and Schlern, at the Moscow Easter Festival, in Germany, Austria, France, and the USA. He has performed as a soloist with Valery Gergiev, David Geringas, Pablo Heras-Casado. Dongyeol attended the Korea National Institute for the Gifted in Arts and received his Bachelor of Music from the Korea National University of Arts under tutelage of Hyung-Won Chang and Myung-Wha Chung. Currently, he is pursuing his graduate degree at the Korea National University with Kangho Lee and Tsuyoshi Tsutsumi. Laureate of the International Tchaikovsky Competition for Young Musicians, the most prestigious competitions in South Korea including the Kumho Asiana Cultural Foundation Young Artist Audition, Dong-A Music Competition, Ewha Competition, Busan-MBC Competition, and the Gran Prix at the Sungjeong Competition. His recital debut was at the age of 10. As a soloist, he performed with the Busan Philharmonic Orchestra, the Korean Symphony Orchestra, the Bucheon Philharmonic Orchestra and the Gyeonggi Philharmonic Orchestra. Born in 1994 in Kazan. Vasily Stepanov graduated from the Moscow Conservatory (classes of Professor Natalia Shakhovskaya and Boris Andrianov) and its assistant internship (class of Boris Andrianov). He studied at the Escuela Superior de Música Reina Sofía, Madrid (class of Professor Jens Peter Maintz). Vasily participated in workshops by Sergey Roldugin, David Geringas, Gauthier Capuçon, Martti Rousi, Niels Ulner, Torleif Thedéen. Winner of the Mravinsky International Competition for Youth (2012) and the Riga Classic Strings Competition (2018). He has performed solo concerts in France, Spain, Denmark, Japan, and the USA. He has worked with such conductors as Yuri Bashmet, Vladimir Fedoseyev, Alexander Titov, Dimitris Botinis, Alexander Sladkovsky, and others. He participated in the recording of music for the films Sobibor, Brotherhood, Once upon a Time in the Desert. He leads a cello class at the Gnesin Russian Academy of Music and the Gnessin Moscow Special School of Music. Born in 2001 in Vyshny Volochyok. Danila Vladyko studies at the Moscow Conservatory (class of Alexander Knyazev). He participated in workshops by David Geringas, Sergey Antonov, Boris Andrianov and Sergey Roldugin. Laureate of the International Competition for Young Musicians (2015; 1st prize), the All-Russian Competition for Young Musicians "Constellation" (2019; 2nd prize). Winner of the XIX International Competition of the Central Music School (2022; Grand Prix). He performed with the Tatarstan National Symphony Orchestra and the Tchaikovsky Symphony Orchestra. He performed at the Trans-Siberian Art Festival (2018), in the Russian House in Athens, ат the State Conservatory of Uzbekistan and in the Great Concert Hall named after Saidashev (Kazan). Participant of the concert programs of the St. Petersburg House of Music since 2019. He plays the cello by Vincenzo Ruggieri from the State Collection of Unique Musical Instruments. Repertoire Round 1 Johann Sebastian Bach Prelude and Sarabande from Cello Suite No. 3 in C major, BWV 1009 Ludwig van Beethoven Cello Sonata No. 5 in D major, Op. 102 No. 2 Alfredo Piatti Caprice in A minor, Op. 25 No. 8 Max Reger Prelude from Suite for Solo Cello No. 2 in D minor, Op. 131c Pyotr Tchaikovsky Pezzo capriccioso, Op. 62 Round 2 Sergei Rachmaninoff Prelude in G-flat major, Op. 23 No. 10 (arranged by Alexander Knyazev) Johannes Brahms Cello Sonata No. 2 in F major, Op. 99 César Franck Violin Sonata in A major (arranged by Jules Delsart) Niccolò Paganini Variations on a Theme of Rossini (arranged by Paul Fournier) Round 3 Edward Elgar Cello Concerto in E minor, Op. 85 Pyotr Tchaikovsky Variations on a Rococo Theme, Op. 33 (Wilhelm Fitzenhagen’s version) Attended the Korea National Institute for the Gifted in Arts under the guidance of Myung-Hwa Chung and Kyung-Ok Park. She was an active participant in Kronberg Academy (2018). Kang Yeeun is currently pursuing her studies at Seoul National University. She was named as a Jury’s Special Prize winner of the International Johannes Brahms Competition (2016) and Leoš Janáček International Competition (2018). Laureate of the International Tchaikovsky Competition for Young Musicians (2017, 3rd prize), the Antonio Janigro International Cello Competition (2020, 2nd prize), the Gustav Mahler International Cello Competition (2020, Grand Prix). Kang Yeeun performs as a soloist at concerts and festivals in South Korea, Germany, the USA, Canada, and Liechtenstein. Born in 1991 in Moscow. Arseniy Beznosikov graduated from the Moscow Conservatory (class of Professor Alexey Seleznev). Young Talents Fellowship (2007, 2008) and Denis Matsuev Award. Laureate of a number of all-Russian and international competitions, he was awarded prizes in the solo nomination and as a part of chamber ensembles. He performed as a soloist with the Svetlanov State Symphony Orchestra of Russia (conductors Marius Stravinsky, Vyacheslav Valeev, Valery Kiryanov), with orchestras of Nizhny Novgorod, Izhevsk, Orenburg and others. He performed in Armenia, Germany, Austria, Switzerland, France, Greece, Spain. He participated in workshops by Natalia Shakhovskaya and at the Mozarteum University, Salzburg. At the present time, he is the principal of the cello section in the Bolshoi Theatre of Russia and a guest soloist of the Moscow Philharmonic Society. Wang Jiale graduated from the Middle School of the Central Conservatory of Music (Beijing) and is currently studying at the Conservatory. He studied under Professor Chen Zhongyan, Zhu Mu and Sun Xiaoqi. Wang Jiale participated in master classes by Troels Svane, Martti Rousi, Igor Gavrysh, Qin Liwei, and Tian Bonian. Winner of the Hummingbird International Music Competition (2019), the Camille Saint-Saëns Best Performance International Competition (London, 2020), the International Music Competition Artist Grand Prix Competition (Bonn, 2020). In 2021, he was invited to participate in the recording of the "Happy Bus" program on China Central Television and the New Year Concert of the Beijing Diplomatic Service Bureau. Born in 1995 in Krasnoyarsk. Vsevolod Guzov graduated from the Moscow Institute of Music named after A. G. Schnittke (class of Professor Lev Evgrafov). At the present time, he is assistant-intern of the Moscow Conservatory (class of Professor Alexander Rudin). Scholarship of the Mstislav Rostropovich Foundation (2008-2012), the Russian Performing Arts Foundation, the Vladimir Spivakov Charity Foundation. Winner of the Concertino Praga (2010), the Sergey Taneyev International Competition of Chamber Ensembles (2022). He has toured in Russia, Austria, Switzerland, Germany, the Czech Republic, Norway, Israel, Spain, Turkey, the USA. He performed as a soloist with the Russian National Orchestra, State Symphony Orchestra "Novaya Rossiya", with the orchestras of the Nizhny Novgorod Philharmonic and of the North-Caucasus State Philharmonic. At the present time, he is an assistant principal of the cello section of the Russian National Orchestra. Born in 1991 in St. Petersburg. Andrey Yefimovskiy graduated from the Rimsky-Korsakov St. Petersburg State Conservatory (class of Professor Anatoly Nikitin) and its assistant internship (classes of Professors Anatoly Nikitin and Alexei Massarsky). He improved his skills in the class of Professor Leonid Gorokhov at the Hanover University of Music Drama and Media (Germany). He participated in the workshops of David Geringas, Alexander Rudin, Wolfgang Schmidt, Martti Rousi, Daniel Müller-Schott, Jérôme Pernoo, Boris Andrianov and others. He has performed in Germany, Denmark, Belgium. Andrey works as a soloist with the St. Petersburg Symphony Orchestra, the State Academic Orchestra of the Republic of Tatarstan, the Paulavičius Youth Symphony Orchestra and "Klassika" St. Petersburg State Symphony Orchestra. From 2016 to 2022, he was an artist of the St Petersburg Philharmonic Orchestra. He is an artist of the orchestra musicAeterna since 2022. Born in 2001 in Moscow. Daniil Zimin studied at the Gnessin Moscow Secondary Special School of Music (classes of Vera Birina, Igor Zimin). Since 2019, he has been a student at the Moscow Conservatory (class of Professor Boris Andrianov). Daniil participated in workshops by Natalia Shakhovskaya, Sergey Roldugin, Torleif Thedéen, Alexander Rudin, Sergey Antonov, Frans Helmerson, Ivan Monighetti, David Geringas. He received a Grant of the Mayor of Moscow (2019). Laureate of the Virtuoso & Belcanto International Festival (Lucca, 2017, 3rd Prize), the International Competition of the Central Music School (Moscow, 2019, 2nd prize) and others. He regularly performs with the Nizhny Novgorod Philharmonic Orchestra. Participant of concert programs of the Vladimir Spivakov Foundation and the "New Names" Foundation. He played at concerts of the Chigi Music Academy (Siena). As a soloist he performed with conductors Alexander Skulsky, Maxim Fedotov, Renat Zhiganshin, Alexander Andreev, Alexander Titov. Participant of the concert programs of the St. Petersburg House of Music. Born in 1998 in Kiev. Ilya graduated from the St. Petersburg State Conservatory (class of Professor Alexey Vasiliev). He continues his studies as an assistant intern. Ilya participated in master classes by David Geringas, Jens Peter Maintz, Wolfgang Emanuel Schmidt, Denis Severin, Leonid Gorokhov. Laureate of the Mravinsky International Competition for Youth in St. Petersburg and the All-Russian Music Competition. In 2020, he completed military service in the Admiralty Orchestra of Leningrad Naval Base conducted by Valentin Lyashchenko. He has performed as a soloist in Russian cities, as well as in Germany, Switzerland, Austria, Romania, Estonia, and he participated in the Verbier Festival twice. Currently, he is an artist of the St. Petersburg Philharmonic Orchestra. Lazar Kaminsky is studying at the New England Conservatory Preparatory School (Boston). His accomplishments include winning first prizes at international competitions in the USA and Spain. He has been a principal cellist of the String Chamber and Youth Symphony Orchestras of New England Conservatory. Lazar has played as a soloist with numerous orchestras, some of which include the Waltham Philharmonic Orchestra and the Concord Orchestra (Massachusetts). Performed in Italy, Spain, France, Mexico, and Israel. Recently, Lazar was the principal cellist of the Youth Philharmonic Orchestra of New England Conservatory. Born in 1996 in Montville (Australia). Sam Lucas has been a student of Professor Pieter Wispelwey at the Robert Schumann University, Düsseldorf, since 2017. Winner of the Sieghardt Rometsch Competition (Düsseldorf, 2018), the International Music Competition Pro Artists (Paris, 2019), the Vienna International Music Competition (2019, gold medal), the Anton Rubinstein International Cello Competition (Düsseldorf, 2020), the Gustav Mahler International Cello Competition (Prague, 2021), and others. Sam Lucas performed in Australia and Bulgaria, later appeared at the Edinburgh Fringe Festival and at St Martin in the Fields, London, and Wigmore Hall. He performed with the Sinfonietta Köln chamber orchestra, the University of Bonn Symphony Orchestra, the Ruhrstadt Symphony Orchestra, the Oberbergischen Kreises Symphony Orchestra, the Christchurch Symphony Orchestra (New Zealand). Sam plays a Rainer Beilharz cello (2008) and a Nicolo Gagliano cello (approx. 1720). Born in 1999 in Moscow. Ilya Mikhailov is a student of the Moscow Conservatory (class of Professor Alexander Rudin), he studied with Professor Alexey Seleznev until 2021. Ilya participated in workshops by David Geringas, Jens Peter Maintz, Sergey Roldugin, Johannes Moser, Raphael Wallfisch, Alban Gerhardt, Alexander Knyazev, Narek Hakhnazaryan, and others. Laureate of the All-Russian Music Competition (2022, 3rd prize), the Ippolitov-Ivanov All-Russian Competition (2020, 2nd prize), the Glière International Competition (2022). Fellow of the "New Names" Foundation, recipient of the Grant of the Mayor of Moscow (2016) and a grant of the President of the Russian Federation (2019). He has performed in Russian cities, as well as in Germany, Italy, Austria, Malta, Algeria. Soloist of the St. Petersburg House of Music. Born in 1996 in the city of Naberezhniye Chelny. Kamil Mukhametdinov graduated from the Kazan State Conservatory and its assistant internship (classes of Professors Irina Lapteva and Boris Andrianov). He is studying at the Geneva University of Music (class of Professor Ophélie Gaillard). He improved his skills at the summer schools of the Svyatoslav Richter Foundation and Landesmusikakademie in Germany. Kamil participated in master classes by David Geringas, Sergey Roldugin, Martti Rousi, and others. Laureate of the Svyatoslav Knushevitsky International Cello Competition (2014, 3rd prize; 2018, 2nd prize), the International Klaipéda Cello Competition (2019, 3rd prize) etc. He has performed with the Tatarstan National Symphony Orchestra, the "Novaya Rossiya" State Symphony Orchestra conducted by Yuri Bashmet, the Orchestra of the Nizhny Novgorod Philharmonic conducted by Alexander Skulsky, the Youth Symphony Orchestra of Turkey, and others. Participant of the programs of the St. Petersburg House of Music. Born in Incheon. Jeongheon learned to play the cello at the School of Music of the Rimsky-Korsakov St. Petersburg State Conservatory, the Korea National University of Arts (classes of Myung-Wha Chung and Hyoung Won Chang), the Mannheim University of Music and Performing Arts (class of István Várdai). Nam Jeongheon is currently studying at the Karlsruhe University of Music (class of Professor László Fenyö). He has participated in master classes with Frans Helmerson, Louis Claret, Arto Noras, Tilmann Wick, Laurence Lesser, Young-Chang Cho and Tamas Varga. Laureate of following competitions: Allegra (1st prize), Artsylvia (2021, 1st prize as part of a piano trio), Strad (1st prize), the Music Association of Korea Competition (1st prize), International Johannes Brahms Competition (3rd prize), Rubinstein International Competition (Johannes Brahms Prize). He has performed with the Bulgarian National Radio Symphony Orchestra, Szeged Symphony Orchestra, Incheon Philharmonic Orchestra, National Philharmonic of Russia and others. Nam Jeongheon plays a cello made by Matteo Goffriller. Born in 1993 in South Korea. Graduated from the Korea National University of Arts (class of Kangho Lee) and Hochschule für Musik und Theater München (class of Professor Wen-Sinn Yang). Participated in workshops by Jian Wang, Aldo Parisot, Philippe Muller and others. Winner of the competition organized by the Estonian Academy of Music and Theatre (2011), the "eMuse" Online Music Competition (Athens, 2014), the VI International Cello Competition (Hungary, 2016), laureate of the International Concert Competition "Debut Berlin" (2016, 3rd prize), etc. Performed with the "Wratislavia" Chamber Orchestra and the Walasek String Quartet (Poland), Seoul Youth Orchestra and Daegu Symphony Orchestra (South Korea) and others. Participant of the ensembles WOS Virtuoso Chamber Orchestra and C'ARTE Cello Ensemble, member of the Friends Chamber Music Society. Park Sung Geun is currently an adjunct professor at Gimcheon Arts High School. Born in 2004 in Moscow. Mark Fakhrutdinov is studying at the Gnessin Moscow Special School of Music (class of Natalia Zavarzina and later Lyudmila Kruzhkova). He participated in workshops by Alexander Knyazev, Alexander Rudin, Chris Hoyle, Nonna Natsvlishvili, Denis Shapovalov, Maria Zhuravleva, Leonid Gorokhov, Alexander Ramm, Lev Evgrafov and others. Laureate of international and All-Russian competitions. He received a Grant of the Mayor of Moscow (2022). Scholarships of the "New Names" and the Yuri Rozum Foundations. He has performed with the Presidential Orchestra (2016), the Tula Philharmonic Symphony Orchestra (2018), the St. Petersburg Academic Symphony Orchestra Ensemble (2019), the Kaluga Philharmonic Orchestra (2022), the Orchestra of the Russian State Specialized Academy of Arts (2022) and others. Actively performs on tours in Russian cities. Born in 2005 in Moscow. Sofya Huskivadze graduated from the Central Music School of the Tchaikovsky Moscow State Conservatory (class of Olga Galochkina) and is currently a student at the Moscow Conservatory. Laureate of the Young Musician (Tallinn, 2015, 2nd prize) and World Music Heritage (2019, 1st prize) competitions, the International Young Musicians Competition (2019, 1st prize), the "Young Talents of Russia" Competition (2020, 1st prize), the All-Russian Competition for Young Musicians "Constellation" (2020, 2nd prize), the Svyatoslav Knushevitsky International Cello Competition (2021, 2nd prize), the All-Russian Competition for Scholars of the "New Names" Foundation (2021). She performs in cities of Russia and Europe as a soloist, a member of a chamber ensemble and accompanied by an orchestra. Sofya is engaged in composition. Since 2020, Fiona Faye Tsang has been studying cello at the Cleveland Institute of Music (class of Professor Richard Weiss). She is an award recipient of the United States International Music Competition, the International Music Moscow Competition, the Pacific Musical Society and Foundation Competition (San Fransisco), the "Dresdner Wintersterne" Competition, Mahler Cello Competition, and others. She has performed as a soloist with the Suburban Symphony Orchestra (Beachwood, Ohio), Euclid Symphony Orchestra (Ohio). Fiona Faye Tsang has been the principal cellist of the El Camino Youth Symphony (Palo Alto, California), the Bay Area Youth Music Society Orchestra, the CODA Honor Symphony Orchestra. She is currently a member of the Cleveland Institute of Music Orchestra. Mezzo-soprano Born in 1993 in Khabarovsk. She graduated from Novosibirsk Music College (class of Aigul Bralinova), the St. Petersburg Conservatory and was an assistant-intern at the conservatory (class of Associate Professor Olga Kondina). Laureate of the Zara Dolukhanova International Vocal Contest “Amber Nightingale” (Kaliningrad, 2018, 3rd prize), the All-Russian Review of the Competition of Vocalists, University Graduates (St. Petersburg, 2020), the Elena Obraztsova International Competition of Young Opera Singers (St. Petersburg, 2021, 1st prize). Finalist of the Wilhelm Stenhammar International Music Competition (Norrköping, Sweden, 2018). Fellow of the Atkins Young Artists Program at the Mariinsky Theatre. Guest soloist of the Mariinsky Theatre. In 2022, she participated for the first time in the Mariinsky Opera performance, playing the role of Olga in the chamber version of Eugene Onegin. She made her debut on the New Stage of the theatre, singing the part of Lyubasha (The Tsar’s Bride) the same year. The Mariinsky repertoire of the artist also includes the roles of Fenena (Nabucco), Emilia (Verdi's Otello), Joan of Arc (The Maid of Orleans), Clarice (The Love for Three Oranges). Tenor Jihoon Song was born in 1990 in Seoul. He graduated from the Korean National University of Arts (Seoul) and studied at the Bavarian Theatre Academy August Everding (Munich). Laureate of the Montserrat Caballé International Singers Competition (Madrid, 2022, 1st prize), the Giovan Battista Viotti International Music Competition (Vercelli, Italy, 2022, 1st prize and Audience Award), the Éva Marton International Vocalists Competition (Budapest, 2022, 3rd prize and special prize), etc. He performs roles such as Tamino (Die Zauberflöte), Nemorino (L’elisir d’amore), Lysander (A Midsummer Night’s Dream by Britten), Rodolfo (La bohème), and Ruodi (Guillaume Tell), as well as the vocal cycle Winterreise by Schubert. Has appeared at the Seoul Arts Center and at various venues in Europe. Soprano Born in 1992 in Voronezh. Graduated from the Voronezh State Academy of Arts (class of Associate Professor Zoya Solodilova). Laureate of the Sobinov International Vocal Competition (Yaroslavl, 2018, 2nd prize and special prize), the Rimsky-Korsakov International Competition of Young Opera Singers (Tikhvin, 2018, 2nd prize and diploma), the Sobinov Music Festival Vocal Competition (Saratov, 2019, 1st prize), the Glinka International Competition of Vocalists (Kazan, 2019, 3rd prize), the International Competition of Opera Singers “St Petersburg” (2021, 1st prize), the Competizione dell’Opera (Moscow, 2022, 3rd prize), the Hibla Gerzmava International Opera Singers and Accompanists Competition (Moscow, 2023, 1st prize and five special prizes). She was a soloist of the Mariinsky Academy of Young Opera Singers in 2015–2022 and a soloist of the Primorsky Stage of the Mariinsky Theatre (Vladivostok) in 2022–2023. Since 2023, she is a soloist of the Mariinsky Theatre (St Petersburg). Performed the roles of Abigail (Nabucco), Turandot, and others at the Mariinsky stage. She sang the role of Lady Macbeth in Macbeth at the Moscow State Stanislavsky and Nemirovich-Danchenko Music Theatre, performed at the Tchaikovsky Concert Hall. Baritone Born in the Khabarovsky region. Maxim graduated from the Khabarovsk Regional College of Arts. He is a student at the Gnesin Russian Academy of Music (Professor Vladimir Malchenko). In 2022 he was accepted into the Bolshoi Theatre Young Opera Singers Programme. He is a laureate of the Sobinov International Competition of Vocalists (Yaroslavl, 2021; II prize), "Masterpieces of Russian Music" Natalia Shpiller International Competition of Vocalists (Moscow, 2021; I prize), Lemeshev International Competition of Young Opera Singers (Tver, 2022; I prize). As a soloist he took part in the premiere performance of the Requiem (Messa di Requiem) by Gaetano Donizetti at the Tchaikovsky Concert Hall with the Russian National Youth Symphony Orchestra conducted by Dmitry Korchak. As part of the XVI Yuri Bashmet Winter International Festival of Arts, he performed the part of Papageno in the opera Magic Flute. The Journey in the Winter Theater in Sochi with the State Symphony Orchestra "Novaya Rossiya" conducted by Justus Frantz; he appeared with chamber repertoire in the Bashmet Center in Moscow (2023). Bass Born in 1991 in Daejeon (South Korea). In 2017, he graduated from the Music College of Seoul National University. In 2022, he completed a professional course at the Korea National Opera Studio. He was trained under the guidance of Park Jongmin, David Junghoon Kim, Park Suho, Choi Won Ik, and Attila Jun. In 2022, he won the Marmande Vocal Competition (France), the Riccardo Zandonai Competition (Riva del Garda, Italy), the Otto Edelmann Competition (Vienna), and the Ferruccio Tagliavini Competition (Deutschlandsberg – Graz, Austria). He was awarded at the Francisco Viñas Competition in Barcelona, the Competizione dell’Opera (Moscow), and the Operalia (Riga). At the Éva Marton Competition in Budapest, he won 3rd prize and the Special Éva Marton Prize. In the 2022–2023 season, he made his debut at the Munich State Theater on Gärtnerplatz, performing the role of Conte Walter in Luisa Miller. In May 2023, he gave a solo concert at the Bordeaux National Opera and performed in Hungary and Portugal. Has collaborated with conductors such as Anthony Bramall, Plácido Domingo, Balazs Kocsar, Marco Boemi, Sascha Goetzel, Vladimir Kiradjiev, Marius Burkert, and Tugan Sokhiev. He performed with the orchestras of the Hungarian State Opera and the Bolshoi Theater of Russia, the philharmonic orchestras of Monte-Carlo and Graz. He appeared at the Seoul and Daejeon art centers. Soprano Born in Minsk. Graduated from the Belarus Academy of Music (class of People’s Artist of the Republic of Belarus Nina Sharubina). Trained at the Latvian Academy of Music (class of Professor Sigrid Krieger). Laureate of the International Competition of Young Vocalists “Kaunas Sonorum” (2017, 1st prize). She performed with the Kaunas Symphony Orchestra conducted by Vilmantas Kaliunas. She performed the role of Iolanta on the stage of the Belarus Academy of Music (2021). In December 2021, she sang Rosalinda in Die Fledermaus under the direction of Yuri Bashmet at the Tchaikovsky Concert Hall. Currently, she is an artist of the Young Artists Opera Program of the Bolshoi Theatre of Russia (since 2021), debuted on the New Stage of the Bolshoi Theatre in 2022 in the roles of the First Forest Nymph in Dvořák’s Rusalka (conducted by Alexey Bogorad) and Brigitta in Iolanta (conducted by Andrey Lebedev). Participated in the Winter International Arts Festival of Yuri Bashmet (2022, 2023, the role of the First Lady in The Magic Flute. Journey under the direction of Justus Frantz. She has also collaborated with the conductor Mikhail Tatarnikov, the pianists Semyon Skigin, Larisa Gergieva, Mzia Bakhturidze, Natalia Katyukova, Ivari Ilja, Lyubov Orfenova, and others. Soprano Born in Moscow. Graduated from the Music College of the Tchaikovsky Moscow State Conservatory. Student of the Moscow Conservatory (class of Professor Lidia Yatsynych (Chernykh)). Laureate of All-Russian and international competitions, including the Shpiller International Competition “Masterpieces of Russian Music” (Moscow, 2021, 2nd prize), the Alexey Ivanov International Vocal Competition (Tver, 2021, 3rd prize), the Reinhold Glière International Vocal Competition (Moscow, 2022, 1st prize). She performed the roles of Tatiana (Eugene Onegin), Mimì (La bohème), Lauretta (Gianni Schicchi), Francesca (Francesca da Rimini by Rachmaninoff), Zemfira (Aleko), etc., at the Opera Studio of the Moscow Conservatory. As part of the Opera Lab project, she sang the role of Adina (L’elisir d’amore) on the Chamber Opera Stage of the Bolshoi Theatre of Russia. In 2022, she made her debut on the historical stage of the Bolshoi Theatre as a Noble Page in Lohengrin, in May 2023, she performed in Don Carlo (a Voice from Heaven). Soloist trainee of the Bolshoi Theatre since 2023. Tenor Born in 1990 in Ryazan. He graduated from the Moscow Sveshnikov Choral School and the Popov Academy of Choral Art (choral conducting and vocal departments, Vera Alexandrova). He is a laureate of the "Young Talents of Russia" competition (2010 and 2014). Recipient of Elena Obraztsova's "For a Bright Start in Art" Award (2014). Finalist of the Russian National Music Award in the "Vocalist of the Year" category (2016). Winner of the Grand Prix of the José Carreras International Vocal Competition (2021). He made his debut on the opera stage in 2013, singing in a production of Richard Strauss' Der Rosenkavalier under the direction of Vasily Sinaisky at the Bolshoi Theater of Russia. Since 2014, he has been a soloist of the "Helikon-Opera" theater, where he performed more than 20 roles. He collaborated with such conductors as Christian Thielemann, Saulius Sondeckis, Jan Latham-Koenig, Ken-David Masur, Vladimir Spivakov, Vladimir Fedoseev, Mikhail Pletnev, Yuri Temirkanov, Evgeny Svetlanov, Alexander Vedernikov, Valery Gergiev, Alberto Zedda and Vladimir Yurovsky, and others. He has performed at the Theater an der Wien (Vienna), Petruzzelli Theater (Bari, Italy), Nice Opera, German Theater on the Rhine (Düsseldorf), Moscow "Novaya Opera" Theater, Gran Teatre del Liceu (Spain, Barcelona), The Royal Swedish Opera (Sweden, Stockholm). Bass Born in 1994 in Irkutsk, Russia. In 2022 he graduated from the assistant-internship of the St. Petersburg Conservatory (class of Associate Professor Vladimir Vaneev). He is a prize-winner of the International Competition of Elena Obraztsova (St. Petersburg, 2015), Competizione dell’Opera (Moscow, 2016), International Glinka Competition (Kazan, 2019), Hibla Gerzmava International Competition (Moscow, 2023), etc. He is a scholarship recipient of the Atkins Young Artists Program at the Mariinsky Theatre. From 2015 to 2017 he was a soloist of the International Academy of Music of Elena Obraztsova (St. Petersburg). He has performed at the Salzburg Festival (2017-2019), Hamburg Opera (2017), National Opera of Greece (Athens, 2017), Brucknerhaus in Linz (2018), Baden-Baden Festspielhaus (2018, 2019), San Carlos National Theater (Lisbon, 2018), Amintore Galli Theater (Rimini, 2018), Beijing National Performing Arts Center and Jiangsu Grand Theater in Nanjing (2019), Paris Philharmonic (2019), Juarez Theater (Guanajuato, Mexico, 2021), as well as on many stages in Russia. He is a soloist of the Mariinsky Theatre, where he performed over 30 roles, including Ruslan (Ruslan and Lyudmila), Figaro (Le nozze di Figaro), and Escamillo (Carmen), etc. Soprano Born in 1998 in Omsk. She graduated from the St. Petersburg Conservatory (class of Professor Tamara Novichenko); she is currently an assistant-intern at the conservatory. Participated in master classes by Sergei Leiferkus, Ruben Lisitsian, Galina Polivanova, Elena Obraztsova, Ildar Abdrazakov, Luciano Ganci. Winner of the Natalia Shpiller International Competition of Vocalists “Masterpieces of Russian Music” (Moscow, 2021) and the Alexey Ivanov International Vocal Competition (Tver, 2021). Fellow of the “New Names” Foundation and the Vladimir Spivakov Foundation. Laureate of the President of the Russian Federation Prize. Participated in concerts and master classes of the Yuri Bashmet Winter International Arts Festival in Sochi (2020). She has performed at the Grand Hall of the Moscow Conservatory. Participated in the Young Opera Artists Program of Moscow’s Helikon-Opera Theatre, where she studied with Barbara Frittoli, Dmitry Vdovin, Ramón Vargas, Hibla Gerzmava, Makvala Kasrashvili, Marina Meshcheryakova. In 2021, she was accepted into the Helikon-Opera troupe, she performs the roles of Tatiana (Eugene Onegin), Volkhova (Sadko), Marfa (The Tsar’s Bride), Mimì (La bohème), Iolanta, etc. Soprano Zhang Yi is a PHD student in the Vocal and Opera Department at the Central Conservatory of Music, studying under Professor Xie Tian (tenor) and Associate Professor Chen Xi (coach). In 2019, she went to Rome as an exchange student to study with Professor Michela Sburlati at the Conservatorio di Musica “Santa Cecilia”. Winner of the Renato Bruson International Competition (2017, 1st prize, China Region), the National Professional Colleges Chinese Art Song Competition of Central Conservatory of Music (2018, 2nd prize), and the “Vincerò” World Singing Competition (2021, 1st prize, China Region). Winner of the National Scholarship for Postgraduate Students (2020). Since 2015, she has performed leading soprano roles in many operas including Così fan tutte, L’elisir d’amore, Gianni Schicchi, lolanta, and Huang Ruo’s The Book of Mountains and Seas – Running to the Moon. Zhang Yi sang in Shenzhen and gave recitals in Guangzhou and Beijing in 2020. Tenor Graduated in 2009 from the Choral Conducting Department of the Murmansk College of Arts (Larisa Filatova) and in 2014 from the Vocal-Directing Faculty of the St. Petersburg Conservatory (Professor Valentina Gagen). Laureate of international and all-Russian competitions. From 2016 to 2018, he was a fellow of the Atkins Young Artists Program at the Mariinsky Theatre. Was nominated for the “Golden Mask” for the role of Clare Quilty in the opera Lolita by Shchedrin (2021). In 2014, he debuted on the stage of the Mariinsky Theatre and became its member in 2016. At the theatre, he performs over forty leading roles from Russian, Italian, and French repertoires, including the title roles in Berlioz’ Benvenuto Cellini, Shchedrin’s The Lefthander, Weinberg’s The Idiot, as well as Gabriele Adorno (Simon Boccanegra), Arrigo (I vespri siciliani), Cassio (Verdi’s Otello), Duke (Rigoletto), Macduff (Macbeth), Sir Edgar Ravenswood (Lucia di Lammermoor), Lensky (Eugene Onegin), Charles VII (The Maid of Orleans), Tsar Berendey (The Snow Maiden), etc. He portrayed Prince Yury (The Enchantress) in a performance at the Oper Frankfurt, and appeared at festivals in Bregenz, Verbier, and the Berlioz Festival in La Côte-Saint-André (France). Bass Born in 1996 in the village of Sabanchino, Yalchiksky district, Chuvash Republic. He graduated from Cheboksary Music College (Agrippina Ivanova) and the Popov Academy of Choral Art (Professor Svetlana Nesterenko and Ekaterina Lekhina), where he is currently an assistant-intern in the class of Ekaterina Lekhina. He participated in master classes of Ildar Abdrazakov, Semen Skigin. He is a holder of the Popov Award (2020). He is a laureate of the Lydia Abramova Bella Voce International Student Vocalists Competition (Moscow, 2019; I prize), "Russian Bass" International Youth Festival-Competition of Vocal Art (Moscow, 2019; III prize), All-Russian Music Competition (Khanty-Mansiysk, 2022; I prize). Finalist of the International Galina Vishnevskaya Opera Artists Competition (2021). He collaborated with such conductors as Denis Vlasenko, Nikolay Azarov, Alexander Sladkovsky, Miltos Logiadis, Alexey Petrov, Ilya Vasheruk, Dmitry Korchak, Daniele Squeo, Arsenty Tkachenko, Sergey Skripka, Andrey Lebedev, Valentin Uryupin, Alexander Samoile, Evgeniy Samoylov, Karen Durgaryan. He is a soloist of the "Novaya Opera" Moscow Theatre, guest soloist of the Opera and Ballet Theatre of the Udmurt Republic. Bass In 2021, he graduated from the Shenyang Conservatory of Music. Laureate of the “Luyi Cup” Vocal Music Competition (2016, 1st prize), the National Opera Vocal Music Exhibition of Higher Art Colleges in China (2017, 1st prize), the Chengdu “Golden Hibiscus” Music Competition (2018, Gold Award for bel canto), the Basel International Online Vocal Competition (2022, 1st prize), and the Hibla Gerzmava Opera Singers and Accompanists Competition (Moscow, 2023, 2nd prize and two special prizes). He has held many successful solo concerts and participated in many operas. Has performed at the Mariinsky Theatre, the Moscow State Stanislavsky and Nemirovich-Danchenko Music Theatre, Moscow’s Tchaikovsky Concert Hall, Beijing’s National Center for the Performing Arts, the Jiangsu Grand Theatre, the Chengdu City Concert Hall, and other places. Worked with such conductors as Valery Gergiev, Pavel Smelkov, Arif Dadashev, etc. Tenor Born in 1994 in Naberezhnye Chelny. In 2021 he graduated with honors from the St. Petersburg Conservatory (Professor Yuri Marusin). He is a laureate of the Okhotnikov International Opera Singers Competition (2019, I prize). While still being a student of the Conservatory, he performed in the opera studio on the stage of the "Music Hall" Theatre following roles: Vaudemont, Lensky, Rudolfo, Chekalinsky. He was a soloist of the “Zazerkalye” theatre (2020-2021). In 2021 he became a fellow of the Atkins Young Artists Program at the Mariinsky Theatre. He is a guest artist of the Mariinsky Theatre since 2022. He made his debut on the Mariinsky stage in 2022 in the role of Vaudémont in Iolanta. In performances at the Mariinsky Theatre, he performs the roles of Lensky (Eugene Onegin), The Prince (The Love for Three Oranges), Don Antonio (Betrothal in a Monastery), Idamante (Idomeneo, re di Creta), Tamino (Die Zauberflöte), Nemorino (L’elisir d'amore), Ernesto (Don Pasquale), Ismaele (Nabucco), and Cassio (Otello by Verdi). Soprano Born in 1993 in Vladikavkaz. Graduated from the Vladikavkaz College of Arts (class of Nelly Hestanova), then bachelor’s and master’s degrees at the Gnessin Russian Academy of Music (class of Associate Professor Zarema Berezova), she is currently an assistant-intern at the academy. Laureate of the Small Delphic Games of the Republic of North Ossetia – Alania (Vladikavkaz, 2013, Gold Medal), the International Competition of Musicians-Performers and Composers “Romanticism. The Origins and Horizons” (Moscow, 2019, 3rd prize), the Natalia Shpiller All-Russian Competition of Vocalists “Masterpieces of Russian Music” (Moscow, 2019, 3rd prize). Grant recipient of the President of the Russian Federation (2020). Zarina was a soloist of the North Ossetian State Theatre of Opera and Ballet (2015–2016). Since 2021, she has been an artist of the Young Artists Opera Program of the Bolshoi Theatre of Russia. She also performs chamber repertoire. Mezzo-soprano Graduated from the Herzen State Pedagogical University of Russia (bachelor’s degree in the class of Professor Vladimir Vaneyev, master’s degree in the class of Senior Lecturer Natalia Mironova) in 2022. She studied at the International Elena Obraztsova Music Academy (St. Petersburg, 2017–2019), where she performed the roles of Olga (Eugene Onegin), Lyubasha (The Tsar’s Bride), Marta (Iolanta), Lel (The Snow Maiden), the Neighbor (Mavra), Shinkarka (Hostess of Tavern, Boris Godunov). In 2019, she sang the role of Carmen at the Opera and Ballet Theatre of the Komi Republic (Syktyvkar), participated in the European tour of the St. Petersburg orchestra “Silver Strings” under the direction of Alexander Afanasyev. Since 2022, she has been an intern at the Mariinsky Theatre, where she made her debut in 2019 in the role of Lola (Cavalleria rusticana). In 2023, at the Grand Hall of the Moscow Conservatory, she sang the role of Marta in a concert performance of Iolanta with the Moscow State Symphony Orchestra conducted by Ivan Rudin. She also performs as a chamber singer. Mezzo-soprano Born in Moscow. She studied at the Gnessin Russian Academy of Music (class of Professor Ekaterina Starodubrovskaya). Participated in master classes by Galina Vishnevskaya, Elena Obraztsova, Irina Bogacheva, Badri Maisuradze, Ekaterina Semenchuk, Makvala Kasrashvili. Improved her skills at the International Summer Academy Mozarteum University (class of Janet Perry). From 2020 to 2022, she was a student, and since 2022, she has been a soloist of the Galina Vishnevskaya Opera Center (class of Elena Zaremba), where she performed the roles of Lyubasha (The Tsar’s Bride) and Carmen. Laureate of the International Forum “Musical Performance and Pedagogy” (Lonigo, Italy, 2013, 3rd prize), the Festival of Student Creativity “Festos” (2014), the International Festival and Competition Musica classica (Ruza, Moscow Region, 2015, 1st prize), the 43rd Review Competition of Vocalists - Graduates of Music Universities (Petrozavodsk, 2014, 2nd prize). Finalist of the All-Russian Music Competition (2018). She has collaborated with the conductors Vladimir Fedoseyev, Victor Khudoley, Vladimir Feller, Boris Voron, Yaroslav Tkalenko, Marco Boemi, and others. Mezzo-soprano Born in 1996 in Kemerovo. Alina graduated from the Russian Specialized Academy of Arts (class of Senior Teacher Ekaterina Kovaleva-Murykina). Participated in master classes held by the Vocal School of Lisitsian - Dolukhanova, Badri Maisuradze, Ian Partridge. Laureate of international competitions. During her studies at the academy, she performed the roles of Flora in the opera The Medium by Menotti, Susanna in the operetta Un mari à la porte by Offenbach, Mrs. Benson in the opera Lakmé by Delibes. Since 2021, she has been a soloist at the Galina Vishnevskaya Opera Center (class of Elena Zaremba), where she sings the parts of Zita (Gianni Schicchi), Marta (Iolanta), Petrovna (The Tsar’s Bride). Has collaborated with the conductors Marco Boemi, Freddy Kadena, Yaroslav Tkalenko, Andrey Lebedev, Alexander Zhilenkov, and others. Soprano Graduated from the Tbilisi Conservatory. She studied at the Renata Tebaldi and Mario Del Monaco International Opera Singing Academy of Pesaro (Italy). She is improving her skills at the International Elena Obraztsova Music Academy (St. Petersburg). Laureate of the International Vocal Competition in Treviso (Italy, 2012, 3rd prize), the International Vocal Competition “You Are Our Pride” (Armenia, 2012, 1st prize), the International Vocal Competition “Harmony” (Side, Turkey, 2014, 1st prize), the International Competition and Festival “Music Without Limits” (Druskininkai, Lithuania, 2014, 2nd prize). Silver medalist of the Euterpe Music Awards Competition 2022. Winner of the London Classical Music Competition (2022). Participated in the International Festival “January Musical Evenings” (Brest), the International Čiurlionis Music Festival (Palanga, 2018), and the International Classical Music Festival “Tavrichesky” (Kherson, 2021). She debuted in the role of Constanza in Die Entführung aus dem Serail at the International Art Festival “Elena” (Small Hall of the St. Petersburg Philharmonia, 2022). Soprano Samira graduated from the St. Petersburg Conservatory (class of Professor Nadezhda Drozdova-Weiner), she is currently an assistant-intern at the conservatory. Student of the Galina Vishnevskaya Opera Center (class of Professor Lydia Yatsynych (Chernykh). Participated in master classes by Larisa Gergieva, Tamara Sinyavskaya. Laureate of the Chopin International Competition (St. Petersburg, 2016, 3rd prize and diploma for the best performance of Chopin’s song), the Competition of Sacred Music Performers “Re-ligo” (St. Petersburg, 2016), the Competition of Performers of Russian Romance “Gatchina Romanciade” (2020), the All-Russian Review Competition of Vocalists - Graduates of Music Universities (St. Petersburg, 2022). Diploma recipient and winner of the “Hope” special prize of the Rimsky-Korsakov International Competition of Young Opera Singers (Tikhvin, 2016), diploma recipient of the Elena Obraztsova International Competition of Young Opera Singers (St. Petersburg, 2019) and the Sobinov International Vocal Competition (Yaroslavl, 2021). Fellow of the Muslim Magomayev Musical and Cultural Heritage Fund. Participated in the All-Russian Decade of Graduates for Creative Universities at the Grand Hall of the Moscow Conservatory (2022). Soprano Born in Chongqing. She received her bachelor’s degree at the Beijing Central Conservatory of Music (she was a member of the Best of the Best Program for Young Talents), then she received her master’s degree at the Peabody Institute of the Johns Hopkins University (Baltimore), and her doctorate – at the Mason Gross School of the Arts at Rutgers University (New Brunswick, New Jersey). Laureate of the Sylvia Green Voice Competition of the Peabody Institute (3rd prize), the Maxim Mikhailov International Competition of Vocal Chamber Music Performers (2nd prize), and the Maxim Mikhailov International Competition of Young Opera Singers (special prize). She has given solo recitals in Beijing, Chongqing, Hebei, Shenyang, and
6847	dbpedia	0	12	https://www.dancemagazine.com/tiny-dancer-giant-career/	en	Tiny Dancer, Giant Career	https://dancemag.wpengin…giant-career.jpg	https://dancemag.wpengin…giant-career.jpg	[ "https://www.dancemagazine.com/wp-content/uploads/2021/10/tiny-dancer-giant-career.jpg", "https://www.dancemagazine.com/wp-content/uploads/2021/10/lauracappelle-avatar-150x150.jpg", "https://www.dancemagazine.com/wp-content/uploads/2024/08/dance-studio-getty-e1723734689931-740x320.jpg", "https://www.dancemagazine.com/wp-content/uploads/2024/06/margiegillishero-740x320.jpg", "https://www.dancemagazine.com/wp-content/uploads/2024/08/cast-of-How-to-Bend-Down-How-to-Pick-It-Up-Maria-Baranova-courtesy-Kayla-Hamilton2-740x320.jpg", "https://www.dancemagazine.com/wp-content/uploads/2024/08/Courtesy-Tristan-Ihne2-740x320.jpg", "https://dancemag.wpengine.com/wp-content/uploads/2021/07/dancemedia-logo.png" ]	[]	[]	[ "" ]	null	[ "Laura Cappelle" ]	2015-10-31T23:00:00+00:00	Iana Salenko didn't let her height keep her from becoming a sought-after guest ballerina.	en	https://www.dancemagazin…/07/favicons.png	Dance Magazine	https://www.dancemagazine.com/tiny-dancer-giant-career/	Iana Salenko didn’t let her height keep her from becoming a sought-after guest ballerina. A principal at 18, Salenko later joined Staatsballett Berlin as a demi-soloist to dance with her husband. Photo by Nathan Sayers. Leotard from Maldire Dancewear. As she waits for her cover shoot to get underway, Iana Salenko looks tiny and unassuming in the makeup chair. In front of the lens, however, the ballerina that comes out is all glamorous confidence. In a tutu from Don Quixote, her polished lines snap into place for the click. When the photographer suggests a pose, she studies it quietly; she looks ready to whip out triple fouettés, but is equally happy to play on the floor. This good-natured work ethic—along with a technique that seems to combine flowing Russian lyricism with the eerily precise small steps favored in Europe—has made the Ukraine-born ballerina a force to be reckoned with. At 32, Salenko is a shining example of the jet-setting careers afforded to ballet stars in the 21st century. Contrary to current wisdom, her petite frame (she is a touch over 5′ 2″) has helped make her a sought-after guest ballerina, dancing alongside partners such as Steven McRae and Daniil Simkin. As a principal with the Staatsballett Berlin and regular guest with The Royal Ballet, as well as a staple at galas and festivals worldwide, her life has become a steady balancing act. Salenko was introduced to gymnastics and folk dancing at a young age by her parents, who worked in a restaurant but loved both disciplines. When her father took her to a dance school in Kiev when she was 12, the teacher asked if she’d be interested in ballet. Despite her late start, Salenko thrived. “I think it was the best age because I knew I wanted to do it, and I gave everything,” she says. Salenko is known for her rock-solid turns, precise footwork—and gorgeous legs. Photo by Bettina Stöß, courtesy Staatsballett Berlin. After just two years, she was invited to the Vaganova Ballet Academy, but her mother deemed it too far from home. Instead, Salenko moved to Vadim Pisarev’s school in Donetsk, 400 miles from Kiev, with her brother. It was a lonely environment for the 14-year-old, who was told by one teacher she was too small to become a ballerina, and she developed an eating disorder. “I was really fanatical, and I stopped eating,” she says. She became so weak that she sustained a dangerous back injury. The director of the school, Pisarev’s sister, took her under her wing. “She fed me, took care of me, brought me to therapy. She gave me love, and then I started recovering.” Once she was healthy, Pisarev decided she was better off finishing her schooling in his company. “I was 16, and he said, You will get everything in the theater,” she says. There, he pushed her, giving her roles like Kitri in Don Quixote. At 18, however, wanting to be closer to her family, she moved back to Kiev, where the National Ballet of Ukraine offered her a position as principal. She was on course to take over the repertoire when she met her future husband, German dancer Marian Walter, at a competition in Vienna in 2004. Both won first prize, and fell in love in the wings, communicating in broken English. Salenko auditioned for Staatsballett Berlin, where Walter was based, but was refused by director Vladimir Malakhov. Instead of giving up, Walter asked Salenko to marry him. Meanwhile, Diana Vishneva, who had guested with Salenko’s home company, intervened in her favor, telling Malakhov her height would be an asset. Salenko received a contract as demi-soloist in 2005, and proved herself in the title role of Malakhov’s Cinderella, reaching principal status in 2007. “When I got demi-soloist, it made me work harder to improve,” Salenko says. “If you get everything too fast at the beginning of your career, it can get boring.” Her profile rose with star turns in Berlin’s classical premieres, including reconstructions of La Esmeralda and Nutcracker. Last winter, new Berlin director Nacho Duato chose her as first-cast Aurora for his Sleeping Beauty. On the side, invitations to guest abroad started piling up, many from friends made at international competitions. In 2013, she was even featured in a Baileys Irish Cream commercial. While she is signed to David Makhateli’s D&D agency, Salenko books most of her gigs on her own. She recently traded her Ukrainian passport for a German one, in part to make travel easier. Salenko relishes the challenge of getting accustomed to new companies, whether in Croatia, Russia or Italy. “At home, you know everyone, each personality,” she says. “Elsewhere, it’s like the first day of kindergarten: People are curious, excited to see you onstage.” She also thrives on taking corrections from various coaches and dancing with new partners: “It makes my brain work: How can I help him, how can I be more on my leg?” Her partnership with Steven McRae also grew out of galas. After McRae talked to The Royal Ballet director Kevin O’Hare about Salenko, she guested in London for the first time in 2013 in Don Quixote, and their partnership has blossomed into a meeting of minds as well as body types, as their heights complement each other perfectly. “We challenge each other onstage. We always try to add something extra—more turns, longer balances,” Salenko says. McRae adds, “Stepping onstage with Iana is completely different from anyone else. She is extremely calm. Her relaxed energy is contagious and is truly a wonderful gift.” Salenko with husband Marian Walter. This month, Staatsballett Berlin performs works by Nacho Duato, Ohad Naharin and Jiri Kilián, plus Nutcracker and Onegin. Juggling traveling with her life in Berlin is no small feat, however, as Salenko and Walter have a 7-year-old son, Marley, born just after Malakhov promoted her to principal. “It was a big step because I was just 24,” she says, “and it was so hard to come back after, but it’s made me want everything even more in my career.” Salenko declined a full-time contract with The Royal to allow her son to continue his schooling in Germany, but the company has welcomed her nonetheless as an ongoing guest artist, with debuts scheduled in Romeo and Juliet, Nutcracker and Ashton’s The Two Pigeons this season. She giggles when she explains that she felt right at home at The Royal, a company known for relatively small dancers. Salenko usually has only one week of rehearsals before performances, but finds it actually helps her. “When you prepare for two months, you get too used to the steps.” Commuting between her quiet Berlin house, next to a forest and just 10 minutes from the theater, and London’s Royal Opera House is made easier by her love of sewing, she says. She likes to replicate costumes from photos, and works on her latest creations on the plane to relax. And at 32, Salenko is finally at peace with her height. In December, she will guest on the Shanghai Ballet’s Amsterdam tour in Swan Lake; the ballet most identified with tall ballerinas has become one of her calling cards. “Odette/Odile was my biggest dream, and companies now invite me for it,” she says. “I realized I can dance with any guy, tall or small.” In her case, one size fits all. Laura Cappelle, based in Paris, is a frequent contributor to Dance Magazine.
6847	dbpedia	0	90	https://www.clarionledger.com/story/news/2014/04/24/sue-lobrano-retiring-upcoming-ibc/8082957/	en	The Clarion	https://www.gannett-cdn.…=pjpg&width=1200	https://www.gannett-cdn.…=pjpg&width=1200	[ "https://media.gannett-cdn.com/jackson/41188240001/201404/1998/41188240001_3500581482001_trim-140z5M-vs.jpg?pubId=41188240001", "https://www.gannett-cdn.com/appservices/universal-web/universal/icons/icon-play-alt-white.svg" ]	[]	[]	[ "" ]	null	[ "Sherry Lucas //, The Clarion-Ledger" ]	2014-04-24T00:00:00	USA IBC head to retire after summer event	en	https://www.gannett-cdn.…ages/favicon.png	The Clarion-Ledger	https://www.clarionledger.com/story/news/2014/04/24/sue-lobrano-retiring-upcoming-ibc/8082957/	Sue Lobrano stops for a second to admire the framed color photos of a pair of Russian dancers, frozen in the blue glow of a 1986 performance in Jackson that helped cinch them the Grand Prix. "You know what I love about this?" the long-time executive director of the USA International Ballet Competition (IBC) said. "Nina Ananiashvili, part of the first Russian group that ever came — she's going to be on our jury." So is Gigi Hyatt, who represented West Germany and won gold here in 1982. "Now medal winners are coming and serving on the jury. ... 'The Circle of Life.' Isn't that what 'The Lion King' says?" It's the sort of generational full-circle that echoes her own coming retirement, after 34 years of service and this summer's 10th USA IBC. She'll stay to help wrap up the 2014 event, and with the transition. Mona Nicholas of Jackson has joined the IBC staff as deputy director. The IBC is held every four years in Jackson. The 2014 IBC is June 14-29, when 97 competitors will vie for medals, scholarships, cash awards and company contracts in the "Olympic-style" competition. Lobrano, 71, is originally from Batesville where she had her own dance school for 13 years. She joined the IBC staff right after the first competition in 1979 to manage the office, later moved to general manager, and in October 1990 was named the director. With the 2014 edition, she'll have been executive director for seven of Jackson's 10 IBCs. Memories that leap to the front provide a backstage glimpse: competitors who chipped in to help a dancer who arrived with only parts of her classical costume; the coach who, seeing the need, helped a struggling, young coachless dancer who was competing against his own. Among the big ballet moments: the first Russian competitors in Jackson — Ananiashvili, her partner Andris Liepi and Vadim Pisarev, who danced with a broken arm (Jackson's medical community recast him with a clear, lightweight cast) and won gold in 1986; in 1998, the award-winning "Shogun" by Rasta Thomas, 17, and Adrienne Canterna, 15, who both won gold (his, a senior). The Jackson faves, who've returned several times to perform since, are now married with "a precious daughter, who's dancing," Lobrano said. "Her elevation is here," she lifted her arm by her ear. There was also the 1982 defection of a Chinese dancer; his partner, headed for gold, was awarded a special jury prize. Canterna said Lobrano's "hard work, strength, grace and support is the reason the USA IBC is the most enjoyable, inspirational and exciting competition in the world." "Sue is the epitome of Southern grace and charm," said USA IBC board member Kathryn Stewart, who also worked with Lobrano as marketing director in 2002. "She has made it her life's work to pass on Thalia Mara's vision to the next generation of dance enthusiasts." IBC board chairman Haley Fisackerly lauded her as the guiding force behind the IBC's continuous advancement and "the USA IBC experience that is synonymous for attracting the world's most talented dancers." "It's going to be so bittersweet," Lobrano said. Daily involvement in her lifelong passion, dance, has been a joy. "But it's time for me to move into the next season of my life." It'll still include dance. She's proudest of establishing CityDance in 2003, a program of dance classes for Jackson Public Schools students, ages 7-12, who wouldn't otherwise have the opportunity. The program has grown visibly, she said, noting dancers' progress and their opening show for the 2012 Reunion Gala. "I've never been so proud of them as I was that night. I just get chill bumps, because it's so important. "We're not doing it to make dancers," although natural talent can be spotted, she said. It provides new opportunities, creates new audience members and teaches much more than simply technique. She wishes CityDance could accommodate ages up to 16 or 17, but it's not feasible now. Another longtime wish has been to add a boys' tap class. She thinks boys would enjoy tap dancing, "because it's fun and it's loud and they're not in tights and I think that would be good for them." Lobrano said, "I am sad that I never got to do this, but maybe I could do it as a volunteer." To contact Sherry Lucas, call (601) 961-7283; follow @SherryLucas1 on Twitter.
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6847	dbpedia	3	8	https://www.ilona-landgraf.com/2015/05/a-team-of-strong-individuals/	en	A Team of Strong Individuals	https://www.ilona-landgr…du_-1024x682.jpg		[ "https://www.ilona-landgraf.com/wp-content/uploads/2017/03/cropped-Qian_Young-Episodes-van-Fragmenten_panorama.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/1.-Semperoper-photo-Matthias-Creutziger-1024x681.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/2.-Raphael-Coumes-Marquet-C.Richardson-Tristan-Isolde-by-D.Dawson-photo-N.Schmidt-1024x683.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/3.-Raphael-Coumes-Marquet-Giselly-by-D.Dawson-photo-C.Radu_.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/4.-Raphaël-Coumes-Marquet-The-Second-Detail-by-W.Forsythe-photo-C.Radu_-1024x773.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/6.-Raphael-Coumes-Marquet-Illusions-like-Swan-Lake-by-J.Neumeier-photo-C.-Radu-1024x969.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/5.-Y.Takeshima-Raphaël-Coumes-Marquet-A-Midsummer-Nights-Dream-by-J.Neumeier-photo-Matthias-Creutziger-695x1024.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/7.-Sangeun-Lee-ensemble-The-Nutcracker-by-A.WatkinJ.Beechey-photo-C.Radu_-1024x682.jpg", "https://www.ilona-landgraf.com/wp-content/uploads/2015/04/8.-Sangeun-Lee-students-of-the-Palucca-School-Coppélia-photo-C.Radu_-1024x682.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/9.-Sangeun-Lee-R.Coumes-Marquet-In-the-Middle-Somewhat-Elevated-by-W.Forsythe-photo-I.Whalen-792x1024.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/10-Sangeun-Lee-R.-Coumes-Marquet-Slingerland-by-W.Forsythe-photo-I.Whalen-1024x732.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/11.-Anna-Merkulova-The-Nutcracker-by-A.WarkinJ.Beechey-photo-C.Radu-1.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/13.-Anna-Merkulova-J.Schmidt-In-the-Middle-Somewhat-Elevated-by-W.Forsythe-Parisphoto-I.Whalen-1024x791.jpg", "https://www.ilona-landgraf.com/wp-content/uploads/2015/04/14.-Anna-MerkulovaJonVallejo-New-Sleep-by-W.Forsythephoto-C.Radu_-1024x768.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/12.-Anna-Merkulova-Jiri-Bubenicek-Sleeping-Beauty-by-A.Watkin-photo-I.Whalen-791x1024.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/15.-Anna-Merkulova-Jon-Vallejo-Romeo-and-Juliet-by-S.Celis-photo-I.Whalen-1024x791.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/16.Anna-Merkulova-Jon-VallejoRomeo-and-Juliet-by-S.Celis-photo-I.Whalen-1024x683.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/18.Jon-Vallejo-Vertigo-Maze-by-S.Celis-photo-C.Radu_-768x1024.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/17.-Jon-Vallejo-Tristan-Isolde-by-D.Dawson-photo-I.Whalen-1024x791.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/19.Jon-Vallejo-Elena-Vostrotina-Im-anderen-Raum-by-Pontus-Lidberg-photo-I.Whalen-1024x683.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/20.-Elena-Vostrotina-Romeo-and-Juliet-by-S.Celis-photo-C.Radu--1024x713.jpg", "https://www.ilona-landgraf.com/wp-content/uploads/2015/04/21.-Elena-Vostrotina-F.Voranger-Romeo-and-Juliet-by-S.Celis-photo-C.Radu_-1024x683.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/22.-Elena-Vostrotina-Giselle-by-D.Dawson-photo-C.Radu_-817x1024.jpg", "http://lod.kfs24.de/wp-content/uploads/2015/04/23.-Elena-Vostrotina-Vladimir-Shishov-Swan-Lake-by-A.Watkin-photo-C.Radu_-1024x683.jpg", "https://www.ilona-landgraf.com/wp-content/uploads/2015/04/24.-Elena-Vostrotina-Swan-Lake-by-A.Watkin-photo-C.Radu_-1024x683.jpg", "https://www.ilona-landgraf.com/wp-content/uploads/2015/05/25.-Semperoper-photo-Matthias-Creutziger-1024x660.jpg", "https://www.ilona-landgraf.com/wp-content/uploads/2016/09/facebook.png", "https://www.ilona-landgraf.com/wp-content/uploads/2016/09/twitter.png", "https://www.ilona-landgraf.com/wp-content/uploads/2016/09/print.png" ]	[]	[]	[ "" ]	null	[ "Ilona Landgraf" ]	null		en			https://www.ilona-landgraf.com/2015/05/a-team-of-strong-individuals/	Semperoper Ballet Dresden, Germany April/May 2015 by Ilona Landgraf Copyright © 2015 by Ilona Landgraf In 2006 the winds of change were blowing through the Semperoper Ballet Dresden. After twelve years under Vladimir Derevianko’s directorship the Canadian Aaron S. Watkin took over the reigns. He thoroughly revitalized the company and adopted a new course for the repertory. The classics, already the company’s linchpin, were kept, but modern pieces were now strongly fostered. As a result, after almost a decade of constant work, the company receives much international attention. Ballets by William Forsythe, David Dawson, Stijn Celis and Aaron S. Watkin are its signature features. Recently I spoke with five leading dancers about their backgrounds and how they experienced the company’s development. A splendid dancer with a charming personality, Raphaël Coumes-Marquet stands out from the ensemble in the truest sense of the word: he is 6 feet, 3,6 inches (1,92 m) tall. Seasoned, a refined technician and accom- plished actor, he is a treasured dance part- ner not only for tall ballerinas. As the forty-year-old will retire from stage at the end of this season, it was a good opportunity to look back on his career. Coumes-Marquet was born in Besąncon in France. Music was a core element in his family: Raphaël’s grandfather was a professional saxophonist, his mother played the clarinet in the city band and his father plays the guitar. As a little boy, Raphaël started to take clarinet lessons at the conservatory but quit when he lost his baby teeth. Might he have become a musician otherwise? In any case music appealed to him and made him jump around and dance. At age eleven, he was admitted to the School of the Paris Opera Ballet. Three years later knee injuries forced a rest of six months. The fourteen-year-old had grown over 8,3 inches (21cm) within two years and looked “like a spaghetti”. Lacking muscles it was difficult for him to make his lanky limbs do what he wanted them to do. “The other boys’ jumps grew in power and agility” Coumes-Marquet remembers, “and though I was quick in my mind and knew exactly what to do the music was already finished before the information reached my feet.” His knees couldn’t sustain the strain. But when he resumed training Coumes-Marquet was way below the level of his class and had to catch up. Nevertheless, Claude Bessy, then director of the Paris Opera Ballet School, noticed the boy’s potential, allowing him to finish his education, but he had lost the option to enter the opera ballet’s company later. A hard lesson for the teenager, but, in retrospect, fortunate. Although he needed time to gain self-confidence, to feel good with himself, his mind opened up, developing in directions towards other companies outside the orbit of the Paris Opera. He learned to work harder, to focus, to fight his way. “Compared to a shorter dancer I need more training to built up muscles. I go to the gym, work on my fitness – that’s not given to my body by nature. Other male dancers might have to stretch more to be able to split. That’s by comparison easy for me.” After graduation Coumes-Marquet’s parents saw an announcement in a ballet magazine for an audition at the Ballet Nice Méditerranée. Actually going to Nice wasn’t Coumes-Marquet’s ambi- tion – his dream desti-nation was John Neumeier’s company in Hamburg – but he wanted to have a job and training. At the time the audition in Nice took place, Jean-Christophe Maillot was also holding one at Les Ballets de Monte Carlo. Coumes-Marquet took the opportunity and was fortunate. He stayed four years with Les Ballets de Monte Carlo, worked with Maillot and other choreographers and danced many Balanchine ballets. At age twenty he was already a soloist. But he felt himself too young to stay in one place. Being adventurous he wanted to explore the world. Also returning to a grander opera house, to the classical repertory he had grown up with in Paris, tempted him. Thus Coumes-Marquet joined the State Ballet Vienna. Its repertory – the big classics by Nureyev, “Swan Lake” and “Romeo and Juliet” – was what he had dreamed of. Once there, the Russian training polished his technique. But, recognizing that the company’s strict hierarchy would prevent him from being cast in leading roles within a reasonable time, Coumes-Marquet left to join Dutch National Ballet after one season. “There I felt one hundred percent in tune with what I danced. I found myself as an artist. It was the company I grew in most” he continues. “One hundred and fifty shows per year – I was virtually on stage the whole time. It was wonderful!” Above all, he met the choreographer David Dawson. Thus began a creative collaboration which Coumes-Marquet describes as a “long term highlight”. Eight years later, in 2006, Watkin invited him to join the new company of Semperoper Dresden. As Dawson had already gone to Dresden to become resident choreographer, Coumes-Marquet didn’t have to think twice. Watkin brought thirty-five new dancers in along with himself when he took over as artistic director, meaning more than fifty percent of the company was new. Coming from all over the world they didn’t know each other. “It was not competitive but there was a certain tension in everyday work. We all had to prove ourselves. Each of us had to find his or her position within the group. At the same time we were busy preparing the first program. The ground was actually on fire! All those amazing dancers: Jiří Bubeníček, Natalia Sologub, Yumiko Takeshima, Dimitry Semionov, Bridget Breiner – I have certainly forgotten some. Now, after almost ten years the company has found its rhythm. Though going to Hamburg Ballet never came off, Coumes-Marquet danced leading roles in all three Neumeier ballets which for some years were kept in the Semperoper’s repertory. He was Drosselmeier in “The Nutcracker”, Oberon/Theseus in “A Midsummer Night’s Dream” and, as one of his most fulfilling experiences, the King in “Illusions – like Swan Lake”. Many turning points have marked his career. Yet Coumes-Marquet rather considers that he has followed a somewhat predetermined path. He tries to look at his roles with a fresh eye, to take class anew every day, even if it isn’t easy every morning after twenty-five years. He will give his farewell as King Marke in Dawson’s “Tristan + Isolde”. “A mature role, symbolically significant, which fits my age and my situation.” Afterwards, Coumes-Marquet will join the team behind the scenes of the Semperoper Ballet. I was impressed when meeting Sangeun Lee. Not only because of her height – a remarkable 5 feet,11 inches (1,82 m) – but especially because of the South Korean’s outspokenness. Traditionally restraint and acquiescence are her culture’s attributes. Lee, however, got her own way. Born in Seoul, she was encouraged by her mother to try various leisure activities: painting, skating, lots of sports in general and also ballet. Ten-year-old Lee soon found pleasure in the ballet classes. “I was never bored, instead I always easily stayed focused”, she tells. “Dancing just felt great!” No one in her family has a connection to dance; her one year younger brother became a pilot in the army. Lee was enrolled at the Sunhwa Art Middle School. Then later, she attended the Sunhwa Art High School for another three years. (The Sunhwa School is one of the most prominent for visual arts, music and dance in South Korea.) There she received a solid training in the Vaganova method. Usually students are expected to enroll at the university after graduation, for example for a degree course in pedagogy as well as keeping up with dancing. Not so Lee. “The career of a dancer is short and I thought instead of wasting four years at university I would go entirely for ballet.” That caused some fights with her parents who wanted to provide her with a second education for the time when her career as an active dancer would end. But Lee finally got her way. She joined the Universal Ballet Seoul, one of the four professional ballet companies in South Korea. The idea of going to Europe had arisen earlier when her school sent her to compete at the Prix de Lausanne, an event which again proved Lee’s stamina and resilience. In 2003, after months of preparation, she was denied entrance into the competition when she arrived in Switzerland because of her thinness. She already had her adult height but lacked muscles. One year later and having put on weight, Lee tried again and made it all the way to the final. Although she slipped and fell in her last performance, she remembers the competition fondly. She had received much applause in the quarter final and semi final, but for her the most striking experience was that people came round afterwards to thank her. “Well done! or Good job! is how people in Korea usually comment on a well-made show but no one says Thank you! It feels so good! I felt respected as an artist! Actually since then I wanted to come to Europe.” Lee concludes. Among her array of awards are the gold medal in the Korean Ballet Competition (2004) and the Grand Prix in the International Ballet Competition in Seoul (2005). In the Ballet Competition in Varna she took third place in 2008. Yet Lee had made up her mind. Not only because of her experience in Lausanne but finally because of the repertory. Universal Ballet Seoul first and foremost fosters full-length, classical story ballets like “Swan Lake” and “Sleeping Beauty”. Contemporary pieces were comparably rare during Lee’s time. But every year there was one big contemporary evening and when Laura Graham came to Seoul to stage Forsythe’s “In the Middle, Somewhat Elevated” Lee was smitten. Forsythe’s style felt great to her! Staying in touch with Graham, who was ballet mistress and choreographic assistant of Semper- oper Dresden, she made her first connection with Saxony’s capital. Watching videos of various European ballet companies and putting out feelers to various companies such as the Dutch National Ballet and Les Ballets de Monte Carlo, Lee kept her eyes open for a new venue. She auditioned at several other companies, but being tall complicated matters. In Seoul it had already been difficult to find her appropriate dance partners. Generally many companies look for ballerinas at under 5 feet, 6 inches (around 1,67m) maximum height. However, Watkin chose her immediately. After five years with Universal Ballet Seoul, Lee, already a first soloist, made her move. Thinking back to her start in Dresden in 2010, she admits it had been a difficult time. First she had to learn English, yet English isn’t a surefire tool for everyday communication in town! Dresden’s population mainly speaks German tinged with an Saxon accent. But after Lee had mastered working in the company’s large repertory she started to learn German. Being able to place an order at a local cafe in flawless German makes her happy. Half a year ago Lee’s parents came to Germany for the first time to see her in “Swan Lake”. She made them very proud. Catching up with the modern repertory and different styles was one thing, but it was quite another matter to overcome her reserve. “In Korea you simply do what you are told to. You are not expected to question or to even start a discussion. But here ballet masters ask, for example, how certain movements feel to me. That was completely new! I began listening to my inner voice which opened a much wider spectrum to interpret a role.” In addition, when cast in a piece yet to originate, she is now actively involved in the creative process which was hard at first. In Korea she had been confined to fixed roles. Though still a bit shy, the twenty-eight-year old tackles the challenges boldly and laughs a lot. Seeing herself in a growing process she is grateful for the many opportunities that have been given to her so far. In 2013 she was promoted to first soloist. She has mastered the technique required for Balanchine ballets, enjoys pieces by Forsythe very much and currently rehearses for her debut as Myrtha in Dawson’s “Giselle”. (It took place in mid April and Lee did well!). “Giselle” is one of her favorites: “In the second act we dance in a dark space, only dimly lit by a huge, full moon. All Wilis are veiled. There has to be a special atmosphere. As Queen of the spiritual beings I want to establish this certain mood. Technically I have to be grounded rather than airy, because being covered by a veil makes it difficult to orient myself and the spotlights can be dazzling as well.” Anna Merkulova is a petite, blond woman exuding calmness and thoughtfulness. Born in Donetsk, we broach the current political situation in the Ukraine. Merkulova’s family still lives there. Though fortunately her family’s house was spared from bombing, the food supply currently is highly problematic as relief supplies are not coming through. A burdensome situation for the ballerina who can hardly do anything from the outside. Merkulova has danced in the company since 2006, Semperoper Ballet becoming her artistic home. The path leading to Dresden was an interesting one: An active child but unfamiliar with ballet, seven-year-old Merkulova was taken by her mother to a governmental ballet school offering ballet classes, gymnastics and musical education. The children had to undergo a small audition in advance, their musicality and flexibility were tested and they were asked some questions, for example, Do you like eating cakes? When little Anna told afterwards that she had answered “Yes, of course I like cakes!” her mother was almost convinced that the school would reject her. After some time they came back to check the list with the names of the youngsters who had been admitted which had been posted on the school’s door. However Anna’s mother couldn’t find her daughter’s name. She became really upset and the two started walking to the bus stop but after one block of houses stopped, turned round and checked again. Lo and behold, Anna’s name was on the list but her mother had overlooked it! If they hadn’t returned, no one would have called and informed them about her being approved. Two years later Vadim Pisarev, a famous Ukrainian dancer, and his wife, prima ballerina Inna Dorofeeva, established the Choreographic School in Donetsk, also known as the Vadim Pisarev Ballet School, the first private, educational institution of its kind in the Ukraine. Associated with the local Opera and Ballet Theatre, its goal was to train professional dancers. Anna’s teachers intended for her to enroll there but Anna’s mother refused. No way! But begged by the teachers, Anna’s parents took a look at the new school’s opening. Arriving there Anna was supposed to participate in an audition class but had brought along no proper training wear. While Anna’s teacher distracted her parents in a talk, she was outfitted in a tricot and put into class. By the time her parents finished talking, Anna was already happily running out declaring “Mum, they took me!” Her mother wasn’t pleased but Anna threatened with “If you don’t let me go I won’t ever come out of my room again!” prompting her mother to relent. Her sister who was six years younger later followed in Anna’s footsteps. She also became a dancer, performing in musicals in Donetsk’s opera. During her education Merkuluva had already appeared with the Ballet Theatre’s ensemble. After graduation she continued dancing with the company for one year before setting off “trying to find her place on earth”: She danced as soloist in the Fouette Youth Ballet in Estonia, then with smaller companies in Florida and Houston. Watkin spotted her in early 2006 during her one-year engagement at Copenhagen’s Tivoli Pantomime Theatre. He offered her a contract with the Dresden company and upon hearing about Watkin’s plans for the first season she immediately accepted. Watkin had scheduled the very same ballet she had been fascinated by when first seeing it as a little girl in the ballet school at the annual dance festival in Donetsk: “In the Middle, Somewhat Elevated”. Although Forsythe was largely unknown in the Ukraine, this ballet stuck in Merkulova’s memory. The opportunity to dance it herself was irresistible! Merkulova loves both classical as well as modern works. She excels in story ballets like “Sleeping Beauty” choreographed by Aaron S.Watkin after Marius Petipa, “Cinderella” and “Romeo and Juliet” by Stijn Celis that allow her to develop a character. (Jón Vallejo had been her Romeo). In Dawson’s “Tristan + Isolde” she danced Isolde (with István Simon as Tristan) and Brangäne, Isolde’s best friend. “It is like living a separate life for one or two hours. Afterwards, when the curtain goes down, I’m in between two worlds for some time and need to come back to earth again.” In the Dawson and Forsythe pieces Merkulova feels especially at home. If she had been born earlier she might have ended in Forsythe’s Frankfurt Ballet company (which was dissolved in 2004). Luckily there’s a close connection to the subsequently founded Forsythe Company, which has its second home at the Festspielhaus Hellerau close to Dresden. Its staff comes regularly around to rehearse pieces with the Semperoper company. Ascending the ranks from corps de ballet to first soloist in 2013 allowed her to get to know some of the productions’ various roles inside and out. In Celis’ “Sleeping Beauty” Merkulova was initially cast as a little girl doing some pantomime. She went from that to Aurora. Asked about how she would cope with difficult times, how she would keep her motivation high, Merkulova explains that anger would be a psychologically useful tool to keep her alert. If she has to dance “In the Middle, Somewhat Elevated” while being upset, it would be perfect. “Even if the role demands that I smile it helps me if I’m a bit annoyed.” Regardless of the character she has to portray it is easier for her to express different facades of her personality when she is on stage. Entering the stage vaults her into another world. Watching performances, by comparison, makes her feel awkward. “My place is up there on stage not in the audience” Merkulova is not a party-goer, huge groups and loud music weary her. She rather likes to be with close friends, enjoys reading or biking along the Elbe in summer. Sitting around soon makes her moody and grumpy; she needs frequent physical workouts. Constantly searching for new experiences Merkulova highly values the Semperoper Ballet’s varied repertory. Different styles of movement attract her; being challenged keeps her interest. That is exactly the case in Dresden. She is looking forward to MacMillan’s “Manon”, scheduled for the next season. Maybe the leading role in “Giselle” awaits her as well. Short Jón Vallejo is magnetic on stage. Attributing this to his technical prowess, his panache or acting talent would miss the mark. When asked, he couldn’t state particular reasons nor seemed to have wasted much time thinking about that before. Having a special aura seems to be his natural condition. “I guess it is because I’m honest when performing. I never pretend anything. What you see comes from inside. When on stage I forget everything around me. It is just this moment, this music, this feeling. I try to let my emotions through without adding or holding back anything. They are pure.” When tackling a new role, for example for a story ballet, his initial approach is of course more rational than emotional until his ideas merge with the choreographer’s. But analyzing a role in detail and converting his thoughts into movement isn’t Vallejo’s main focus. Cognitive examination is part of the daily class in front of the mirror. In terms of the artistry of passing emotions to the audience he relies entirely on his intuition. Vallejo was born in San Sebastián in northern Spain. As a little boy he was intensely active and participated in all different kinds of sport. His mother, who was passionate about taking ballet classes as a hobby, enrolled him, aged four or five, and his two siblings at the local dance studio Thalia Mentxu Medel. He enjoyed dancing and when his talent became apparent things became more serious. In 2000, after participating in some competitions, he was invited to train with Carmen Roche at the Conservatory for Professional Dancers in Madrid. When Roche founded a small company, Vallejo was in. A thrilling period in his early career ensued. The group toured Spain by bus and worked with a number of choreographers, among whom was Goyo Montero, who is now artistic director of the Nuremberg State Theater’s ballet. Although only sixteen or seventeen years old, Vallejo had leading roles created on him: Othello in “Desde Otello” or Romeo. He felt incredibly fortunate! In 2005 he embarked on Nacho Duato’s Compañía Nacional de Danza 2 in Madrid for one year, got to know the mechanics of a much bigger company and immersed himself in a totally new repertory. He also worked with Tony Fabre. “An excellent teacher, ex-dancer of Béjart’s Ballet of the XXth Century, the Béjart Ballet Lausanne and subsequently Duato’s assistant.” In 2006, after Watkin saw some performances of Duato’s troupe, he offered Vallejo an engagement in Dresden. As he does when dancing Vallejo trusts his gut instincts when having to make a decision. At the time he felt instantly attracted. Again, he plunged into a project which was about to get started. Already set works never tempted him. Thinking back to his beginnings in Dresden the multitude of different characters in the group struck him most. Watkin had picked strong personalities. Bringing them together resulted in something extraordinary but it could have been a bomb as well. Luckily, ruinous explosions didn’t take place, instead the melting pot of dancers began to emit more and more sparks. “Sometimes we sit together and recall the different impressions we had of each other at first.” Vallejo laughs, “it was a beautiful time!” The Spaniard soon ascended the ranks from coryphée to first soloist. A versatile dancer, he is at home in the classical as well as in the contemporary style. He concedes, though, that doing the classics is harder. Yet restricting oneself to one style would be anachronistic these days. Usually, Vallejo dances good or even funny guys in story ballets that fit his personality: The Prince in “The Nutcracker, Romeo, the Bride’s Groom in “Giselle”, Mercutio or Gremio in Cranko’s “Shrew”. But recently he had to depict a negative character for the first time: Melot in Dawson’s “Tristan + Isolde”, the jealous man revealing Isolde’s love affair with Tristan to King Marke. “Being Melot was especially interesting, actually a challenge, because Fabien (Voranger), who usually is cast as the bad guy, this time was Tristan. Things were a bit the other way round. I had to first unearth some dark emotions which I could work out.” Returning to his drive to participate in new projects, Vallejo states Dresden would unvaryingly be the right place for him, but he objects to my phrasing of “feeling comfortable”. “If I start to feel comfortable in terms of settling back it would definitely be time to leave. There has to be a challenge, a personal or a private one.” Having opportunities to guest abroad is important for him. Getting to know people, introducing oneself to other companies and also representing his home company is enriching. Recently he guested with Anna Merkulova in Madrid. One weekend later he shone during a gala in Nuremberg with Fabien Voranger and Jiří Bubeníček. When Jiří and his brother Otto perform elsewhere Vallejo is regularly in on it. The trio is well-attuned to each other. Accompanying the Bubeníčeks to Japan several times has especially stuck in his mind. Over the years he has developed a proper balance between his professional and private life. Thus folding up his tent in Dresden is not an issue for Vallejo. He likes to spend time with friends, to have a good talk, to socialize, to reunite with his family during the summer break. Cooking is a pleasure for him, as is playing the piano and composing music. Cur- rently he is working on creating a table game about the Semperoper together with a friend which might be available for sale in the opera’s shop at some point. In any case, regardless of what he sets about, he seems to be centered and at peace with himself. Realistic and grounded, he finds ups and downs are natural. “Before climbing another peak one has to touch the low-point. It is helpful to set a personal floor and ceiling and try to oscillate in between. If you go below and fall into a sort of limbo then it is hard to climb out.” Some weeks ago Vallejo suffered an injury during a performance. Although still forced to rest he radiates confidence. The rehab-training is already scheduled, recovery is certain, the next performances loom on the horizon. One wished him good luck! Elena Vostrotina laughs heartily when I tell her that she had shocked me as Lady Capulet in Stijn Celis’ “Romeo and Juliet”. She had worn an ultrashort pink dress, pumps and a large, purple hat. Purple, on top of red hair! “A beautiful costume! I loved it!” she states. A tall woman, she was absolutely unmissable on stage. Born in St. Petersburg, Vostrotina is a single child. Her mother danced in the corps de ballet of the Kirov Ballet, today’s Maryinsky Ballet. Elena grew up in the theater. Dancing and moving the whole time, she started ballet lessons aged five; entering the Vaganove Ballet Academy was the natural consequence. Nineteen-years-old and in her first year with the Maryinsky company, she had her debut as Odette/Odile partnered by Danil Korsuntsev. Around that time, in early 2005, Watkin, then choreographic assistant to William Forsythe, set “Steptext” at the Maryinsky which was part of its first Forsythe evening. Vostrotina wasn’t cast but she had attracted Watkin’s attention when performing another piece. Thus he asked her to participate in the rehearsals. Vostrotina, eager to explore a wider repertory, already had a clear idea of going abroad one day. Contemporary and modern pieces interested her. An offer of a position in Watkin’s company arrived opportunely. In hindsight leaving Russia was also important to start her standing on her own feet. “I’m very close to my parents, a real home chick. I turned twenty-one when coming to Germany and suddenly had to organize my life by myself. I felt super young, like a baby. It really happened that I called my mum, asking her how she would boil the pasta!” – “At least I know how to cook now” she adds with a laugh. “I didn’t really speak English, let alone German. I learned them from the people in the company.” Arriving in Dresden in 2006 she had three weeks left to prepare for the opening bill: “Symphony No. 2” by Uwe Scholz, “In the Middle, Somewhat Elevated” by Forsythe and Kylián’s “Petit mort”. Her pioneering spirit was an advantage: “It was crazy! We worked from 9.00 am to 10.00 pm. Basically it felt as if settling in the opera. The shops were always closed when we finished rehearsal. Often the fridge at home was empty – given there was a fridge at all in the new apartment. When one day was free, everyone was hurrying to go shopping. Actually it had been a fantastic time! It bound us together! Sometimes we jokingly count who of the first group, the dinosaurs, still is in the company.” Like her colleagues Vostrotina highly appreciates the chance of working with different choreographers. “To me Forsythe is a genius! We were somehow spoilt as his company used to perform here twice per year. Plenty of his ballets are in our repertory, we have been really privileged to have worked so often with him. Sometimes, other choreographers come round for only a few days but he worked intensely with us. That was great! I’m very grateful to dance in his ballets. The same applies to David (Dawson). He created several pieces with us, “Giselle” and recently “Tristan + Isolde”. One becomes familiar with the respective style and acquainted with the personality.” Nevertheless guesting with other companies attracts Vostrotina. “For some time now we have had more individual guest appearances. Touring the company has also come into focus. It took some time but now we start to make our mark out there. Yet it is a pity that many good shows weren’t noticed appropriately in earlier times.” Asked if the audience changed with the company’s evolvement, Vostrotina says Dresden’s audience had been and would be an educated one, always responsive and easily enthusiastic about a good show. However some years ago the opera had undergone a crisis, although the company was offering a fantastic program. Maybe a side effect of the global economic crisis? Many seats in the orchestra stalls stayed empty yet the small audience applauded like mad. “It is a bit like it happened a few times when still at school. When only a handful of students showed up in class – presumably to the teacher’s disappointment – we worked even more intensely and got so much attention that we went home, exhausted, but profoundly happy.” The Russian likes the classical as well as the modern repertory. Dawson created the role of Myrtha on her – a less malicious one compared to other classical versions, with Stijn Celis she worked amongst others on the part of Lady Capulet mentioned above. Asked about roles still on her wish list Vostrotina bursts out with “Everything! There is so much left to do!” Juliet would be a dream, next to a tall Romeo. The female parts in Forsythe’s “Quintett” and “Bolero” from Béjart. “Béjart isn’t in our repertory but who knows…” Interested in looking beyond the horizon Vostrotina loves to act, though she is scared by the idea of having to speak on stage. “We are trained to express everything without words. Ohad Naharin made us sing and shout in “Minus 16”, but we were shy in the beginning.” She enjoys biking along the river, watching movies or doing things with her hands, like sewing little creations which she gives away to friends as presents. Design in general attracts her: costumes, fashion or furniture. Vostrotina also experimented with teaching. Two years ago she taught a summer course at the Palucca School nearby for a fortnight. “An amazing experience! I started to reflect upon how I do things, to reevaluate. I suppose I learned more from the kids – psychological issues, for example – than they from me. We had a little performance afterwards and I remember two girls, who didn’t train professionally but rather participated for their own pleasure. They were the ones really dancing with their hearts. Their dance was so clear and they were absolutely present on stage! Witnessing that was the most rewarding! Some months ago I watched a ballet master class for other teachers in Dortmund. They, too, worked hard. Incredibly dedicated! Two pirouettes and even went one better! Their passion and respect for the art inspired me immensely. Regardless what you do it is utmost important to love it! To give your best even if you are not immediately turning into a high flyer. One needs discipline, basic everyday discipline.” A portrait of Jiří Bubeníček, principal dancer of the company since 2006, will follow in autumn this year. (All interviews have been edited for clarity.)
6847	dbpedia	1	64	https://www.slkballetschool.com/copy-of-ballet-faculty	en	Past & Guest Faculty	https://static.wixstatic…a9b0b35d3096.jpg	https://static.wixstatic…a9b0b35d3096.jpg	[ "https://static.wixstatic.com/media/7b2a06_3b158b88805c411fbf2f44aa1f4b97e6~mv2.png/v1/crop/x_0,y_668,w_4372,h_3246/fill/w_160,h_119,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/SLK-logo.png", "https://static.wixstatic.com/media/7b2a06_1d84d2b114464f1da7cdaa3650dca6d7~mv2.jpeg/v1/crop/x_0,y_414,w_3680,h_3680/fill/w_160,h_160,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/%C2%A9ERIC_ANTONIOU_64_JPEG.jpeg", "https://static.wixstatic.com/media/7b2a06_42dc35b3fe1e4958be7b894800de0cc7~mv2.jpg/v1/crop/x_0,y_328,w_3744,h_3744/fill/w_160,h_160,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/Catherine%20Batcheller_JPG.jpg", "https://static.wixstatic.com/media/7b2a06_ebf9e2cb6552422cb614680e1953323e~mv2.jpg/v1/crop/x_0,y_46,w_3680,h_3680/fill/w_160,h_160,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/%C2%A9Eric_Antoniou_109_JPG.jpg", "https://static.wixstatic.com/media/7b2a06_42154ecaa14b459ca350d6f466ea6a96~mv2.jpg/v1/crop/x_0,y_149,w_1024,h_1024/fill/w_160,h_160,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/Roger%20Jansen.jpg", "https://static.wixstatic.com/media/7b2a06_7fed3d0cf8fe4456b9d7a783abc3410a~mv2.jpg/v1/crop/x_0,y_14,w_423,h_423/fill/w_160,h_160,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/Rebecca%20Rice.jpg", "https://static.wixstatic.com/media/7b2a06_7141249870ef4c929b33c9d14c918456~mv2.jpg/v1/crop/x_65,y_25,w_413,h_411/fill/w_160,h_159,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/Jillian%20Davis.jpg", "https://static.wixstatic.com/media/7b2a06_74adf7be45db486daf9bff0a14989fe1~mv2.jpg/v1/crop/x_273,y_0,w_1092,h_1092/fill/w_160,h_160,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/image_6483441_JPG.jpg", "https://static.wixstatic.com/media/7b2a06_978000c91bc048cca1d274b2e49ceb22~mv2.jpg/v1/crop/x_0,y_10,w_763,h_762/fill/w_160,h_160,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/Leanne%20King.jpg", "https://static.wixstatic.com/media/7b2a06_efc4b4e0799d4498bb37de6822989480~mv2.jpg/v1/crop/x_67,y_158,w_637,h_636/fill/w_160,h_160,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/IMG_1560_Razvan-768x1152.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	https://static.parastorage.com/client/pfavico.ico	slkballet	https://www.slkballetschool.com/copy-of-ballet-faculty	Larissa Ponomarenko is a former principal dancer of Boston Ballet, who joined the Company in 1993 and had been it’s leading ballerina for 18-years. Her vast and incredibly versatile repertoire ranged from classical & neoclassical productions to modern & contemporary works, included principal, title and lead roles in ballets by M. Petipa, A. Bournonville, J. Cranko, F. Ashton, K. MacMillan, G. Balanchine, A. Tudor, P. Taylor, J. Kudelka, B. Stevenson, S. Welsch, V. Caniparolli. As well as J. Kyllian, N. Duato, Twyla Tharp, M. Morris, L. Monte, M. Corder, B. Wells, M. Pink, and L. Berdo. Larissa originated roles in works by C. Wheeldon, H. Pickett, S. Baynes, D. Pelzig, V. Plotnikov, and became the muse for Boston Ballet resident choreographer Yorma Elo, creating roles that involved speaking and singing on stage. Besides Boston Ballet, Larissa’s coaching career as a guest Master Teacher presented her an opportunity to travel and teach for institutions like Washington Ballet, Harvard University, and Yale University. Larissa had been a part of International Masterclass Workshops in Prague, Czech Republic; Essen and Dresde, Germany and Palermo, Italy. Born in Odessa, Ukraine, Larissa started ballet training in her home city under Vladimir Issaev, who dramatically changed her life by writing a letter of recommendation on Larissa’s behalf and advising her to audition for Vaganova Ballet Academy in Saint Petersburg, Russia. After being accepted, Larissa spent 8-years living and studying ballet in Saint Petersburg, receiving top training from highly distinguished teachers including N. Kurgapkina, T. Borovikova, I.Gensler, O. Sokolov, L. Komisarova, K. Sergeev, N. Serebrennikov, N. Dudinskaya, M. Daukaev, N. Yananis, T. Shmyrova, V. Korneev. During which time Larissa performed on the stage of Mariinsky Theatre (then Kirov), as she was regularly used in all Kirov Ballet classical productions that involved children. She was chosen to represent the school, performing in major cities around the world. In 1989 Larissa graduated under legendary N. Kurgapkina and for her graduation performance was honored to dance pas de deux from Giselle with Kirov ballet principal dancer Marat Doukaev. Larissa’s ﬁrst company work was at Donetsk Ballet, Ukraine, where she performed Giselle as a lead with partner Vadim Pisarev. She also met her future husband Viktor Plotnikov. Prior to joining Boston Ballet, Larissa and Viktor have worked for Mississippi Ballet and Tulsa Ballet. Catherine Batcheller’s international career as a principal dancer spanned the San Francisco Ballet, the Stuttgart Ballet and the Birmingham Royal Ballet where she worked with some of the 20th century’s most significant choreographers of our time including Jiri Kylian, William Forsythe, Maurice Bejart, Sir Peter Wright, Hans Van Manen, David Bintely, Stanton Welch, James Kudelka and Wayne McGregor, as well as dancing principal roles in works by John Cranko, Sir Kenneth MacMillan, George Balanchine, Jerome Robbins and Sir Frederick Ashton. Catherine has worked as a guest teacher and choreographer, working with such schools and companies as Alberta Ballet School, Atlanta Ballet, Belhaven University, Birmingham Royal Ballet, Boston Ballet, Portland Ballet, San Fransisco Ballet, Indiana University, Texas Christian University, University of North Carolina School of the Arts, Walnut School for the Arts and SLK Ballet School. From 2010-2016, she served as Dean of the Cincinnati Ballet’s Otto M. Budig Academy for six years where she directed both the year round program and their international Summer Intensive, and also taught as adjunct faculty at Cincinnati College of Music. Prior to her work with Cincinnati Ballet, she was the Artistic Director at Ballet Conservatory of South Texas. In 2001, Catherine co-founded and co-directed Configuration Dance, a project based company that showcased contemporary and classical ballets as well as commissioned works from established and emerging choreographers. It celebrated the diversity in dance by bringing different artists from different backgrounds together to dance in a variety of styles of work. In 2004 she founded and directed the school for Configuration Dance. Catherine holds a M.A. in Dance in Education and the Community from Birmingham University, England. More information visit catherinebatcheller.com Born in Ukraine, Victor Plotnikov received his training at the Kiev’s National Ballet Academy, the Vaganova Ballet Academy in St. Petersburg, Russsia and private teaching from Theodor Popescu and Svetlana Kolyvanova. From 1987 to 1990, he was a soloist with Donetsk Ballet Company in the Ukraine. Plotnikov held Guest artist positions at Ballet Mississippi and Tulsa Ballet Theatre between 1990 and 1993, before joining Boston Ballet as a principal dancer in 1993, where he performed until 2006. He has danced major roles in extensive classical and contemporary ballets by many of the major choreographers, and has toured extensively in Russia and the United States. In 1998 Plotnikov’s extensive performance career lead to choreographic inspiration. He has since created original, commissioned works for companies including Boston Ballet, Cincinnati Ballet, Pittsburg Ballet Theatre, Richmond Ballet, New Jersey Ballet, First State Ballet Theatre, Festival Ballet Providence, Atlanta Ballet, and Kansas City Ballet. From 2002 to 2005, he received rave reviews for his choreography and as co-director and co-producer of the choreographer’s showcase Raw Dance in collaboration with Boston Ballet and Boston Center for the Arts. Plotnikov has created a myriad of original works for numerous organizations and individuals, often to great acclaim. These include solos and duets performed at International Gala Performances and as part of international ballet competitions, with musical taste ranging from Brahms to Pink Floyd. Awards include “Best Choreography” at Helsinki International Ballet Competition, World Ballet Competition, Orlando; Outstanding Choreography at Youth American Grand Prix; Beijing International Ballet Competition; Perm International Ballet Competition, Russia. Born in the Netherlands, Roger Jansen graduated from the Royal Conservatory in the Hague in 1989. He continued his studies at the Vaganova (Kirov) Ballet Academy in Russia. In 1990, he joined the Dutch National Ballet as aspirant under the directorship of Rudi van Dantzig and was promoted to Grand Sujet in 1995 by Wayne Eagling who was responsible for pushing Roger to the next level. Roger’s repertoire includes demi-soloist roles in "Swan Lake", "Giselle", "La Sylphide", "Nutcracker", "Romeo and Juliette", "Sleeping Beauty" and "Cinderella”, as well as ballets from George Balanchine including: "Symphony in Three Movements", "Agon", "Episodes", "Four Temperaments", "La Valse", "Jewels" and "Brahms Schoenberg Quartet". However, Roger’s passion for dance excelled most in contemporary works from Hans van Manen, Rudi van Dantzig, Tour van Schaik, Krzysztof Pastor, Ted Brandsen, William Forsyhthe, Twyla Tharp, Eduard Locke, and Wayne Eagling. Roger finished his professional career in 2003 after thirteen years with the Dutch National Ballet, and went on to fulfill his lifelong dream by joining the famous cabaret "Lido de Paris" in Paris. He continues to teach classical ballet back home in the Netherlands while he continues to expand his teaching engagements in the United States. Rebecca Rice is an award winning choreographer, respected teacher and the artistic director/choreographer of Rebecca Rice Dance, a noted modern dance company in Boston. Her professional company has been presented in Massachusetts by the Boston Ballet, Jacob's Pillow Dance Festival, Bank of America Celebrity Series, The Boston Pops, World Music and her choreography has been commissioned by various organizations such as the Samruk Ballet Company in Kazakhstan, Pont Aven School in France, Edinburgh Fringe Festival in Scotland and in New York City with the American Dance Guild. Rebecca Rice Dance made its New York City debut in 2006 to high acclaim. As resident choreographer and teacher of modern dance at the Boston Ballet for almost two decades, Rebecca created works on the company and school and was faculty of modern dance, choreography, ballet and creative process. Under Bruce Marks and Anna-Marie Holmes, she created numerous works on BBII as well as organized Boston Ballet's ﬁrst choreography workshops, "Studio 7 @ Boston Ballet." As a performer, Rebecca worked professionally with various artists and companies throughout the United States including the Dance Alloy in Pittsburgh, Gerri Houlihan, Stephen Pelton, Bill Evans and Marianne Goldberg. Rebecca grew up studying and performing the work of modern dance pioneers Ted Shawn, Ruth St. Denis and Doris Humphrey with her grandmother, Marion Rice. Rebecca graduated with honors in modern dance from the University of Utah where she worked with Bill Evans, Ron Ruby, Ririe-Woodbury and the Utah Repertory Dance Theatre. In New York City she trained with Viola Farber as well as studied at the Jose Limon and Ailey Schools. Rebecca recently traveled to Kazakhstan where she was invited by the US State Department to be a "Cultural Envoy". She choreographed a new work, "Uplift" on the Samruk Dance Company as well as presented master classes and lectures on American contemporary modern dance. Some of the students she trained in modern and choreography while at the Boston Ballet include Sarah Lamb, Principal-Royal Ballet, James Whiteside; Principal-American Ballet Theater and Nao Kazusaki, Soloist-Houston Ballet, as well as Isadora Wolfe of Johannes Wieland Co, Coco Karol and Julie Fiorenza of Jessica Lange Company. Rebecca set many premiere pieces of original choreography on Sara Knight, including "Mirage","Indigo","Russes Suite" and "Bach Dances". Jillian Davis is a Kutztown, PA native, and began her ballet training at the age of 3. She studied extensively with Risa Kaplowitz and Susan Jaffe at Princeton Dance and Theater Studio in Princeton, NJ. Jillian has attended San Francisco Ballet, School of American Ballet, as well as Pacific Northwest Ballet and LINES Ballet, both on scholarship. In 2013, she developed the “Jillian Davis Dance Project”, her choreography commissioned by Missouri Valley College. Her piece, “Tiel”, was featured at Jennifer Muller’s Hatched Series and was selected as a finalist for Rider University’s Emerging Choreographers Showcase. Jillian has been a company member with Complexions since 2014. She has been part of several Dwight Rhoden world premieres, including Headspace, Strum, Gutter Glitter, Star Dust, Bach 25, Woke, Love Rocks, and a world-premiere solo, Elegy. She has also performed installation works by Desmond Richardson and an excerpt of Approximate Sonata by William Forsthye. Jillian is entering her eighth season with Complexions. Along with being a dancer with Complexions, Jillian is part of the core faculty for Complexions Dance Academy, teaching at intensives and master classes around the world. She also frequents as a guest teacher and choreographer with schools around the country, including SLK Ballet, Berks Ballet Theater, Princeton Dance and Theater Studio, Missouri Valley College, among other schools. More information visit IG @Jillange93 Originally from a small town in Connecticut, Abbey began dancing at the young of three. Training in all disciplines, with a concentration in classical ballet, she attended various studios and summer intensives, including SLK Ballet, ABT, Alvin Ailey, and the Rockettes Summer Intensive. Following high school she attended Marymount Manhattan College and received her BFA in Dance with a double concentration in Ballet and Modern Dance. Following graduation, Abbey acquired her first professional job as a Knicks City Dancer performing at Madison Square Garden. While a part of KCD she was able to work with world-renowned choreographers, such as Mandy Moore, Val Chmerkovskiy, Bobby Newberry, Tracey Shibatta, and Ashley Everett. As a part of the Knicks she also performed in numerous halftime performances with varying musical artists, such as T-Pain and Ashanti. In Fall of 2019 Abbey began her first season as a Radio City Rockette for the iconic Christmas Spectacular and looks forward to the upcoming season ahead. Outside of professional dance, Abbey is also a fitness-instructor and model for Bella Agency, where she has booked commercials for Kay Jewelers and Fox's Fosse Verdon series. Leanne King trained at the Arts Educational School in London. She has both choreographed for and performed with many small companies and has choreographer credits in television and film. Leanne teaches Contemporary to Central’s first year students and oversees second year choreography including the collaborative choreographic project (Design for Dance) with Central St Martin’s School of Art & Design. She continues to work on external performance projects for the school, including linking Central School of Ballet students with Crystal Pite and Kidd Pivot, culminating in the performance of award winning Polaris on the Sadler’s Wells stage. More recently Leanne has seen a collaboration of student dancers with The National Centre of Circus Arts and the Australian troupe Circa in sell out site specific performances in East London. Leanne has both national and international teaching/choreographic credits to her name and having taught at The Royal Academy of Dance, Arts Educational School and the Royal Ballet School, Leanne is now Course Development Co-ordinator for the Senior School at Central and also continues to teach open classes at Danceworks. Leanne's credits include the conception and choreography for production company Fait Accompli for the London 2012 Olympics, a sell-out season at Edinburgh Fringe Festival and a one-off performance at the Royal Albert Hall. Leanne has coached and choreographed for two students at the Central school of Ballet throughout their journey to the contemporary category finals of BBC Young Dancer 2015. Most recently Leanne has conceived and created a work with students from Central School of Ballet and two young dancers in a collaboration with Bristol Children’s Hospital, discovering how dance and movement can help in the rehabilitation from neuro surgery and major neuro trauma. Razvan Stoian hails from Constanta, Romania, and graduated from the Caragiale Academy of Theatrical Arts and Cinematography winning the “Best Choreography” and “Best Interpretation” awards. Prior to joining Battery Dance in 2016, he danced internationally with Tangaj Dance Company including appearances at the Battery Dance Festival in New York in 2014, and collaborative performances with Battery Dancers in Romania the same year. His choreography has been presented annually in Battery Dance Festivals up through 2020 where, in addition to his work for the company, “Icarus”, his collaboration with Romanian dancer Ana Maria Lucaciu was commissioned by the Romanian Cultural Institute. Stoian has also performed with Gigi Caciuleanu Romania Dance Company at Sadler’s Wells Theatre in London; and is a champion ballroom dancer, winning competitions in Austria, Bulgaria, Italy, Romania, Turkey and elsewhere. Since the pandemic in March, 2020, he has taught hundreds of ballroom classes on Battery Dance TV and Battery Dance’s YouTube Channel. He has toured internationally with Battery Dance in Germany, South Korea and Sri Lanka.
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Djouloukhadze toured the world with the 'Stars of the Bolshoi Ballet', 'Stars of the Soviet Ballet' and ‘Ballet Stars of Moscow, Kiev and Tbilisi’ along with such great ballet dancers as Maya Plisetskaya, Māris Liepa, Marina Kondratieva , Vyacheslav Gordeev, Vilen Galstyan, Malika Sobirova, Valeri Kovtun, Tatiana Tajakina, Nina Sorokina, Yuri Vladimirov, Nina Semizorova, Vadim Pisarev and others. He performed as a principal dancer and a guest soloist with various companies, including the Bolshoi Ballet, Kiev Ballet, Baku Ballet, Universal Ballet. He partnered with prima-ballerinas of various leading ballet companies, including Irina Jandieri, Nadezhda Pavlova, Alla Khaniashvili, Ludmila Semenyaka, Lubov Kunakova, Nina Ananiashvili. During his career, Djouloukhadze worked with distinguished ballet-masters and choreographers Konstantin Sergeyev, Natalia Dudinskaya, Georgi Aleksidze, Alexander Plisetskiy, Vladimir Vasiliev, Mikhail Lavrovsky, Lev Asaulyak, Alexander Prokofiev, Raisa Struchkova, Fea Balabina, Evgeni Valukin, Oleg Vinogradov, Tatiana Vecheslova, Natalia Ryzhenko, Vladimir Nikonov. Djouloukhadze moved to the U.S. in 1991 and served as a Ballet Master and Artistic Director for the Ballet Mississippi, Jackson, Mississippi, until 1993 Vladimir Djouloukhadze holds Masters Degree in Ballet Teaching and Choreography from prestigious Russian Academy of Theatre Arts (GITIS) and has been teaching ballet for 40 years. Vladimir Djouloukhadze started his career as a ballet teacher at the V. Chabukiani Ballet Art State School in 1980. In the USA he served as a director of the Mississippi Ballet School (1991-1993), a faculty member of the Kirov Academy of Ballet (1993-2008), and the Washington Ballet School (2008-2017). After leaving the school he started private ballet coaching. Djouloukhadze has been developing his students into the winners of major international ballet competitions, including the Varna International Ballet Competition, the USA International Ballet Competition, Helsinki International Ballet Competition, Paris International Dance Competition, Paris International Contemporary Dance Competition, Shanghai International Ballet Competition, Nagoya International Ballet Competition, YAGP. Djouloukhadze's students have gone on to become principals, soloists and members of some of the world's most prominent companies, including the Royal Ballet, American Ballet Theatre, Mariinsky Ballet, Stuttgart Ballet, San Francisco Ballet, Boston Ballet, Houston Ballet, Washington Ballet, Norwegian National Opera and Ballet. To name a few, Michele Wiles, Jonathan Jordan, Brooklyn Mack, Rasta Thomas, Danny Tidwell, Matthew Golding, Melissa Hough, Rory Hohenstein, Chauncey Parsons, Constantine Allen. As a choreographer Vladimir Djouloukhadze worked with a number of theaters in Georgia. He choreographed one-act ballets in neoclassical style ‘Reflections’ (music by Sergei Prokofiev) and ‘Dancing with Verdi’(music by Giuseppe Verdi), pieces in academic character style -‘Jota Aragonesa’ (music by Mikhail Glinka), ‘Tarantella’ (music by Louis Gottschalk), ‘Scheherazade’ (music by Nikolai Rimsky-Korsakov. This is just a short list of his choreogtaphy. He also staged The Nutcracker and ballet showcases for the Mississippi Ballet company and classical ballet excerpts for various schools and companies.
6847	dbpedia	0	28	https://www.clarionledger.com/story/magnolia/2016/06/24/ballet-superstar-returns-jackson-july-gala/86305368/	en	Ballet superstar returns to Jackson in July for gala	https://www.gannett-cdn.…=pjpg&width=1200	https://www.gannett-cdn.…=pjpg&width=1200	[]	[]	[]	[ "" ]	null	[ "Sherry Lucas, The Clarion-Ledger", "Sherry Lucas" ]	2016-06-24T00:00:00	In USA IBC gala, prima ballerina Nina Ananiashvili will again claim the stage that saw her first U.S. triumph.	en	https://www.gannett-cdn.…ages/favicon.png	The Clarion-Ledger	https://www.clarionledger.com/story/magnolia/2016/06/24/ballet-superstar-returns-jackson-july-gala/86305368/	This summer, international ballet superstar Nina Ananiashvili will return to the Jackson stage that was a booster rocket for her career in the United States and worldwide. In 1986 and already a Bolshoi Theatre principal, she and partner Andris Liepa were the first to win Grand Prix Awards at the USA International Ballet Competition, the event's coveted top prize. With Vadim Pisarev (a gold medalist that year), they were its first Soviet competitors. That year was a turning point, too, for the IBC, setting a high standard that gained national attention and catapulted it to must-watch status in international ballet circles. Flash forward 30 years, leaping past her brilliant career with American Ballet Theatre, the Bolshoi and more, and Ananiashvili is the star attraction of a July 16 Grand Prix Reunion Gala. Now prima-ballerina and artistic director of The State Ballet of Georgia in her native Tbilisi, Georgia, she's bringing her company with her for a rare U.S. appearance that's already drawing interest from New York, Boston, Florida and more. Ananiashvili was a star in the making in 1986. At 23, she'd already won a fistful of medals (1980 gold in Varna, 1981 Grand Prix as a junior and 1985 senior gold in Moscow). The win here opened doors and invitations, including a milestone performance with the New York City Ballet with partner Liepa. Her dance card includes all the big names and more: Royal Ballet (Covent Garden), Royal Danish Theatre, St. Petersburg's Mariinsky Theatre. She was an American Ballet Theatre principal dancer from 1993-2009 and her final bow with ABT brought a knee-high pile of bouquets, curtain calls and clapping so fervent and prolonged some wondered if it’d ever end. "She got 25 standing ovations after it was over. I thought it would never get through with standing ovations," said Billy Mounger, IBC chairman emeritus, who was in the audience. Later that night, he asked if she'd come back to Jackson as a juror, which she did in 2014. That year, he asked if she and her company would come for a performance, and made it happen. This past December, The Telegraph in London named Ananiashvili among the 12 greatest ballerinas of all time, lauding her personal magic, technical wizardry and more. John Meehan remembers that wizardry, right down to her steps in the traveling piqué turns. "The way she steps out, she traveled more than anyone I'd ever seen, certainly in a young dancer," said Meehan, 2018 USA IBC International Jury chair. In 1986, he'd brought two dancers from Australia to compete, "so I was enjoying Nina with a kind of mixed feeling," he chuckled."She had this wonderful technique and she had this wonderful sultry beauty and she was really the full package." RELATED: John Meehan to chair 2018 IBC jury "It was my first recognition of what pure artistry and excellence were," said Carol Puckett, now IBC board chairman, but back then just an awestruck ballet fan. "I'll never forget it. ... breathtaking." It'll be a thrill, she said, to watch her again at this stage of a magnificent career. A bridge between IBC past and present, the gala shows the longevity and deep ties formed between the competition and its dancers. "She's a prime example. These people become a part of our long-term lives." Ananiashvili talked of her "long-distance love" of Jackson in a Dance Magazine interview. The Reunion Gala, first to feature a company from another country, offers a unique chance to see the State Ballet of Georgia — 21 dancers plus crew members and musicians — and "this glorious ballerina at the head... and still dancing," Meehan said. The program: "Sagalobeli" based on Georgian folk melodies by contemporary choreographer Yuri Possokhov. "Concerto Barocco," an abstract piece by George Balanchine to Bach music, "just filled with endless choreographic inventions that still look fresh today," Meehan said. "It really shows you what a genius Balanchine was." "Marguerite and Armand" featuring Ananiashvili, set by Frederick Ashton with music by Franz Liszt. Originally created for Margot Fonteyn and Rudolf Nureyev, "it's a wonderful vehicle for a mature artist," Meehan said. The heartbreaker about a dying courtesan and her young lover is based on Alexandre Dumas' "The Lady of the Camellias" (also the source for Verdi's opera "La Traviata" and the 1936 Greta Garbo classic "Camille.") "I can't imagine anyone dancing today who would be more perfect for this role than Nina." In addition to the Grand Prix Reunion Gala at Thalia Mara Hall, there will be a free community demonstration and Q&A and master classes. An art tie-in, in collaboration with VSA Mississippi, features paintings of IBC competitors in a show opening July 7 at the Arts Center of Mississippi. RELATED:Medals awarded at USA International Ballet Competition \| Gallery (2014) Contact Sherry Lucas at [email protected] or 601-961-7283. Follow @SherryLucas1 on Twitter. IF YOU GO What: Grand Prix Reunion Gala When: 7:30 p.m. July 16 Where: Thalia Mara Hall, 255 E. Pascagoula St., Jackson Cost: $25-$70 Contact: usaibc.tix.com or 601-973-9249 Additional events: free community demonstration and Q&A at noon July 15 at Thalia Mara Hall; master classes at Belhaven University's Bitsy Irby Visual Arts and Dance Center, 10 a.m. and noon July 16
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6847	dbpedia	2	70	https://citylifestyle.com/articles/nutcracker	en	Cue the Ballet	https://static.citylifes…ight-550.jpg?v=2		[ "https://static.citylifestyle.com/articles/nutcracker/snowflake%20top%20right-550.jpg?v=2", "https://static.citylifestyle.com/articles/nutcracker/snowflake%20top%20right-550.jpg?v=2", "https://static.citylifestyle.com/articles/nutcracker/Uppder%20Body%20on%20the%20Prince-550.jpg?v=1", "https://static.citylifestyle.com/articles/nutcracker/snowflake%20top%20right-550.jpg?v=2", "https://static.citylifestyle.com/articles/nutcracker/DSC03450-550.jpg?v=1", "https://static.citylifestyle.com/articles/nutcracker/DSC00863-550.jpg?v=1", "https://static.citylifestyle.com/articles/nutcracker/DSC00341-550.jpg?v=1", "https://static.citylifestyle.com/articles/nutcracker/bature%20in%20mist-550.jpg?v=1", "https://static.citylifestyle.com/articles/nutcracker/5b%20KOT_7939-550.jpg?v=1", "https://citylifestyle.com/img/cl_wordmark_white.png" ]	[]	[]	[ "" ]	null	[]	null					null	Leap into the holiday season this year at the "Nutcracker! Magical Christmas Ballet" where for one night only, gifted dancers from around the world will be joined on stage by children from the Missoula community to perform this enchanting holiday classic. Most people are at least somewhat familiar with the story in "The Nutcracker" ballet, beginning with a Christmas Eve party in the Stahlbaum family home when young Clara receives the gift of an exquisite wooden nutcracker. Clara’s dreams that night bring her Nutcracker Prince to life, along with the fearsome Mouse King, the elegant Sugar Plum Fairy, and an array of dancers from exotic lands, all set to Tchaikovsky’s timeless score. Whether you’ve never seen a production of "The Nutcracker," or your holiday season isn’t complete without watching at least one performance, Talmi Entertainment’s production of the Nutcracker! Magical Christmas Ballet guarantees to dazzle with innovative choreography incorporating classical ballet and a few surprises sprinkled in like circus acrobatics, puppetry, and stunning sets and costumes. A highlight of any performance put on by Talmi Entertainment is the opportunity to see their international cast of principal dancers from countries such as Japan, Italy, Turkey, and Ukraine. The theme will be especially poignant to both dancers and audience members this year as it emphasizes unity and peace through dance, with Act II being set in the Land of Peace and Harmony. One of those international dancers you’ll be eager to watch is Ukrainian Anna Trofimova, a soloist and audition director with Talmi Entertainment. Anna has been dancing for as long as she can remember. “When I was a little girl, I saw the ballet on the TV. I asked my mom to take me to the ballet studio, and here I am,” she says. Anna studied at the Vadim Pisarev School of Choreographic Mastery and graduated with a Bachelor’s Degree from the Ukrainian National University of Culture and Arts. She has danced in numerous classic ballet productions such as "Swan Lake" and "Sleeping Beauty" throughout Europe and North America. She has also performed in Missoula two times in the past and is looking forward to returning. What Anna enjoys most about ballet is being on stage and sharing her energy with other dancers. She believes she has danced in close to 500 Nutcracker performances over her lifetime filling a variety of positions. In Missoula this year, Anna will dance several roles including Clara’s mother, which is her favorite part, and the first that she danced when she joined this company. “That role is my special love,” she says. In addition to Missoula, Anna and the rest of the touring ballet company will perform the "Nutcracker! Magical Christmas Ballet" in close to 80 cities this year. They will perform almost every single day, with some cities offering two performances a day. The company will then travel to the next city, erect the intricate sets, go through one dress rehearsal to check spacing, cues, and entrances, then dance, twirl, and leap to the delight of audiences during the two-hour long ballet. The next morning, the process begins all over again. It sounds like quite the whirlwind but Anna says it’s her routine. She’s used to it, and she still gets something out of each performance. “Every single town is new people, new emotions, and when you see the kids smiling its brings you joy and inspiration,” she says. The “kids” Anna is referring to are not only the children in the audience, but the children that are dancing with her and the rest of the cast on stage through Talmi Entertainment’s Dance With Us Program. The program gives young dancers from the towns at each tour stop a unique chance to rehearse and perform with professional international dancers in classic ballets. Anna says, “Working with the children is so special for us because we can share what we love with them.” Charlene Campbell Carey, artistic director for Missoula’s Rocky Mountain Ballet Theatre, is working with Talmi Entertainment to fill the children’s parts in this year’s Nutcracker! Magical Christmas Ballet. An accomplished dancer herself, Charlene founded Rocky Mountain Ballet Theatre in 1998 and has nurtured it to international prominence through the theatre’s ballet school, touring company, and the Ballet Beyond Borders Festival. Charlene explains that from the beginning she has tried to pick themes for her company’s many original ballets that weren’t the usual, well-known productions. “Never in 25 years have we presented a large production like "The Nutcracker" or "Swan Lake" because we are a small school,” says Charlene. “Instead, we have tried to pick topics that were unique and might not be on most people’s radar, like ballets about wheat fields and salmon fly hatches.” Charlene emphasizes that Rocky Mountain Ballet Theatre is an inclusive organization and that the Ballet Beyond Borders Festival was born out of friendships that Charlene and her dancers have made around the world while touring in China, Cuba, and Italy, to name just a few. “I wanted to have a diplomatic reason behind international dancers coming here to Missoula,” says Charlene. The children in Charlene’s ballet school have performed with Talmi Entertainment’s dance company a few times in the past when they’ve come to town for other ballets such as "Romeo and Juliette," and Charlene is thrilled to welcome them back. The collaborative performance not only serves to continue Charlene’s goal of fostering international relationships through dance, but it also gives young dancers a chance to be on stage performing a classic ballet with a diverse cast. This year, around 25 local children ranging from 6 years old to high school seniors will perform in the "Nutcracker! Magical Christmas Ballet." The kids will fill all the youth roles including mice, snowflakes, and children in the party scene. Charlene explains that the Missoula dance community is a nurturing one as teachers and dancers are familiar with one another and work together to fill these youth roles so that any child interested in participating in this professional production can do so. The children in the production are also swept up in the whirlwind that occurs on the day of the performance. They will have just one dress rehearsal with the professional dancers before the curtain rises. “You have to instantly collaborate,” says Charlene. “If a child is in the party scene, they have to instantly collaborate with a parent that doesn’t speak their language. Dance is the perfect glue for that. There’s no dialog, but you still have to trust to take their hand, whether they’re from Japan, or Kazakhstan, or wherever.” Throwing a cast together in one day that speaks a variety of languages may at first sound like a barrier to pulling off a cohesive performance, but Anna and Charlene aren’t worried. “The language of classical ballet is international,” says Charlene. “All over the world, you start with pliés, it doesn’t matter where you are.” “We teach each other,” says Anna. “It’s not really a question of understanding one another if you’re a ballet dancer. Ballet has united us because we speak the international language of dance.”
6847	dbpedia	0	86	https://iydc.co/workshop/	en	International Youth Dance	https://iydc.co/wp-conte…-web-300x300.jpg	https://iydc.co/wp-conte…-web-300x300.jpg	[ "https://www.facebook.com/tr?id=2791725301139892&ev=PageView&noscript=1", "https://iydc.co/wp-content/uploads/2024/03/iydc-logo.png 1037w, https://iydc.co/wp-content/uploads/2024/03/iydc-logo-600x201.png 600w, https://iydc.co/wp-content/uploads/2024/03/iydc-logo-300x100.png 300w, https://iydc.co/wp-content/uploads/2024/03/iydc-logo-1024x343.png 1024w, https://iydc.co/wp-content/uploads/2024/03/iydc-logo-768x257.png 768w", "https://iydc.co/wp-content/uploads/2024/03/iydc-logo.png", "https://iydc.co/wp-content/uploads/2024/03/iydc-icon-user.svg", "https://iydc.co/wp-content/uploads/2024/03/iydc-icon-user.svg", "https://iydc.co/wp-content/uploads/2024/03/iydc-icon-bag.svg", "https://iydc.co/wp-content/uploads/2024/03/iydc-icon-bag.svg", "https://iydc.co/wp-content/uploads/2024/03/Gareth-Belling-web-300x300.jpg 300w, https://iydc.co/wp-content/uploads/2024/03/Gareth-Belling-web-100x100.jpg 100w, https://iydc.co/wp-content/uploads/2024/03/Gareth-Belling-web-600x600.jpg 600w, https://iydc.co/wp-content/uploads/2024/03/Gareth-Belling-web-150x150.jpg 150w, https://iydc.co/wp-content/uploads/2024/03/Gareth-Belling-web.jpg 629w", "https://iydc.co/wp-content/uploads/2024/03/Gareth-Belling-web-300x300.jpg", "https://iydc.co/wp-content/uploads/2024/03/IMG_5449-249x300.jpg 249w, https://iydc.co/wp-content/uploads/2024/03/IMG_5449-600x724.jpg 600w, https://iydc.co/wp-content/uploads/2024/03/IMG_5449.jpg 720w", "https://iydc.co/wp-content/uploads/2024/03/IMG_5449-249x300.jpg", "https://iydc.co/wp-content/uploads/2024/04/IYDC_JASMIN_HEADSHOT-scaled-e1712415363159-300x285.jpg 300w, https://iydc.co/wp-content/uploads/2024/04/IYDC_JASMIN_HEADSHOT-scaled-e1712415363159-1024x973.jpg 1024w, https://iydc.co/wp-content/uploads/2024/04/IYDC_JASMIN_HEADSHOT-scaled-e1712415363159-768x730.jpg 768w, https://iydc.co/wp-content/uploads/2024/04/IYDC_JASMIN_HEADSHOT-scaled-e1712415363159-1536x1459.jpg 1536w, https://iydc.co/wp-content/uploads/2024/04/IYDC_JASMIN_HEADSHOT-scaled-e1712415363159-600x570.jpg 600w, https://iydc.co/wp-content/uploads/2024/04/IYDC_JASMIN_HEADSHOT-scaled-e1712415363159.jpg 1796w", "https://iydc.co/wp-content/uploads/2024/04/IYDC_JASMIN_HEADSHOT-scaled-e1712415363159-300x285.jpg", "https://iydc.co/wp-content/uploads/2024/04/IYDC_MONICA_HEADSHOT-scaled-e1712505430260-288x300.jpg 288w, https://iydc.co/wp-content/uploads/2024/04/IYDC_MONICA_HEADSHOT-scaled-e1712505430260-982x1024.jpg 982w, https://iydc.co/wp-content/uploads/2024/04/IYDC_MONICA_HEADSHOT-scaled-e1712505430260-768x801.jpg 768w, https://iydc.co/wp-content/uploads/2024/04/IYDC_MONICA_HEADSHOT-scaled-e1712505430260-1474x1536.jpg 1474w, https://iydc.co/wp-content/uploads/2024/04/IYDC_MONICA_HEADSHOT-scaled-e1712505430260-600x625.jpg 600w, https://iydc.co/wp-content/uploads/2024/04/IYDC_MONICA_HEADSHOT-scaled-e1712505430260.jpg 1698w", "https://iydc.co/wp-content/uploads/2024/04/IYDC_MONICA_HEADSHOT-scaled-e1712505430260-288x300.jpg", "https://iydc.co/wp-content/plugins/miniorange-login-openid/includes/images/icons/g.png", "https://iydc.co/wp-content/plugins/miniorange-login-openid/includes/images/icons/g.png", "https://iydc.co/wp-content/plugins/miniorange-login-openid/includes/images/icons/g.png", "https://iydc.co/wp-content/plugins/miniorange-login-openid/includes/images/icons/g.png" ]	[]	[]	[ "" ]	null	[]	2024-03-25T03:03:44+00:00	IYDC 2024 WORKSHOP – SINGAPORE https://youtu.be/A44wtTncQKQ?feature=shared “Dive into the captivating highlights from the IYDC 2023 Gala Performance in Singapore, featuring a stunning Finale choreographed by our talented IYDC faculty and adjudicator Kristen Hockley. Workshop participants, embodying dedication and passion, mastered this intricate dance within just 3 hours over the span of 2 days. This video […]	en	https://iydc.co/wp-conte…logo_favicon.jpg	International Youth Dance	https://iydc.co/workshop/	Gareth Belling is a choreographer, teacher and workshop facilitator. He danced with Queensland Ballet from 2002 to 2012, and performed as a freelance artist until 2019, most recently with Collusion in his ballets DESIRELINES in Guangzhou, and Turbine at Shanghai Dance Festival. He is Resident Choreographer of Collusion Music and Dance Ensemble, having collaborated with this exciting group of chamber musicians on three evening-length works, and many shorter ballets since 2005. He has also created works for Queensland Ballet, Expressions Dance Company (now ADC), Ochre Contemporary Dance Company, Dancebourne Arts, Queensland University of Technology and WAAPA, and restaged his ballets on Queensland Ballet Academy. Along with Collusion, he was shortlisted for a 2016 Australian Dance Award for their chamber ballet DESIRELINES. Gareth has received fellowships and grants from the Australia Council, Arts Queensland, Australia-China Council, was mentored by Nils Christe (JUMP Mentorship) and selected for the Swiss International Coaching Project for Choreographers (SiWiC). He holds a Master of Fine Arts (Dance) from Queensland University of Technology, and is currently undertaking a PhD at the University of Queensland, researching arts funding and Australian dance history. Gareth has taught ballet and contemporary dance at vocational studios and tertiary institutions since 2010. He is currently a faculty member at Melbourne Academy of the Arts specialising in contemporary dance. Kristen Hockley has loved to dance ever since she put on her first pair of ballet shoes at the age of four. During her final years of high school, she discovered a strong passion for musical theatre, teaching and choreography and has since turned that passion into her career. Throughout her training, she performed in representative troupes, underwent RAD Ballet and Glen Wood Tap exams, and performed in the USA and Gold Coast, Australia. Kristen’s performance credits include featured dancer roles in Priscilla to Moulin Rouge, Folies Bergere and Grease Fever with Davin Griffith-Jones Productions, roles in Beauty and the Beast, High School Musical, Aladdin and Lion King with City Kids Theatre, Footloose with Loud Theatre Company and Wizard of Oz with Spot On Productions. Currently, Kristen is the Dance Development Officer for Sports Tots, a program she has developed, providing dance education to early learning centres. She also teaches multiple classes in a variety of genres at The McDonald College and The McDonald College After Hours program. Along with this, she is the assistant choreographer for City Kids Theatre and has worked on productions of Legally Blonde, Little Mermaid, Beauty and The Beast and Frozen. Kristen co-choreographed Miranda Musical Society’s production of Beautiful, The Carole King Musical, and was the choreographer of Jersey Boys and Shrek for Engadine Musical Society. In January, she was honoured to be on the faculty for International Summer School 2024, where she taught workshops in Jazz, Musical Theatre and Lyrical to aspiring dancers from across the globe. Kristen is thrilled to be a part of this amazing dance event and is very grateful to have travelled from Sydney, Australia to be involved in this experience. Jasmin Wong was born in Hong Kong, and graduated at the Hong Kong Academy of Performing Arts, majoring in Contemporary Dance. Independent Choreographer and dance artist. Previously a dancer for Y-Space (Hong Kong). During her time on the BFA (Hons) programme, she was awarded a Grantham scholarship and also went on an Shanghai Exchange Tour funded by Hong Kong Foundation for arts and culture. She was selected to perform in various school productions including Savage Symphony、Echoing Woods by Christine Gouzelis and Here & beneath the surface of there by John Utans. Other outside performing experiences include CCDC’s WuDaoQingNian program; Sky of Nepal Arts Project by Bobbie Chen and Hero @ Eb Major by Ong Yong Lock for LCSD Community Cultural Ambassador and Unlock Dancing Plaza. She received a CCDC scholarship to participate in the Beijing Dance Festival in 2014, 2015 and 2017. Jasmin also has an interest in choreography and her work Among Them was presented in CCDC's My Own Dance program and the series of Are you thinking what I am thinking? was presented in HKAPA and Eside’s Imagination boom 3. Jasmin has been dedicated to dance teaching in recent years. She has taught Contemporary, Jazz, Creative Dance in primary and secondary, as well as dance schools. Jasmin obtained her Teaching Certificate of Commonwealth Society of Teachers of Dancing (CSTD) in 2022. Monica Lu brings her unique expertise to the International Youth Dance Competition as the official Bloch Pointe shoe fitter for the IYDC events. Her role is pivotal, ensuring that dancers are equipped with perfectly fitted pointe shoes, a critical component for optimal performance and safety in ballet. Monica's background is deeply rooted in dance, highlighted by her status as a registered teacher with the Royal Academy of Dance (RAD), where she also holds a Certificate in Ballet Teaching Studies. This connection underscores her comprehensive understanding of ballet's physical demands and the importance of properly fitted footwear. Her affiliation with the Commonwealth Society of Teachers of Dancing and her position as a senior member and registered teacher of the Progressing Ballet Technique showcase her wide-ranging expertise in dance education and conditioning. These roles complement her specialized skill in pointe shoe fitting, ensuring that dancers receive support tailored to their unique needs. Monica's academic achievements include graduating from the Nanyang Academy of Dance (Singapore) and pursuing further studies at the Graduate School of Education of Harvard University. These educational pursuits have broadened her perspective on dance education and management, enriching her contributions to the dance community. Her creative contributions to dance are also noteworthy, with a diploma in Choreographic Mastery from Vadim Pisarev's School and her involvement in award-winning performances, such as the dance "Ego Women," which won the first Asian Youth Dance Gold Award. Monica's commitment to professional development has led her to participate in exchanges and further studies at esteemed institutions like the American Ballet Theatre and Japan International Ballet Academy. These experiences have expanded her knowledge and professional network, enhancing her expertise as a pointe shoe fitter. In addition to her practical roles, Monica influences ballet education through her work on the editorial board and as a teacher training instructor for several ballet syllabi under China’s Ministry of Culture. Her involvement in these capacities ensures that ballet education and syllabus development meet high standards, benefiting the future of dance education in China. Monica Lu's unique role as the official Bloch Pointe shoe fitter at the International Youth Dance Competition in Singapore and Bangkok highlights her specialized skills and dedication to the dance community. Her comprehensive background in dance education, performance, and administration, combined with her specific expertise in pointe shoe fitting, makes her a valuable asset to the event, ensuring that participants are well-supported in their performances.
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We love Europe's literary, musical, dramatic, visual and built heritage and revitalize it in dance theatre productions ‘made in Luxembourg‘.		https://static.tildacdn.net/tild3336-3133-4131-a363-623930666632/Untitled-design-_23_.ico		https://luxembourgballet.lu	Artistic director of Luxembourg Ballet. Her works have been performed in opera and ballet theatres across Europe including the English National Opera, the Estonia National Opera and the Dresden State Operetta. For 10 years, she has been a leading resident choreographer at the National Bolshoi Theatre for Opera and Ballet in Minsk and coordinator of the inhouse experimental stage. Curator of the Berlin Dance Biennale under the direction of William Forsythe; lecturer at the University of the Arts in Bern; choreographer with the UNESCO United Dance Company. She received her professional training at the University of Dramatic Arts Ernst Busch in Berlin and Palucca University of Dance Dresden, having worked with internationally prominent choreographers and directors like Dietmar Seyffert, Michael Diekamp, Xavier Le Roy, and Ismail Ivo among others. Her repertoire includes works from the world cultural heritage, among others, Carmen (G. Bizet), La Boheme (G. Puccini), Die Fledermaus (J. Strauss), Anna Karenina (P. Tchaikovsky), Coppelia (L. Delibes). Luxembourg Ballet guest soloist dancer. After successful graduation from the Belarusian State Choreography College, she was accepted into the Belarusian National Opera. After 10 years of successful work, she decided to study acting further and enrolled at the National Academy of Arts of Belarus, from which she graduated with distinction as an actor. Ekaterina's repertoire is very extensive and includes numerous roles in more than 30 productions, among them Swan Lake, Sleeping Beauty, Cinderella, Carmen, Anna Karenina, Who Am I, The Nutcracker, Spartacus, Love and Death, Romeo and Juliet, and many others.
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]	null	[]	null		en	https://static.parastorage.com/client/pfavico.ico	nsbinc	https://www.nsbinc.org/faculty	Sandra has been a dance educator for over 55 years. She began her training, at the age of seven, in Melrose at the E. Virginia Sawyer School of Ballet where she later became an assistant teacher. Mrs. McNaught attended Melrose public schools and was president of Melrose High School's Dance Club. Upon graduation, she attended the Boston Conservatory as a dance major. Mrs. McNaught has studied and taught at several ballet schools in the Boston area and is a gold pin member of the Dance Teacher’s Club of Boston associated with the American Society of Dance. In 1971, she founded Northeast School of Ballet (formally Sandra Marie’s School of Ballet) and along with her daughter and co-director, Denise Cecere, has been committed to maintaining high standards in dance education. Both McNaught and Cecere co-founded Northeast Youth Ballet, a non-profit organization dedicated to providing educational opportunities for young children and playing an active role in the cultural life of the communities they serve. Mrs. McNaught feels privileged to share her love of dance with NSB’s next generation of dancers. Denise brings her life's experience to Northeast Youth Ballet. Born in Melrose, Massachusetts, Cecere began her dance training under the direction of her mother, Sandra McNaught, at the Northeast School of Ballet. Later she became a scholarship student at the Boston Repertory Ballet, under the direction of Samuel Kurkjian, Boston Ballet, under the direction of E. Virginia Williams and Violette Verdy, and the School of American Ballet, under the direction of George Balanchine. She performed with Boston Ballet, Ballet Theater of Boston, and North Star Ballet in Fairbanks, Alaska. Her principal roles include The Nutcracker, Coppelia, Sleeping Beauty, Don Quixote, Flower Festival, many neo-classical and contemporary works. Her guest appearances have taken her internationally. In 1991 Cecere was a participant in Japan’s 1st International Choreographer’s Competition. In 1996 Cecere founded Northeast Youth Ballet. As Artistic Director, she is committed to the cultural development of future generations. It is her mission to educate, inspire, and create opportunities for young aspiring dancers. Cecere has endeavored to provide programs and performances designed specifically for children. NYB has a repertoire of classical, neoclassical, contemporary and modern works. Cecere has choreographed over 35 ballets for the young company and has invited award-winning choreographers to share their work with the school and company. Her collaboration with Boston Musica Viva, under the direction of Richard Pittman, has produced many full-length ballets including “A Boston Cinderella”, “Three Little Pigs”, “Ma Goose”, "The Wrong Child", "Druddigon" and “Paul Revere’s Ride” by contemporary composers. For the past 25 years, Cecere has continued to display the young company’s diversity both at home and abroad. Cecere is currently director of the Northeast School of Ballet, the official training school of the Northeast Youth Ballet, where she has been teaching ballet technique for over 30 years. Her students have gone on to perform, teach, and choreograph for world-class dance organizations. Caroline Jewell is a graduate of the Boston Conservatory at Berklee, where she obtained a BFA in Contemporary Dance Performance in 2021. Caroline began dancing at the age of three and grew up training at Piedmont School of Music and Dance under the directorship of Daniel and Rebecca Wiley. Her childhood studies were rooted in classical ballet and she also studied modern, contemporary and jazz. In the summers of 2015 and 2016, Caroline studied at the Juilliard School at their Summer Dance Intensive. She worked with choreographers Spencer Dickhaus and Bret Easterling. It was at Juilliard where Caroline discovered her love for Conservatory style learning, and she developed goals to pursue a BFA in Contemporary Dance. From 2017 to 2021, Caroline studied at the Boston Conservatory at Berklee. While at Boston Conservatory, she worked with many talented professors including, Brian McGinnis, Marissa Parmenter, Kurt Douglas, Ruka White, Russell Clarke, Denise Pons, Daniel Pelzig, Adriana Suarez, and Gino DiMarco. While at the Conservatory, she also worked with choreographers such as Joseph Toonga, Loni Landon, Chien-Ying Wang, Daniel Pelzig, Gino DiMarco, Brian Brooks, and Gabrielle Lamb. She received her BFA in Contemporary Dance in 2021, and after taught modern and ballet at several schools in the Greater Boston Area including, Northeast School of Ballet, The Hanover Theatre and Conservatory, and The Dance Laboratory. Now, Caroline works as an Educational & Business Administrator remotely from her home in Nashville. While in Tennessee, she is continuing to grow her love for dance education and administration through her role with NSB. Erika Lambe is a Boston native who began her training at the Boston Ballet School and later studied at the School of American Ballet, and the Dance Theatre of Harlem school. She danced professionally with the Dance Theater of Harlem, Miami City Ballet, and Boston Ballet where she was Boston Ballet’s first black Sugar Plum Fairy. Over her extensive career, her repertoire includes a number of Balanchine works including Concerto Borocco, Bugaku, Serenade, Stars and Stripes, The Four Temperaments, Square Dance, Jewels, The Nutcracker, Scotch Symphony, Valsse Fantasies, Divertimento 15, Symphony in C, Theme and Variations, Slaughter on Tenth Avenue, Ballo de la Regina, and Raymonda Variations. Classical repertoire includes Swan Lake, Movanissimanoble, Flower Festival at Genzano, The Nutcracker, Giselle, Sleeping Beauty, Romeo and Juliet, Les Corsaire, LA Bayadere, Don Quixote, and Paquita. She has also performed “Creole Giselle”, The Fall River Legend, Firebird, Les Biches, Les Noces, Holberg Suite, and Voluntaries and works by Mark Morris and Lyla York. Ms. Lambe was featured in a PBS special, “I’LL MAKE ME A WORLD”, which chronicled the lives of African Americans in dance. Since retiring from the stage, Ms. Lambe has taught ballet at Boston Ballet School, Walnut Hill School, Boston Arts Academy, Charles River Ballet Academy, and Acton School of Ballet. As a coach and choreographer, Erika has worked with many dancers in the greater Boston area and is currently teaching at Tony Williams Dance Center. Ms. Lee received her early training with Phillipa Annesley in Scottsdale, Arizona. At the age of thirteen, she attended The National Academy of Arts in Champaign, Illinois where she studied under Michael Maule, Lupe Serrano, Gwynne Ashton, Peter Franklin-White, Antony Valdor, Stella Applebaum, Chester Wolenski, Gemze DeLappe, and Buzz Miller, among many others. Upon graduation, she joined the National Ballet of Illinois for two years as Principal Dancer, touring nationally and abroad. Ms. Lee went on to dance with Ballet West under the direction of Bruce Marks, touring extensively throughout the United States. As a principal dancer, she performed leading roles in both classical and contemporary ballets including Romeo and Juliet, Giselle, The Sleeping Beauty, Swan Lake, The Nutcracker, A Midsummer Night’s Dream, Billy the Kid, Bugaku, Symphony in C, Inscape, Don Quixote, and Coppelia. She had the honor of performing at the Kennedy Center twice in Washington DC and at New York City Center. She has taught at Boston Ballet School and Christensen Academy and has been a guest teacher at Walnut Hill School for the Arts and the University of Utah. Rhonda is currently a faculty member at the Northeast School of Ballet. Her favorite role is mother to her three beautiful children, Olivia, Quinn, and Isabelle. Kristopher Masszi began his early ballet training at Northeast School of Ballet, eventually becoming a member of Northeast Youth Ballet under the direction of its founder and director, Denise Cecere. Performance opportunities with NYB included Aurora's Wedding, Cinderella, A Boston Cinderella, Ma Goose, and the Nutcracker performing the roles of Prince, Snow King, Herr Drosselmeyer, and divertisement. Kristopher than continued his ballet education as a scholarship student at the Rock School of Dance in Philadelphia and became a soloist at the Horizon Dance Alliance in Doylestown, PA, performing in roles such as Prince Albrecht in Giselle, Conrad in Le Corsaire, Romeo and Juliet, La Sylphides, and Dracula, under the direction of George Thompson. Kristopher moved to Budapest, Hungary where he continued his ballet and folk dance training at the Magyar Táncművészeti Egyetem BA program (Hungarian Dance University). Upon graduation, he accepted an invitation to join the Donetsk Opera and Ballet Theater in Donetsk, Ukraine under the direction of Vadim Pisarev. Here, he had the pleasure to perform in ballets including Spartacus, La Bayadere, Scheherazade, Le Sacre du Printemps, and Peer Gynt and toured with the traveling company division throughout Eastern Europe. Kristopher left the ballet world to pursue his Master of Education degree from Loyola University and completed his Montessori elementary training at Washington Montessori Institute. He had spent several years teaching at international Montessori schools in Frankfurt, Germany and Hong Kong. In 2019, Kristopher returned to the United States where he opened the elementary Montessori program at the Melrose Montessori School. He is thrilled to rejoin the faculty at NSB. Lorraine Chapman danced professionally with Eliot Feld Ballets/NY and Ballet British Columbia (under the Artistic Direction of Balanchine muse Patricia Neary) as well as for several Boston-based choreographers including Amy Spencer, Richard Colton, Diane Arvanites, Jose Mateo, and Marcus Schulkind. As a choreographer Chapman has received several grants and has created works for numerous festivals and companies, officially forming her own company, LCTC, in 2002. LCTC (http://lorrainechapman.org) is one of Boston’s most notable contemporary dance companies and was represented by Pentacle – a NYC-based management support organization 2013-2016. Chapman’s awards include a Boston Dance Alliance Rehearsal & Retreat Fellowship, a Brother Thomas Fellowship from The Boston Foundation, a Boston Center for the Arts Dance Residency and a Summer Stages Dance/Baryshnikov Arts Center Residency as well as being featured in Dance Magazine as one of “25 To Watch”. Chapman received her training at The Royal Winnipeg Ballet School and L’Ecole Superieure De Danse Du Quebec as well as from Boston veterans Frances Kotelly and Samuel Kurkjian. With equal training and professional experience in all of the classical ballet forms as well as in many of the modern and contemporary dance modalities, Chapman brings a particular and unique knowledge into her classroom. She also teaches at the Ballet Arts Centre of Winchester where she is co-director of their pre-professional performing groups. “As a young dance artist, I always took my training seriously and I gravitated toward those teachers who I knew would advance me at the pace I desired – but not only the teachers. I also gravitated toward other young dancers like myself who wanted nothing more in the world than to dance professionally. The combination of the dance educators I thankfully found and the students I trained side by side with (including Denise Cecere) fueled my ambition and drove me to constantly strive for an ever-elusive perfection. It is with this philosophy that I inspire, train and nurture my students.” – Lorraine Chapman Nathan Duszny is a New Hampshire native that started his professional career at the young age of fifteen. He performed at the Palace Theatre in Manchester, NH all through his teenage years. Productions include “Chicago”, “Singing in the Rain”, “Joseph and the amazing Technicolored Dreamcoat”, “Cats”, and many more. He was also a proud member of the American Show Dance Team and had the opportunity to compete at the World Championship in Riesa, Germany for two years in a row. After high school and graduation from The New Hampshire School of Ballet he moved abroad to Tokyo, Japan to work for Disney. After three years overseas performing in a variety show called “OneMan’s Dream”, he moved to New York City and danced for small dance companies including The Chase Brock Experience and The Next Stage Project. His Musical theater career took off in 2010 when he had the honor of touring with Radio City’s “Christmas Spectacular! “featuring the famous Rockettes. From there he has toured the country and performed in many of the nation’s great theatres and music halls in various other shows. Other past productions include “Disney’s Beauty and the Beast" national tour, “The Aluminum Show”, “Flashdance the Musical” 1st national tour, the NY Stage and Film Festival’s play of “Finks”, “Cats”, “Hello Dolly” featuring Sally Struthers, “Hairspray”, “Chicago”, “She Loves Me”, and most recently the 1st National tour of “Finding Neverland”. He is currently a proud member of the contemporary company NSquared based in Manchester, New Hampshire! His choreography and teaching career also began at a young age. By age eighteen, Nathan had won a choreography award for his piece, “Prelude Trois”at the American Dance Awards in Las Vegas and Headliners in Lancaster, PA. He had the opportunity to choreograph as an alumni artist at Merrimack High School in New Hampshire with the production of “Once Upon A Mattress” and “Aladdin”. With the numerous tours he was a part of, Nathan had the opportunity to teach at various schools, universities, and workshops around the United States and Canada. His class styles include Ballet, Jazz, Musical Theatre, Tap, and Contemporary. Past schools of note are: University of Nebraska, PACE University, University of New Hampshire, Ballet Misha, New Hampshire School of Ballet, Petrov Ballet School, and many more. While teaching and dancing in New York City, he was invited by the Ehrstrand Dance Collective to perform and create amazing works in Viksjöfors, Sweden in 2010 with the amazing Julia Ehrstrand. For almost a decade, he has been going to Europe and most recently Taiwan to create new choreography and teach workshops to the local student body and professionals alike under the umbrella of the Ehrstrand Dance Collective. Amanda Walker received her early dance training in Tallahassee, FL at the Southern Academy of Ballet Arts and Pas de Vie Ballet, Inc. under Natalia Botha, Charles Hagan, and Gwynne Ashton. She holds a B.A. in Dance-Performance from Mercyhurst University, under the direction of Tauna Hunter. She has also danced and trained with such organizations as Lake Erie Ballet, Atlanta Ballet, Boston Ballet SDP, the Nutmeg Conservatory for the Arts, and the International Flamenco Festival. Ms. Walker was a Principal Dancer and Senior Instructor with the Chattanooga Ballet. While there, she was awarded the Fellowship for Artistic Excellence in Dance Performance by the Tennessee Arts Commission. She has also been a Guest Artist for several companies in the Southeast, performed in the Urban Nutcracker in Boston, MA, and taught Master Classes at various schools and summer intensives. In 2016 Ms. Walker received her M.A. in Mental Health Counseling; Dance/Movement Therapy from Lesley University in Cambridge, MA, and is a Board Certified-Dance/Movement Therapist. She has worked as a Case Manager for an arts-based day program for adults with developmental and physical disabilities. She has also combined her training backgrounds to teach beginning principles of mind-body work to dancers at various workshops. Ms. Walker teaches ballet and adaptive dance classes in the Boston area, including at Tony Williams Dance Center, Boston Ballet School, and Safe Haven Ballet in Portsmouth, NH. Sierra Surette put on her first pair of ballet shoes at Walker's Dance in Lowell, Massachusetts at the age of 3 and her first tap shoes at the age of 6. A long time student of Bryan Steele and many wonderful instructors, she studied Tap, Ballet, Modern, Jazz, Lyrical, and Musical Theatre where she received multiple awards in the competitive circuit for her tap and modern solos. For the last two decades, she has shared her knowledge of dance and has been on faculty at many studios throughout New England including Dance Carousel, The Dance Company, Razr Studio of Dance, and the Liza Indiciani Studio of Dance where she has received several choreography awards for her solo and group routines. Sierra has enjoyed working with dancers of all ages and abilities from Preschool Ballet and Tap to private tap lessons with adults and senior citizens. She continues to foster her love of tap dance through performances, lessons, and classes and is proud to have been in studio with the likes of Dianne Walker, Miller and Ben and Michelle Dorrance. She currently works with her long time dance partner and friend J. Michael Winward, facilitating partnered ballroom dancing at Senior Living and Memory Care facilities throughout Massachusetts and New Hampshire with his Steps in Time program. With the help of a portable tap floor Sierra is able to bring her passion of tap dance into these elder communities with a vibrant demonstration. Sierra is looking forward to continuing her journey of spreading the joy of tap at Northeast School of Ballet. Leah Misano was born in Leominster, MA but grew up in Florence, SC. There she found dance at the age of eleven at South Carolina Dance Theatre where Leah studied classical ballet under Susan Rowe. Starting her sophomore year of high school, she attended the South Carolina Governor’s School for the Arts and Humanities (SCGSAH) under Josée Garant. Her primary teachers there were Irina Ushakova, Miriam Mesa-pelly, and Tracy Vogt. At SCGSAH, Leah continued to grow in her classical training while being first introduced to modern techniques such as Graham and Horton. During this time, Leah also spent her summers attending intensives at American Ballet Theatre in New York City and The Juilliard School. Upon graduating from SCGSAH, Leah decided to attend the Boston Conservatory at Berklee. At Boston Conservatory, she started to explore contemporary movement while pulling inspiration from her classical training. When she started working with former Pilobuls dancer, Jun Kuribayashi, she found an affinity for the floor and going upside down. At the Conservatory, Leah performed works by many renowned choreographers including Loni Landon, Jennifer Archibald, Kate Weare, and several others. Since graduating in 2021, Leah Misano spent a year freelancing and teaching in Boston. In summer of 2022, she joined the ranks of Whim W’Him Seattle Contemporary Dance for their 2022/2023 season. With Whim W’Him, Leah worked with choreographers of the likes of Nicole von Arx, Rauf “Rubberlegz” Yasit, Annabelle Lopez Ochoa and Olivier Wevers. Leah is looking forward to returning to her artistic home in Boston in the summer of 2023. Starting in the fall, she will join faculty at Northeast School of Ballet and join Boston Conservatory at Berklee as an assistant professor as well as continuing to engage in performance work and dive into her own improvisation and movement practice. He’s currently a professor at Boston University after dancing professionally for twenty years in NYC. He proudly began his training at the age of seven in Worcester, Massachusetts with Jo-Ann Warren. He has danced with Lar Lubovitch Dance Company, Hubbard Street Dance Chicago, Elisa Monte Dance, Parsons Dance Company, and Buglisi Dance Theatre. He is a Guest Choreographer and Teacher at The Fine Arts Center in Greenville, South Carolina, and continues to conduct Master Classes and workshops alongside his National and International touring. Brian has had the opportunity to perform at Jacob’s Pillow, Lincoln Center, Cultural Center of the Philippines, The Bolshoi Theatre, American Dance Festival, The Joyce Theatre, NYC CIty Center, Spoleto Festival, Italy and The Kennedy Center. In 2009, Brian co-created and presented a commissioned evening-length work of Romeo and Juliet-a death marked love at The Peace Center in Greenville, South Carolina. He holds his Bachelor of Fine Arts from The Juilliard School under the directorship of Benjamin Harkarvy and an Associate’s Degree in Occupational Science for Massage Therapy. Brian is currently a professor at the Boston Conservatory and on faculty at Northeast School of Ballet. Kurt A. Douglas graduated from New York’s famed high school of music art & performing arts. Originally from Guyana, South America Kurt earned his Master’s of Fine Arts degree in dance from Hollins University in association with The American Dance Festival, Frankfurt Conservatory of Performing Arts and the Forsythe Company in Frankfurt, Germany. He attended and earned a Bachelor’s of Fine Arts degree in Dance from the Boston Conservatory. There he was the recipient of the Ruth Solomon Ambrose Scholarship Award and the Jan Veen Dance Award. He performed with the Boston Dance Theater and The Boston Conservatory Dance Theatre in works by Jose Limon, Sean Curran, Paul Taylor, Martha Graham, Lar Lubovitch, and Murray Louis. After graduating from the Conservatory in 2001 he joined the Limon Company where he performed in many of Limon’s most influential works. During his second season with Limon he received a 2002 Princess Grace Award and was honored by an invitation to perform for His Serene Highness Crown Prince Albert of Monaco and The Royal Family. While a soloist with the Limon Company. Kurt has performed in works by Yuri Kililan, Donald Mckayle, and Billy Singenfied. In 2007 Kurt became the first African American to portray”Iago” in “The Moor’s Pavane”, José Limón’s most famous work. Kurt was named one of Dance Magazine’s TOP 25 TO WATCH” in the January 2006 issue. He danced from 2002-2007 in the Radio City Christmas Spectacular starring the world famous Rockettes. In 2009 he joined the Lar Lubovitch Dance Company for it’s 40th anniversary season touring throughout the United States and Asia. In 2011 joined the Graham based Buglisi Dance Theater, and began touring with the Tony award winning musical “A Chorus Line” throughout United states, Japan, and Australia. He has been a Guest Artist with The Thang Dao Dance Company, Ballet Hispanico, and the Sean Curran Dance Company. Kurt has been guest faculty and conducted Limon Dance workshops in Boston, South Dakota, New York, Oregon, Dallas, Porte Au Prince, Haiti, Guadeloupe, France, Bristol, England, Sydney Australia, Harvard University, The Juilliard School, Suny Purchase, and the Boston Conservatory. Kurt has been on faculty with the “Limon for Kids” program and has re-staged “The Winged” for the Limon Company’s 2014 Gala in New York City. Kurt is currently a professor of dance at Boston Conservatory at Berklee, directs the BoCo Summer Dance Intensive for teens and is on faculty at Northeast School of Ballet. Christiana Marie Cecere is a native of Massachusetts where she trained at The Conservatory at Northeast School of Ballet under the tutelage of her mother, Denise Cecere (director), and grandmother, Sandra McNaught (founder). In addition to training with Northeast School of Ballet’s renowned faculty, including her coach, Jean-Pierre Bonnefoux, Christiana participated in intensive programs at The School of American Ballet, The Paris Opera Ballet School, and The Chautauqua Dance Institute. Upon graduation from the Northeast School of Ballet, Christiana moved to Arles, France to dance with The Arles Youth Ballet Company under the direction of Norton Fantinel and Karina Moreira. Christiana has had the privilege to perform in a wide range of repertoire in her formative years. Classical ballets include Giselle, Swan Lake, Sleeping Beauty, The Nutcracker, Romeo and Juliet, Raymonda, Paquita, and Cinderella. She has performed ballets by George Balanchine including, Who Cares, Raymonda Variations, and Walpurgisnacht Ballet. Christiana has also performed neo-classical and contemporary works by Jean-Pierre Bonnefoux, Mark Godden, Sasha Janes, Joseph Jefferies, Anthony Williams, Jeremy Ruth Howes, My’Kal Stromile, Kin Sun Chan, Young Soon Hue, Patrick Delcroix, among many other prominent choreographers. Christiana received her diploma from Wakefield High School and graduate certification from The Conservatory at Northeast School of Ballet in 2022. Her 2023/2024 season will include training, teaching, and performing at home before she relocates to London to be a trainee in English National Ballet's Professional Programme. Holly Stone is an interdisciplinary alchemist creating dance and theater in the Greater Boston area. Currently teaching at Tufts University, their movement backgrounds in ballet, contemporary, and ballroom dance allow them to move seamlessly between genres and to challenge expectations of gender and partnership. Their recent gender-expansive partnering collaboration with Michael Winward, unpacking their time in the mainstream commercial ballroom studio system–INSIDER BALLROOM– has been presented at the Boston Open and at the Providence Fringe Festival. Holly’s original story ballet THE QUEEN OF NORI has been presented at Starlight Stage, Windhover Center for the Performing Arts, Boston Center for the Arts, & Paliku Theatre in Hawaii. Holly was also the Resident Choreographer for Wanderlust Theatre, and has created dance films for festivals internationally. Recent theater credits include CATS for Quincy Musical Theatre, A NEW BRAIN for FSU Theatre, CANDIDE for FSU Opera, and an immersive horror production with Boston Opera Collaborative. Holly believes in the power of ‘what if’ and is a master schemer, organizer, and storyteller. They have a B.S. in Bioengineering and Neuroscience from Syracuse University and an MFA in Dance from Florida State University, where their master’s thesis work focused on synthesizing modes of thinking as engineer and artist.
6847	dbpedia	2	26	https://m.facebook.com/Salenko.Iana/videos/my-first-role-in-my-career-was-it-kitri-i-was-just-16-years-old-thankful-to-vadi/2058307340913781/	en	My first role in my career was it Kitri 💃 I was just 16 years old 🙈 thankful to Vadim Pisarev 🙌🏻❤️ that he believe on me #donq #kitri at the...	https://scontent.xx.fbcd…atvA&oe=66C61B25	https://scontent.xx.fbcd…atvA&oe=66C61B25	[]	[]	[]	[ "" ]	null	[]	null	My first role in my career was it Kitri 💃 I was just 16 years old 🙈 thankful to Vadim Pisarev 🙌🏻❤️ that he believe on me #donq #kitri at the...	de	https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico		https://www.facebook.com/Salenko.Iana/videos/my-first-role-in-my-career-was-it-kitri-i-was-just-16-years-old-thankful-to-vadi/2058307340913781/
6847	dbpedia	1	73	https://ibsenstage.hf.uio.no/pages/event/82490	en	IbsenStage	https://ibsenstage.hf.ui…avicon-32x32.png	https://ibsenstage.hf.ui…avicon-32x32.png	[ "https://ibsenstage.hf.uio.no/uio/images/icons/events_06.12.2013.png" ]	[]	[]	[ "" ]	null	[]	null			/img/apple-touch-icon.png		null	Further Information1 Performance / Performed as one of three performances at The Norwegian Ballet School's fifth anniversary. Corps de ballet - Students at DNB with recruits, with focus parties classical ballet, elevkompaniene Versa Style and Soul Element
6847	dbpedia	2	30	https://moscowballetcompetition.com/en/1985/	en	1985 year concurs	https://moscowballetcomp…e-banner_eng.jpg	https://moscowballetcomp…e-banner_eng.jpg	[ "https://mc.yandex.ru/watch/44891239", "https://moscowballetcompetition.com/local/templates/baletcomp2020/images/Logo.svg", "https://moscowballetcompetition.com/local/templates/baletcomp2020/images/icons/Play.svg", "https://moscowballetcompetition.com/upload/resize_cache/iblock/d37/580_290_0/TASS_17910882.jpg", "https://moscowballetcompetition.com/upload/resize_cache/iblock/0e5/580_290_0/TASS_17218740.jpg", "https://moscowballetcompetition.com/upload/resize_cache/iblock/821/170_170_2/TASS_16912977.jpg", "https://moscowballetcompetition.com/upload/resize_cache/iblock/977/170_170_2/TASS_18086392.jpg", "https://moscowballetcompetition.com/upload/resize_cache/iblock/ec1/170_170_2/19850630_22_BokkaKHulioRakelRossetti.jpg", "https://moscowballetcompetition.com/upload/resize_cache/iblock/191/170_170_2/1110_03_-Morimoto_Miyagi.jpg", "https://moscowballetcompetition.com/upload/resize_cache/iblock/fdb/170_170_2/TASS_18438787-_1_.jpg", "https://moscowballetcompetition.com/upload/resize_cache/iblock/68e/170_170_2/TASS_16912982.jpg", "https://moscowballetcompetition.com/upload/resize_cache/iblock/6e2/170_170_2/TASS_17218722.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	/apple-touch-icon.png		https://moscowballetcompetition.com/en/1985/	Another laureate, Julio Bocco, a dancer of great charm and temperament, was already an established professional with excellent technique despite his young age. According to Bocco, a contemporary dancer must establish contact with the audience, be a sensitive partner, and, consequently, be a thinking artist and master technique. All of this makes up the portrait of the ideal artist, which for Bocco is Vladimir Vasiliev. After the competition, the dancer was invited by Mikhail Baryshnikov to join the American Ballet Theatre (New York), and in 1990 he established his own company, the Ballet Argentino (Buenos Aires). One of the highlights of the third round was the performance of Nina Ananiashvili and Andris Liepa. This duo had been together since the last competition in 1981. In 1985, Nina Ananiashvili was awarded the gold medal, and her partner got the silver one. In this duo of two Bolshoi soloists, audiences were attracted by the surprising combination of naturalness and spontaneity of their performance with a carefully considered form. Several related events took place during the competition. At the end of the first round, a meeting with the international jury members was organized. It was held in the Round Hall of the Bolshoi Theatre. During the meeting, guests and professionals discussed music's role in ballet and its importance as a stimulus for choreography development. The events of the competition were widely covered in the media. Soviet and foreign journalists, and representatives of significant agencies from 25 countries, were accredited to the Press Centre.
6847	dbpedia	1	65	https://m.imdb.com/video/vi1603842841/	en	Romantic Etudes - World Premier Donetsk, USSR 1989	https://m.media-amazon.c…Mjpg_UX1000_.jpg	https://m.media-amazon.c…Mjpg_UX1000_.jpg	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:145-4126162-5438008:45C97VHYQBD92PXSQTRG$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3D45C97VHYQBD92PXSQTRG:0", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:145-4126162-5438008:45C97VHYQBD92PXSQTRG$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3D45C97VHYQBD92PXSQTRG:0" ]	[]	[]	[ "movies", "films", "movie database", "video" ]	null	[]	null	Choreography - Ken Ludden Dancers - Vadim Pisarev with dancers from the Donetsk Ballet This production marks the first cultural exchange between the USA and USSR under the (then) new policies of Glasnost and Peristroyka implemented by Gorbachev. Vadim Pisarev invited Ludden to come for this exchange, and it was sponsored by the USIA, Gosteleradio and the coal mining operations of the Donbass Region of the USSR.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/video/vi1603842841/	Choreography - Ken Ludden Dancers - Vadim Pisarev with dancers from the Donetsk Ballet This production marks the first cultural exchange between the USA and USSR under the (then) new policies of Glasnost and Peristroyka implemented by Gorbachev. Vadim Pisarev invited Ludden to come for this exchange, and it was sponsored by the USIA, Gosteleradio and the coal mining operations of the Donbass Region of the USSR.
6847	dbpedia	0	91	https://www.thenationalnews.com/uae/young-ballerina-is-prima-emirati-troupe-leader-1.434930	en	Young ballerina is prima Emirati troupe leader	https://www.thenationaln…vicon.jpeg?d=762	https://www.thenationaln…vicon.jpeg?d=762	[ "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/3BV57UHMU5BJXDV3MM5MJTV4MU.jpg?smart=true&auth=e4e2705ee3418d09fe7a26f3e62f8edf9364ae54bb010b100c053053560d0c7d&width=200&height=200" ]	[]	[]	[ "" ]	null	[ "Anna Seaman" ]	2021-06-21T01:42:36.608000+00:00	17-year-old says hard work and sacrifice were required to become first UAE national to lead ballet show	en	/pf/resources/favicon.jpeg?d=762	The National	https://www.thenationalnews.com/uae/young-ballerina-is-prima-emirati-troupe-leader-1.434930	ABU DHABI // Every day after school Alia al Neyadi hurries home so she can eat a meal, wait an hour for it to digest and then head to the dance studio. She spends the next four hours practising balance, posture and position while she rehearses for her latest show. At 17, she is the first UAE national to lead her ballet troupe. On Wednesday night, she will perform alongside international ballet stars in a concert sponsored by the Ministry of Culture. It had taken gruelling dedication, she said, to get to this point. “I have really worked so hard to get myself to this stage. I have pushed myself to my limits again and again. In this profession, you can never be too good.” Alia rarely goes out with her friends at the weekend. She avoids junk food and hasn’t eaten chocolate or sweets for four years. Her toes can often be blistered or bleeding after hours dancing with them squeezed against the blocks in her ballet shoes, so she has at least two pedicures a week to look after them. “A ballerina’s feet are like a pianist’s hands,” she said. “They are my invaluable tool; I have to take care of them. Everything has a cost.” Alia was exposed to dance before she could walk. Her mother, Svetlana al Neyadi, a Ukrainian ballet master and choreographer, took her to rehearsals in New Orleans, where they lived when Alia was an infant. “She would sit in her stroller and watch,” said Mrs al Neyadi. “When she was nine months she took her first steps and I had a feeling then that she might be a dancer. She had perfect balance and placed her feet carefully.” In 1996, when Alia was four, the family – her mother, her sister and her father who is an Emirati from Al Ain – moved to Abu Dhabi. Two years later, Mrs al Neyadi founded Fantasia Ballet School – the UAE’s first private ballet institution. Alia was nine when she first stood en pointe – the term used for dancing on the tips of the toes. She was the first in her class to do so. Despite her obvious pride in her daughter’s success, Mrs al Neyadi said she paid her no favouritism. “In class I treated her the same as everyone else,” she said. “I never put a privilege on her. Everything she has achieved so far is down to her own effort, it is all her technique and her hard work.” Wednesday night’s performance will put Alia alongside dancers from the Pisarev Ballet School, which was founded by Vadim Pisarev, from Ukraine, who has danced with the Moscow Ballet School in more than 50 countries around the world. Her mother said it would be a challenge for the whole company, who have not yet been able to rehearse at the venue. “We only have three days to rehearse before the show, so I am quite nervous but I think it will be important to bring such a high quality of dance to the audiences in Abu Dhabi.” This will be Alia’s last show with Fantasia. Next year she hopes to study for a business degree in Dubai before applying to Ivy League universities in the US for a master’s degree. Although she has an eye for a future in business, she sees dance as a way of life, something she can never forego. “I will always find time to dance,” she said. “It is my life, my art form. I live through the dance, it helps me react to people and connect with people and it has taught me to control my emotions. I am alive when I dance.” The Fantasia show is being organised by Nahtam Social Responsibility, an Abu Dhabi-based non-profit organisation that focuses on social responsibility by promoting cultural events, fund-raising and providing volunteers. Isabelle Le Bon-Poonoosamy, one of its founders, said she was delighted to be helping to stage the event. “Our aim at Nahtam is to highlight hidden local talent,” she said. It also raises awareness about special needs organisations in the city. Tickets, which range in price from Dh75 to Dh500, are on sale at Nahtam. Call 02 642 0526 or e-mail [email protected].
6847	dbpedia	0	2	https://www.internationalballetsc.org/faculty-bios	en	International Ballet	https://static.wixstatic…0295c1%7Emv2.jpg	https://static.wixstatic…0295c1%7Emv2.jpg	[ "https://static.wixstatic.com/media/8a9d5a_17514a66bb864e45a08e8e7b61a47d98~mv2.png/v1/crop/x_17,y_0,w_637,h_823/fill/w_61,h_75,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/IBonly.png", "https://static.wixstatic.com/media/8a9d5a_573a8b857e7047129a328293feffe547~mv2.jpg/v1/fill/w_147,h_59,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_573a8b857e7047129a328293feffe547~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_227f1d661ebb4653aaa060885300d651~mv2.png/v1/fill/w_98,h_122,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_227f1d661ebb4653aaa060885300d651~mv2.png", "https://static.wixstatic.com/media/8a9d5a_2ce83d1217af4b95b54e46bd88a347a8~mv2.jpg/v1/fill/w_76,h_114,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_2ce83d1217af4b95b54e46bd88a347a8~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_eeebe3384c1c4fe4b11898e43bf4de97~mv2.jpg/v1/fill/w_78,h_110,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_eeebe3384c1c4fe4b11898e43bf4de97~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_26477e7e846645bd8cf59a531fc6306c~mv2.jpg/v1/fill/w_90,h_127,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_26477e7e846645bd8cf59a531fc6306c~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_89d794ab5c5d4cd4acfc7eb5682ff42e~mv2.jpeg/v1/fill/w_98,h_147,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_89d794ab5c5d4cd4acfc7eb5682ff42e~mv2.jpeg", "https://static.wixstatic.com/media/8a9d5a_764c7dcd67204441bd33b5a09b092466~mv2.jpg/v1/fill/w_88,h_111,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_764c7dcd67204441bd33b5a09b092466~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_09799dcbb29f4ba9be6595f821936636~mv2.png/v1/fill/w_85,h_121,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_09799dcbb29f4ba9be6595f821936636~mv2.png", "https://static.wixstatic.com/media/8a9d5a_5266b4af43a74617a4201193ce7aea8e~mv2.jpg/v1/fill/w_98,h_115,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_5266b4af43a74617a4201193ce7aea8e~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_c10e971cc5da40f79e6f2c9daa436fa9~mv2.jpg/v1/fill/w_82,h_123,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_c10e971cc5da40f79e6f2c9daa436fa9~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_76c907b42a7c40ffbcef3aa7af6b79cb~mv2.jpg/v1/fill/w_96,h_144,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_76c907b42a7c40ffbcef3aa7af6b79cb~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_4d4dcdfecd7a47faa3fb12adafd4c10a~mv2.jpg/v1/fill/w_70,h_106,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_4d4dcdfecd7a47faa3fb12adafd4c10a~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_14f6f3b763bd41aaaa450887dbdea5e9~mv2.png/v1/fill/w_98,h_125,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_14f6f3b763bd41aaaa450887dbdea5e9~mv2.png", "https://static.wixstatic.com/media/8a9d5a_86154f56e7b549a9b7d71364ad0783cc~mv2.jpg/v1/fill/w_98,h_118,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_86154f56e7b549a9b7d71364ad0783cc~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_f8643fc527384f65a0fdb44a29ce8f98~mv2.jpg/v1/fill/w_98,h_147,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_f8643fc527384f65a0fdb44a29ce8f98~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_bc55f1e0567648bc901d90115295c79f~mv2.png/v1/crop/x_316,y_316,w_2666,h_2528/fill/w_77,h_73,al_c,q_85,usm_0.66_1.00_0.01,blur_3,enc_auto/SCAC-Logo_Stacked-White.png", "https://static.wixstatic.com/media/8a9d5a_1bde068a2873401fa567f6169b50cf1c~mv2.png/v1/fill/w_139,h_139,al_c,q_85,usm_0.66_1.00_0.01,blur_3,enc_auto/8a9d5a_1bde068a2873401fa567f6169b50cf1c~mv2.png" ]	[]	[]	[ "" ]	null	[]	null	Get to know our world-class faculty and their experience in the dance world.	en	https://static.wixstatic…0295c1%7Emv2.jpg	International Ballet	https://www.internationalballetsc.org/faculty-bios	Vlada Kysselova, also the Artistic Director of International Ballet’s pre-professional company, is originally from Kiev, Ukraine. She graduated from the Kiev State College of Choreography and holds a bachelor’s degree from Kiev National Linguistics University and a master’s degree with honors in Dance Pedagogy and Choreography from the Ukrainian Academy of Dance at International Slavic University. She danced and toured as a soloist with the National Theater of Opera and Ballet in Kiev, Ukraine, and as a principal dancer with Kiev Theatre of Classical Ballet and Ballet Classique de Paris in France before immigrating to the United States in 2001. Since May 2004, Vlada has choreographed and staged full-length productions for International Ballet such as Francesca da Rimini, Swan Lake, The Nutcracker, Lady and the Hooligan, Giselle, La Sylphide, Coppelia, Don Quixote, Paquita, and numerous short works including original choreography for the South CarolinaRegional Ballet festival, as well as numerous collaborative works with the Greenville Symphony Orchestra. A founding instructor for International Ballet Academy since its inception in 2003, she has coached and traveled with students for such prestigious ballet competitions as Youth America Grand Prix (Regional and NYC Finals), Serge Lifar International Ballet Competition (Kiev, Ukraine), and the USA International Ballet Competition (Jackson, MS), and her students have received multiple top placements, including “Regional Grand Prix,” in YAGP regional as well as NYC final competitions, and Most Outstanding School in 2008. Ms. Yanchuck graduated from Kiev Ballet Academy, Ukraine. In her career as a dancer she has performed a large repertoire of roles both nationally and internationally. She has worked with Donetsk Opera and Ballet Theater of Ukraine, Vadim Pisarev Russian Ballet and the Russian Ballet Company of Delaware. Ms. Yanchuck has also toured with the Soviet ballet troupe, “Stars of Russian Ballet” and has performed at the Nervi International Ballet Stars Festival in Genoa, Italy. Ms. Yanchuck began teaching ballet in 1996 when she joined Nevada Festival Ballet Company of Reno. In 2011, she joined Kirov Academy of Ballet in Washington, DC as a Summer Preparatory Program Instructor, where she taught Historical Dance and Preparatory Ballet. Ms. Yanchuk still regularly teaches audition classes as well as summer program courses for the Kirov Academy of Ballet in Washington, DC. Ms. Yanchuck completed the professional program “Method of Classical Dance Teaching” at the Vagonova Ballet Academy in Russia in March 2018. Irina Ushakova received her training from the Perm State Ballet School and was a principal dancer for 19 years for major ballet companies both in Russia and in the United States. Ms. Ushakova is a Bronze and Silver Medal winner in two international ballet competitions. Her repertory includes many classical ballet roles, Balanchine choreography, contemporary works, and modern performances. In 1989, she toured the United States with the Donetsk Ballet, followed by a tour of Israel and Turkey with the Bolshoi Ballet. Since 2002, Ms.Ushakova has been a faculty member of the Dance department at the South Carolina Governor’s School for the Arts and Humanities in Greenville, South Carolina, where she is known for her staging of many character and classical ballet works. In 2007, she graduated from Chelyabinsk State Pedagogical University (Russia) with a Master’s Degree in Dance and Education. A native of Greenville, South Carolina, Liz Blackwood studied with Josée Beauséjour in Montreal, Canada where she successfully passed dancer and teacher exams with the Cecchetti Society of Canada. While in Montréal, she also worked with Odette Lalonde, Suzanne Plante, Victoria Yakobov, and other renowned teachers. She has attended workshops at Canada’s National Ballet School, l’École supérieure de ballet du Québec, Richmond Ballet, and other locations. She’s worked with numerous schools and choreographed dances for productions including The Wizard of Oz and La Boutique Fantasque. Ms. Blackwood most recently taught for Ballet Spartanburg before returning to International Ballet Academy in 2015, where she teaches many intermediate level classes, including pre-pointe training, beginning pointe, as well as Open Adult classes and IB Summer Camps. Josha Williams has been a dance educator in the Greenville community for the past 15 years. After completing her formal dance training at North Carolina School of the Arts, she returned to her hometown to begin her professional dancing career with Carolina Ballet Theatre in 2004 and teaching for Barbara Selvy’s School of Carolina Ballet Theatre. She continued training under the direction of Hernan Justo and the mentorship of Anita Pacylowski Justo, while dancing and teaching. One of the highlights of her career was having the opportunity to work with Alonzo King and to perform his originally choreographed piece, “MAP.” Josha served as one of Carolina Ballet Theatre’s lead teachers for the outreach programs as well as an independent teaching artist in Greenville County Schools for over seven years. She has taught many levels but is best known for her love of teaching tiny ballerinas and specialized adult ballet/strengthening classes. Josha’s passion for exercise, fitness, and overall wellness is now stronger than ever. She currently works as an instructor for Greenville’s Pure Barre and has been since it’s opening in 2012. Josha is thrilled to start this coming year at International Ballet Academy teaching young ballerinas. Lydia Sanders was born and raised in Columbia, South Carolina. She began her serious ballet training at the USC Dance Conservatory, under the guidance of Susan Anderson and Stacey Calvert. She continued formally training at Southeastern School of Ballet, studying under Hillary Krieger-Toth and Gabor Toth and at International Ballet Academy under Vlada Kysselova, Irina Ushakova, and Victoria Yanchuck. Lydia has attended summer programs with Pacific Northwest Ballet, Cincinnati Ballet, Boston Ballet, Miami City Ballet, Carolina Ballet, Central Pennsylvania Youth Ballet and Charlotte Ballet. Lydia graduated from the University of South Carolina in 2018 with a BA in Dance Performance and Choreography and a Psychology minor. In the USC Dance Company, she performed in several works by George Balanchine, including the principal role in Walpurgisnachtand soloist roles in Raymonda, Who Cares, andStars and Stripes. Lydia also danced the title role as the Firebird in Susan Anderson’s production of The Firebird.Post-graduation she joined Virginia National Ballet, where she danced a variety of soloist roles in choreography by artistic director Rafik Hegab. Lydia will be joining Ballet Spartanburg for the 2019-2020 season. In addition to dancing herself, Lydia has a passion for teaching and is thrilled to be joining IBA’s faculty this year. She has been cultivating her love of teaching since she was 14 and has not stopped since, working as a teacher for Aletheia Dance Inc., Southeastern School of Ballet, USC Dance Conservatory, and Virginia National Ballet School. Lydia has experience working with students from the age of 2-20 and is excited to share her knowledge in an environment that shaped her into the person she is at International Ballet Academy. Lauren Russ received her training at International Ballet under Vlada Kysselova, Victoria Yanchuck, and Irina Ushakova. She danced five seasons with the IB company. She has performed in The Nutcracker as Spanish, Snow, and Waltz of the Flowers, in the Waltz of the Hours and Czardas in Coppélia, and in numerous mainstage performances, as well as in community outreach events such as Storytime Ballet at the Greenville County Library. Lauren attended Ballet Magnificat's Summer Dance Intensive in Jackson, MS, and volunteered and performed at Greenville's Artisphere. She is a student at Bob Jones University. Linda O’Brien Thompson trained with the Boston Ballet School performing the Nutcracker every year of her youth. She finished her training with Pacific Northwest Ballet School and then Cleveland Ballet School. Mrs. Thompson began her professional career with the Cleveland Ballet but later joined the Ohio Ballet where she enjoyed performing many roles choreographed by George Balanchine, Anthony Tudor, and Heinz Poll, the director of Ohio Ballet. Mrs. Thompson was ballet mistress to both the Gwinnett Ballet Theatre and Carolina Ballet Theatre. She has worked with Tuscaloosa Community Dancers, setting the Nutcracker and choreographing original works. Mrs. Thompson has five young adult children and is married to Lee Thompson, a former ballet dancer now Michelin employee. Mrs. Thompson is delighted to return to the studio and share her love of ballet with the youth of Greenville. Ginny Lynn fell in love with Ballet right here in Greenville, SC. She began her training at the age of 3 and has been dancing, teaching, and performing ever since. Through grade school she studied Ballet, Tap, and Jazz at SODA in Florence, SC. She became a member of the South Carolina Dance Theatre Company in 1994 and enjoyed many years of performing her favorite Ballet: The Nutcracker, in roles as a Mouse, Soldier, Party Girl, Snowflake, Angel, Arabian, Polichinelle, Mirliton, and Flowers. While achieving her degree in Business Management from Clemson University in 2006, she spent most of her extra time in the studio. Ginny Lynn was the Ballet Teacher for the Clemson Dancers from 2003-2006. She also performed with the Clemson Dancers in all areas of dance from Pointe to Clogging all four years. In 2005, Ginny Lynn was accepted into the very first year of the Clemson UDC. She also enjoyed performing in musicals with the Clemson Theatre Department. Ginny Lynn was the President of the Clemson Shag and Ballroom Club and still enjoys teaching shag today. She has taught in many places over the years including Ballet Spartanburg, and for the last five years/currently teaches Ballet, Tap, and Jazz for DTG. Susan, a seasoned dance instructor originally from Columbia, South Carolina embarked on her ballet journey under the guidance of the esteemed Ann Brodie. She joined the Columbia City Ballet Company at a young age and continued her studies at the School of American Ballet and classes at American Ballet Theatre. Susan’s academic journey includes a Bachelor of Science in Marketing and Management from the University of South Carolina where she was a member of the USC Dance Company under director Susan Anderson and later an instructor at the USC Dance Conservatory. Prior to completion of a Master of Business Administration from the State University of New York, with a specialization in Arts Management, she was a member of the former regional company South Carolina Ballet Theatre under the direction of Anita Ashley. Susan is thrilled to embark on a new chapter as an instructor at the prestigious International Ballet Academy, where she is eager to continue her mission of inspiring and nurturing young dancers, imparting her wealth of skills, experience and dedication to the art of dance. Uriah Boyd is an interdisciplinary performance artist from Portland, Oregon. Her primary artistic mediums are dance and music, which she often integrates in live performance. She began her dance training in 2006, studying jazz, tap, ballet and modern. In 2009 she enrolled in Jefferson High School, a performing arts school with a renowned pre-professional dance training program. While at Jefferson High, she met a filmmaker and began working on a documentary with her older sister entitled Soar. The film focuses on their relationship as siblings, dancers, and creative partners. Soar was released in 2014 and has aired on PBS internationally. It is still in syndication today. After graduating high school and releasing Soar, Uriah began dancing professionally. She performed and toured with numerous dance companies and collectives in Portland and the greater NW, most notably, Rejoice! Diaspora Dance Theater. Uriah was a founding member of Rejoice! and it was during her time with the company that she began training in folkloric dances of the African Diaspora, which has become a large influence in her movement to this day. She began teaching in 2016 and has led contemporary dance workshops throughout the Pacific Northwest, in Mexico and Peru. Uriah travels often and enjoys connecting to new communities by way of movement and music. In recent years, music and aerial dance have become more prominent creative focuses for Uriah. She’s working on more intentionally integrating her music and movement practices, and spends most of her time engaged in creative play. Uriah is currently based in Greenville, SC and has found a warm home in the live music and contemporary dance communities here. Carissa Niewinski began dancing at 3 and began teaching 20 years ago. She toured Europe with a youth ballet company, filmed for an Apple iPod commercial & was on the dance team for the NBA Cleveland Cavaliers (during Lebron James’ second season!). She lived in Los Angeles to further her dance training and has also studied extensively in New York City. She is certified from the Finis Jhung’s teacher training program, a certified WuDang Qigong teacher & has over 200 hours of teacher training with Yin Yoga master Douglas Johnson of Mahapatha Yoga. She moved to Greenville, SC from Atlanta where she had been teaching competitive & pre-professional dance for 10 years. Her students have placed in overalls at national competitions and can be seen dancing in movies, commercials, music videos and for professional sports teams. She is excited to work with the dancers of International Ballet. Cate has over 15 years of diverse training experience, beginning at age 4 in her hometown of Fort Mill, SC. Throughout her dance experience, Cate has trained under Emmy-award winning choreographer Jena Burgin-Peters, Amelia Binford of Northwest School of the Arts, Anna Lauren Fresk of Jolie South Dance Academy, Amber Griffin of Steps N Motion, and many others. During that time, Cate served as an assistant to many of her instructors and was selected to perform in the Carolina Voices productions of The Singing Christmas Tree, televised performances with the Charlotte Symphony Orchestra, the Artists Music Guild Heritage Awards, paid performances with Opera Carolina at the Belk Theater, and numerous conventions and competitions such as Radix, ShowStopper, 24 Seven, Velocity, and JUMP. Additionally, Cate traveled to studios in North and South Carolina to assist her instructor, Jena Burgin-Peters, to guest teach and choreograph. Cate has choreographed dance performances for the Nation Ford High School Scholarship pageant as well as the SC Strawberry Pageant. She has participated in the Rockette Summer Dance Intensive, the Joffrey Jazz & Contemporary program, as well as coursework at Broadway Dance Center, among a variety of other master classes in a diverse array of disciplines. Cate now works in the nonprofit sector and is passionate about community health and engagement. She has taken up running as a supplementary form of exercise and is a 3x half marathon and 2x marathon finisher. She has completed 40 hours of yoga teacher training and will continue her training with Greenville Yoga in 2024. She believes that dance is not only a form of personal expression and storytelling, but it is also a practice of love for self and care for community. Laura Winship Dunn is the former owner and director of Ballet Aresko in Lynchburg, Virginia. She has trained under artists such as; Martin Friedman of Colorado Ballet, world renown Galina Panova, Eli Lazar, Adam Sage, Martha Fesia, Dominique Angel, Tyrone Brooks and Sandra Meythaler. She has danced for several companies including The Sangre de Cristo Ballet Theatre, North Carolina Academy of Dance Arts and Roanoke Ballet Theatre. She also danced at several Summer Intensives with the Sangre de Cristo Ballet Theatre and Ballet Magnificat! She received her dance education from The Sangre de Cristo Ballet and from Virginia School of the Arts as a postgraduate student.Shortly after this she joined and began dancing for Roanoke Ballet Theatre. She danced lead roles for RBT including, the Snow Queen, Isabella in Napoli, The Queen Fairy in an original Ballet and the principal role of Cinderella. Prior to founding Ballet Aresko, she taught dance for many other studios such as Dance Theatre of Lynchburg, Seven Hills Dance studio, Roanoke Ballet Theatre and Assemble Dance studio as their Director of Dance. She is also the Co-founder of Haven School of Dance in Pueblo, Colorado. She received her Bachelor of Science in 2011 and hopes to one day obtain her MFA in dance pedagogy. Her desire is to provide an exceptional dance education for her students. One that leaves them with skills and lessons to apply to everyday life. Believing that every dancer is unique, it is important to her to teach according to the needs of each individual student. Originally from the Washington, DC area, Robin Otey began her intensive training at the Maryland Youth Ballet under the direction of Tensia Fonseca and Michelle Lees. After moving to Houston, TX to complete her training, she began dancing professionally with the Houston Ballet in corps de ballet roles in La Bayadere, Swan Lake, The Snow Maiden, Manon, and The Sleeping Beauty. While with Houston Ballet she had the privilege of performing with such stars as Carlos Acosta, Angel Corella, and Nina Ananiashvili. She later danced with Ballet Memphis performing numerous soloist and principal roles. While touring to New York City, she received praise from the New York Times for her contemporary roles in Mark Godden’s Angels in the Architecture and Trey McIntyre’sSecond Before the Ground. Her passion for teaching began in her late teens and then grew as she matured as a professional, learning new ways of moving that she wished she had learned as a student. Convinced it was possible to teach students this artistry and movement quality along with their technique, she began teaching in the Ballet Memphis School while still dancing as a professional. After marrying and moving to St. Louis in 2002, she taught at the St. Louis Ballet School (where she also guest starred as the Sugar Plum Fairy in St. Louis Ballet’s Nutcracker). Since, she has taught beginning through advanced levels at a variety of ballet schools throughout the Midwest and West. In 2015, Ms. Otey became a certified STOTT Pilates Instructor. She appreciates how this form of exercise brings her love of movement, alignment, and anatomy/physiology together. New to the Greenville area, she is thrilled to be joining the International Ballet Academy faculty and excited to be teaching such a wonderful group of students.
6847	dbpedia	1	49	https://www.operaballet.nl/en/dancers/maria-chugai	en	Dutch National Ballet	https://www.operaballet.…pg?itok=zwkIUyWP	https://www.operaballet.…pg?itok=zwkIUyWP	[ "https://www.operaballet.nl/themes/nob_theme/img/logo-new.svg?v=2", "https://www.operaballet.nl/themes/nob_theme/img/logo-new.svg?v=2", "https://www.operaballet.nl/sites/default/files/styles/medium/public/images/persons/Portretten%202023/Main%20company/Maria-Chugai---crop-%C2%A9-Jan-Willem-Kaldenbach.jpg?itok=OuFM_t4a", "https://www.operaballet.nl/sites/default/files/images/HNB/Dansers/Maria%20Chugai/Maria-Chugai-Giselle-%28c%29-Sasha-Gouliaev-.jpg", "https://www.operaballet.nl/sites/default/files/images/HNB/Dansers/Maria%20Chugai/Maria-Chugai-Giselle-%28c%29-Sasha-Gouliaev.jpg", "https://www.operaballet.nl/sites/default/files/images/HNB/Dansers/Maria%20Chugai/Maria-Chugai-Giselle-3-%28c%29-Altin-Kaftira.jpg", "https://www.operaballet.nl/sites/default/files/images/HNB/Dansers/Maria%20Chugai/Maria-Chugai-Giselle-4-%28c%29-Altin-Kaftira.jpg", "https://www.operaballet.nl/sites/default/files/images/HNB/Dansers/Maria%20Chugai/Maria-Chugai-Zwanenmeer-%28c%29-Altin-Kaftira.jpg", "https://www.operaballet.nl/sites/default/files/images/HNB/Dansers/Maria%20Chugai/Maria-Chugai-Sleeping-Beauty-%28c%29-Altin-Kaftira.jpg", "https://www.operaballet.nl/sites/default/files/images/HNB/Dansers/Maria%20Chugai/Maria-Chugai-Raymonda-2-%28c%29-Altin-Kaftira.jpg", "https://www.operaballet.nl/sites/default/files/images/HNB/Dansers/Maria%20Chugai/Maria-Chugai-Raymonda-%28c%29-Altin-Kaftira.jpg", "https://www.operaballet.nl/sites/default/files/images/HNB/Dansers/Maria%20Chugai/Maria-Chugai-Raymonda-3-%28c%29-Altin-Kaftira.jpg", "https://www.operaballet.nl/sites/default/files/images/HNB/Dansers/Maria%20Chugai/Maria-Chugai-Giselle-5-%28c%29-Altin-Kaftira.jpg", "https://i.ytimg.com/vi_webp/n8z-Yoww-4s/maxresdefault.webp", "https://i.ytimg.com/vi_webp/tWOvC3P_yb8/maxresdefault.webp", "https://www.operaballet.nl/themes/nob_theme/static/ministerie-white.svg?v=XmxgK", "https://www.operaballet.nl/themes/nob_theme/static/gemeente-white.svg?v=XmxgK", "https://www.operaballet.nl/themes/nob_theme/static/houthoff-white.svg?v=XmxgK", "https://www.operaballet.nl/themes/nob_theme/static/ammodo-white.svg?v=XmxgK", "https://www.operaballet.nl/themes/nob_theme/static/fonds21-white.svg?v=XmxgK", "https://www.operaballet.nl/themes/nob_theme/static/ing-white.svg?v=XmxgK" ]	[]	[]	[ "" ]	null	[]	null	Maria Chugai is Soloist with Dutch National Ballet. Read the biography and find out more about her education, career and background.	en	/themes/nob_theme/favicons/apple-touch-icon.png?v=2	Nationale Opera & Ballet	https://www.operaballet.nl/en/dancers/maria-chugai	Musical and expressive Maria’s father, an engineer, originally hoped his daughter would follow in his footsteps. Nevertheless, her parents were great art enthusiasts and took their daughters to museums, concert halls and theatres. This encouraged Maria’s younger sister Lucia to develop a passion for music (and she is now a well-known jazz singer-songwriter, after graduating from the conservatoire in Prague). And Maria herself was spellbound by the first ballet performance she saw at the age of five: The Nutcracker. “It was Tchaikovsky’s music that touched me most. I saw ballet as a poetic visualisation of this music and after that performance I started to dance myself at home.” Her mother supported Maria’s aspirations and took her to audition for the ballet school founded by the famous Ukrainian ballet dancer Vadim Pisarev in Maria’s hometown of Donetsk. “I fell in love with ballet right from the start.” Maria was the youngest in her class and had no previous ballet experience, but she was praised by her teachers for her musicality, expressiveness and desire to work hard. Vadim Pisarev saw potential in her and let her represent the school among its best students at competitions and international summer festivals, through which Maria was spotted by teachers from the Vaganova Ballet Academy. At the age of thirteen, she was accepted into the 4th-grade class of Olga Baltacheeva, and later she was chosen by the highly acclaimed professor Ludmila Kovaleva to successfully graduate under her leadership in 2006. “I remember my school years as a magical time”, Maria says, “although living alone at the boarding school in St Petersburg far away from my family was a real character-building challenge. However, it allowed me to forge lifelong friendships and generated endless love for my second hometown.” Requiem Now, so many years after leaving St Petersburg, she says, “Just like my years at the Vaganova Ballet Academy, my time in the Netherlands has formed me as well. I’ve worked with so many wonderful people here.” Out of the many choreographers whose ballets she’s danced, Hans van Manen and Toer van Schayk are particularly dear to her, and she regrets never meeting the third ‘Van’ – Rudi van Dantzig (who died in 2012). “You can see what a special person he must have been just from his Swan Lake, Romeo and Juliet and Four Last Songs.” One of her favourite Van Manen ballets is Kleines Requiem, but his Fantasia takes the cake for her, and the jewel in the crown has to be Van Schayk’s Requiem. “That was a true highlight, because of the choreography’s strong message, the unity that the dancers formed on stage and, first and foremost, Mozart’s outstanding score performed live by the orchestra and singers.” The musical interpretation is the most important part of all her performances. “For me, visualising music with my body and soul is the essence of the dancing profession.” Master’s degree In 2016, after creating two works for the young choreographers’ programme New Moves (Wild is the Wind in 2015 and Claire de lune in 2016) Maria started studying at the Vaganova Ballet Academy again – next to all her rehearsals and performances with Dutch National Ballet. In July 2023, she completed a seven-year educational programme and became a Master of Fine Arts. “Besides my interest in pedagogy and history of arts, this was also an opportunity to maintain close ties with my beloved city and alma mater. I was born in the multicultural Soviet Union, to a Ukrainian father and a Russian mother, and I’ve now been living happily in the Netherlands for more than a decade. So I see myself as a world citizen, promoting culture. I’m here in Amsterdam to learn, but also to express something of my background, and when I go home, I take something from here with me in turn.” Text: Astrid van Leeuwen
6847	dbpedia	0	13	https://alchetron.com/Vadim-Pisarev	en	Alchetron, The Free Social Encyclopedia	https://alchetron.com/cd…7-resize-750.gif	https://alchetron.com/cd…7-resize-750.gif	[ "https://alchetron.com/cdn/private_file_1517239297426d981296f-39c1-4192-9799-fba8475d9bd.jpg", "https://alchetron.com/cdn/vadim-pisarev-59975a21-64e2-4e23-bfef-5fca151a927-resize-750.gif" ]	[]	[]	[ "" ]	null	[]	2017-08-18T08:30:48+00:00	Vadim Pisarev is a famous Ukrainian dancer, People's Artist of Ukraine, Art Director of Donetsk State Academic Opera and Ballet Theatre named after Solovyanenko, founder and director of international festival World Ballet Stars. Vadim Yakovlevich Pisarev was born on February 1, 1965 in Donetsk. in 1	en	/favicon.ico	Alchetron.com	https://alchetron.com/Vadim-Pisarev	Tripti Joshi (Editor) I am a Teacher who started creating online content for my students from 2016 so that they can get access to free knowledge online. Vadim Pisarev Share on FacebookTweet on TwitterShare on LinkedInShare on Reddit Sign in Vadim pisarev Vadim Pisarev is a famous Ukrainian dancer, People's Artist of Ukraine, Art Director of Donetsk State Academic Opera and Ballet Theatre named after Solovyanenko, founder and director of international festival World Ballet Stars. Contents Vadim pisarev Peer gynt e grieg vadim pisarev ballet 1 Biography Education Awards Family Dance Choreographic School World Ballet Stars References Peer gynt e grieg vadim pisarev ballet 1 Biography Vadim Yakovlevich Pisarev was born on February 1, 1965 in Donetsk. Education in 1983 he graduated from the Kiev State Choreographic School, where his teachers were Irina Bulatova and Vladimir Denisenko in 1984 - 1985 Vadim Pisarev received trainings at the Bolshoi Theatre (Moscow) with such teachers: V. Nikonov, R. Struchkov, A. Messerer in 1991 he practiced in Maryinsky Theatre (at that time Kirov Opera and Ballet Theatre), (Saint Petersburg) in 2001 - graduated from Kiev National University of Culture and the Arts Awards At the 1st all-Ukrainian competition of ballet dancers and choreographers in 1984 in Kiev Vadim Pisarev won the first prize and was awarded with a gold medal. In June of the same year he won second prize and silver medal at the International Ballet Contest in Helsinki, Finland, and a bronze medal in November 1984 in Paris, France at the 1st International Ballet Contest. In 1984 Vadim Pisarev was awarded the title of Honoured Artist of the Ukraine. In 1985 Vadim Pisarev won the Gold Medal at the Fifth all-Soviet Union Ballet Contest in Moscow. In 1986 he won the Gold Medal at the International Ballet Competition in Jackson, Mississippi (United States), and the same year was awarded the title of People's Artist of Ukraine. In 1988 he was awarded the Lenin Komsomol Prize. Prior to this, he went on tour in the USA, together with the Moscow Ballet (1987) and with Donetsk Opera and Ballet Theatre Company (1988) In 1990 he won the Moscow public prize "The Best USSR Dancer" In 1995 - UNESCO prize "The Best Dancer of the World" In 1996, commissioned by Norwegian government, Vadim Pisarev staged the ballet Peer Gynt and played the lead role with the Donetsk troupe at the celebrations of the 1000th anniversary of the first capital of Norway, Trondheim. For this performance he was awarded the Norwegian press prize "Golden Rose" In 1996 Vadim Pisarev won the Ukrainian "Man of the Year" award In 1997 he prepared a special show and participated in the celebration of the 3000th anniversary of Jerusalem. Same year Vadim Pisarev received the diploma "Golden Skif". In 1998 Pisarev was awarded the Theatre Union of Ukraine prize called "Triumph". In 1999 awarded the Order of merit, III grade. Same year, Vadim Pisarev was awarded the Kazakhstan "Prize of Traditions" and won all-Ukrainian prize "Recognition" In 2001 awarded the Commander's Cross - Order of Saint Stanislaus, III grade. In 2003 awarded the Cabinet of Ministers of Ukraine honorary diploma "For Significant Personal Contribution to the Development of National Culture and Art, and High Professionalism" In 2004 awarded the Order of Merit, II grade. Vadim Pisarev is the Honorary Citizen of New Orleans and Baltimore Family Vadim Pisarev is married with three children. His wife is prima ballerina, People's Artist of Ukraine Inna Dorofeeva. His eldest son Andrey has followed in his father's steps and became a ballet dancer; recently he won a gold medal at prestigious XI International Ballet Competition in Moscow. Pisarev likes picking mushrooms and fishing. Dance He performed leading roles in ballets: Don Quixote Swan Lake Nutcracker Giselle Walpurgis Night Paquita Sleeping Beauty Peer Gynt La Bayadere Le Corsaire Spartacus Romeo and Juliet, etc. In 1996 Vadim Pisarev was appointed the Art Director of Donetsk State Academic Opera and Ballet Theatre named after Solovyanenko. Choreographic School In 1992 Vadim Pisarev, together with his wife, prima ballerina of Donetsk Opera and Ballet, People's Artist of Ukraine Inna Dorofeeva, established the Donetsk Opera and Ballet Theatre Choreographic School, also known as Vadim Pisarev Ballet School. It is the first Ukrainian non-governmental educational institution of this kind. Gifted children from Donetsk oblast' and other regions of Ukraine learn ballet skills at Vadim Pisarev' school, there's also a school board for non-resident students, with partial allowance. Graduates of the school become students of prestigious dance institutions over the world, such as the Saint Petersburg Academy of Russian Ballet named after A. Vaganova, Moscow Ballet School, Stuttgart Ballet Academy (Germany), Zurich Academy of Dance (Switzerland), etc. In 1997, Vadim Pisarev Choreography School was awarded the Sergei Diaghilev Medal. World Ballet Stars The festival was established in 1994, since then more than 400 outstanding dancers from 35 countries of the world have visited Donetsk, and over 70 ballets by famous choreographers have been performed. The festival is traditionally held in early October of each year in Donetsk and cities of Donetsk oblast. References Vadim Pisarev Wikipedia (Text) CC BY-SA Similar Topics
6847	dbpedia	2	0	https://en.wikipedia.org/wiki/Vadym_Pysarev	en	Vadym Pysarev	https://upload.wikimedia…28cropped%29.jpg	https://upload.wikimedia…28cropped%29.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/1e/%D0%9D%D0%B0%D1%81%D1%82%D1%8F_%D0%A4%D0%B5%D0%B4%D0%BE%D1%80%D0%B5%D0%BD%D0%BA%D0%BE._%D0%94%D0%BE%D0%BD%D0%B5%D1%86%D0%BA._%D0%A3%D0%B2%D0%B8%D0%B4%D0%B5%D1%82%D1%8C_%D0%B8_%D0%BF%D0%BE%D0%BB%D1%8E%D0%B1%D0%B8%D1%82%D1%8C._%D0%94%D0%BE%D0%BD%D0%B5%D1%86%D0%BA%D0%B8%D0%B9_%D1%82%D0%B5%D0%B0%D1%82%D1%80_%D0%BE%D0%BF%D0%B5%D1%80%D1%8B_%D0%B8_%D0%B1%D0%B0%D0%BB%D0%B5%D1%82%D0%B0_008_%28cropped%29.jpg/220px-%D0%9D%D0%B0%D1%81%D1%82%D1%8F_%D0%A4%D0%B5%D0%B4%D0%BE%D1%80%D0%B5%D0%BD%D0%BA%D0%BE._%D0%94%D0%BE%D0%BD%D0%B5%D1%86%D0%BA._%D0%A3%D0%B2%D0%B8%D0%B4%D0%B5%D1%82%D1%8C_%D0%B8_%D0%BF%D0%BE%D0%BB%D1%8E%D0%B1%D0%B8%D1%82%D1%8C._%D0%94%D0%BE%D0%BD%D0%B5%D1%86%D0%BA%D0%B8%D0%B9_%D1%82%D0%B5%D0%B0%D1%82%D1%80_%D0%BE%D0%BF%D0%B5%D1%80%D1%8B_%D0%B8_%D0%B1%D0%B0%D0%BB%D0%B5%D1%82%D0%B0_008_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2012-03-19T13:32:20+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Vadym_Pysarev	Vadym Pysarev is a famous Ukrainian dancer, People's Artist of Ukraine, Art Director of Donetsk State Academic Opera and Ballet Theatre named after A. Solovyanenko, founder and director of international festival World Ballet Stars. Early life and education [edit] Vadym Yakovlevych Pysarev was born on February 1, 1965, in Donetsk. In 1983 he graduated from the Kiev State Choreographic School, where his teachers were Irina Bulatova and Vladimir Denisenko.[1] From 1984 to 1985, Pysarev was trained at the Bolshoi Theatre (Moscow) by such teachers as V. Nikonov, R. Struchkov and A. Messerer. In 1991 he practiced in Mariinsky Theatre (at that time Kirov Opera and Ballet Theatre), (Saint Petersburg)[2] and ten years later, graduated from Kyiv National University of Culture and Arts. Awards [edit] At the 1st all-Ukrainian competition of ballet dancers and choreographers in 1984 in Kyiv Vadym Pysarev won the first prize and was awarded with a gold medal. In June of the same year he won second prize and silver medal at the International Ballet Contest in Helsinki, Finland, and a bronze medal in November 1984 in Paris, France, at the 1st International Ballet Contest.[3] In 1984 Vadym Pysarev was awarded the title of Honoured Artist of the Ukraine.[2] In 1985 Vadym Pysarev won the Gold Medal at the Fifth all-Soviet Union Ballet Contest in Moscow. In 1986 he won the Gold Medal at the International Ballet Competition in Jackson, Mississippi (United States),[4] and the same year was awarded the title of People's Artist of Ukraine.[2] In 1988 he was awarded the Lenin Komsomol Prize.[3] Prior to this, he went on tour in the USA, together with the Moscow Ballet (1987) and with Donetsk Opera and Ballet Theatre Company (1988)[3] In 1990 he won the Moscow public prize "The Best USSR Dancer" In 1995 - UNESCO prize "The Best Dancer of the World" In 1996, commissioned by Norwegian government, Vadym Pysarev staged the ballet Peer Gynt and played the lead role with the Donetsk troupe at the celebrations of the 1000th anniversary of the first capital of Norway, Trondheim. For this performance he was awarded the Norwegian press prize "Golden Rose" In 1996 Vadym Pysarev won the Ukrainian "Man of the Year" award[1] In 1997 he prepared a special show and participated in the celebration of the 3000th anniversary of Jerusalem. Same year Vadym Pysarev received the diploma "Golden Skif". In 1998 Pysarev was awarded the Theatre Union of Ukraine prize called "Triumph". In 1999 awarded the Order of Merit, III grade. Same year, Vadym Pysarev was awarded the Kazakhstan "Prize of Traditions" and won all-Ukrainian prize "Recognition" In 2001 awarded the Commander's Cross - Order of Saint Stanislaus, III grade. In 2003 awarded the Cabinet of Ministers of Ukraine honorary diploma "For Significant Personal Contribution to the Development of National Culture and Art, and High Professionalism" In 2004 awarded the Order of Merit, II grade. Vadym Pysarev is the Honorary Citizen of New Orleans and Baltimore Family [edit] Vadym Pysarev is married with three children. His wife is prima ballerina, People's Artist of Ukraine, Inna Dorofeieva.[4] His eldest son Andrey has followed in his father's steps and became a ballet dancer; recently he won a gold medal at prestigious XI International Ballet Competition in Moscow.[1][5] Pysarev likes picking mushrooms and fishing.[1] Career [edit] Dance [edit] He performed leading roles in ballets: Don Quixote Swan Lake The Nutcracker Giselle Walpurgis Night Paquita The Sleeping Beauty Peer Gynt La Bayadère Le Corsaire Spartacus Romeo and Juliet In 1996 Vadym Pysarev was appointed the Art Director of Donetsk State Academic Opera and Ballet Theatre named after Solovyanenko. Choreographic School [edit] In 1992 Vadym Pysarev, together with his wife, prima ballerina of Donetsk Opera and Ballet, People's Artist of Ukraine Inna Dorofeeva, established the Donetsk Opera and Ballet Theatre Choreographic School, also known as Vadym Pysarev Ballet School.[2] It is the first Ukrainian non-governmental educational institution of this kind. Gifted children from Donetsk oblast' and other regions of Ukraine learn ballet skills at Vadym Pysarev' school, there's also a school board for non-resident students, with partial allowance. In 1997, Vadym Pysarev Choreography School was awarded the Sergei Diaghilev Medal. References [edit]
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That’s one question balletomanes who remembered his appearances here with the Bolshoi Ballet in the 1970s were asking during the company’s recent American tour. The answer has two parts. Gordeyev has joined the growing faction of Bolshoi dancers who are on the outs with the company’s artistic director Yuri Grigorovich, and he’s now running his own company, the Moscow Ballet. Indeed, Gordeyev and the Moscow Ballet are now dancing westward on their first American tour. With 10 cities already behind them, they arrive in Southern California this week for three mixed programs in Pasadena Civic Auditorium (Thursday, Saturday and next Sunday) and at the Dorothy Chandler Pavilion (Oct. 26-28). The soft-spoken Gordeyev, 39, claims to be more than satisfied with his new situation. “I’m continuing to discover America,” he said during a recent phone interview conducted in Russian. “When I was traveling with the Bolshoi, there was always some tension in the air, but traveling this way, as the director of my own company, is more relaxing.” According to Gordeyev, his artistic estrangement from Grigorovich explains why he was not included on the 1987 Bolshoi tour of the United States. “My artistic relationship with Grigorovich has come to an end,” he said with a frankness that would not have been possible only a few years ago. “We still exchange greetings and all that, but I’m not involved in what he’s creating now. I have no artistic interest in what he’s doing.” While his prestige as an officially designated “People’s Artist of the Soviet Union,” the highest official title that can be awarded to a Soviet artist, protects his position in the company, he is no longer involved in working on new repertory. Gordeyev’s U.S. debut in 1973 brought him instant recognition from both the public and the critics. After seeing Gordeyev partner Nadezhda Pavlova in the pas de deux from “La Fille mal Gardee,” Arlene Croce of the New Yorker called him “one of the best classical dancers in the world.” When he returned with the Bolshoi in 1975 and 1979, the public response was, if anything, even more enthusiastic--especially when he was dancing with Pavlova. Married in 1975, they were the Bolshoi’s sweetheart couple, a real-life Romeo and Juliet. But the 1979 Bolshoi American tour was a troubled one. Though Gordeyev and Pavlova were showered with praise and affection, the critics had few kind words for the choreography by Grigorovich. It didn’t help matters when leading dancer Alexander Godunov, a friend and colleague of Gordeyev’s, defected--along with soloists Valentina and Leonid Koslov. There have been many changes in Gordeyev’s personal and professional life since 1979. He and Pavlova are now divorced. Recently remarried (and not to a dancer), Gordeyev has continued dancing at the Bolshoi (“Nobody kicked me out”), but only once or twice a month, and always in roles created before 1979. “And if I only dance one performance a month, what I am supposed to do with the other 29 days?” The Moscow Ballet has provided the answer. Founded in 1979 by former Bolshoi soloist Irina Tikhomirnova, it is an outlet for Gordeyev’s talents as a dancer. It is also allowing him to develop new skills as a choreographer. Before Tikhomirnova died of cancer in 1984, she asked Gordeyev to take over the company. Under his artistic leadership, the Moscow Ballet has more than doubled in size, from 16 dancers to 34. Only seven of the original members remain, the rest selected by Gordeyev personally. Besides Gordeyev, the most familiar soloist on the Moscow Ballet tour is Lubov Kunakova, a principal dancer at the Kirov Ballet in Leningrad and a leading dancer in the 1986 Kirov tour of the U.S. “She works with me more than with anyone else, even more than with the Kirov,” Gordeyev claims, proudly. Other prominent guest artists on the current tour include Natalia Tcherkasskaya and Vasili Polushin of the Bolshoi; and Vadim Pisarev, from the Donetsk Opera and Ballet Theater, winner of a Gold Medal at the 1985 Moscow International Ballet Competition. Gordeyev himself dances in at least two pieces on each program. During its current tour, Moscow Ballet is presenting three different programs. At the urging of the tour’s American sponsors, William Merriman and David Hermon of Santa Rosa, the excerpts have been selected primarily from classical Russian ballets, Gordeyev said. Back in the U.S.S.R., the company’s repertory is more balanced, split “50-50 between modern and classical works,” Gordeyev observed. At home, the Moscow Ballet performs in very large halls, such as the Concert Hall of the Hotel Rossiya and the Hall of Congresses, a gargantuan auditorium within the Kremlin walls that is used primarily for political gatherings. But only about half of the approximately 130 performances that the Moscow Ballet gives each year actually occur in Moscow. The company also does a lot of touring throughout the Soviet Union (“the only place we haven’t been is the Far East”) and abroad. Not long before leaving for America, the company had danced in Italy and Japan, and the current tour will go on immediately to Paris. “We’ll get back to Moscow on Dec. 25,” said Gordeyev. Such a demanding schedule leaves little time for a private life. “For the moment,” says Gordeyev, “I don’t mind all the traveling.” He does look forward to “sitting at home for a while” in the winter, and having enough time “to put together a new program.” To date, Gordeyev has staged 26 pieces with the Moscow Ballet. His guiding principle is “to try not to repeat repertory that has already been done. I’ve put a lot of energy into reviving and restoring forgotten classics.” Alexander Gorsky’s “Ocean and Pearls” pas de trois is one example from the tour repertory. “Every year it gets harder to resurrect these old ballets, because the people who really worked in them and created them are dying. That’s why we need to do them now,” Gordeyev said. The same respect for the distinguished past of the Russian ballet leads Gordeyev to object vehemently to one of Grigorovich’s practices at the Bolshoi: shelving venerated older productions in order to make way for his own new “updated” versions. “We’re very sorry to see Leonid Lavrovsky’s ‘Romeo and Juliet’ and Rostislav Zakharov’s ‘Cinderella’ discarded from the Bolshoi repertory,” said Gordeyev. “The scenery and costumes are even being sold. These productions should remain with us, or else we’ll lose our own traditions. The Bolshoi should have its own repertory--not the repertory of just one man. It should represent all that is the best in the Soviet and Russian dance tradition.” In working with his dancers in Moscow, Gordeyev said he tries “to avoid the look of the Bolshoi as much as possible. I was trained there, of course, so I cannot entirely escape the stamp of the Bolshoi style. But I still try. No matter how delicious it may be, eating black caviar every day is boring: That’s the Bolshoi. We’re looking to give the audience something new and different.” For Soviet audiences, who have seen very little in the way of contemporary dance, the choreography of Russian-trained George Balanchine certainly qualifies as “new and different.” In fact, it was Gordeyev’s interest in Balanchine’s work that served to alienate him further from Grigorovich. In 1982, he and Pavlova spent some time in Italy, where they had the opportunity to learn a pas de deux from Balanchine’s “Donizetti Variations.” When Grigorovich found out, Gordeyev recalled, he was “insulted. He felt that members of the Bolshoi company should not work with any other choreographer. We replied that Balanchine’s dancers were free to work with other choreographers, so why shouldn’t we be?” Gordeyev is not the first Bolshoi dancer, of course, to have a falling out with the company’s artistic director. Ballerina Maya Plisetskaya has been feuding with Grigorovich for years. During a recent visit to America, she readily confessed that they “don’t even say hello to one another,” and that he “wants to create things by himself, and be No. 1.” “There was always criticism of Grigorovich within the Bolshoi company,” Gordeyev said. “He is a very powerful man, and he has built up a strong position after all these years. He has many influential friends abroad. But I have always said what I thought about him. The difference now is that criticism gets into print.” This is not the only change he has noticed as a result of the Soviet government’s new policy of openness. “Much more attention is being paid to culture in general,” Gordeyev observed, “and especially to ballet. We are seeing more interest both from the bureaucracy and from the public. “We also had many fewer problems this time in leaving the country to go on tour. In the past, we never knew what was happening until the last minute, but this time everything went smoothly.” One more sign of greater openness: Valentina Kozlova, a Bolshoi defector now dancing in America, attended the opening night party in Baltimore. Similarly, Godunov attended the opening-night party for the Bolshoi Ballet in Los Angeles. On the subject of his own choreography, Gordeyev is modest. Of his “Paganini,” he says only that “it is not anything like Balanchine. I avoid influence of all kinds, because it can often lead to bad results.” Clearly, the new role of choreographer is one Gordeyev enjoys. And at a relatively advanced age for a dancer, he must be thinking about his own artistic future. How much longer can he dance? “We can talk about that after you see me perform,” is his coy response. But to a different question--”Why do you dance?”--he answers without a moment’s hesitation. “ Eto moya zhizn. It’s my life. I never thought of any other.” Moscow Ballet’s Vyacheslav Gordeyev: ‘I cannot entirely escape the stamp of the Bolshoi style. But I still try. No matter how delicious it may be, eating black caviar every day is boring.’
6847	dbpedia	0	64	https://www.jjgp.jp/en/e_judge.html	en	Japan Grand Prix			[ "https://www.jjgp.jp/en/img/btn_fb2.jpg", "https://www.jjgp.jp/en/img/about_img2018_en.jpg", "https://www.jjgp.jp/en/photo/judge/ph_eun.jpg", "https://www.jjgp.jp/en/photo/judge/ph_jason.jpg", "https://www.jjgp.jp/en/photo/judge/ph_kathrin.jpg", "https://www.jjgp.jp/en/photo/judge/ph_daniela.jpg", "https://www.jjgp.jp/en/photo/judge/ph_pedro.jpg", "https://www.jjgp.jp/en/photo/judge/ph_deborah.jpg", "https://www.jjgp.jp/en/photo/judge/ph_tamara.jpg", "https://www.jjgp.jp/en/photo/judge/ph_marianne.jpg", "https://www.jjgp.jp/en/photo/judge/ph_kimmy.jpg", "https://www.jjgp.jp/en/photo/judge/ph_dimitri.jpg", "https://www.jjgp.jp/en/photo/judge/ph_gennadi.jpg", "https://www.jjgp.jp/en/photo/judge/ph_frederic.jpg", "https://www.jjgp.jp/en/photo/judge/ph_robert.jpg", "https://www.jjgp.jp/en/photo/judge/ph_melanie.jpg", "https://www.jjgp.jp/en/photo/judge/ph_raimond.jpg", "https://www.jjgp.jp/en/photo/judge/ph_victoria-s.jpg", "https://www.jjgp.jp/en/photo/judge/ph_adam.jpg", "https://www.jjgp.jp/en/photo/judge/ph_garry.jpg", "https://www.jjgp.jp/en/photo/judge/ph_olivier-v.jpg" ]	[]	[]	[ "" ]	null	[ "Japan Grand Prix" ]	null					null	EUN YOUNG AHN PITTSBURGH BALLET THEATRE SCHOOL Originally from Seoul, Korea, Eun Young received the majority of her training at the Kirov Academy of Ballet in Washington D.C. where she received her 6-year Vaganova training diploma, under the direction of Oleg Vinogradov. Upon graduation, she returned to Seoul to join the Universal Ballet Company where she became a soloist. In 2002, Eun Young joined the Staatsballet Berlin as a demi-soloist. After a second stint with the Universal Ballet Company, she then joined American Ballet Theatre in 2007 where she retired in 2013. Her performing experience includes corps and soloist roles in the classics such as La Bayadere, The Nutcracker, Sleeping Beauty, Swan Lake, and Giselle, in addition to works by George Balanchine, Nacho Duato, Ohad Naharin, Alexei Ratmansky, and Christopher Wheeldon.Eun Young has taught and coached both students and professional dancers at the Universal Ballet Academy and Ballet Academy of Pittsburgh. She is certified in the ABT National Training Curriculum and is the first Head of Curriculum and Student Division at Pittsburgh Ballet Theatre School. JASON AMBROSE SAN FRANCISCO BALLET Jason Ambrose began his studies at the Virginia Beach Ballet Academy, furthering his training at the Pittsburgh Ballet Theatre School. He attended the year-round and summer programs of the Bolshoi Ballet Academy and The Kirov Academy of Ballet of Washingto D.C. on full scholarships. His choreographic work has been featured in the annual Dance Against Cancer Benefit Gala (NYC), the Valentina Kozlova International Ballet Competition Closing Gala, and he was the coach of the 2020 Prix de Lausanne Second Prize Winner. He received the 2020 WBAC Grand Prix Outstanding Teacher Award and was featured in "Pointe' and "Dance Magazine." He has been a guest faculty member and choreographer for companies and schools throughout the USA, and he was the Ballet Director for Next Step Dance Performing Arts Center in Frisco, Texas, and Canadian Dance Company in Oakville, Ontario, and served as a jury member for the 2021 San Francisco Dance Film Festival. Ambrose was invited by Oleg Vinogradov to St. Petersburg, Russia, as the first African American to enroll in their Ballet Masters and Choreographers Degree Program and to dance with the Ballet Theatre of the St. Petersburg Conservatoire. Jason Ambrose is currently Artist in Residence at Elite Classical Coaching and Principal of the Children's Division of the San Francisco Ballet School. KATHRIN BAUM-HOFER STATE BALLET SCHOOL OF BERLIN Kathrin Baum-HÃ¶fer was born in Spremberg, Germany, and studied at the School of Dance Leipzig, then danced as a soloist with Erich Weinert Ensemble in Berlin and the Komische Oper Berlin which now belongs to the state ballet Berlin performing repertoire in different styles, from classical ballet to contemporary and modern dance. In 1999, Kathrin began her studies as a physiotherapist, graduating in 2002. Since 2007 she began her teaching career at the State Ballet School of Berlin, acquiring her diploma in ballet pedagogy at the Academy of Performing Arts in Mannheim in 2009. She instructs students in classical ballet, repertoire, and gymnastics, as well as rehearsing the State Ballet School's and the Berlin Youth Ballet's repertoire, in works including âThe Little Princeâ, âLe Corsaireâ, and choreographies by Wayne McGregor, JiÅÃ KyliÃ¡n, and Marco Goecke. Kathrin also rehearses students for performances with the Berlin State Ballet Company. She has prepared many students for national and international competitions, often being invited as a jury member for international competitions and festivals in Brazil, the USA, Portugal, and Latvia. She teaches intensive study programs in Italy and has taught summer intensive programs at the University of Utah in Salt Lake City, as well as programs for the American Academy of Ballet in New York City. Besides her being a ballet instructor, Ms. Baum-Hofer is responsible for making administrative decisions for the State Ballet School of Berlin. DANIELA BUSON TULSA BALLET Daniela Buson is the assistant artistic director of the Tulsa Ballet, following a career as a principal dancer and guest artist for many international ballet companies. Born in Palermo, Italy she received her training from maestro Jacques Beltrame. Upon graduation she joined Maggio Danza in Florence under the direction of Evgeny Polyakov. In 1983, she joined the Deutsche Oper Berlin in Berlin, Germany as a soloist, then joining Northern Ballet Theater, England as a principal dancer the following year. Ms. Buson has appeared as guest principal artist with the English National Ballet; Basel Ballet, Switzerland; Les Grands Ballets Canadiens, Montreal, Canada; Cincinnati Ballet; Ballet West and Ballet Arizona in the US as well as having danced with the Teatro Massimo in Palermo, Italy. As a principal dancer of Tulsa Ballet, under her husband's (Marcello Angelini) artistic directorship, Ms. Buson danced leading roles in the classical ballet repertory as well as having worked with many of the important contemporary choreographers of our time. Upon her retiring from the stage, Ms. Buson became ballet mistress of the Tulsa Ballet before assuming her present position. PEDRO CARNEIRO CROATIAN NATIONAL THEATRE, SPLIT Pedro Carneiro started his dance studies at the school of Gulbenkian Ballet in Lisbon, Portugal, where he received a scholarship to study at the John Cranko School in Stuttgart, Germany. He danced at the Stadttheater Hagen and the Oper Bonn in Germany, as well as at the National Ballet in Lisbon. Mr. Carneiro took the teacherâs course at the Vaganova Academy in St.Petersburg, Russia, where he received his methodology diploma. He has a masterâs degree in School Administration from ISCTE - University Institute in Lisbon. Mr. Carneiro was a teacher of classical and character dance at the National Conservatory Dance School in Lisbon from 1995 to 2018 and was the director of the school from 2003 until 2017. During his tenure, the school became very successful, developing an international reputation. He has served as artistic director in schools in Germany and Belgium from 2020 to 2022. From November 2022 to June 2023, he was company manager and ballet master at the State Ballet of Georgia in Tbilisi. In July 2023, he became the artistic director of the Croatian National Ballet in Split. Mr. Carneiro has served on the jury of many international ballet competitions and has taught master classes worldwide. DEBORAH HESS CANADA'S NATIONAL BALLET SCHOOL A native New Yorker, Deborah Hess studied with Valentina Pereyaslavec and Kathleen Crofton. After having danced professionally, Ms. Hess has pursued her passion for teaching. An internationally respected ballet teacher and coach, Ms. Hess is a senior faculty member of Canada's National Ballet School, and the coordinator of the School's Student Exchange Program. Prior to moving to Canada, she was a teacher and the Assistant to the Director of the San Francisco Ballet School. She has been a guest teacher at Boston Ballet; Cincinnati Ballet; the USA IBC in Jackson, Mississippi; the National Ballet of Canada; the Royal Danish Ballet School and the School at Jacob's Pillow Dance. As well, she is a frequent guest teacher in Japan. Ms. Hess has been on the juries of the International Ballet Student Competition in Havana, Cuba; Beijing Ballet Competition and Japan Grand Prix among other noted competitions. Deborah Hess has been a member of the JGP jury since its inception, and will be returning to JGP as a judge in 2016. TAMARA KING BOSTON BALLET SCHOOL Tamara King became Principal of Boston Ballet School in 2020 after serving as Principal of Boston BalletÊ¼s Newton Studio and its Summer Dance Program since 2004. During her tenure, the Newton School became the hub of the Classical Ballet Program. Ms. King began her professional career in 1981 as a member of Ballet West in Salt Lake City, UT USA, directed by Bruce Marks. With Ballet West, she danced a variety of principal, soloist, and corps de ballet roles in the classical repertoire, including The Sleeping Beauty, Giselle, and The Nutcracker, as well as performing in ballets by Sir Fredrick Ashton and George Balanchine. From 1987 until her retirement in 1993, she danced as a member of Boston Ballet, again under the direction of Bruce Marks, appearing in the âGlasnostâ Swan Lake, staged by Konstantin Sergeyev and Natalya Dudinskaya, of the Kirov Ballet (Mariinsky Ballet), as well as continuing to develop her Balanchine repertoire. MARIANNE KRUUSE SCHOOL OF THE HAMBURG BALLET â JOHN NEUMEIER Marianne Kruuse was born in Copenhagen, dancing with the Scandinavian Ballet before John Cranko invited her to join his company in Stuttgart. In Stuttgart, she met John Neumeier with whom she was to form a close working relationship spanning decades. John Neumeier created his first ballets for her: "Haiku" and "Separate Journeys." She subsequently went with him to Frankfurt, where she danced as his Juliette in Romeo and Juliette, Marie in Nutcracker, and Chloe in Daphnis and Chloe. Marianne Kruuse continued dancing as John Neumeier's principal dancer in Hamburg from 1973 until 1985. She danced in many of John Neumeier's creations as well as dancing principal roles in many of the ballets by John Cranko, Jerome Robbins and Alan Biele. Marianne Kruuse also danced as a guest in Stuttgart, Munich, and Copenhagen. When she bade farewell to the stage, she worked as a teacher in the school of Hamburg Ballet, later taking the position of the Pedagogical Principal and Deputy Director until 2013. Marianne Kruuse has been working as a guest teacher since 2014 and performed in Stuttgart Theaterhaus with Egon Madsen in his ballet Greyhounds. Japan Grand Prix 2020 is proud to welcome Marianne Kruusa, once again, to represent the School of the Hamburg Ballet in place of Carolina Borrajo. KIMMY LAUWENS ROYAL BALLET SCHOOL ANTWERP Kimmy Lauwens was born in Korea, adopted by Belgian parents, receiving her training at the Royal Ballet School of Antwerp. After graduation, she danced with the Royal Ballet of Flanders and the Basler Ballet. During her career, she danced repertoire, including works by George Balanchine, Nacho Duato, Hans Van Manen, Paul Taylor. William Forsythe and Maurice BÃ©jart. Turning to pedagogy, she received her degree at the Higher Institute for Dance and Dance Pedagogy in Antwerp, beginning teaching at the Royal Ballet School of Antwerp in 1993, and appointed the schoolâs artistic director in 2003. In 2009 Ms. Lauwens resigned the artistic directorship to dedicate herself to working directly with young dancers, where she has been teaching and preparing students for international ballet competitions at the Royal Ballet School of Antwerp. She is a guest teacher of dance methodology at the "Royal Conservatory â Artesis Plantijn Hogeschool Antwerpen," a teacher for international ballet seminars, a jury member for graduation exams of professional ballet schools, as well as for international ballet competitions including Prix de Lausanne and Tanz Olympic Berlin. She collaborates with Mauro di Candia for "Formazione Tersicore-Arte&Balletto" in Italy and is a guest lecturer at the University of Leuven (KUL). Kimmy Lauwens has a teacher's diploma in "Coaching Essentials and Progressive Ballet Technique," giving ballet teachers seminars throughout Belgium and abroad. DIMITRI MAGITOV JOHN CRANKO SCHOOL Dimitri Magitov began his dance studies at the Kiev State Choreographic School and then graduated from the Moscow State Academy of Choreography (The Bolshoi Ballet Academy) in Moscow, in 1992. Mr. Magitov's first engagement as a dancer was with the Moscow Classical Ballet. He has studied at the State Institute of Theatrical Arts in Moscow-Ballet Pedagogical Faculty (G.I.T.I.S.), where he received his teaching diploma. Mr. Magitov joined the Stuttgart Ballet's corps de ballet for the company's 1996-1997 season, being promoted to soloist the following season through 2005. During his tenure as a soloist with the Stuttgart Ballet, Mr. Magitov danced numerous important solo roles. Upon retiring as a dancer, he completed the ballet teacher training courses at Wurttemberg State Theatre and the State Academy of Ballet (John Cranko Schule) in Stuttgart. In 2010, he accepted the position of a ballet instructor, at the John Cranko Schule, State Ballet Academy / Vocational School. Mr. Magitov has been officially designated to represent the John Cranko Schule as a judge by Tadeusz Matacz, the director of the John Cranko Schule, who for many years had been a JGP judge. GENNADI NEDVIGIN ATLANTA BALLET In February 2016, Gennadi Nedvigin was named Atlanta Ballet's fourth artistic director in the Company's then 87-year history. Nedvigin, born in Rostov, Russia, began his training at age 5. At 10, he was accepted into the Bolshoi Ballet Academy. Upon graduating, he joined Moscow Renaissance Ballet as a soloist before he was invited to dance with Le Jeune Ballet de France in Paris. In 1997, while on tour in the U.S., San Francisco Ballet (SFB) Artistic Director Helgi Tomasson offered Nedvigin a soloist contract. After three years, he was promoted to principal dancer. While at SFB, Nedvigin won the International Competition's Erik Bruhn Prize (1999). He has also received three Isadora Duncan Dance Awards (2001, 2010, and 2017). Along the way, Nedvigin was fortunate to work with many renowned choreographers. In addition to his dancing career, Nedvigin also taught master classes and staged ballets in the U.S. and abroad before becoming an artistic director. Recently, Nedvigin sat on juried panels at the World Ballet Competition in Orlando, the International Ballet Competition held in Jackson, Mississippi, and others. Under Nedvigin's guidance, Atlanta Ballet has established the Academy training program, which includes a top-tier performance ensemble, Atlanta Ballet 2, representing his commitment to training for the next generation of professional dancers. FRÃDÃRIC OLIVIERI ACCADEMIA TEATRO ALLA SCALA FrÃ©dÃ©ric Olivieri was born in Nice, graduating from the Music and Dance Conservatory. He won the First Prize in Prix de Lausanne in 1977, then entered the Ballet School of the Paris OpÃ©ra. He joined the Paris OpÃ©ra Ballet in 1978, was appointed soloist in 1981, dancing major roles in the entire repertoire. In 1985 he joined the newly formed Ballets de Monte-Carlo as leading dancer and soon after was awarded the title Ãtoile. In 1986 he received the Leonide Massine Prize and in 1992 Prince Rainier of Monaco awarded him "Knight of the Order of Cultural Merits." He joined the Hamburg Ballet in 1993, as principal dancer, concluding his performing career. From 1996 until 1998 he was the ballet master of Maggio Musicale Fiorentino, then becaming the ballet master of the Zurich Ballet. In 2000 he became the Artistic Director of MaggioDanza at Teatro Comunale, Fiorentino. In 2002 he was appointed director of the Ballet Company of Teatro alla Scala, until 2007. Since 2003 he also was the Director of the Dance Department of Teatro alla Scala Academy. October 2006 he also became Director of the La Scala Ballet School. and in July 2005 was awarded âKnight of Arts and Lettersâ by the French Ministry of Culture. From October 2016 to December 2020 he was again entrusted with the direction of the Teatro alla Scala Ballet Company, and returning as director of the Dance Department of the La Scala Academy. ROBERT PARKER ELMHURST BALLET SCHOOL Born in Kingston upon Hull, Robert Parker trained at the Royal Ballet School and joined the Birmingham Royal Ballet in 1994 then under the directorship of Sir Peter Wright. He became a Principal dancer in 1999 where he collaborated with Artistic Director and acclaimed choreographer Sir David Bintley to create many leading roles for the company. He made guest appearances with the Royal Ballet and performed in many Galas around the world. His accolades include an Olivier Award nomination in 2001 and a Critics' Circle Award for Outstanding Male Artist in 2003. Robert completed a Masterâs degree in Philosophy in Education and was selected to attend the 2012 Rural Retreat for aspiring artistic leaders. After retiring from Birmingham Royal Ballet he passed his RAD Professional Dancersâ Teaching Diploma with distinction. That same year he was appointed President of the London Ballet Association. Robert joined Elmhurst Ballet School as Artistic Director in autumn 2012 and has guest taught in ballet companies and guest adjudicated at numerous international ballet competitions around the world. MELANIE PERSON THE AILEY SCHOOL Melanie Person is the co-director of The Ailey School, having respectfully and appreciatively replaced The Ailey School's former director, Denise Jefferson, a much beloved Japan Grand Prix judge. Ms. Person began her early dance training at Calvert-Brodie School of Dance while performing with Columbia City Ballet, South Carolina, USA. Melanie Person danced professionally with the Dance Theatre of Harlem (DTH) from 1977 to 1988. As a dancer with the Dance Theatre of Harlem, she extensively traveled the world performing the company's diverse repertoire. In 2002, Melanie Person earned her Bachelor of Arts degree from the State University of New York Empire State College. She currently serves as a Member of the Board of Directors of the National Association of the Schools of Dance as well as a visiting evaluator. Melanie Person has been a juror for Japan Grand Prix International Ballet Competition since 2009. RAIMONDO REBECK KARLSRUHE BALLET Raimondo Rebeck was born in Berlin and studed at the Staatliche Ballettschule Berlin with Prof. Martin Puttke. He was a principal dancer at the Staatsoper Unter den Linden Berlin and Deutsche Oper Berlin, winning many awards and international competitions, including Prix de Lausanne, Osaka and Varna Ballet Competitions, the "Berlin Critic Prize," and the "Aalto Prize of the City of Essen," Germany, as well as the "German Dance Critic Award 2002" as best dancer. From 2005-2008 Mr. Rebeck was the first ballet master and Associate Artistic Director of the Aalto Ballett Theater Essen, Germany. He works internationally as a choreographer, organizer of ballet galas as well as having been a guest dancer working closely with prominent artists including Eva Evdokimova, Jiri Kylian, Yvette Chauviree, William Forsythe, and in close association with Maurice Bejart, for whom he danced many principal roles, a well as with Rudolf Nureyev. Since 2012 Raimondo Rebeck has been the Ballet Master for the Ballet Dortmund, and since 2014 he has been the Artistic Director and choreographer for the NRW Junior Ballet, Dortmund. As of this September 2023, Raimondo Rebeck becomes the Artistic Director of the Karlsruhe Ballet of Germany. VICTORIA SCHNEIDER THE HARID CONSERVATORY Victoria Schneider studied at the School of the Garden State Ballet. She danced professionally with the Garden State Ballet as a soloist, and with the Pennsylvania Ballet. She has been on the faculty of the School of the Pennsylvania Ballet and principal teacher at La Scuola di Danza Classica in Prato, Italy. Together with Martin Fredmann, she established the School of the Tampa Ballet and served as ballet mistress of the Tampa/Colorado Ballet, she studied the teaching of Russian Classical Ballet with her late husband, Jurgen Schneider and later completed the methodology program at Vaganova Academy of Ballet in St. Petersburg, Russia. Since 1995 she has been a member of the faculty of The HARID Conservatory. Her students have won major awards in numerous ballet competitions and can be found dancing in major ballet companies in the United States and abroad. She has served as a jury member for the JGP since its inception in 2002. She remains active as a guest teacher and lecturer of Russian Ballet Pedagogy. ADAM SKLUTE BALLET WEST Adam Sklute began his career with The Joffrey Ballet, rising through the ranks from dancer to Associate Director. His directorship of Ballet West has been marked by financial growth and elevated artistry. Ballet West was the subject of The CW Networkâs docu-drama, "Breaking Pointe," which aired for two seasons, from September 2016 to October 2017. He has the dual position of CEO and Artistic Director of the company, overseeing the administrative and artistic operations of both, as well as overseeing the Ballet West Academy. Sklute has received numerous awards, including Utahâs Enlightened 50, The Bronze Minuteman Award for Outstanding Service to Utah and The Nation, and Utah Diversity Connectionâs Business Award. Since 2007 he has expanded the companyâs outlook, repertoire and visibility with company and world premieres, increased touring, and greater focus on the Ballet West Academy. He is an international guest teacher and adjudicator, and most recently Adam Sklute was included in Utah's Deseret Magazine's "25 Changemakers of the West" for his efforts to build greater equity and inclusion in classical ballet. GARRY TRINDER NEW ZEALAND SCHOOL OF DANCE Born in England, Garry Trinder trained at The Royal Ballet School and Rambert School of Ballet in London and Maurice BÃ©jartâs MUDRA. As a dancer, he worked with Scottish Ballet, Les Grands Ballets Canadiens de MontrÃ©al, and London City Ballet. His career includes six years as artistic director of Hong Kong Ballet and two years as director of dance at South Africaâs NAPAC Dance Company. He was appointed director of the New Zealand School of Dance in 1998. He holds a masterâs degree from the Trinity Laban Conservatoire of Music and Dance and an Advanced Diploma in Education from Newcastle University. In addition to his role at The New Zealand School of Dance, he is associated with many international ballet competitions, including the Prix de Lausanne in Switzerland and the Japan Grand Prix in Tokyo, among others. Since 2011 He has assumed the role of President of the Jury for the Asian Grand Prix ballet competition in Hong Kong. Garry Trinder was made a Member of the New Zealand Order of Merit in 2013 for his services to dance. OLIVIER VERCOUTERE BALLET ACADEMY UNIVERSITY OF MUSIC AND PERFORMING ARTS MUNICH AND BAVARIAN JUNIOR BALLET MUNICH Olivier VercoutÃ¨re was born in Wattrelos France receiving his training from the John Cranko-Ballet School of Stuttgart. Upon graduation, he became a member of the Stuttgart Ballet. In 1995 he joined the Bavarian State Ballet-Munich, and in 1996 joining the ballet of the Deutsche Oper Berlin, re-joining the Bavarian State Ballet in Munich in 1999 where he was promoted to soloist in 2004. His repertoire included âLimbâs Theoremâ of William Forsythe, "Stamping Ground" of Jiri Kylian, Petipa-Gorsky's "Don Quijote", John Cranko's "Romeo and Juliet", Hans van Manen's "Kammerballett", the pas de deux in Jacopo Godaniâs "After Dark", and the role of "Shadow Man" in John Neumeier's "Illusion Like Swan Lake", among other works. After dancing professionally for 20 years, Olivier Vercoutere concluded his career in 2012. From 2008-2010 he studied ballet pedagogy at the University of Music and Theater in Munich. Presently Olivier Vercoutere is a professor of classical dance at the Munich Ballet Academy and teacher and ballet master for the Bavarian State Ballet's Junior Company.
6847	dbpedia	1	69	https://www.nntt.jac.go.jp/english/ballet/the-national-ballet-of-japan/dancers/first-soloist/kinoshita-yoshito.html	en	NEW NATIONAL THEATRE, TOKYO	https://www.nntt.jac.go.…Yoshito_main.jpg	https://www.nntt.jac.go.…Yoshito_main.jpg	[ "https://www.nntt.jac.go.jp/english/images/common/logo_nntt.png", "https://www.nntt.jac.go.jp/english/images/common/logo_nntt_sp.svg", "https://www.nntt.jac.go.jp/english/images/common/nav/opera_artisticdirector.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/opera_newnationaltheatrechorus.jpg", "https://www.nntt.jac.go.jp/english/ballet_artisticdirector.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/ballet_thenationalballetofjapan.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/ballet_dancersandstaff.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/drama_artisticdirector.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/facilities_operahouse.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/facilities_playhouse.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/facilities_thepit.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/facilities_informationcenter.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/facilities_stagesetandodesign.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/aboutus_patronageandsupport.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/aboutus_internationaltours.jpg", "https://www.nntt.jac.go.jp/english/image/common/nav/aboutus_nntoperastudio.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/aboutus_nntballetschool.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/aboutus_nntdramastudio.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/yourvisit_tickets.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/yourvisit_access.jpg", "https://www.nntt.jac.go.jp/english/artloft_thumb.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/opera_artisticdirector.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/opera_newnationaltheatrechorus.jpg", "https://www.nntt.jac.go.jp/english/ballet_artisticdirector.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/ballet_thenationalballetofjapan.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/ballet_dancersandstaff.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/drama_artisticdirector.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/facilities_operahouse.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/facilities_playhouse.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/facilities_thepit.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/facilities_informationcenter.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/facilities_stagesetandodesign.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/aboutus_patronageandsupport.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/aboutus_internationaltours.jpg", "https://www.nntt.jac.go.jp/english/image/common/nav/aboutus_nntoperastudio.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/aboutus_nntballetschool.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/aboutus_nntdramastudio.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/yourvisit_tickets.jpg", "https://www.nntt.jac.go.jp/english/images/common/nav/yourvisit_access.jpg", "https://www.nntt.jac.go.jp/english/artloft_thumb.jpg", "https://www.nntt.jac.go.jp/english/kinoshita_2021.jpg", "https://www.nntt.jac.go.jp/english/images/footer_brochure_2022.jpg", "https://www.nntt.jac.go.jp/english/images/common/footer_pressimages.jpg", "https://www.nntt.jac.go.jp/english/images/common/logo_nntt.png", "https://www.nntt.jac.go.jp/english/images/sponsors23-24_footersponsors_title.png", "https://www.nntt.jac.go.jp/english/image/common/sponsors2021_footersponsors_footer_onward.svg", "https://www.nntt.jac.go.jp/english/image/common/sponsors2021_footersponsors_footer_kinoshitagroup.svg", "https://www.nntt.jac.go.jp/english/image/common/sponsors2021_footersponsors_footer_sumitomochemical.svg", "https://www.nntt.jac.go.jp/english/image/common/sponsors2021_footersponsors_footer_tbs.svg", "https://www.nntt.jac.go.jp/english/image/common/sponsors2021_footersponsors_footer_toyota.svg", "https://www.nntt.jac.go.jp/english/image/common/sponsors2021_footersponsors_footer_pia.svg" ]	[]	[]	[ "" ]	null	[]	null	KINOSHITA Yoshito was born in Kyoto prefecture. He began his ballet training under TERADA Hiroyasu at Terada Ballet Art School and attended the Kiev State Ballet School. He won third prize at the Serg	en		NEW NATIONAL THEATRE, TOKYO	https://www.nntt.jac.go.jp/english/ballet/the-national-ballet-of-japan/dancers/first-soloist/kinoshita-yoshito.html	KINOSHITA Yoshito was born in Kyoto prefecture. He began his ballet training under TERADA Hiroyasu at Terada Ballet Art School and attended the Kiev State Ballet School. He won third prize at the Serge Lifar International Ballet Competition (Senior Level) in 2006 and trained at Donetsk Ballet under the direction of Vadim PISAREV. After his career with the Thuringen Ballet, Leipzig Ballet and Salzburg Ballet as Soloist, he joined the National Ballet of Japan as First Artist in 2015 and was promoted to Soloist in 2016, and to First Soloist in 2021. He enthusiastically choreographed works at the project of NBJ Choreographic Group and "Contact" was performanced at New Year Ballet in 2021.
6847	dbpedia	0	72	https://www.nytimes.com/1992/02/23/arts/dance-view-are-gold-medals-tarnishing-ballet.html	en	DANCE VIEW; Are Gold Medals Tarnishing Ballet?	https://static01.nyt.com…op.png?year=1992	https://static01.nyt.com…op.png?year=1992	[ "https://s1.nyt.com/timesmachine/pages/1/1992/02/23/013192_360W.png?quality=75&auto=webp&disable=upscale" ]	[]	[]	[ "" ]	null	[ "Anna Kisselgoff", "www.nytimes.com", "anna-kisselgoff" ]	1992-02-23T00:00:00		en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/1992/02/23/arts/dance-view-are-gold-medals-tarnishing-ballet.html	Yes, but is it sport? Art is what ballet is about, and yet the talk this time of year is increasingly of medals, gold and otherwise. Even during the recent Prix de Lausanne, celebrating its 20th anniversary as a prestigious Swiss ballet competition in which young talent is fostered rather than exploited, the dominant images were tinged with Olympics-style hopes, both realized and dashed. A tall, lanky Russian, who had been eliminated by the 11-member jury before the semifinals, sat dejected at the end of a row of seats in a darkened theater. In contrast, 17-year-old twin brothers from Czechoslovakia were elated; after a poor showing in 1991, they had competition-hopped around the world, improved their technique and learned enough about impressing a jury to win two cash prizes in Lausanne. The jury's top choice, a 16-year-old French student named Laetitia Pujol, could not repress a cry of "C'est super!" in perfect Franglais after Princess Caroline of Monaco congratulated her with an on-stage kiss. But there was also a group of Japanese boys and girls, their expectations unmet, who could not stem a flow of tears at the post-gala dinner. The verdict is still out on the value of major international ballet competitions, which now extend from Tokyo to Moscow to Jackson, Miss. At their best, these events offer young dancers recognition, scholarships and a public showcase, and even serve as a springboard at the start of a career. Yet competition fever can also breed the facile dancer, the equivalent of the anonymous virtuoso of piano competitions. At Lausanne, most contestants tried to compensate for generally lackluster performances of the required classical solos with a showy number in the contemporary or "free" category. The greater danger is that the entire agglomerate of competitions is becoming one vast audition and marketing device for dancers and organizers. Cities court the prestige that comes with international contests; teachers and schools with pupils who excel seek the limelight. Young dancers at the brink of their career compete with the intention of parlaying their performances into contracts with company directors. Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times. Thank you for your patience while we verify access. Already a subscriber? Log in. Want all of The Times? Subscribe.
6847	dbpedia	1	12	https://www.internationalballetsc.org/faculty-bios	en	International Ballet	https://static.wixstatic…0295c1%7Emv2.jpg	https://static.wixstatic…0295c1%7Emv2.jpg	[ "https://static.wixstatic.com/media/8a9d5a_17514a66bb864e45a08e8e7b61a47d98~mv2.png/v1/crop/x_17,y_0,w_637,h_823/fill/w_61,h_75,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/IBonly.png", "https://static.wixstatic.com/media/8a9d5a_573a8b857e7047129a328293feffe547~mv2.jpg/v1/fill/w_147,h_59,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_573a8b857e7047129a328293feffe547~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_227f1d661ebb4653aaa060885300d651~mv2.png/v1/fill/w_98,h_122,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_227f1d661ebb4653aaa060885300d651~mv2.png", "https://static.wixstatic.com/media/8a9d5a_2ce83d1217af4b95b54e46bd88a347a8~mv2.jpg/v1/fill/w_76,h_114,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_2ce83d1217af4b95b54e46bd88a347a8~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_eeebe3384c1c4fe4b11898e43bf4de97~mv2.jpg/v1/fill/w_78,h_110,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_eeebe3384c1c4fe4b11898e43bf4de97~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_26477e7e846645bd8cf59a531fc6306c~mv2.jpg/v1/fill/w_90,h_127,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_26477e7e846645bd8cf59a531fc6306c~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_89d794ab5c5d4cd4acfc7eb5682ff42e~mv2.jpeg/v1/fill/w_98,h_147,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_89d794ab5c5d4cd4acfc7eb5682ff42e~mv2.jpeg", "https://static.wixstatic.com/media/8a9d5a_764c7dcd67204441bd33b5a09b092466~mv2.jpg/v1/fill/w_88,h_111,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_764c7dcd67204441bd33b5a09b092466~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_09799dcbb29f4ba9be6595f821936636~mv2.png/v1/fill/w_85,h_121,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_09799dcbb29f4ba9be6595f821936636~mv2.png", "https://static.wixstatic.com/media/8a9d5a_5266b4af43a74617a4201193ce7aea8e~mv2.jpg/v1/fill/w_98,h_115,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_5266b4af43a74617a4201193ce7aea8e~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_c10e971cc5da40f79e6f2c9daa436fa9~mv2.jpg/v1/fill/w_82,h_123,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_c10e971cc5da40f79e6f2c9daa436fa9~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_76c907b42a7c40ffbcef3aa7af6b79cb~mv2.jpg/v1/fill/w_96,h_144,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_76c907b42a7c40ffbcef3aa7af6b79cb~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_4d4dcdfecd7a47faa3fb12adafd4c10a~mv2.jpg/v1/fill/w_70,h_106,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_4d4dcdfecd7a47faa3fb12adafd4c10a~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_14f6f3b763bd41aaaa450887dbdea5e9~mv2.png/v1/fill/w_98,h_125,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_14f6f3b763bd41aaaa450887dbdea5e9~mv2.png", "https://static.wixstatic.com/media/8a9d5a_86154f56e7b549a9b7d71364ad0783cc~mv2.jpg/v1/fill/w_98,h_118,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_86154f56e7b549a9b7d71364ad0783cc~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_f8643fc527384f65a0fdb44a29ce8f98~mv2.jpg/v1/fill/w_98,h_147,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_f8643fc527384f65a0fdb44a29ce8f98~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_bc55f1e0567648bc901d90115295c79f~mv2.png/v1/crop/x_316,y_316,w_2666,h_2528/fill/w_77,h_73,al_c,q_85,usm_0.66_1.00_0.01,blur_3,enc_auto/SCAC-Logo_Stacked-White.png", "https://static.wixstatic.com/media/8a9d5a_1bde068a2873401fa567f6169b50cf1c~mv2.png/v1/fill/w_139,h_139,al_c,q_85,usm_0.66_1.00_0.01,blur_3,enc_auto/8a9d5a_1bde068a2873401fa567f6169b50cf1c~mv2.png" ]	[]	[]	[ "" ]	null	[]	null	Get to know our world-class faculty and their experience in the dance world.	en	https://static.wixstatic…0295c1%7Emv2.jpg	International Ballet	https://www.internationalballetsc.org/faculty-bios	Vlada Kysselova, also the Artistic Director of International Ballet’s pre-professional company, is originally from Kiev, Ukraine. She graduated from the Kiev State College of Choreography and holds a bachelor’s degree from Kiev National Linguistics University and a master’s degree with honors in Dance Pedagogy and Choreography from the Ukrainian Academy of Dance at International Slavic University. She danced and toured as a soloist with the National Theater of Opera and Ballet in Kiev, Ukraine, and as a principal dancer with Kiev Theatre of Classical Ballet and Ballet Classique de Paris in France before immigrating to the United States in 2001. Since May 2004, Vlada has choreographed and staged full-length productions for International Ballet such as Francesca da Rimini, Swan Lake, The Nutcracker, Lady and the Hooligan, Giselle, La Sylphide, Coppelia, Don Quixote, Paquita, and numerous short works including original choreography for the South CarolinaRegional Ballet festival, as well as numerous collaborative works with the Greenville Symphony Orchestra. A founding instructor for International Ballet Academy since its inception in 2003, she has coached and traveled with students for such prestigious ballet competitions as Youth America Grand Prix (Regional and NYC Finals), Serge Lifar International Ballet Competition (Kiev, Ukraine), and the USA International Ballet Competition (Jackson, MS), and her students have received multiple top placements, including “Regional Grand Prix,” in YAGP regional as well as NYC final competitions, and Most Outstanding School in 2008. Ms. Yanchuck graduated from Kiev Ballet Academy, Ukraine. In her career as a dancer she has performed a large repertoire of roles both nationally and internationally. She has worked with Donetsk Opera and Ballet Theater of Ukraine, Vadim Pisarev Russian Ballet and the Russian Ballet Company of Delaware. Ms. Yanchuck has also toured with the Soviet ballet troupe, “Stars of Russian Ballet” and has performed at the Nervi International Ballet Stars Festival in Genoa, Italy. Ms. Yanchuck began teaching ballet in 1996 when she joined Nevada Festival Ballet Company of Reno. In 2011, she joined Kirov Academy of Ballet in Washington, DC as a Summer Preparatory Program Instructor, where she taught Historical Dance and Preparatory Ballet. Ms. Yanchuk still regularly teaches audition classes as well as summer program courses for the Kirov Academy of Ballet in Washington, DC. Ms. Yanchuck completed the professional program “Method of Classical Dance Teaching” at the Vagonova Ballet Academy in Russia in March 2018. Irina Ushakova received her training from the Perm State Ballet School and was a principal dancer for 19 years for major ballet companies both in Russia and in the United States. Ms. Ushakova is a Bronze and Silver Medal winner in two international ballet competitions. Her repertory includes many classical ballet roles, Balanchine choreography, contemporary works, and modern performances. In 1989, she toured the United States with the Donetsk Ballet, followed by a tour of Israel and Turkey with the Bolshoi Ballet. Since 2002, Ms.Ushakova has been a faculty member of the Dance department at the South Carolina Governor’s School for the Arts and Humanities in Greenville, South Carolina, where she is known for her staging of many character and classical ballet works. In 2007, she graduated from Chelyabinsk State Pedagogical University (Russia) with a Master’s Degree in Dance and Education. A native of Greenville, South Carolina, Liz Blackwood studied with Josée Beauséjour in Montreal, Canada where she successfully passed dancer and teacher exams with the Cecchetti Society of Canada. While in Montréal, she also worked with Odette Lalonde, Suzanne Plante, Victoria Yakobov, and other renowned teachers. She has attended workshops at Canada’s National Ballet School, l’École supérieure de ballet du Québec, Richmond Ballet, and other locations. She’s worked with numerous schools and choreographed dances for productions including The Wizard of Oz and La Boutique Fantasque. Ms. Blackwood most recently taught for Ballet Spartanburg before returning to International Ballet Academy in 2015, where she teaches many intermediate level classes, including pre-pointe training, beginning pointe, as well as Open Adult classes and IB Summer Camps. Josha Williams has been a dance educator in the Greenville community for the past 15 years. After completing her formal dance training at North Carolina School of the Arts, she returned to her hometown to begin her professional dancing career with Carolina Ballet Theatre in 2004 and teaching for Barbara Selvy’s School of Carolina Ballet Theatre. She continued training under the direction of Hernan Justo and the mentorship of Anita Pacylowski Justo, while dancing and teaching. One of the highlights of her career was having the opportunity to work with Alonzo King and to perform his originally choreographed piece, “MAP.” Josha served as one of Carolina Ballet Theatre’s lead teachers for the outreach programs as well as an independent teaching artist in Greenville County Schools for over seven years. She has taught many levels but is best known for her love of teaching tiny ballerinas and specialized adult ballet/strengthening classes. Josha’s passion for exercise, fitness, and overall wellness is now stronger than ever. She currently works as an instructor for Greenville’s Pure Barre and has been since it’s opening in 2012. Josha is thrilled to start this coming year at International Ballet Academy teaching young ballerinas. Lydia Sanders was born and raised in Columbia, South Carolina. She began her serious ballet training at the USC Dance Conservatory, under the guidance of Susan Anderson and Stacey Calvert. She continued formally training at Southeastern School of Ballet, studying under Hillary Krieger-Toth and Gabor Toth and at International Ballet Academy under Vlada Kysselova, Irina Ushakova, and Victoria Yanchuck. Lydia has attended summer programs with Pacific Northwest Ballet, Cincinnati Ballet, Boston Ballet, Miami City Ballet, Carolina Ballet, Central Pennsylvania Youth Ballet and Charlotte Ballet. Lydia graduated from the University of South Carolina in 2018 with a BA in Dance Performance and Choreography and a Psychology minor. In the USC Dance Company, she performed in several works by George Balanchine, including the principal role in Walpurgisnachtand soloist roles in Raymonda, Who Cares, andStars and Stripes. Lydia also danced the title role as the Firebird in Susan Anderson’s production of The Firebird.Post-graduation she joined Virginia National Ballet, where she danced a variety of soloist roles in choreography by artistic director Rafik Hegab. Lydia will be joining Ballet Spartanburg for the 2019-2020 season. In addition to dancing herself, Lydia has a passion for teaching and is thrilled to be joining IBA’s faculty this year. She has been cultivating her love of teaching since she was 14 and has not stopped since, working as a teacher for Aletheia Dance Inc., Southeastern School of Ballet, USC Dance Conservatory, and Virginia National Ballet School. Lydia has experience working with students from the age of 2-20 and is excited to share her knowledge in an environment that shaped her into the person she is at International Ballet Academy. Lauren Russ received her training at International Ballet under Vlada Kysselova, Victoria Yanchuck, and Irina Ushakova. She danced five seasons with the IB company. She has performed in The Nutcracker as Spanish, Snow, and Waltz of the Flowers, in the Waltz of the Hours and Czardas in Coppélia, and in numerous mainstage performances, as well as in community outreach events such as Storytime Ballet at the Greenville County Library. Lauren attended Ballet Magnificat's Summer Dance Intensive in Jackson, MS, and volunteered and performed at Greenville's Artisphere. She is a student at Bob Jones University. Linda O’Brien Thompson trained with the Boston Ballet School performing the Nutcracker every year of her youth. She finished her training with Pacific Northwest Ballet School and then Cleveland Ballet School. Mrs. Thompson began her professional career with the Cleveland Ballet but later joined the Ohio Ballet where she enjoyed performing many roles choreographed by George Balanchine, Anthony Tudor, and Heinz Poll, the director of Ohio Ballet. Mrs. Thompson was ballet mistress to both the Gwinnett Ballet Theatre and Carolina Ballet Theatre. She has worked with Tuscaloosa Community Dancers, setting the Nutcracker and choreographing original works. Mrs. Thompson has five young adult children and is married to Lee Thompson, a former ballet dancer now Michelin employee. Mrs. Thompson is delighted to return to the studio and share her love of ballet with the youth of Greenville. Ginny Lynn fell in love with Ballet right here in Greenville, SC. She began her training at the age of 3 and has been dancing, teaching, and performing ever since. Through grade school she studied Ballet, Tap, and Jazz at SODA in Florence, SC. She became a member of the South Carolina Dance Theatre Company in 1994 and enjoyed many years of performing her favorite Ballet: The Nutcracker, in roles as a Mouse, Soldier, Party Girl, Snowflake, Angel, Arabian, Polichinelle, Mirliton, and Flowers. While achieving her degree in Business Management from Clemson University in 2006, she spent most of her extra time in the studio. Ginny Lynn was the Ballet Teacher for the Clemson Dancers from 2003-2006. She also performed with the Clemson Dancers in all areas of dance from Pointe to Clogging all four years. In 2005, Ginny Lynn was accepted into the very first year of the Clemson UDC. She also enjoyed performing in musicals with the Clemson Theatre Department. Ginny Lynn was the President of the Clemson Shag and Ballroom Club and still enjoys teaching shag today. She has taught in many places over the years including Ballet Spartanburg, and for the last five years/currently teaches Ballet, Tap, and Jazz for DTG. Susan, a seasoned dance instructor originally from Columbia, South Carolina embarked on her ballet journey under the guidance of the esteemed Ann Brodie. She joined the Columbia City Ballet Company at a young age and continued her studies at the School of American Ballet and classes at American Ballet Theatre. Susan’s academic journey includes a Bachelor of Science in Marketing and Management from the University of South Carolina where she was a member of the USC Dance Company under director Susan Anderson and later an instructor at the USC Dance Conservatory. Prior to completion of a Master of Business Administration from the State University of New York, with a specialization in Arts Management, she was a member of the former regional company South Carolina Ballet Theatre under the direction of Anita Ashley. Susan is thrilled to embark on a new chapter as an instructor at the prestigious International Ballet Academy, where she is eager to continue her mission of inspiring and nurturing young dancers, imparting her wealth of skills, experience and dedication to the art of dance. Uriah Boyd is an interdisciplinary performance artist from Portland, Oregon. Her primary artistic mediums are dance and music, which she often integrates in live performance. She began her dance training in 2006, studying jazz, tap, ballet and modern. In 2009 she enrolled in Jefferson High School, a performing arts school with a renowned pre-professional dance training program. While at Jefferson High, she met a filmmaker and began working on a documentary with her older sister entitled Soar. The film focuses on their relationship as siblings, dancers, and creative partners. Soar was released in 2014 and has aired on PBS internationally. It is still in syndication today. After graduating high school and releasing Soar, Uriah began dancing professionally. She performed and toured with numerous dance companies and collectives in Portland and the greater NW, most notably, Rejoice! Diaspora Dance Theater. Uriah was a founding member of Rejoice! and it was during her time with the company that she began training in folkloric dances of the African Diaspora, which has become a large influence in her movement to this day. She began teaching in 2016 and has led contemporary dance workshops throughout the Pacific Northwest, in Mexico and Peru. Uriah travels often and enjoys connecting to new communities by way of movement and music. In recent years, music and aerial dance have become more prominent creative focuses for Uriah. She’s working on more intentionally integrating her music and movement practices, and spends most of her time engaged in creative play. Uriah is currently based in Greenville, SC and has found a warm home in the live music and contemporary dance communities here. Carissa Niewinski began dancing at 3 and began teaching 20 years ago. She toured Europe with a youth ballet company, filmed for an Apple iPod commercial & was on the dance team for the NBA Cleveland Cavaliers (during Lebron James’ second season!). She lived in Los Angeles to further her dance training and has also studied extensively in New York City. She is certified from the Finis Jhung’s teacher training program, a certified WuDang Qigong teacher & has over 200 hours of teacher training with Yin Yoga master Douglas Johnson of Mahapatha Yoga. She moved to Greenville, SC from Atlanta where she had been teaching competitive & pre-professional dance for 10 years. Her students have placed in overalls at national competitions and can be seen dancing in movies, commercials, music videos and for professional sports teams. She is excited to work with the dancers of International Ballet. Cate has over 15 years of diverse training experience, beginning at age 4 in her hometown of Fort Mill, SC. Throughout her dance experience, Cate has trained under Emmy-award winning choreographer Jena Burgin-Peters, Amelia Binford of Northwest School of the Arts, Anna Lauren Fresk of Jolie South Dance Academy, Amber Griffin of Steps N Motion, and many others. During that time, Cate served as an assistant to many of her instructors and was selected to perform in the Carolina Voices productions of The Singing Christmas Tree, televised performances with the Charlotte Symphony Orchestra, the Artists Music Guild Heritage Awards, paid performances with Opera Carolina at the Belk Theater, and numerous conventions and competitions such as Radix, ShowStopper, 24 Seven, Velocity, and JUMP. Additionally, Cate traveled to studios in North and South Carolina to assist her instructor, Jena Burgin-Peters, to guest teach and choreograph. Cate has choreographed dance performances for the Nation Ford High School Scholarship pageant as well as the SC Strawberry Pageant. She has participated in the Rockette Summer Dance Intensive, the Joffrey Jazz & Contemporary program, as well as coursework at Broadway Dance Center, among a variety of other master classes in a diverse array of disciplines. Cate now works in the nonprofit sector and is passionate about community health and engagement. She has taken up running as a supplementary form of exercise and is a 3x half marathon and 2x marathon finisher. She has completed 40 hours of yoga teacher training and will continue her training with Greenville Yoga in 2024. She believes that dance is not only a form of personal expression and storytelling, but it is also a practice of love for self and care for community. Laura Winship Dunn is the former owner and director of Ballet Aresko in Lynchburg, Virginia. She has trained under artists such as; Martin Friedman of Colorado Ballet, world renown Galina Panova, Eli Lazar, Adam Sage, Martha Fesia, Dominique Angel, Tyrone Brooks and Sandra Meythaler. She has danced for several companies including The Sangre de Cristo Ballet Theatre, North Carolina Academy of Dance Arts and Roanoke Ballet Theatre. She also danced at several Summer Intensives with the Sangre de Cristo Ballet Theatre and Ballet Magnificat! She received her dance education from The Sangre de Cristo Ballet and from Virginia School of the Arts as a postgraduate student.Shortly after this she joined and began dancing for Roanoke Ballet Theatre. She danced lead roles for RBT including, the Snow Queen, Isabella in Napoli, The Queen Fairy in an original Ballet and the principal role of Cinderella. Prior to founding Ballet Aresko, she taught dance for many other studios such as Dance Theatre of Lynchburg, Seven Hills Dance studio, Roanoke Ballet Theatre and Assemble Dance studio as their Director of Dance. She is also the Co-founder of Haven School of Dance in Pueblo, Colorado. She received her Bachelor of Science in 2011 and hopes to one day obtain her MFA in dance pedagogy. Her desire is to provide an exceptional dance education for her students. One that leaves them with skills and lessons to apply to everyday life. Believing that every dancer is unique, it is important to her to teach according to the needs of each individual student. Originally from the Washington, DC area, Robin Otey began her intensive training at the Maryland Youth Ballet under the direction of Tensia Fonseca and Michelle Lees. After moving to Houston, TX to complete her training, she began dancing professionally with the Houston Ballet in corps de ballet roles in La Bayadere, Swan Lake, The Snow Maiden, Manon, and The Sleeping Beauty. While with Houston Ballet she had the privilege of performing with such stars as Carlos Acosta, Angel Corella, and Nina Ananiashvili. She later danced with Ballet Memphis performing numerous soloist and principal roles. While touring to New York City, she received praise from the New York Times for her contemporary roles in Mark Godden’s Angels in the Architecture and Trey McIntyre’sSecond Before the Ground. Her passion for teaching began in her late teens and then grew as she matured as a professional, learning new ways of moving that she wished she had learned as a student. Convinced it was possible to teach students this artistry and movement quality along with their technique, she began teaching in the Ballet Memphis School while still dancing as a professional. After marrying and moving to St. Louis in 2002, she taught at the St. Louis Ballet School (where she also guest starred as the Sugar Plum Fairy in St. Louis Ballet’s Nutcracker). Since, she has taught beginning through advanced levels at a variety of ballet schools throughout the Midwest and West. In 2015, Ms. Otey became a certified STOTT Pilates Instructor. She appreciates how this form of exercise brings her love of movement, alignment, and anatomy/physiology together. New to the Greenville area, she is thrilled to be joining the International Ballet Academy faculty and excited to be teaching such a wonderful group of students.
6847	dbpedia	1	7	https://www.nytimes.com/1989/02/24/arts/two-happy-stars-who-add-luster-to-donetsk-ballet.html	en	Two Happy Stars Who Add Luster To Donetsk Ballet	https://static01.nyt.com…op.png?year=1989	https://static01.nyt.com…op.png?year=1989	[ "https://s1.nyt.com/timesmachine/pages/1/1989/02/24/850589_360W.png?quality=75&auto=webp&disable=upscale" ]	[]	[]	[ "" ]	null	[ "Jennifer Dunning", "topics.nytimes.com", "index.html" ]	1989-02-24T00:00:00		en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/1989/02/24/arts/two-happy-stars-who-add-luster-to-donetsk-ballet.html	Vadim Pisarev and Inna Dorofeyeva had just arrived in New York City with the rest of the Donetsk Ballet, but they had already settled into the hectic pace of the city. A morning sitcom burbled on the television set. Mr. Pisarev sported an apple pin on his natty overcoat, and a scroll proclaiming ''I Love You New York'' hung on a wall of their hotel room. The telephone rang repeatedly, and as visitors trooped in they were politely offered tea, little gifts and a bit of the dancers' breakfast. On Wednesday night, Mr. Pisarev, a young international ballet star, and Miss Dorofeyeva, an acclaimed soloist to whom he is married, began a series of six performances at City Center with other members of the Donetsk Ballet. The New York engagement had not been scheduled when the dancers left Donetsk, in the Ukraine. But little in the tour had happened as planned. The day after their arrival in the United States on Feb. 2 for performances in Baltimore, the company's 59 members were told they might have to return home because the American tour producers had lost expected financing. They were without money for room or board, but help was volunteered by Baltimore authorities and in New York by the Howard Gilman Foundation, the management firm ICM Artists, the City Center Theater, and Mikhail Baryshnikov. The company is now scheduled to continue its tour with performances at the National Theater in Washington from Tuesday to March 5 and at the Shubert Theater in Philadelphia on March 6 and 7. As it pressed on, the Donetsk Ballet gained critical praise for its production of ''Giselle'' and for its mixed bill of traditional and contemporary short ballets. The company will perform ''Giselle'' at City Center tonight, with the Grand Pas de Deux from ''Don Quixote.'' The other program will be presented tomorrow afternoon and evening and Sunday afternoon. It includes ''Gopak,'' ''Paquita,'' the Grand Pas de Deux from ''The Sleeping Beauty,'' the Pas d'Esclave from ''Le Corsaire'' and ''The Flames of Paris.'' Mr. Pisarev, 24 years old, is known to American balletomanes as a bravura dancer who has won numerous gold medals in international competitions, among them the U.S.A. International Ballet Competition in Jackson, Miss., in 1986. He was one of the stars of the touring Moscow Ballet in 1987. Miss Dorofeyeva has been praised during the Donetsk tour as a ballerina distinguished by both a delicate lyricism and a strong technique. Mr. Pisarev, who was born in Donetsk, a coal-and-steel-producing city, loved to dance as a child. ''We all liked to sing and dance,'' he said of his family, which includes his father, a coal miner; his mother, a factory worker, and a sister. ''And they wanted their dream to come true through me.'' Mr. Pisarev began his training at a local dance school. Knowing nothing of dance or auditions, he simply improvised to music while other children offered prepared routines. But he was greeted with applause, and the auditioners gave him high marks. Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times. Thank you for your patience while we verify access. Already a subscriber? Log in. Want all of The Times? Subscribe.
6847	dbpedia	3	32	https://www.trentonian.com/2000/12/19/nutcracker-performed-at-center-for-the-arts/	en	Nutcracker performed at Center for the Arts	https://www.trentonian.c…021/08/trent.jpg	https://www.trentonian.c…021/08/trent.jpg	[ "https://www.trentonian.com/wp-content/uploads/2021/08/Trentonian-logo.png", "https://secure.gravatar.com/avatar/?s=85&d=mm&r=g", "https://www.trentonian.com/wp-content/uploads/2024/08/24-25-County-TOY-Ceremony-8.6.24.jpg?w=620", "https://www.trentonian.com/wp-content/uploads/migration/2017/11/9f07474bf6ba8c5b7040a0af7ea0e8d7.jpg?w=535", "https://www.trentonian.com/wp-content/uploads/2024/08/image003-9.jpg?w=280", "https://www.trentonian.com/wp-content/uploads/2024/02/police-lights-day-1-webstock-police-5-1.jpg?w=620", "https://www.trentonian.com/wp-content/uploads/2021/08/Trentonian-logo.png" ]	[]	[]	[ "" ]	null	[ "Kathy Kerr" ]	2000-12-19T00:00:00	The music of Tchaiskovsky filled the Washington Township Center of the Performing Arts as two performances of the Nutcracker were given last week by the Donetsk Ballet Company of the Ukraine.With help from local children, the group brought the holiday classic to life.“There were 55 children from this general area that were in the cast […]	en	https://www.trentonian.c…iteicon.png?w=16	Trentonian	https://www.trentonian.com/2000/12/19/nutcracker-performed-at-center-for-the-arts/	The music of Tchaiskovsky filled the Washington Township Center of the Performing Arts as two performances of the Nutcracker were given last week by the Donetsk Ballet Company of the Ukraine. With help from local children, the group brought the holiday classic to life. “There were 55 children from this general area that were in the cast of this ballet,” said Fern K. Helfond, director of the L’Ecole de la Dance, co-sponsor of the production. “Fifteen of the children are from Washington Township. This show gives local children an opportunity to perform with an internationally famous dance company. “It is an excellent chance for young dancers to learn from professional dancers,” said Helfond. The Donetsk Ballet Company has trained children in Italy, Norway and many other European countries as well as across the United States. “We had a matinee performance on Monday,” said Helfond. “There were 2300 students from Washington Township Schools along with 16 special education students who enjoyed the free performance.” Vadim Pisarev, who portrayed the Nutcracker Prince, was trained at the Kiev Academy and has won many awards, including first prize in the International Ballet competition held in Jackson, Mississippi in 1986. Pisarev won a Male Dancer of the Year award in 1990 and is considered by many to be the next ballet superstar. His abilities have earned him a growing fan base in the former Soviet Union, Europe and North America. Inna Dorafeyeva, a 1983 graduate of the Kiev Choreographic School, portrayed Maria, princess of the Nutcracker. She became a member of the Donetsk Opera and Ballet Theatre soon after and is now the prima ballerina. Dorafeyeva has performed in France, South Korea, Poland, India, Sweden and the United States. She has danced the lead in Don Quixote and Sleeping Beauty and won a gold medal at first Ukraine Ballet Competition. Viktor Yeliohin, choreographer for this production of the Nutcracker, has danced soloist roles with the Donetsk Ballet, including Don Quixote, Sleeping Beauty, Giselle and La Bayadere. Yeliohin served as a choreographer for Olympic men’s gymnastic teams from 1982 to 1986. He has continued his career as a choreographer and instructor throughout the United States and since 1992, has served as choreographer for the children for the Donetsk Ballet Company during their annual Nutcracker tour. The Nutcracker was first performed at the Maryinsky Theatre in St. Petersburg, Russia on December 17, 1892. In the years since, the popularity of the ballet has grown throughout the world and is performed by countless dance companies each holiday season. The Nutcracker tells the story of a young girl named Clara who receives a nutcracker doll as a Christmas gift. Her brother breaks the doll, and Clara has a dream that the doll as come to life and is being chased by the Mouse King, the leader of the evil Mice People. The Mice People steal the doll, but Clara’s other dolls come to life and rescue the nutcracker. A grand celebration follows to cap the story.
6847	dbpedia	0	30	https://azballetforfigureskaters.com/about/	en	Ballet for Figure Skaters	https://res.cloudinary.c…2021_inverse.svg		[ "https://990b1d.a2cdn1.secureserver.net/wp-content/uploads/2013/01/Final-Logo-Web2-300x98.jpg", "https://azballetforfigureskaters.com/wp-content/uploads/2020/08/Jaclyn-Headshot-10-13-2020.jpg", "https://azballetforfigureskaters.com/wp-content/uploads/2016/08/JaclynTeaching.jpg", "https://res.cloudinary.com/expertise-com/image/upload/f_auto,fl_lossy,q_auto/w_auto/remote_media/awards/az_scottsdale_ballet-classes_2021_inverse.svg", "https://res.cloudinary.com/expertise-com/image/upload/f_auto,fl_lossy,q_auto/w_auto/remote_media/awards/az_scottsdale_ballet-classes_2022_inverse.svg" ]	[]	[]	[ "" ]	null	[]	null	Ballet, Figure Skating, Phoenix, Scottsdale, Ice Den, Chandler, Figure Skating Private Lessons, Ballet for Figure Skaters, Ballet Arizona, Figure Skating Arizona, Figure Skating Lessons, Figure Skating Scottsdale	en	https://990b1d.a2cdn1.se…icon-150x150.png		https://azballetforfigureskaters.com/about/	Jaclyn Levine, Ballet Instructor Jaclyn Levine has extensive training in ballet, studying at Repertory Dance Theatre, Pennsylvania Academy of Ballet, and the Kirov Academy of Ballet in Washington D.C. At 17, Jaclyn attended Nutmeg Conservatory for the Arts’ year round ballet program in Torrington, CT, where she received training from Alexei Tchernichov and Eleanor D’Antuono. Jaclyn was also selected for an exclusive summer training program in Philadelphia, PA where she was one of six dancers coached by Vadim Pisarev and Inna Dorofeeva, from the Donetsk Ballet of Ukraine. Jaclyn spent several years performing with Dance Theatre of Pennsylvania. She has performed in a host of classical ballets including; The Nutcracker, The Sleeping Beauty, Cinderella, and A Midsummer Night’s Dream, along with many other classical and contemporary works of various choreographers. Jaclyn has taught ballet all over the Phoenix metro area since 2007. Jaclyn has been training Arizona’s premier figure skaters through her own business, “AZ Ballet for Figure Skaters” at the Scottsdale and Chandler Ice Den’s since 2010. Jaclyn also currently teaches at Master Ballet Academy under the direction of Slawomir and Irena Wozniak. Jaclyn has a passion for ballet, and makes it her priority to pass on this love for the art form to all of her students. Jaclyn provides a ballet education that focuses on building a strong technical foundation in a positive, fun, and encouraging environment. History “Ballet for Figure Skaters” started with one 7-year old competitive figure skater in 2010. A Mom and her Daughter came to a local Ballet School in Scottsdale, AZ, where I was teaching a ballet class for 6-7 year olds. The Mom of the Figure Skater told me that she was sent to the studio by their coach because her Daughter was in need of ballet. I was instantly intrigued, because I had been a fan of figure skating for as long as I could remember. After a few weeks of classes with this young figure skater, we did a few private lessons where we looked at her skating programs specifically. It didn’t take long before her coach noticed a difference. Then…Word Spread!!! It wasn’t long before I had a skater or two from another coach. A month or so later, I received a phone call from the head of the Figure Skating Department at the Scottsdale Ice Den asking if I would be interested in becoming the “Resident Ballet Coach”? I was thrilled, and of course said yes! That was the start of the “Ballet for Figure Skaters” Program. Ballet is what I do, and it is a part of who I am and I am passionate about my art. I never consider what I do a “job.” There’s nothing that I love more than to share my knowledge, and experience of ballet with my skaters. Sometimes the smallest things can be so rewarding. Every day that I work with my figure skater students I feel so fortunate to have this truly unique opportunity. It is an exciting “niche” within my own realm. My goal is to “Find the Artist within the Athlete.” It is my dream to see these Figure Skaters look like Dancers on the ice. We have an amazing, supportive team of coaches here at the Ice Den; the professionalism, demand, and opportunities offered are incredible. The Figure Skaters have everything at their fingertips to succeed in their sport. The coaches have been a huge help in supporting ballet for their skaters. I hope to inspire my students, so that they develop a passion and respect for the art of ballet, as well as improving the overall quality of their skating.
6847	dbpedia	2	29	http://www.internationalballet.org/Performances.html	en	International Ballet Exchange			[ "http://www.internationalballet.org/images/Donetskballetdancers_big.gif" ]	[]	[]	[ "" ]	null	[]	null					null	IBE offers an array of performances featuring the world-class Donetsk Ballet of Ukraine, IBE students studying privately throughout the Philadelphia area, and IBE residency students from schools in the Philadelphia School District. Public Performances THE NUTCRACKER December 17th, 2011 6:30 PM December 18th, 2011 2PM Featuring: The Donetsk Ballet of Ukraine and IBE students Plymouth/Whitemarsh High School 201 E. Germantown Pike Plymouth Meeting PA 19462 Click here for map $18 student/senior $28 adult Information: 215-849-7950 or 1-800-849-4919 Public Performances for Philadelphia-Area Students (at Reduced Rates) THE NUTCRACKER Thursday, December 15 10AM Featuring: The Donetsk Ballet of Ukraine and IBE students George Washington High School 10175 Bustleton Avenue Philadelphia, PA 19116 Click here for map THE DONETSK BALLET OF UKRAINE Vadim Pisarev, Artistic Director, Features several prize-winning artists and a company of 18 professional dancers.
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"https://f4.bcbits.com/img/a2194764499_7.jpg", "https://f4.bcbits.com/img/a0867710135_7.jpg", "https://f4.bcbits.com/img/a2918709240_7.jpg", "https://f4.bcbits.com/img/a2366175939_7.jpg", "https://f4.bcbits.com/img/a2812893179_9.jpg", "https://f4.bcbits.com/img/a0787899704_9.jpg", "https://f4.bcbits.com/img/a0496273118_9.jpg", "https://f4.bcbits.com/img/a2796198532_9.jpg", "https://f4.bcbits.com/img/a4209843769_9.jpg", "https://f4.bcbits.com/img/a0824255830_9.jpg", "https://f4.bcbits.com/img/a0576279127_9.jpg", "https://bryzz.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0030113125_33.jpg", "https://f4.bcbits.com/img/0010944039_33.jpg", "https://f4.bcbits.com/img/0010333884_33.jpg", "https://f4.bcbits.com/img/0036886199_33.jpg", "https://bryzz.bandcamp.com/img/0.gif" ]	[]	[]	[ "" ]	null	[]	2017-08-01T00:00:00+00:00	BRYZ - Quel Jour by Esente Records, released 01 August 2017	en	https://f4.bcbits.com/im…0242061170_3.jpg	Esente Records	https://bryzz.bandcamp.com/track/bryz-quel-jour	BRYZ on his real name Emanuel Coman,born in Bucharest Romania.He felt very inspired by jazz,blues loops wich he associated with electronic music. The produce-ing career started as a hobby in 2009. He performed at festivals and events/as: Studio 338 London, Picnic Fonic, Holiday Mood, Maraton, Sunrise Hub, Bipolar, Stump London, Duboka, Pisica Paris, Meduza, Desoner Bali, Afterhills and many more. ... more
6847	dbpedia	1	46	https://www.cocastl.org/calendar/the-little-dancer-moments-in-time/	en	The Little Dancer: Moments in Time	https://www.cocastl.org/…in-Time-Hero.jpg	https://www.cocastl.org/…in-Time-Hero.jpg	[ "https://www.cocastl.org/wp-content/plugins/the-events-calendar/src/resources/images/tribe-loading.gif", "https://www.cocastl.org/wp-content/plugins/the-events-calendar/src/resources/images/tribe-loading.gif", "https://www.cocastl.org/wp-content/uploads/2022/08/The-Little-Dancer-Moments-in-Time-Hero.jpg", "https://www.cocastl.org/wp-content/uploads/2022/08/The-Little-Dancer-Moments-in-Time-Hero.jpg", "https://www.cocastl.org/wp-content/uploads/2022/08/Kevin-Jenkins-Headshot-by-Ryan-Orion.jpg", "https://www.cocastl.org/wp-content/uploads/2023/11/EOY-Appeal_928x736.jpg", "https://www.cocastl.org/wp-content/uploads/2023/11/EOY-Appeal_928x736.jpg" ]	[]	[]	[ "" ]	null	[]	2022-09-01T01:39:58+00:00	The Little Dancer Moments in Time, a beloved COCA holiday tradition, returns as a full-length ballet performed by Ballet Eclectica.	en	https://www.cocastl.org/…2x32-1-32x32.png	COCA - Center of Creative Arts	https://www.cocastl.org/calendar/the-little-dancer-moments-in-time/	Kevin Jenkins Creative Director & Choreographer Dance Magazine has praised Kevin’s work as “riveting,” and he travels throughout the country choreographing for State Street Ballet, St. Louis Ballet, San Diego Dance Theater, the School of Ballet Arizona, SUNY Purchase, CPYB, Island Moving Company, Dimensions Dance Theatre of Miami, The Big Muddy Dance Company, among others. He has served on faculty at Boston Ballet School, Joffrey Ballet School, Walnut Hill School for the Arts, the University of San Diego, and Master Ballet Academy. His choreography has been performed on the Inside/Out Series at Jacob’s Pillow Dance Festival, and he has been awarded residencies with Djerassi and the National Choreographers Initiative. Kevin trained in San Diego under Dave Mullen, Kathy Meyer, Teresa Wells, Erik Saradpon, Kevin Patterson, and Ahita Ardalan. His diverse training led to working with a variety of companies, including Mirable Ballet, Butterworth Dance Company, and San Diego Dance Theater, and in productions of Guys and Dolls and Seven Brides for Seven Brothers. Outside the concert dance realm, he appeared in commercials for Allstate Insurance, Latinva Fitness, and Verizon Wireless, danced backup in Las Vegas for the band NRG, and performed in ballroom productions with Mary Murphy. Stepping away from performing in 2006 he founded Garage Contemporary Ballet with Ryan Orion Beck and served as co-artistic director through 2012. The company was featured in festivals such as 4×4, Breaking Ground, Ignite, Celebrate Dance Festival, and San Diego Young Choreographer’s Prize, while also presenting their own annual season. During this period his work in dance films won him three Editor’s Choice Awards from Dance and Pointe Magazine. His films went on to be featured in the San Francisco Dance Film Festival, Greensboro Dance Film Festival, San Diego Asian Film Festival, and American Dance Festival. Focusing on freelance choreography, Kevin moved to San Francisco where he choreographed for Western Ballet, Emote Dance Theatre, the Orchestra Institute of Napa Valley, and Bay Pointe Ballet. He began creating for Convergence Ballet, Terpsicore Dance Company, Southwest Classical Youth Ballet, and Darian Lane’s film At The Ballet. Kevin enjoyed a two-year tenure with Boston Ballet School. He now lives in San Diego while creating for companies and productions around the country. He choreographed and directed Gayle Skidmore’s Hourglass music video, worked under Jeremy Lapp at Musical Theatre Guild choreographing Minnie’s Boys, choreographed Natalie Bancroft’s 2019 European musical tour, and has created for dance companies and universities such as Ballet Dallas, Bellingham Repertory Dance, Columbia Repertory Ballet, Ketchikan Theatre Ballet, Muhlenberg College, Grossmont College, LITVAK Dance, Wanderlust Dance Project, Ballet 5:8, Belhaven University, and Columbia Ballet Collaborative. Trisha Carter Repetiteur Trisha began her training in Maine with Bossov Ballet Theater and continued training abroad under the instruction of Alla Sizova, Dimitri Simkin, Irina Trofimova Golovkina, Natalia Papinashvilli, and Vadim Pisarev, ultimately leading to her acceptance into the Vaganova School in St. Petersburg, Russia. She completed her schooling at the Harid Conservatory and Kirov Academy in the United States before joining Houston Ballet II and later Ballet Florida. Trisha has performed with multiple companies and choreographers touring both locally and internationally: Houston Ballet, Ballet Florida, Cuban Classical Ballet, Miami Contemporary Dance Company, and Dance Now Miami. She was a founding member with Dimensions Dance Theater of Miami. Her classical repertoire includes soloist roles in Anna Karenina, Cinderella, Coppelia, Don Quixote, Giselle, La Bayadere, La Vivandiere, La Sylphide, Les Sylphides, Nutcracker, Paquita, Peer Gynt, Raymonda, Romeo & Juliet, Sleeping Beauty, Swan Lake, and Talisman, as well as contemporary works by the likes of Gerald Arpino, Kevin Jenkins, Leonardo Reale, Paolo Mohovic, Tara Lee, Vicente Nebrada, and Yanis Pikeris, among others. Trisha holds a B.B.A. in International Business & Trade and a B.S. in International Economics, which she uses to develop the performing arts. Her greatest off-stage achievement is founding Miami Dance Hub, the dance alliance organization for South Florida, where she served as Executive Director for three years. When not dancing on stage, Trisha works with her husband, Kevin Jenkins, as his repetiteur and performs with his company, Ballet Counterpoint. Carolyn Carter Production Manager & Stage Manager Carolyn is overjoyed to be on staff here at COCA as the Production Manager. She is so grateful to be a part of this community and the incredible work and teaching that happens here. She graduated with a B.F.A. in Stage Management from The Sargent Conservatory of Theatre Arts at Webster University. Some of her favorite credits include Stage Manager for Matilda The Musical, Assistant Stage Manager for The Gradient, and Stage Manager for the Imaginary Theatre Company seasons at The Repertory Theatre of St. Louis, Stage Manager for Avengeance and Love at the River’s Edge at Shakespeare in The Streets, Production Coordinator for The Conservatory’s 50th Anniversary, and new mom to baby Joy-Anna Ivy. She is grateful for her officemates in this time of great transition! Shevaré Perry Costume Designer Shevaré is a costume designer, artist, poet, and fashion educator. She explores creative expression through the overlap of visual art, theatre, and fashion. In 2021, Shevaré debuted, She Is Her, I Am She, as the inaugural artist for Saks Fifth Avenue Gallery and collaborated with St. Jude Children’s Research Hospital for their Saints Gala fundraiser. Over the last few years, her art has been featured at the Charles H. Wright Museum of African American History, and galleries in Chicago, New York, and London. She lives her life passion focused; a true example of, “Love what you do, do what you love.” Shevaré holds a B.S. Fashion Design from Philadelphia University and attended graduate school in London, England. She has also completed the Community Artist Training and Teaching Artist Institute programs at the Regional Arts Commission. Sung Ho Kim Scenic Designer Sung Ho earned a Bachelor of Fine Arts and Bachelor of Architecture from Rhode Island School of Design and an AA Diploma from Architectural Association of London, UK, with Royal Institute of British Architects Part I and II. He also earned his Master of Science in Architecture Studies from Massachusetts Institute of Technology. He was a project designer for Nasrine Seraji in Paris, France, and Wellington Reiter in Cambridge, Massachusetts. Currently, Sung Ho is a tenured full professor of architecture, engaged in research with biology and computer science, at Washington University in St. Louis, and received the 2018 Emerson Excellence in Teaching Award. He was a founding director of Axi:Ome llc of Providence, RI, in 2001, and has been co-director of Axi:Ome llc of St. Louis since 2003. Heather Woofter Scenic Designer Heather is a tenured professor and director of the College of Architecture and Graduate School of Architecture & Urban Design at Washington University in St. Louis, with more than 15 years of teaching experience. Before, she was a project architect for Bohlin Cywinski Jackson in Wilkes-Barre, Pennsylvania; Marks Barfield in London, United Kingdom; and Robert Luchetti Associates in Cambridge, Massachusetts. She is a registered architect in the Commonwealth of Pennsylvania and Missouri and passed RIBA Parts I and II in the UK. Heather curated the exhibition Metabolic City—which featured works by the Japanese Metabolists, the architecture collaborative Archigram from Britain, and Dutch artist Constant—at the Kemper Art Museum in 2009–2010. Since 2003, Heather has been a founding director and owner of Axi:Ome llc of St. Louis with Sung Ho Kim. Their practice has received national and international design awards for architecture, master planning, and industrial design. Jayson Lawshee Lighting Designer Jayson is a St. Louis-based production director and designer whose experience includes musical theatre, opera, new work, and dance. An alum of The Sargent Conservatory of Theatre Arts at Webster University, Jayson earned a B.F.A. in Lighting Design. Jayson has designed for Metro Theater Company and COCA, as well as St. Louis Shakespeare Festival. Lighting design credits include Billy Elliot, wUNDERland, Four Little Girls: Birmingham 1963 (COCA); Last Stop on Market Street and Ghost (Metro); and Love at the River’s Edge (SFSTL). He has additionally served as the Assistant Lighting Designer on The Repertory Theatre of St. Louis’ production of Pride and Prejudice. He was the Lighting Programmer for St. Louis Shakespeare Festival’s production of King Lear and the first Electrics Intern at Wolf Trap Opera in Washington, DC. Jayson often refers to the tech table as his “home” and is passionate about making theatre in all forms accessible to all people. @the_lawshee Jamie McKittrick Dramaturg Jamie is an interdisciplinary artist who works in theatre as a performer, devisor, director, choreographer, intimacy choreographer, somatic practitioner, and educator. Notable original work includes Sparkle- TA DAAA!!! (Critic’s Choice Award St. Louis Fringe Festival), SURVIVE! with Swim Pony Performance Arts (“Best of the Year” by Philadelphia Weekly), and Lady M with Swim Pony Performance Arts (Curated by LiveArts Fest). She also helped develop and devise Enchantment Theatre Company’s productions of Scheherazade, The Velveteen Rabbit, Harold and the Purple Crayon, Sylvester and the Magic Pebble, and Ma mère l’Oye. Notable work as a director includes Gruesome Playground Injuries for Creative Inhabitor (Best of St. Louis Theatre), Wonderland: Alice’s Rock & Roll Adventure for Metro Theatre Company, Lysistrata for Webster University’s Conservatory, The Birds for UMSL, as an assistant director to Wendell Beavers for the world premiere production of The Siddhartha Project, and as an assistant director to Leslie Reidel for Stravinsky’s Firebird, and Sylvester and the Magic Pebble. Notable work as an actor includes the world premiere of Mac Wellman’s Anything’s Dream, Fefu and Her Friends with Theatre Nuevo, and Eric Coble’s new one woman play, The Girl Who Swallowed a Cactus, for Metro Theater Company that toured for three months before it was streamed for TYAUSA for the duration of the 2020 digital conference. Notable work as a choreographer and movement director includes SURVIVE! and Lady M for Swim Pony Performance Arts, Purr, Pull, Reign for the Philly Fringe for Johnny Showcase and Lefty Lucy, Hans Brinker and the Silver Skates, Frida Libre, and Wonderland: Alice’s Rock & Roll Adventure for Metro Theater Company, and Four Little Girls: Birmingham 1963 for COCA and The Black Rep. She’s been on faculty at Webster University Conservatory of the Arts, Lindenwood University, Muhlenberg College, and UMSL. Clay Smith Sound Designer Clay picked up his first guitar at age eight after seeing The Beatles on The Ed Sullivan Show, just like a million other kids. Unlike most of those kids, Clay grew his initial interest in music into a lifelong passion and career. By age ten, Clay had joined The Arsenal, his first band, and in middle school he rocked with The Odyssey. Clay studied classical guitar in college and traveled the Pacific Northwest performing with a variety of rock groups: Good Question, Pilot, CPR, Rod and Clay, and The Click, to name a few. While Clay enjoyed performing and always knew music would be integral to his life, he had yet to discover his true calling. The demand for Clay’s recording and producing skills, coupled with his love of the work, led him to officially create SoundSmith Studios. SoundSmith has now been in business and thriving for more than 20 years. In that time, the business continued to grow and expand, both in the physical space of the studio and in the variety of services offered. Clay’s deepest joy comes from collaborating with musicians and businesses to help them realize their creative aspirations. Paula Dreyer Composer Paula Dreyer is a classically trained contemporary composer and pianist living in the Pacific Northwest who seeks to inspire, include, and connect individuals through music. She has created her own, unique sound—weaving a wide range of influences from the Romantic and Impressionistic eras, film composers, Spanish music, and solo improvisation albums from the masters. Listeners are transported through her music that is sophisticated yet intimate, melancholic yet hopeful, hauntingly melodic, and rhythmically alive.
6847	dbpedia	2	13	https://www.nytimes.com/1988/02/22/arts/ballet-snow-maiden-at-olympics.html	en	Ballet: 'Snow Maiden' at Olympics	https://static01.nyt.com…op.png?year=1988	https://static01.nyt.com…op.png?year=1988	[ "https://s1.nyt.com/timesmachine/pages/1/1988/02/22/930288_360W.png?quality=75&auto=webp&disable=upscale" ]	[]	[]	[ "" ]	null	[ "Anna Kisselgoff", "www.nytimes.com", "anna-kisselgoff" ]	1988-02-22T00:00:00		en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/1988/02/22/arts/ballet-snow-maiden-at-olympics.html	If there is one gold medalist in Calgary during the Winter Olympics who differs from all others, it is Vadim Pisarev of the Soviet Union. The 23-year-old Mr. Pisarev has won his unusually large collection of gold medals at international ballet competitions - in 1986 in Jackson, Miss.; in 1985 in Moscow; in 1984 in Helsinki and Paris. Americans saw his dazzling pyrotechnics last fall when he toured nationally with the Moscow Ballet. Given this exposure, it is no surprise that he has been one of the top attractions here at the Olympic Arts Festival, where he danced as a guest star this weekend with the Alberta Ballet Company in ''The Snow Maiden.'' Like several other productions - including James Kudelka's new ''Concerto Grosso'' earlier for the Joffrey Ballet performances - the Alberta premiere was commissioned by the Olympic Arts Festival. The festival is a wide-ranging series of surprises. There is the usual mix of international fare. Yet unlike the 1984 Olympic Arts Festival in Los Angeles, the Canadian organizers, under Michael Tabbitt's direction, have focused on the Olympic charter, which calls for the host country to showcase primarily its own national talent in the arts festival. To a new arrival, the festival's most striking aspect is its integration of Canadian and foreign participants. One hears that a big hit was the performance in which a Canadian group of Ukrainian folk dancers, the Shumka Dancers, was accompanied by a visiting Soviet group of Ukrainian folk musicians from Kiev. Mr. Pisarev is also from the Ukraine, a graduate of the Kiev Ballet school and the star of the Don State Theater of Opera and Ballet in his native city, Donetsk. Nowhere was the national-international link exemplified more vividly than in the fact that the young dancer was invited to spend seven weeks with the Alberta Ballet Company in Edmonton and Calgary. Brydon Paige, the company's artistic director, did not choreograph ''The Snow Maiden'' until Mr. Pisarev arrived, accompanied at Mr. Paige's request by a Soviet ballet teacher. The surprise was that she was half American, named Ulamai Marjorie Scott. Born in Moscow of a black American father and a Russian mother, Miss Scott danced in the Bolshoi Ballet through the 1960's and is married to the former Bolshoi principal Yuri Papko. Mr. Pisarev had never seen a ballet version of ''The Snow Maiden'' although he knew the Russian fairy tale upon which it is based. At the close of Friday night's performance at the Jubilee Auditorium he kissed his local partner, Mariane Beausejour, as both exchanged large bouquets. Afterward, in an interview, he expressed thanks to Mr. Paige and the company for its ''family feeling'' and the opportunity to be involved in a new ballet. Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times. Thank you for your patience while we verify access. Already a subscriber? Log in. Want all of The Times? Subscribe.
6847	dbpedia	1	4	https://www.jewelsfestival.com/vadim	en	About 5 — Jewels Festival	https://assets.squarespace.com/universal/default-favicon.ico	https://assets.squarespace.com/universal/default-favicon.ico	[ "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/6d9f9af5-e703-44d3-b759-b0ec428eb35b/Logo+Final+%28save+to+web%29+-+Copy.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/3f3c937f-4a72-43a0-ab48-2f1f84747fd1/Logo+-+Copy.jpg?format=1500w", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/6d9f9af5-e703-44d3-b759-b0ec428eb35b/Logo+Final+%28save+to+web%29+-+Copy.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/3f3c937f-4a72-43a0-ab48-2f1f84747fd1/Logo+-+Copy.jpg?format=1500w", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/f8138764-40fd-4499-a79c-6da09e802ed1/%D0%92%D0%B0%D0%B4%D0%B8%D0%BC+%D0%BF%D0%BE%D1%80%D1%82%D1%80%D0%B5%D1%82.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/c0a97786-46a6-4590-8672-fc50b2ab0f44/unnamed.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/3fa78c4a-1bcd-4f5c-a992-c01911d46f3b/rj+2.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	https://assets.squarespace.com/universal/default-favicon.ico	Jewels Festival	https://www.jewelsfestival.com/vadim	A people's artist of Ukraine, the artistic director of the A.B. Solovianenko Donetsk state academic Opera and Ballet Theatre. Vadim Pisarev was born in Donetsk, Ukraine and he graduated from the Kiev state choreographic school. He was trained at the Bolshoi Theater, Moscow, under teachers R. Struchkova and A. Messere, and at the Maryinsky Theater (Kirov ballet), St. Petersburg under teachers L. Kolpakova and V. Semenov. In 1983 he got Gold medal of the All-Ukrainian competition of ballet dancers (Kiev). 1984 – the Gold medal of the All-USSR competition of ballet dancers (Moscow) and Silver medal of the competition of ballet dancers (Helsinki). 1984 – the Bronze medal of the international competition of ballet dancers (Paris). 1985 – the Gold medal of the international competition of ballet dancers (Moscow). 1986 – the Gold medal of the international competition of ballet dancers (Jackson, the USA). In 1986 Vadim Pisarev was awarded the title of the People's artist of Ukraine. In 1990 he was awarded a prize of the Moscow public – "The best dancer of the USSR", Moscow. In 1994 he became the founder and the director of the International festival "The World Ballet Stars" in Donetsk. During 17 years in the festival Donetsk was visited by more than 450 outstanding ballet dancers from 30 countries of the world. Over 70 famous choreographers presented their productions. In 1995 Vadim Pisarev was awarded a prize of UNESCO "The Best dancer of the world“ and became the professor of honor of the Donetsk state University. In 1998 V. Pisarev was awarded the Theatre Union of Ukraine prize "Triumph". He was awarded the “Order of merit”, III grade and II grade. 1999 – Vadim Pisarev was awarded the Kazakhstan "Prize of Traditions“ and he won the All-Ukrainian prize "Recognition". In 2001 V. Pisarev was awarded the Commander's Cross – Order of Saint Stanislaus, III grade. In 2003 he was awarded by the Cabinet Council of Ukraine the honorary diploma "For Significant Personal Contribution to the Development of National Culture and Art, and High Professionalism".
6847	dbpedia	2	72	https://www.nsbinc.org/faculty	en	Faculty	https://static.parastorage.com/client/pfavico.ico	https://static.parastorage.com/client/pfavico.ico	[ "https://static.wixstatic.com/media/4a3c53_b04e2ed4ec4a488bb51678cb5ffd65ce~mv2.png/v1/fill/w_411,h_70,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/NYB_Logos_2020-Black.png", "https://static.wixstatic.com/media/476ae1_ba44db4091a1453b90327072c6fb688d~mv2.jpg/v1/crop/x_0,y_0,w_122,h_122/fill/w_112,h_112,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/Sandra-by-Liza-Voll-Photography-1-of-1_j.jpg", "https://static.wixstatic.com/media/476ae1_5474f994f4104071a083886a92ecf31f~mv2.jpeg/v1/crop/x_19,y_19,w_240,h_240/fill/w_112,h_112,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/LizaVollPhotography-0914-2-261x300.jpeg", "https://static.wixstatic.com/media/476ae1_8b84e362f5c645e2984972d3f4065a44~mv2.jpeg/v1/crop/x_0,y_207,w_1562,h_1598/fill/w_111,h_114,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/image0.jpeg", 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]	null	[]	null		en	https://static.parastorage.com/client/pfavico.ico	nsbinc	https://www.nsbinc.org/faculty	Sandra has been a dance educator for over 55 years. She began her training, at the age of seven, in Melrose at the E. Virginia Sawyer School of Ballet where she later became an assistant teacher. Mrs. McNaught attended Melrose public schools and was president of Melrose High School's Dance Club. Upon graduation, she attended the Boston Conservatory as a dance major. Mrs. McNaught has studied and taught at several ballet schools in the Boston area and is a gold pin member of the Dance Teacher’s Club of Boston associated with the American Society of Dance. In 1971, she founded Northeast School of Ballet (formally Sandra Marie’s School of Ballet) and along with her daughter and co-director, Denise Cecere, has been committed to maintaining high standards in dance education. Both McNaught and Cecere co-founded Northeast Youth Ballet, a non-profit organization dedicated to providing educational opportunities for young children and playing an active role in the cultural life of the communities they serve. Mrs. McNaught feels privileged to share her love of dance with NSB’s next generation of dancers. Denise brings her life's experience to Northeast Youth Ballet. Born in Melrose, Massachusetts, Cecere began her dance training under the direction of her mother, Sandra McNaught, at the Northeast School of Ballet. Later she became a scholarship student at the Boston Repertory Ballet, under the direction of Samuel Kurkjian, Boston Ballet, under the direction of E. Virginia Williams and Violette Verdy, and the School of American Ballet, under the direction of George Balanchine. She performed with Boston Ballet, Ballet Theater of Boston, and North Star Ballet in Fairbanks, Alaska. Her principal roles include The Nutcracker, Coppelia, Sleeping Beauty, Don Quixote, Flower Festival, many neo-classical and contemporary works. Her guest appearances have taken her internationally. In 1991 Cecere was a participant in Japan’s 1st International Choreographer’s Competition. In 1996 Cecere founded Northeast Youth Ballet. As Artistic Director, she is committed to the cultural development of future generations. It is her mission to educate, inspire, and create opportunities for young aspiring dancers. Cecere has endeavored to provide programs and performances designed specifically for children. NYB has a repertoire of classical, neoclassical, contemporary and modern works. Cecere has choreographed over 35 ballets for the young company and has invited award-winning choreographers to share their work with the school and company. Her collaboration with Boston Musica Viva, under the direction of Richard Pittman, has produced many full-length ballets including “A Boston Cinderella”, “Three Little Pigs”, “Ma Goose”, "The Wrong Child", "Druddigon" and “Paul Revere’s Ride” by contemporary composers. For the past 25 years, Cecere has continued to display the young company’s diversity both at home and abroad. Cecere is currently director of the Northeast School of Ballet, the official training school of the Northeast Youth Ballet, where she has been teaching ballet technique for over 30 years. Her students have gone on to perform, teach, and choreograph for world-class dance organizations. Caroline Jewell is a graduate of the Boston Conservatory at Berklee, where she obtained a BFA in Contemporary Dance Performance in 2021. Caroline began dancing at the age of three and grew up training at Piedmont School of Music and Dance under the directorship of Daniel and Rebecca Wiley. Her childhood studies were rooted in classical ballet and she also studied modern, contemporary and jazz. In the summers of 2015 and 2016, Caroline studied at the Juilliard School at their Summer Dance Intensive. She worked with choreographers Spencer Dickhaus and Bret Easterling. It was at Juilliard where Caroline discovered her love for Conservatory style learning, and she developed goals to pursue a BFA in Contemporary Dance. From 2017 to 2021, Caroline studied at the Boston Conservatory at Berklee. While at Boston Conservatory, she worked with many talented professors including, Brian McGinnis, Marissa Parmenter, Kurt Douglas, Ruka White, Russell Clarke, Denise Pons, Daniel Pelzig, Adriana Suarez, and Gino DiMarco. While at the Conservatory, she also worked with choreographers such as Joseph Toonga, Loni Landon, Chien-Ying Wang, Daniel Pelzig, Gino DiMarco, Brian Brooks, and Gabrielle Lamb. She received her BFA in Contemporary Dance in 2021, and after taught modern and ballet at several schools in the Greater Boston Area including, Northeast School of Ballet, The Hanover Theatre and Conservatory, and The Dance Laboratory. Now, Caroline works as an Educational & Business Administrator remotely from her home in Nashville. While in Tennessee, she is continuing to grow her love for dance education and administration through her role with NSB. Erika Lambe is a Boston native who began her training at the Boston Ballet School and later studied at the School of American Ballet, and the Dance Theatre of Harlem school. She danced professionally with the Dance Theater of Harlem, Miami City Ballet, and Boston Ballet where she was Boston Ballet’s first black Sugar Plum Fairy. Over her extensive career, her repertoire includes a number of Balanchine works including Concerto Borocco, Bugaku, Serenade, Stars and Stripes, The Four Temperaments, Square Dance, Jewels, The Nutcracker, Scotch Symphony, Valsse Fantasies, Divertimento 15, Symphony in C, Theme and Variations, Slaughter on Tenth Avenue, Ballo de la Regina, and Raymonda Variations. Classical repertoire includes Swan Lake, Movanissimanoble, Flower Festival at Genzano, The Nutcracker, Giselle, Sleeping Beauty, Romeo and Juliet, Les Corsaire, LA Bayadere, Don Quixote, and Paquita. She has also performed “Creole Giselle”, The Fall River Legend, Firebird, Les Biches, Les Noces, Holberg Suite, and Voluntaries and works by Mark Morris and Lyla York. Ms. Lambe was featured in a PBS special, “I’LL MAKE ME A WORLD”, which chronicled the lives of African Americans in dance. Since retiring from the stage, Ms. Lambe has taught ballet at Boston Ballet School, Walnut Hill School, Boston Arts Academy, Charles River Ballet Academy, and Acton School of Ballet. As a coach and choreographer, Erika has worked with many dancers in the greater Boston area and is currently teaching at Tony Williams Dance Center. Ms. Lee received her early training with Phillipa Annesley in Scottsdale, Arizona. At the age of thirteen, she attended The National Academy of Arts in Champaign, Illinois where she studied under Michael Maule, Lupe Serrano, Gwynne Ashton, Peter Franklin-White, Antony Valdor, Stella Applebaum, Chester Wolenski, Gemze DeLappe, and Buzz Miller, among many others. Upon graduation, she joined the National Ballet of Illinois for two years as Principal Dancer, touring nationally and abroad. Ms. Lee went on to dance with Ballet West under the direction of Bruce Marks, touring extensively throughout the United States. As a principal dancer, she performed leading roles in both classical and contemporary ballets including Romeo and Juliet, Giselle, The Sleeping Beauty, Swan Lake, The Nutcracker, A Midsummer Night’s Dream, Billy the Kid, Bugaku, Symphony in C, Inscape, Don Quixote, and Coppelia. She had the honor of performing at the Kennedy Center twice in Washington DC and at New York City Center. She has taught at Boston Ballet School and Christensen Academy and has been a guest teacher at Walnut Hill School for the Arts and the University of Utah. Rhonda is currently a faculty member at the Northeast School of Ballet. Her favorite role is mother to her three beautiful children, Olivia, Quinn, and Isabelle. Kristopher Masszi began his early ballet training at Northeast School of Ballet, eventually becoming a member of Northeast Youth Ballet under the direction of its founder and director, Denise Cecere. Performance opportunities with NYB included Aurora's Wedding, Cinderella, A Boston Cinderella, Ma Goose, and the Nutcracker performing the roles of Prince, Snow King, Herr Drosselmeyer, and divertisement. Kristopher than continued his ballet education as a scholarship student at the Rock School of Dance in Philadelphia and became a soloist at the Horizon Dance Alliance in Doylestown, PA, performing in roles such as Prince Albrecht in Giselle, Conrad in Le Corsaire, Romeo and Juliet, La Sylphides, and Dracula, under the direction of George Thompson. Kristopher moved to Budapest, Hungary where he continued his ballet and folk dance training at the Magyar Táncművészeti Egyetem BA program (Hungarian Dance University). Upon graduation, he accepted an invitation to join the Donetsk Opera and Ballet Theater in Donetsk, Ukraine under the direction of Vadim Pisarev. Here, he had the pleasure to perform in ballets including Spartacus, La Bayadere, Scheherazade, Le Sacre du Printemps, and Peer Gynt and toured with the traveling company division throughout Eastern Europe. Kristopher left the ballet world to pursue his Master of Education degree from Loyola University and completed his Montessori elementary training at Washington Montessori Institute. He had spent several years teaching at international Montessori schools in Frankfurt, Germany and Hong Kong. In 2019, Kristopher returned to the United States where he opened the elementary Montessori program at the Melrose Montessori School. He is thrilled to rejoin the faculty at NSB. Lorraine Chapman danced professionally with Eliot Feld Ballets/NY and Ballet British Columbia (under the Artistic Direction of Balanchine muse Patricia Neary) as well as for several Boston-based choreographers including Amy Spencer, Richard Colton, Diane Arvanites, Jose Mateo, and Marcus Schulkind. As a choreographer Chapman has received several grants and has created works for numerous festivals and companies, officially forming her own company, LCTC, in 2002. LCTC (http://lorrainechapman.org) is one of Boston’s most notable contemporary dance companies and was represented by Pentacle – a NYC-based management support organization 2013-2016. Chapman’s awards include a Boston Dance Alliance Rehearsal & Retreat Fellowship, a Brother Thomas Fellowship from The Boston Foundation, a Boston Center for the Arts Dance Residency and a Summer Stages Dance/Baryshnikov Arts Center Residency as well as being featured in Dance Magazine as one of “25 To Watch”. Chapman received her training at The Royal Winnipeg Ballet School and L’Ecole Superieure De Danse Du Quebec as well as from Boston veterans Frances Kotelly and Samuel Kurkjian. With equal training and professional experience in all of the classical ballet forms as well as in many of the modern and contemporary dance modalities, Chapman brings a particular and unique knowledge into her classroom. She also teaches at the Ballet Arts Centre of Winchester where she is co-director of their pre-professional performing groups. “As a young dance artist, I always took my training seriously and I gravitated toward those teachers who I knew would advance me at the pace I desired – but not only the teachers. I also gravitated toward other young dancers like myself who wanted nothing more in the world than to dance professionally. The combination of the dance educators I thankfully found and the students I trained side by side with (including Denise Cecere) fueled my ambition and drove me to constantly strive for an ever-elusive perfection. It is with this philosophy that I inspire, train and nurture my students.” – Lorraine Chapman Nathan Duszny is a New Hampshire native that started his professional career at the young age of fifteen. He performed at the Palace Theatre in Manchester, NH all through his teenage years. Productions include “Chicago”, “Singing in the Rain”, “Joseph and the amazing Technicolored Dreamcoat”, “Cats”, and many more. He was also a proud member of the American Show Dance Team and had the opportunity to compete at the World Championship in Riesa, Germany for two years in a row. After high school and graduation from The New Hampshire School of Ballet he moved abroad to Tokyo, Japan to work for Disney. After three years overseas performing in a variety show called “OneMan’s Dream”, he moved to New York City and danced for small dance companies including The Chase Brock Experience and The Next Stage Project. His Musical theater career took off in 2010 when he had the honor of touring with Radio City’s “Christmas Spectacular! “featuring the famous Rockettes. From there he has toured the country and performed in many of the nation’s great theatres and music halls in various other shows. Other past productions include “Disney’s Beauty and the Beast" national tour, “The Aluminum Show”, “Flashdance the Musical” 1st national tour, the NY Stage and Film Festival’s play of “Finks”, “Cats”, “Hello Dolly” featuring Sally Struthers, “Hairspray”, “Chicago”, “She Loves Me”, and most recently the 1st National tour of “Finding Neverland”. He is currently a proud member of the contemporary company NSquared based in Manchester, New Hampshire! His choreography and teaching career also began at a young age. By age eighteen, Nathan had won a choreography award for his piece, “Prelude Trois”at the American Dance Awards in Las Vegas and Headliners in Lancaster, PA. He had the opportunity to choreograph as an alumni artist at Merrimack High School in New Hampshire with the production of “Once Upon A Mattress” and “Aladdin”. With the numerous tours he was a part of, Nathan had the opportunity to teach at various schools, universities, and workshops around the United States and Canada. His class styles include Ballet, Jazz, Musical Theatre, Tap, and Contemporary. Past schools of note are: University of Nebraska, PACE University, University of New Hampshire, Ballet Misha, New Hampshire School of Ballet, Petrov Ballet School, and many more. While teaching and dancing in New York City, he was invited by the Ehrstrand Dance Collective to perform and create amazing works in Viksjöfors, Sweden in 2010 with the amazing Julia Ehrstrand. For almost a decade, he has been going to Europe and most recently Taiwan to create new choreography and teach workshops to the local student body and professionals alike under the umbrella of the Ehrstrand Dance Collective. Amanda Walker received her early dance training in Tallahassee, FL at the Southern Academy of Ballet Arts and Pas de Vie Ballet, Inc. under Natalia Botha, Charles Hagan, and Gwynne Ashton. She holds a B.A. in Dance-Performance from Mercyhurst University, under the direction of Tauna Hunter. She has also danced and trained with such organizations as Lake Erie Ballet, Atlanta Ballet, Boston Ballet SDP, the Nutmeg Conservatory for the Arts, and the International Flamenco Festival. Ms. Walker was a Principal Dancer and Senior Instructor with the Chattanooga Ballet. While there, she was awarded the Fellowship for Artistic Excellence in Dance Performance by the Tennessee Arts Commission. She has also been a Guest Artist for several companies in the Southeast, performed in the Urban Nutcracker in Boston, MA, and taught Master Classes at various schools and summer intensives. In 2016 Ms. Walker received her M.A. in Mental Health Counseling; Dance/Movement Therapy from Lesley University in Cambridge, MA, and is a Board Certified-Dance/Movement Therapist. She has worked as a Case Manager for an arts-based day program for adults with developmental and physical disabilities. She has also combined her training backgrounds to teach beginning principles of mind-body work to dancers at various workshops. Ms. Walker teaches ballet and adaptive dance classes in the Boston area, including at Tony Williams Dance Center, Boston Ballet School, and Safe Haven Ballet in Portsmouth, NH. Sierra Surette put on her first pair of ballet shoes at Walker's Dance in Lowell, Massachusetts at the age of 3 and her first tap shoes at the age of 6. A long time student of Bryan Steele and many wonderful instructors, she studied Tap, Ballet, Modern, Jazz, Lyrical, and Musical Theatre where she received multiple awards in the competitive circuit for her tap and modern solos. For the last two decades, she has shared her knowledge of dance and has been on faculty at many studios throughout New England including Dance Carousel, The Dance Company, Razr Studio of Dance, and the Liza Indiciani Studio of Dance where she has received several choreography awards for her solo and group routines. Sierra has enjoyed working with dancers of all ages and abilities from Preschool Ballet and Tap to private tap lessons with adults and senior citizens. She continues to foster her love of tap dance through performances, lessons, and classes and is proud to have been in studio with the likes of Dianne Walker, Miller and Ben and Michelle Dorrance. She currently works with her long time dance partner and friend J. Michael Winward, facilitating partnered ballroom dancing at Senior Living and Memory Care facilities throughout Massachusetts and New Hampshire with his Steps in Time program. With the help of a portable tap floor Sierra is able to bring her passion of tap dance into these elder communities with a vibrant demonstration. Sierra is looking forward to continuing her journey of spreading the joy of tap at Northeast School of Ballet. Leah Misano was born in Leominster, MA but grew up in Florence, SC. There she found dance at the age of eleven at South Carolina Dance Theatre where Leah studied classical ballet under Susan Rowe. Starting her sophomore year of high school, she attended the South Carolina Governor’s School for the Arts and Humanities (SCGSAH) under Josée Garant. Her primary teachers there were Irina Ushakova, Miriam Mesa-pelly, and Tracy Vogt. At SCGSAH, Leah continued to grow in her classical training while being first introduced to modern techniques such as Graham and Horton. During this time, Leah also spent her summers attending intensives at American Ballet Theatre in New York City and The Juilliard School. Upon graduating from SCGSAH, Leah decided to attend the Boston Conservatory at Berklee. At Boston Conservatory, she started to explore contemporary movement while pulling inspiration from her classical training. When she started working with former Pilobuls dancer, Jun Kuribayashi, she found an affinity for the floor and going upside down. At the Conservatory, Leah performed works by many renowned choreographers including Loni Landon, Jennifer Archibald, Kate Weare, and several others. Since graduating in 2021, Leah Misano spent a year freelancing and teaching in Boston. In summer of 2022, she joined the ranks of Whim W’Him Seattle Contemporary Dance for their 2022/2023 season. With Whim W’Him, Leah worked with choreographers of the likes of Nicole von Arx, Rauf “Rubberlegz” Yasit, Annabelle Lopez Ochoa and Olivier Wevers. Leah is looking forward to returning to her artistic home in Boston in the summer of 2023. Starting in the fall, she will join faculty at Northeast School of Ballet and join Boston Conservatory at Berklee as an assistant professor as well as continuing to engage in performance work and dive into her own improvisation and movement practice. He’s currently a professor at Boston University after dancing professionally for twenty years in NYC. He proudly began his training at the age of seven in Worcester, Massachusetts with Jo-Ann Warren. He has danced with Lar Lubovitch Dance Company, Hubbard Street Dance Chicago, Elisa Monte Dance, Parsons Dance Company, and Buglisi Dance Theatre. He is a Guest Choreographer and Teacher at The Fine Arts Center in Greenville, South Carolina, and continues to conduct Master Classes and workshops alongside his National and International touring. Brian has had the opportunity to perform at Jacob’s Pillow, Lincoln Center, Cultural Center of the Philippines, The Bolshoi Theatre, American Dance Festival, The Joyce Theatre, NYC CIty Center, Spoleto Festival, Italy and The Kennedy Center. In 2009, Brian co-created and presented a commissioned evening-length work of Romeo and Juliet-a death marked love at The Peace Center in Greenville, South Carolina. He holds his Bachelor of Fine Arts from The Juilliard School under the directorship of Benjamin Harkarvy and an Associate’s Degree in Occupational Science for Massage Therapy. Brian is currently a professor at the Boston Conservatory and on faculty at Northeast School of Ballet. Kurt A. Douglas graduated from New York’s famed high school of music art & performing arts. Originally from Guyana, South America Kurt earned his Master’s of Fine Arts degree in dance from Hollins University in association with The American Dance Festival, Frankfurt Conservatory of Performing Arts and the Forsythe Company in Frankfurt, Germany. He attended and earned a Bachelor’s of Fine Arts degree in Dance from the Boston Conservatory. There he was the recipient of the Ruth Solomon Ambrose Scholarship Award and the Jan Veen Dance Award. He performed with the Boston Dance Theater and The Boston Conservatory Dance Theatre in works by Jose Limon, Sean Curran, Paul Taylor, Martha Graham, Lar Lubovitch, and Murray Louis. After graduating from the Conservatory in 2001 he joined the Limon Company where he performed in many of Limon’s most influential works. During his second season with Limon he received a 2002 Princess Grace Award and was honored by an invitation to perform for His Serene Highness Crown Prince Albert of Monaco and The Royal Family. While a soloist with the Limon Company. Kurt has performed in works by Yuri Kililan, Donald Mckayle, and Billy Singenfied. In 2007 Kurt became the first African American to portray”Iago” in “The Moor’s Pavane”, José Limón’s most famous work. Kurt was named one of Dance Magazine’s TOP 25 TO WATCH” in the January 2006 issue. He danced from 2002-2007 in the Radio City Christmas Spectacular starring the world famous Rockettes. In 2009 he joined the Lar Lubovitch Dance Company for it’s 40th anniversary season touring throughout the United States and Asia. In 2011 joined the Graham based Buglisi Dance Theater, and began touring with the Tony award winning musical “A Chorus Line” throughout United states, Japan, and Australia. He has been a Guest Artist with The Thang Dao Dance Company, Ballet Hispanico, and the Sean Curran Dance Company. Kurt has been guest faculty and conducted Limon Dance workshops in Boston, South Dakota, New York, Oregon, Dallas, Porte Au Prince, Haiti, Guadeloupe, France, Bristol, England, Sydney Australia, Harvard University, The Juilliard School, Suny Purchase, and the Boston Conservatory. Kurt has been on faculty with the “Limon for Kids” program and has re-staged “The Winged” for the Limon Company’s 2014 Gala in New York City. Kurt is currently a professor of dance at Boston Conservatory at Berklee, directs the BoCo Summer Dance Intensive for teens and is on faculty at Northeast School of Ballet. Christiana Marie Cecere is a native of Massachusetts where she trained at The Conservatory at Northeast School of Ballet under the tutelage of her mother, Denise Cecere (director), and grandmother, Sandra McNaught (founder). In addition to training with Northeast School of Ballet’s renowned faculty, including her coach, Jean-Pierre Bonnefoux, Christiana participated in intensive programs at The School of American Ballet, The Paris Opera Ballet School, and The Chautauqua Dance Institute. Upon graduation from the Northeast School of Ballet, Christiana moved to Arles, France to dance with The Arles Youth Ballet Company under the direction of Norton Fantinel and Karina Moreira. Christiana has had the privilege to perform in a wide range of repertoire in her formative years. Classical ballets include Giselle, Swan Lake, Sleeping Beauty, The Nutcracker, Romeo and Juliet, Raymonda, Paquita, and Cinderella. She has performed ballets by George Balanchine including, Who Cares, Raymonda Variations, and Walpurgisnacht Ballet. Christiana has also performed neo-classical and contemporary works by Jean-Pierre Bonnefoux, Mark Godden, Sasha Janes, Joseph Jefferies, Anthony Williams, Jeremy Ruth Howes, My’Kal Stromile, Kin Sun Chan, Young Soon Hue, Patrick Delcroix, among many other prominent choreographers. Christiana received her diploma from Wakefield High School and graduate certification from The Conservatory at Northeast School of Ballet in 2022. Her 2023/2024 season will include training, teaching, and performing at home before she relocates to London to be a trainee in English National Ballet's Professional Programme. Holly Stone is an interdisciplinary alchemist creating dance and theater in the Greater Boston area. Currently teaching at Tufts University, their movement backgrounds in ballet, contemporary, and ballroom dance allow them to move seamlessly between genres and to challenge expectations of gender and partnership. Their recent gender-expansive partnering collaboration with Michael Winward, unpacking their time in the mainstream commercial ballroom studio system–INSIDER BALLROOM– has been presented at the Boston Open and at the Providence Fringe Festival. Holly’s original story ballet THE QUEEN OF NORI has been presented at Starlight Stage, Windhover Center for the Performing Arts, Boston Center for the Arts, & Paliku Theatre in Hawaii. Holly was also the Resident Choreographer for Wanderlust Theatre, and has created dance films for festivals internationally. Recent theater credits include CATS for Quincy Musical Theatre, A NEW BRAIN for FSU Theatre, CANDIDE for FSU Opera, and an immersive horror production with Boston Opera Collaborative. Holly believes in the power of ‘what if’ and is a master schemer, organizer, and storyteller. They have a B.S. in Bioengineering and Neuroscience from Syracuse University and an MFA in Dance from Florida State University, where their master’s thesis work focused on synthesizing modes of thinking as engineer and artist.
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Djouloukhadze toured the world with the 'Stars of the Bolshoi Ballet', 'Stars of the Soviet Ballet' and ‘Ballet Stars of Moscow, Kiev and Tbilisi’ along with such great ballet dancers as Maya Plisetskaya, Māris Liepa, Marina Kondratieva , Vyacheslav Gordeev, Vilen Galstyan, Malika Sobirova, Valeri Kovtun, Tatiana Tajakina, Nina Sorokina, Yuri Vladimirov, Nina Semizorova, Vadim Pisarev and others. He performed as a principal dancer and a guest soloist with various companies, including the Bolshoi Ballet, Kiev Ballet, Baku Ballet, Universal Ballet. He partnered with prima-ballerinas of various leading ballet companies, including Irina Jandieri, Nadezhda Pavlova, Alla Khaniashvili, Ludmila Semenyaka, Lubov Kunakova, Nina Ananiashvili. During his career, Djouloukhadze worked with distinguished ballet-masters and choreographers Konstantin Sergeyev, Natalia Dudinskaya, Georgi Aleksidze, Alexander Plisetskiy, Vladimir Vasiliev, Mikhail Lavrovsky, Lev Asaulyak, Alexander Prokofiev, Raisa Struchkova, Fea Balabina, Evgeni Valukin, Oleg Vinogradov, Tatiana Vecheslova, Natalia Ryzhenko, Vladimir Nikonov. Djouloukhadze moved to the U.S. in 1991 and served as a Ballet Master and Artistic Director for the Ballet Mississippi, Jackson, Mississippi, until 1993 Vladimir Djouloukhadze holds Masters Degree in Ballet Teaching and Choreography from prestigious Russian Academy of Theatre Arts (GITIS) and has been teaching ballet for 40 years. Vladimir Djouloukhadze started his career as a ballet teacher at the V. Chabukiani Ballet Art State School in 1980. In the USA he served as a director of the Mississippi Ballet School (1991-1993), a faculty member of the Kirov Academy of Ballet (1993-2008), and the Washington Ballet School (2008-2017). After leaving the school he started private ballet coaching. Djouloukhadze has been developing his students into the winners of major international ballet competitions, including the Varna International Ballet Competition, the USA International Ballet Competition, Helsinki International Ballet Competition, Paris International Dance Competition, Paris International Contemporary Dance Competition, Shanghai International Ballet Competition, Nagoya International Ballet Competition, YAGP. Djouloukhadze's students have gone on to become principals, soloists and members of some of the world's most prominent companies, including the Royal Ballet, American Ballet Theatre, Mariinsky Ballet, Stuttgart Ballet, San Francisco Ballet, Boston Ballet, Houston Ballet, Washington Ballet, Norwegian National Opera and Ballet. To name a few, Michele Wiles, Jonathan Jordan, Brooklyn Mack, Rasta Thomas, Danny Tidwell, Matthew Golding, Melissa Hough, Rory Hohenstein, Chauncey Parsons, Constantine Allen. As a choreographer Vladimir Djouloukhadze worked with a number of theaters in Georgia. He choreographed one-act ballets in neoclassical style ‘Reflections’ (music by Sergei Prokofiev) and ‘Dancing with Verdi’(music by Giuseppe Verdi), pieces in academic character style -‘Jota Aragonesa’ (music by Mikhail Glinka), ‘Tarantella’ (music by Louis Gottschalk), ‘Scheherazade’ (music by Nikolai Rimsky-Korsakov. This is just a short list of his choreogtaphy. He also staged The Nutcracker and ballet showcases for the Mississippi Ballet company and classical ballet excerpts for various schools and companies.
6847	dbpedia	2	25	https://www.olympicballet.org/liliia-yastrub/	en	Olympic Ballet Theatre	https://www.olympicballe…ets-Page-Nut.jpg	https://www.olympicballe…ets-Page-Nut.jpg	[ "https://www.olympicballet.org/wp-content/uploads/2019/08/logo-OlympicBallet-Theatre.gif", "https://www.olympicballet.org/wp-content/uploads/2023/11/Web-Liliia-Y.jpg" ]	[]	[]	[ "" ]	null	[]	2024-02-28T08:09:23+00:00		en	https://www.olympicballe…avicon-32x32.gif	Olympic Ballet Theatre \| Professional Ballet in the Pacific Northwest	https://www.olympicballet.org/liliia-yastrub/	Liliia Yastrub was born in Donetsk, Ukraine, and began studying ballet at the Vadim Pisarev Choreographic School at the age of eight. At 16, she embarked on her career as a professional dancer with the Donetsk State Academic Opera and Ballet Theatre, later moving to Kyiv to work with the Grand Kyiv Ballet. Liliia has participated in numerous international festivals and tours, performing in many famous ballets. She holds a bachelor’s and a master’s degree in dance from The University of Luhansk. In 2021, she moved to the United States where she continues her journey as a ballet dancer and educator. Liliia is also joining the faculty at OBS.
6847	dbpedia	1	70	https://www.stelthng.com/dancers-choreographers	en	Dancers & Choreographers	https://static.wixstatic…57eb2b%7Emv2.png	https://static.wixstatic…57eb2b%7Emv2.png	[ "https://static.wixstatic.com/media/2cd72b_5cc3df5b864240df8a7ab05cc2091bc5~mv2.png/v1/crop/x_0,y_27,w_1358,h_847,q_90,blur_2,enc_auto/2cd72b_5cc3df5b864240df8a7ab05cc2091bc5~mv2.png", "https://static.wixstatic.com/media/2cd72b_2194bbe8098a49b2a3ae6c4016e94cbf~mv2_d_2588_1446_s_2.jpg/v1/crop/x_0,y_167,w_2588,h_1112/fill/w_130,h_56,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/julie%20alice%20beach%20shoot.jpg", "https://static.wixstatic.com/media/2cd72b_88f7b8f21cae4ca6a68641b9e6db0953~mv2.jpg/v1/crop/x_0,y_3,w_1084,h_1071/fill/w_82,h_81,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/Screen%20Shot%202018-09-24%20at%208_30_44%20PM_JPG.jpg", "https://static.wixstatic.com/media/2cd72b_dca42890fa014cf396fed9cfb37d501b~mv2_d_2974_1428_s_2.jpg/v1/crop/x_0,y_86,w_2974,h_1256/fill/w_153,h_65,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/Screen%20Shot%202018-09-26%20at%208_18_10%20PM_JPG.jpg", "https://static.wixstatic.com/media/2cd72b_7a64d8f82985444381a97cb26fc8f603~mv2.jpg/v1/crop/x_0,y_7,w_900,h_887/fill/w_81,h_80,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/2cd72b_7a64d8f82985444381a97cb26fc8f603~mv2.jpg", "https://static.wixstatic.com/media/2cd72b_4cccabefef2b405a94234ec5aa80cd1e~mv2.jpg/v1/crop/x_0,y_0,w_945,h_931/fill/w_82,h_81,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/dd6e5e888674ff4213694ef4b55faba4%20(1).jpg", "https://static.wixstatic.com/media/2cd72b_4c2c7644211f4e798f73ddc47fbba32a~mv2.jpg/v1/crop/x_0,y_18,w_240,h_237/fill/w_82,h_81,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/2cd72b_4c2c7644211f4e798f73ddc47fbba32a~mv2.jpg", "https://static.wixstatic.com/media/2cd72b_f094bae1deb74c3189fad1efd5f0d8a3~mv2_d_6000_4000_s_4_2.jpg/v1/crop/x_370,y_468,w_5197,h_3532/fill/w_156,h_106,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/2cd72b_f094bae1deb74c3189fad1efd5f0d8a3~mv2_d_6000_4000_s_4_2.jpg", "https://static.wixstatic.com/media/2cd72b_580851ce0a1d4565b4fb603462fe0c66~mv2.jpg/v1/fill/w_82,h_82,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/2cd72b_580851ce0a1d4565b4fb603462fe0c66~mv2.jpg", "https://static.wixstatic.com/media/2cd72b_63e4c24f68b64761891c960a75cfebbe~mv2.jpg/v1/fill/w_82,h_82,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/2cd72b_63e4c24f68b64761891c960a75cfebbe~mv2.jpg", "https://static.wixstatic.com/media/2cd72b_f729bf8d70ba44df9f7f9caec6829ac8~mv2.jpg/v1/fill/w_82,h_82,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/2cd72b_f729bf8d70ba44df9f7f9caec6829ac8~mv2.jpg", "https://static.wixstatic.com/media/2cd72b_48217302119748a6b1cf02e140b32f21~mv2.jpg/v1/fill/w_83,h_83,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/2cd72b_48217302119748a6b1cf02e140b32f21~mv2.jpg", "https://static.wixstatic.com/media/2cd72b_70d06da495ef4f3e9a4f789ec57aad06~mv2_d_2014_1336_s_2.jpg/v1/crop/x_18,y_0,w_1978,h_1336/fill/w_157,h_106,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/Screen%20Shot%202018-09-22%20at%206_52_59%20AM_JPG.jpg", "https://static.wixstatic.com/media/2cd72b_f245132e4df2486e8b0ca82188b875b3~mv2.jpg/v1/fill/w_82,h_82,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/2cd72b_f245132e4df2486e8b0ca82188b875b3~mv2.jpg", "https://static.wixstatic.com/media/2cd72b_7f8e5f310215408f949c4c26e99bfc16~mv2.jpg/v1/fill/w_82,h_82,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/2cd72b_7f8e5f310215408f949c4c26e99bfc16~mv2.jpg", "https://static.wixstatic.com/media/2cd72b_d019398270844b86a6953d36c7fd2138~mv2_d_2816_1338_s_2.jpg/v1/crop/x_386,y_0,w_1948,h_1336/fill/w_155,h_106,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/Screen%20Shot%202018-12-26%20at%206_27_38%20PM_JPG.jpg", "https://static.wixstatic.com/media/2cd72b_d8b253d143e1405c9451e8be8068ba57~mv2.jpg/v1/crop/x_0,y_0,w_434,h_425/fill/w_82,h_80,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48365273_2128456710537972_59313382050045.jpg", "https://static.wixstatic.com/media/2cd72b_7cc7059165bc410ba30291ff3b311016~mv2_d_3456_5184_s_4_2.jpg/v1/crop/x_0,y_407,w_3180,h_4777/fill/w_149,h_223,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/2cd72b_7cc7059165bc410ba30291ff3b311016~mv2_d_3456_5184_s_4_2.jpg" ]	[]	[]	[ "" ]	null	[]	null	Read More about the Wonderful Dancers & Choreographers in the Videos!	en	https://static.wixstatic…ab5790%7Emv2.png	Stelth Ng \| TPM	https://www.stelthng.com/dancers-choreographers	Dancers I've made many fond memories and friendships from the incredible dancers I've been fortunate to work with. Their dedication, choreography, and general enthusiasm and energy is a constant source of inspiration for me. Working with them on choreography, sharing the stage at Chautauqua, NY, and producing choreographic music/dance films with them has been some of the most rewarding experiences of my artistic pursuits. Read more about these wonderful artists here! Julie McLachlan Holding her BFA in dance from York University, Julie McLachlan is a Toronto-based dance performer, choreographer and dance instructor. Julie has had the privilege of performing for Stand Up Dance, Le Groupe Apogee and is currently dancing with Love Letters Cabaret. She has presented choreography in The Chimera Project’s Fresh Blood and The Toronto Fringe Festival. Recently at ImpulsTanz International Dance Festival in Vienna, Austria, Julie took part in workshops with world-renowned teachers and connected with dance artists from all over the world. As a retired competitive gymnast, Julie is also a certified gymnastics coach and specializes in teaching young dancers acrobatic skills. Anna Pogulyaeva Born in Gorlovka, Ukraine Anna began dancing at the age of six. Her passion and talented were immediately recognized by her teacher who sent her to audition for the Professional Ballet School of Vadim Pisarev, Vaganova Method in Donetsk, Ukraine. Anna was accepted and began her training in the Professional Ballet School which leads directly into National Ballet Company of Ukraine, Donetsk. Pogulyaeva’s natural talent landed her leading roles in ballets in the Professional Ballet School’s productions throughout her training. While at the school Anna have the incredible privilege of studying under teachers who are decorated by the country with honours and awards for dance namely Galina Volodina awarded the “Honoured Ballet Teacher of Ukraine” and El’vira Rikova “Honoured Ballet Dancer of Ukraine”. Anna was hand picked while still in training to dance with the National Ballet Company of Ukraine, Donetsk an honour rarely given to a student. While with the company she had the privilege of working with Ukraine’s finest talent in productions and tours.Pogulyaeva’s graduated from the prestigious school in June 2010 with Honours. In September 2010, Anna moved to Canada to pursue her professional career.Joining Cadence Bridges Ballet in February 2012 , Anna was promoted to Cadence Progressive Contemporary Ballet in June 2012. Pogulyaeva was able to dance with the company while attending school and has recently graduated from George Brown College Dance Performance Studies with Honours and Dean's Medal. In 2014 Anna was invited to join the faculty of The School of Cadence Ballet where she continues to teach the Vaganova method. Tyler Gledhill Tyler Gledhill was born in Ottawa, Ontario. He trained at The National Ballet School in Toronto, Het National Balletacademie in Amsterdam, and The Pacific Northwest Ballet School in Seattle. As a student he was awarded the Peter Dwyer Scholarship for the Performing Arts and the Lawrence Hasket Memorial Award. Gledhill’s professional career began in The Netherlands with Intordans, touring throughout Europe and Asia. Next he danced with The Göteborg Ballet and Cullberg Ballet in Sweden. Tyler is now an independent artist, based in Toronto. He works with Hit & Run Productions, Opera Atelier, The Chimera Project, ProArte Danza and The Dietrich Group. For his role in DA Hoskins’ PARIS1994\Gallery in 2010, he was nominated for a Dora Mavor Moore Award for outstanding performance in a dance production. He has danced in works by choreographers such as Jirí Kylián, Nacho Duato, William Forsythe, Tero Saarinen, Sidi Larbi Cherkaoui, Mats Ek and Birgit Cullberg; and created roles in works by Jo Kanamori, Nicolo Fonte, Javier de Frutos, Regina van Berkel, Patrick Delcroix and Karole Armitage. He has starred in two short films by director Rocco Barriuso, The Providential Lack of Anything and Swimming, as well as the web video for HIVStigma.com and commercials for Nike, Blackberry and Hakim Optical. In 2011 and 2012 Tyler was featured in a durational live art and theatre installation, Obstructed View, by New York based artist Jonathan VanDyke. Jeremy Nasmith Jeremy Nasmith is the founder of Toronto’s Dance Teq Centre, as well as Director of Dance Teq. Jeremy teaches the Young Dancer Program as well as ballet classes with Dance Teq. Jeremy trained at the School of Atelier Ballet, and the National Ballet School under Glenn Gilmour. He also studied composition with Dr. Derek Holman. Having already performed and toured extensively with Opera Atelier in North America and Europe since 1986, in 1996 Jeremy joined the National Ballet of Canada, dancing soloist and principal roles, including Uncle Nikolai in James Kudelka’s Nutcracker, and Alain in La fille mal gardée and Puck in the Dream by Sir Frederick Ashton. While continuing to appear with Opera Atelier, Jeremy spent the next 7 years with the National Ballet of Canada, being awarded the rank of Second Soloist. In 2001, Jeremy the ballet left to pursue a freelance career in Toronto and Tokyo, while continuing as a guest artist with the National Ballet until 2008. Profoundly influenced by his time in Japan, Jeremy has choreographed more than 25 diverse works, including works for Ballet Jörgen Canada, the Fringe Festival, the Four Season Centre’s much-loved lunchtime concerts, Baroque Music Beside the Grange for the Royal Ontario Museum, and the Aradia Ensemble. Jeremy is also a noted fencer, experimental musician and fluent in Japanese. Sarah Lapointe, Charlotte Ballet I Sarah began her training in MD at the age of two, attending Mid-Atlantic Center for the Performing Arts until age 14. She studied at Baltimore School for the Arts before attending a summer intensive at The Rock School for Dance Education in Philadelphia, where she was offered a full scholarship to train under the direction of Bo and Stephanie Spassoff. She competed in Youth America Grand Prix and World Ballet Competition where she earned numerous top honors and awards for her ballet technique and artistry at both the regional and international level. Sarah has attended summer intensives with Bolshoi Ballet Academy, The Rock School and the Chautauqua School of Dance, where, in 2014, she was awarded with the Artistic Director Award for Overall Excellence and Faculty Award for Technical Merit. After being awarded National YoungArts Foundation Dance Finalist (Ballet, 2015) and receiving a nomination for U.S. Presidential Scholar in the Arts semi-finalist, in April 2015 Sarah was a guest artist with The Washington Ballet in the history breaking performance of Swan Lake featuring Misty Copeland and Brooklyn Mack. At age eighteen, she began her professional career and joined Charlotte Ballet. In 2017, Sarah was named one of Dance Magazine’s “Top 25 to Watch”. Watch Sarah Dance in "Transcendence: Hold On" Photo and Bio taken from charlotteballet.org Lexi Johnston, Charlotte Ballet I Lexi, from Kilgore, TX, started taking ballet classes at age 6 with Longview Ballet Theatre under the direction of Pat George Mitchell. After graduating from high school, Lexi continued her studies in classical ballet and contemporary dance at the University of North Carolina School of the Arts (UNCSA) under Susan Jaffe. She graduated in May 2015 with a BFA in Dance with a concentration in Ballet. At UNCSA, Lexi performed in works by George Balanchine, Twyla Tharp, Susan Jaffe, Emery LeCrone, William Forsythe and Ethan Stiefel. James Kopecky, Charlotte Ballet I Born and raised in the suburbs of Chicago, James grew up dancing at Dancenter North. He trained in ballet, jazz, tap, modern and musical theater. After high school, James studied at Butler University under Marek Cholewa, Susan McGuire, Derek Reid, Cynthia Pratt, Tong Wang, Stephan Laurent and Michelle Jarvis. In 2010, he graduated with a BFA in Dance and was offered an apprenticeship at Ballet San Jose under the artistic leadership of Dennis Nahat. In his second season, James was promoted to Corps de Ballet. Josh Hall, Charlotte Ballet I Josh started dancing at Lisa’s Dance Academy in Syracuse, NY. At age 8, he moved to North Carolina and started training at Dance Productions under Denise Britz-Clarke and Ed Phelan, and at Piedmont Dance Conservatory under Rebecca Massey Wiley and Daniel Wiley. He attended high school at the University of North Carolina School of the Arts where he studied under Warren Conover, Nina Danilova, Douglas Gawriljuk, Nigel Burley and Ethan Stiefel. Josh attended summer intensives under full scholarship with Miami City Ballet, Charlotte Ballet and Pittsburgh Ballet Theatre. Josh has performed as Siegfried in Swan Lake and as the Snow King and Cavalier in Nutcracker Watch Josh Dance in "Transcendence: Hold On" Photo and Bio taken from charlotteballet.org Cara Hansvick Cara grew up in Evanston, IL and began dancing at Dance Center Evanston under the direction of Bea Rashid. She continued her training at Indiana University where she received the Dean’s Scholarship to pursue a Bachelor of Science in Ballet Performance and an Outside Field in Arts Management. At IU, she performed leading roles in George Balanchine’s Swan Lake, Concerto Barocco, Serenade and Elegie; Merce Cunningham’s Duets; Antony Tudor’s Dark Elegies; and Michael Vernon’s The Nutcracker. She spent summers dancing at Chautauqua Institution, Hubbard Street Dance Chicago, Alonzo King Lines Ballet, Point Park University, and Milwaukee Ballet. In her two summers as an apprentice at the Chautauqua Institution, she performed in works such as George Balanchine’s Who Cares?, Jean Pierre Bonnefoux’s Three Overtures,Mark Diamond’s Bolero and Sasha Janes’ Four Seasons. Her choreography was chosen both years to be performed during the workshop showcase and was chosen as first place in 2015. Cara has also performed with Charlotte Ballet and Los Angeles', American Contemporary Ballet. Watch Cara Dance in "The Lark". Photo and Bio taken from charlotteballet.org Leah Chen A Native of New York City - Ballerina, Leah Chen is a student at the renowned School of American Ballet at Lincoln Center. She has studied ballet, piano, and violin since a young age, and maintains a busy schedule juggling dancing, high school courses, and college applications. Leah has spent consecutive summers dancing at several well-known intensives, including the Boston Ballet, San Francisco Ballet, and Opéra National de Paris Summer Intensives, as well as The Chautauqua Institution Summer Intensive Dance Program with Patricia McBride & Jean-Pierre Bonnefoux. Her choreographic composition was selected in 2015 as one of top three final winners to be displayed at the Final Dance Gala of the Summer in The Chautauqua Amphitheatre, with live music to Vivaldi's Winter. Past performances in productions with the New York City Ballet as a School of American Ballet student includes five years of Nutcracker, Mozartiana, Union Jack, Sleeping Beauty, Circus Polka, Twinkliana, and The Magic Flute. In her spare time, Leah enjoys reading, exploring Greek Mythology, taking ballet photography, consuming French desserts & pastries, and travelling to exotic beaches. She hopes to major in History and continue expanding her knowledge of famous Literary Works. Watch Leah Dance in "River Flows In You". Photo taken from Leah Chen - Instagram.
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6847	dbpedia	1	66	https://skyrastudios.com/zherlin-ndudi/	en	Zherlin Ndudi - Skyra Studios	https://skyrastudios.com…teIcon-32x32.png	https://skyrastudios.com…teIcon-32x32.png	[ "https://www.facebook.com/tr?id=833192390189949&ev=PageView&noscript=1", "https://www.facebook.com/tr?id=1378333455578734&ev=PageView&noscript=1", "https://skyrastudios.com/wp-content/uploads/2020/01/IMG_0727-1680x2520.jpg", "https://googleads.g.doubleclick.net/pagead/viewthroughconversion/852308076/?guid=ON&script=0" ]	[]	[]	[ "" ]	null	[]	2020-01-04T05:11:50+00:00		en	https://skyrastudios.com…teIcon-32x32.png	Skyra Studios	https://skyrastudios.com/zherlin-ndudi/	Zherlin Ndudi was born in St. Petersburg, Russia. He began his ballet training at age 7 at the State school in Donetsk, Ukraine. At age 9 he continued his training at Choreographic school of Vadim Pisarev and graduated in 2003. Zherlin began his professional career as a soloist at Donbass Opera (Theater of Opera and Ballet) and afterwards continued his studies at Hochschule fur Music and theater Munchen. In 2006, Zherlin joined Aalto-Ballett-Theatre in Essen, Germany and in 2007 joined Miami City Ballet as a soloist. Most recently, Zherlin worked as a principal dancer with the Phoenix Ballet and Ballet Arizona and Master Ballet Academy. He has perfumed on many prestigious stages around the world including Poland, Japan, Norway, Arabic Emirates, Germany, Holland, Korea, China, Switzerland, Moldova, Latvia, Bulgaria, Kazakhstan, Russia and the United states. International Achievements: 1st prize – Young Dancers Competition – Kiev, Ukraine 1st prize – Eurovision Competition – Amsterdam 2004 1st prize – Serge Lifar – Kiev, Ukraine, 2004 1st prize – Arabesque – Perm, Russia 2004 Grand Prix – Tanzolymp – Berlin, Germany 2005 2nd prize – Prix de Lausanne 2005 2nd prize – X International Ballet Competition – Moscow 2005 2nd prize – I Korean International Ballet Competition, Seoul, Korea 2007 Jury award – USA International Ballet Competition – Jackson, Mississippi 2006 Serge Lifar Prize – Awarded to Mr. Zherlin Ndudi in 2005 for Serge Lifar 100th anniversary. Repertoire: “Don Quixote” , “Le Corsaire”, “Nutrcracker”, “Cipollino”, “Spartacus”, “La Bayadère”, “Swan Lake”, “Sleeping Beauty”, “Romeo and Juilet”. Han’s van Manen – “Five Tango”, “Solo” George Balanchine – “Pas de Dix”, “Jewels”, “Bourree Fantasque”, “Ballet Imperial”, “SquareDance”, “Nutcracker”, “Symphony in C”, “Rubies”, “La Valse”, “Four temperaments” Albert Blaise Cattafi – “String of thoughts” Twyla Tharp – “Night Spot” Richard Amaro – “Lounge 2200” Albert Blaise Cattafi – “String of thoughts”
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After twelve years under Vladimir Derevianko’s directorship the Canadian Aaron S. Watkin took over the reigns. He thoroughly revitalized the company and adopted a new course for the repertory. The classics, already the company’s linchpin, were kept, but modern pieces were now strongly fostered. As a result, after almost a decade of constant work, the company receives much international attention. Ballets by William Forsythe, David Dawson, Stijn Celis and Aaron S. Watkin are its signature features. Recently I spoke with five leading dancers about their backgrounds and how they experienced the company’s development. A splendid dancer with a charming personality, Raphaël Coumes-Marquet stands out from the ensemble in the truest sense of the word: he is 6 feet, 3,6 inches (1,92 m) tall. Seasoned, a refined technician and accom- plished actor, he is a treasured dance part- ner not only for tall ballerinas. As the forty-year-old will retire from stage at the end of this season, it was a good opportunity to look back on his career. Coumes-Marquet was born in Besąncon in France. Music was a core element in his family: Raphaël’s grandfather was a professional saxophonist, his mother played the clarinet in the city band and his father plays the guitar. As a little boy, Raphaël started to take clarinet lessons at the conservatory but quit when he lost his baby teeth. Might he have become a musician otherwise? In any case music appealed to him and made him jump around and dance. At age eleven, he was admitted to the School of the Paris Opera Ballet. Three years later knee injuries forced a rest of six months. The fourteen-year-old had grown over 8,3 inches (21cm) within two years and looked “like a spaghetti”. Lacking muscles it was difficult for him to make his lanky limbs do what he wanted them to do. “The other boys’ jumps grew in power and agility” Coumes-Marquet remembers, “and though I was quick in my mind and knew exactly what to do the music was already finished before the information reached my feet.” His knees couldn’t sustain the strain. But when he resumed training Coumes-Marquet was way below the level of his class and had to catch up. Nevertheless, Claude Bessy, then director of the Paris Opera Ballet School, noticed the boy’s potential, allowing him to finish his education, but he had lost the option to enter the opera ballet’s company later. A hard lesson for the teenager, but, in retrospect, fortunate. Although he needed time to gain self-confidence, to feel good with himself, his mind opened up, developing in directions towards other companies outside the orbit of the Paris Opera. He learned to work harder, to focus, to fight his way. “Compared to a shorter dancer I need more training to built up muscles. I go to the gym, work on my fitness – that’s not given to my body by nature. Other male dancers might have to stretch more to be able to split. That’s by comparison easy for me.” After graduation Coumes-Marquet’s parents saw an announcement in a ballet magazine for an audition at the Ballet Nice Méditerranée. Actually going to Nice wasn’t Coumes-Marquet’s ambi- tion – his dream desti-nation was John Neumeier’s company in Hamburg – but he wanted to have a job and training. At the time the audition in Nice took place, Jean-Christophe Maillot was also holding one at Les Ballets de Monte Carlo. Coumes-Marquet took the opportunity and was fortunate. He stayed four years with Les Ballets de Monte Carlo, worked with Maillot and other choreographers and danced many Balanchine ballets. At age twenty he was already a soloist. But he felt himself too young to stay in one place. Being adventurous he wanted to explore the world. Also returning to a grander opera house, to the classical repertory he had grown up with in Paris, tempted him. Thus Coumes-Marquet joined the State Ballet Vienna. Its repertory – the big classics by Nureyev, “Swan Lake” and “Romeo and Juliet” – was what he had dreamed of. Once there, the Russian training polished his technique. But, recognizing that the company’s strict hierarchy would prevent him from being cast in leading roles within a reasonable time, Coumes-Marquet left to join Dutch National Ballet after one season. “There I felt one hundred percent in tune with what I danced. I found myself as an artist. It was the company I grew in most” he continues. “One hundred and fifty shows per year – I was virtually on stage the whole time. It was wonderful!” Above all, he met the choreographer David Dawson. Thus began a creative collaboration which Coumes-Marquet describes as a “long term highlight”. Eight years later, in 2006, Watkin invited him to join the new company of Semperoper Dresden. As Dawson had already gone to Dresden to become resident choreographer, Coumes-Marquet didn’t have to think twice. Watkin brought thirty-five new dancers in along with himself when he took over as artistic director, meaning more than fifty percent of the company was new. Coming from all over the world they didn’t know each other. “It was not competitive but there was a certain tension in everyday work. We all had to prove ourselves. Each of us had to find his or her position within the group. At the same time we were busy preparing the first program. The ground was actually on fire! All those amazing dancers: Jiří Bubeníček, Natalia Sologub, Yumiko Takeshima, Dimitry Semionov, Bridget Breiner – I have certainly forgotten some. Now, after almost ten years the company has found its rhythm. Though going to Hamburg Ballet never came off, Coumes-Marquet danced leading roles in all three Neumeier ballets which for some years were kept in the Semperoper’s repertory. He was Drosselmeier in “The Nutcracker”, Oberon/Theseus in “A Midsummer Night’s Dream” and, as one of his most fulfilling experiences, the King in “Illusions – like Swan Lake”. Many turning points have marked his career. Yet Coumes-Marquet rather considers that he has followed a somewhat predetermined path. He tries to look at his roles with a fresh eye, to take class anew every day, even if it isn’t easy every morning after twenty-five years. He will give his farewell as King Marke in Dawson’s “Tristan + Isolde”. “A mature role, symbolically significant, which fits my age and my situation.” Afterwards, Coumes-Marquet will join the team behind the scenes of the Semperoper Ballet. I was impressed when meeting Sangeun Lee. Not only because of her height – a remarkable 5 feet,11 inches (1,82 m) – but especially because of the South Korean’s outspokenness. Traditionally restraint and acquiescence are her culture’s attributes. Lee, however, got her own way. Born in Seoul, she was encouraged by her mother to try various leisure activities: painting, skating, lots of sports in general and also ballet. Ten-year-old Lee soon found pleasure in the ballet classes. “I was never bored, instead I always easily stayed focused”, she tells. “Dancing just felt great!” No one in her family has a connection to dance; her one year younger brother became a pilot in the army. Lee was enrolled at the Sunhwa Art Middle School. Then later, she attended the Sunhwa Art High School for another three years. (The Sunhwa School is one of the most prominent for visual arts, music and dance in South Korea.) There she received a solid training in the Vaganova method. Usually students are expected to enroll at the university after graduation, for example for a degree course in pedagogy as well as keeping up with dancing. Not so Lee. “The career of a dancer is short and I thought instead of wasting four years at university I would go entirely for ballet.” That caused some fights with her parents who wanted to provide her with a second education for the time when her career as an active dancer would end. But Lee finally got her way. She joined the Universal Ballet Seoul, one of the four professional ballet companies in South Korea. The idea of going to Europe had arisen earlier when her school sent her to compete at the Prix de Lausanne, an event which again proved Lee’s stamina and resilience. In 2003, after months of preparation, she was denied entrance into the competition when she arrived in Switzerland because of her thinness. She already had her adult height but lacked muscles. One year later and having put on weight, Lee tried again and made it all the way to the final. Although she slipped and fell in her last performance, she remembers the competition fondly. She had received much applause in the quarter final and semi final, but for her the most striking experience was that people came round afterwards to thank her. “Well done! or Good job! is how people in Korea usually comment on a well-made show but no one says Thank you! It feels so good! I felt respected as an artist! Actually since then I wanted to come to Europe.” Lee concludes. Among her array of awards are the gold medal in the Korean Ballet Competition (2004) and the Grand Prix in the International Ballet Competition in Seoul (2005). In the Ballet Competition in Varna she took third place in 2008. Yet Lee had made up her mind. Not only because of her experience in Lausanne but finally because of the repertory. Universal Ballet Seoul first and foremost fosters full-length, classical story ballets like “Swan Lake” and “Sleeping Beauty”. Contemporary pieces were comparably rare during Lee’s time. But every year there was one big contemporary evening and when Laura Graham came to Seoul to stage Forsythe’s “In the Middle, Somewhat Elevated” Lee was smitten. Forsythe’s style felt great to her! Staying in touch with Graham, who was ballet mistress and choreographic assistant of Semper- oper Dresden, she made her first connection with Saxony’s capital. Watching videos of various European ballet companies and putting out feelers to various companies such as the Dutch National Ballet and Les Ballets de Monte Carlo, Lee kept her eyes open for a new venue. She auditioned at several other companies, but being tall complicated matters. In Seoul it had already been difficult to find her appropriate dance partners. Generally many companies look for ballerinas at under 5 feet, 6 inches (around 1,67m) maximum height. However, Watkin chose her immediately. After five years with Universal Ballet Seoul, Lee, already a first soloist, made her move. Thinking back to her start in Dresden in 2010, she admits it had been a difficult time. First she had to learn English, yet English isn’t a surefire tool for everyday communication in town! Dresden’s population mainly speaks German tinged with an Saxon accent. But after Lee had mastered working in the company’s large repertory she started to learn German. Being able to place an order at a local cafe in flawless German makes her happy. Half a year ago Lee’s parents came to Germany for the first time to see her in “Swan Lake”. She made them very proud. Catching up with the modern repertory and different styles was one thing, but it was quite another matter to overcome her reserve. “In Korea you simply do what you are told to. You are not expected to question or to even start a discussion. But here ballet masters ask, for example, how certain movements feel to me. That was completely new! I began listening to my inner voice which opened a much wider spectrum to interpret a role.” In addition, when cast in a piece yet to originate, she is now actively involved in the creative process which was hard at first. In Korea she had been confined to fixed roles. Though still a bit shy, the twenty-eight-year old tackles the challenges boldly and laughs a lot. Seeing herself in a growing process she is grateful for the many opportunities that have been given to her so far. In 2013 she was promoted to first soloist. She has mastered the technique required for Balanchine ballets, enjoys pieces by Forsythe very much and currently rehearses for her debut as Myrtha in Dawson’s “Giselle”. (It took place in mid April and Lee did well!). “Giselle” is one of her favorites: “In the second act we dance in a dark space, only dimly lit by a huge, full moon. All Wilis are veiled. There has to be a special atmosphere. As Queen of the spiritual beings I want to establish this certain mood. Technically I have to be grounded rather than airy, because being covered by a veil makes it difficult to orient myself and the spotlights can be dazzling as well.” Anna Merkulova is a petite, blond woman exuding calmness and thoughtfulness. Born in Donetsk, we broach the current political situation in the Ukraine. Merkulova’s family still lives there. Though fortunately her family’s house was spared from bombing, the food supply currently is highly problematic as relief supplies are not coming through. A burdensome situation for the ballerina who can hardly do anything from the outside. Merkulova has danced in the company since 2006, Semperoper Ballet becoming her artistic home. The path leading to Dresden was an interesting one: An active child but unfamiliar with ballet, seven-year-old Merkulova was taken by her mother to a governmental ballet school offering ballet classes, gymnastics and musical education. The children had to undergo a small audition in advance, their musicality and flexibility were tested and they were asked some questions, for example, Do you like eating cakes? When little Anna told afterwards that she had answered “Yes, of course I like cakes!” her mother was almost convinced that the school would reject her. After some time they came back to check the list with the names of the youngsters who had been admitted which had been posted on the school’s door. However Anna’s mother couldn’t find her daughter’s name. She became really upset and the two started walking to the bus stop but after one block of houses stopped, turned round and checked again. Lo and behold, Anna’s name was on the list but her mother had overlooked it! If they hadn’t returned, no one would have called and informed them about her being approved. Two years later Vadim Pisarev, a famous Ukrainian dancer, and his wife, prima ballerina Inna Dorofeeva, established the Choreographic School in Donetsk, also known as the Vadim Pisarev Ballet School, the first private, educational institution of its kind in the Ukraine. Associated with the local Opera and Ballet Theatre, its goal was to train professional dancers. Anna’s teachers intended for her to enroll there but Anna’s mother refused. No way! But begged by the teachers, Anna’s parents took a look at the new school’s opening. Arriving there Anna was supposed to participate in an audition class but had brought along no proper training wear. While Anna’s teacher distracted her parents in a talk, she was outfitted in a tricot and put into class. By the time her parents finished talking, Anna was already happily running out declaring “Mum, they took me!” Her mother wasn’t pleased but Anna threatened with “If you don’t let me go I won’t ever come out of my room again!” prompting her mother to relent. Her sister who was six years younger later followed in Anna’s footsteps. She also became a dancer, performing in musicals in Donetsk’s opera. During her education Merkuluva had already appeared with the Ballet Theatre’s ensemble. After graduation she continued dancing with the company for one year before setting off “trying to find her place on earth”: She danced as soloist in the Fouette Youth Ballet in Estonia, then with smaller companies in Florida and Houston. Watkin spotted her in early 2006 during her one-year engagement at Copenhagen’s Tivoli Pantomime Theatre. He offered her a contract with the Dresden company and upon hearing about Watkin’s plans for the first season she immediately accepted. Watkin had scheduled the very same ballet she had been fascinated by when first seeing it as a little girl in the ballet school at the annual dance festival in Donetsk: “In the Middle, Somewhat Elevated”. Although Forsythe was largely unknown in the Ukraine, this ballet stuck in Merkulova’s memory. The opportunity to dance it herself was irresistible! Merkulova loves both classical as well as modern works. She excels in story ballets like “Sleeping Beauty” choreographed by Aaron S.Watkin after Marius Petipa, “Cinderella” and “Romeo and Juliet” by Stijn Celis that allow her to develop a character. (Jón Vallejo had been her Romeo). In Dawson’s “Tristan + Isolde” she danced Isolde (with István Simon as Tristan) and Brangäne, Isolde’s best friend. “It is like living a separate life for one or two hours. Afterwards, when the curtain goes down, I’m in between two worlds for some time and need to come back to earth again.” In the Dawson and Forsythe pieces Merkulova feels especially at home. If she had been born earlier she might have ended in Forsythe’s Frankfurt Ballet company (which was dissolved in 2004). Luckily there’s a close connection to the subsequently founded Forsythe Company, which has its second home at the Festspielhaus Hellerau close to Dresden. Its staff comes regularly around to rehearse pieces with the Semperoper company. Ascending the ranks from corps de ballet to first soloist in 2013 allowed her to get to know some of the productions’ various roles inside and out. In Celis’ “Sleeping Beauty” Merkulova was initially cast as a little girl doing some pantomime. She went from that to Aurora. Asked about how she would cope with difficult times, how she would keep her motivation high, Merkulova explains that anger would be a psychologically useful tool to keep her alert. If she has to dance “In the Middle, Somewhat Elevated” while being upset, it would be perfect. “Even if the role demands that I smile it helps me if I’m a bit annoyed.” Regardless of the character she has to portray it is easier for her to express different facades of her personality when she is on stage. Entering the stage vaults her into another world. Watching performances, by comparison, makes her feel awkward. “My place is up there on stage not in the audience” Merkulova is not a party-goer, huge groups and loud music weary her. She rather likes to be with close friends, enjoys reading or biking along the Elbe in summer. Sitting around soon makes her moody and grumpy; she needs frequent physical workouts. Constantly searching for new experiences Merkulova highly values the Semperoper Ballet’s varied repertory. Different styles of movement attract her; being challenged keeps her interest. That is exactly the case in Dresden. She is looking forward to MacMillan’s “Manon”, scheduled for the next season. Maybe the leading role in “Giselle” awaits her as well. Short Jón Vallejo is magnetic on stage. Attributing this to his technical prowess, his panache or acting talent would miss the mark. When asked, he couldn’t state particular reasons nor seemed to have wasted much time thinking about that before. Having a special aura seems to be his natural condition. “I guess it is because I’m honest when performing. I never pretend anything. What you see comes from inside. When on stage I forget everything around me. It is just this moment, this music, this feeling. I try to let my emotions through without adding or holding back anything. They are pure.” When tackling a new role, for example for a story ballet, his initial approach is of course more rational than emotional until his ideas merge with the choreographer’s. But analyzing a role in detail and converting his thoughts into movement isn’t Vallejo’s main focus. Cognitive examination is part of the daily class in front of the mirror. In terms of the artistry of passing emotions to the audience he relies entirely on his intuition. Vallejo was born in San Sebastián in northern Spain. As a little boy he was intensely active and participated in all different kinds of sport. His mother, who was passionate about taking ballet classes as a hobby, enrolled him, aged four or five, and his two siblings at the local dance studio Thalia Mentxu Medel. He enjoyed dancing and when his talent became apparent things became more serious. In 2000, after participating in some competitions, he was invited to train with Carmen Roche at the Conservatory for Professional Dancers in Madrid. When Roche founded a small company, Vallejo was in. A thrilling period in his early career ensued. The group toured Spain by bus and worked with a number of choreographers, among whom was Goyo Montero, who is now artistic director of the Nuremberg State Theater’s ballet. Although only sixteen or seventeen years old, Vallejo had leading roles created on him: Othello in “Desde Otello” or Romeo. He felt incredibly fortunate! In 2005 he embarked on Nacho Duato’s Compañía Nacional de Danza 2 in Madrid for one year, got to know the mechanics of a much bigger company and immersed himself in a totally new repertory. He also worked with Tony Fabre. “An excellent teacher, ex-dancer of Béjart’s Ballet of the XXth Century, the Béjart Ballet Lausanne and subsequently Duato’s assistant.” In 2006, after Watkin saw some performances of Duato’s troupe, he offered Vallejo an engagement in Dresden. As he does when dancing Vallejo trusts his gut instincts when having to make a decision. At the time he felt instantly attracted. Again, he plunged into a project which was about to get started. Already set works never tempted him. Thinking back to his beginnings in Dresden the multitude of different characters in the group struck him most. Watkin had picked strong personalities. Bringing them together resulted in something extraordinary but it could have been a bomb as well. Luckily, ruinous explosions didn’t take place, instead the melting pot of dancers began to emit more and more sparks. “Sometimes we sit together and recall the different impressions we had of each other at first.” Vallejo laughs, “it was a beautiful time!” The Spaniard soon ascended the ranks from coryphée to first soloist. A versatile dancer, he is at home in the classical as well as in the contemporary style. He concedes, though, that doing the classics is harder. Yet restricting oneself to one style would be anachronistic these days. Usually, Vallejo dances good or even funny guys in story ballets that fit his personality: The Prince in “The Nutcracker, Romeo, the Bride’s Groom in “Giselle”, Mercutio or Gremio in Cranko’s “Shrew”. But recently he had to depict a negative character for the first time: Melot in Dawson’s “Tristan + Isolde”, the jealous man revealing Isolde’s love affair with Tristan to King Marke. “Being Melot was especially interesting, actually a challenge, because Fabien (Voranger), who usually is cast as the bad guy, this time was Tristan. Things were a bit the other way round. I had to first unearth some dark emotions which I could work out.” Returning to his drive to participate in new projects, Vallejo states Dresden would unvaryingly be the right place for him, but he objects to my phrasing of “feeling comfortable”. “If I start to feel comfortable in terms of settling back it would definitely be time to leave. There has to be a challenge, a personal or a private one.” Having opportunities to guest abroad is important for him. Getting to know people, introducing oneself to other companies and also representing his home company is enriching. Recently he guested with Anna Merkulova in Madrid. One weekend later he shone during a gala in Nuremberg with Fabien Voranger and Jiří Bubeníček. When Jiří and his brother Otto perform elsewhere Vallejo is regularly in on it. The trio is well-attuned to each other. Accompanying the Bubeníčeks to Japan several times has especially stuck in his mind. Over the years he has developed a proper balance between his professional and private life. Thus folding up his tent in Dresden is not an issue for Vallejo. He likes to spend time with friends, to have a good talk, to socialize, to reunite with his family during the summer break. Cooking is a pleasure for him, as is playing the piano and composing music. Cur- rently he is working on creating a table game about the Semperoper together with a friend which might be available for sale in the opera’s shop at some point. In any case, regardless of what he sets about, he seems to be centered and at peace with himself. Realistic and grounded, he finds ups and downs are natural. “Before climbing another peak one has to touch the low-point. It is helpful to set a personal floor and ceiling and try to oscillate in between. If you go below and fall into a sort of limbo then it is hard to climb out.” Some weeks ago Vallejo suffered an injury during a performance. Although still forced to rest he radiates confidence. The rehab-training is already scheduled, recovery is certain, the next performances loom on the horizon. One wished him good luck! Elena Vostrotina laughs heartily when I tell her that she had shocked me as Lady Capulet in Stijn Celis’ “Romeo and Juliet”. She had worn an ultrashort pink dress, pumps and a large, purple hat. Purple, on top of red hair! “A beautiful costume! I loved it!” she states. A tall woman, she was absolutely unmissable on stage. Born in St. Petersburg, Vostrotina is a single child. Her mother danced in the corps de ballet of the Kirov Ballet, today’s Maryinsky Ballet. Elena grew up in the theater. Dancing and moving the whole time, she started ballet lessons aged five; entering the Vaganove Ballet Academy was the natural consequence. Nineteen-years-old and in her first year with the Maryinsky company, she had her debut as Odette/Odile partnered by Danil Korsuntsev. Around that time, in early 2005, Watkin, then choreographic assistant to William Forsythe, set “Steptext” at the Maryinsky which was part of its first Forsythe evening. Vostrotina wasn’t cast but she had attracted Watkin’s attention when performing another piece. Thus he asked her to participate in the rehearsals. Vostrotina, eager to explore a wider repertory, already had a clear idea of going abroad one day. Contemporary and modern pieces interested her. An offer of a position in Watkin’s company arrived opportunely. In hindsight leaving Russia was also important to start her standing on her own feet. “I’m very close to my parents, a real home chick. I turned twenty-one when coming to Germany and suddenly had to organize my life by myself. I felt super young, like a baby. It really happened that I called my mum, asking her how she would boil the pasta!” – “At least I know how to cook now” she adds with a laugh. “I didn’t really speak English, let alone German. I learned them from the people in the company.” Arriving in Dresden in 2006 she had three weeks left to prepare for the opening bill: “Symphony No. 2” by Uwe Scholz, “In the Middle, Somewhat Elevated” by Forsythe and Kylián’s “Petit mort”. Her pioneering spirit was an advantage: “It was crazy! We worked from 9.00 am to 10.00 pm. Basically it felt as if settling in the opera. The shops were always closed when we finished rehearsal. Often the fridge at home was empty – given there was a fridge at all in the new apartment. When one day was free, everyone was hurrying to go shopping. Actually it had been a fantastic time! It bound us together! Sometimes we jokingly count who of the first group, the dinosaurs, still is in the company.” Like her colleagues Vostrotina highly appreciates the chance of working with different choreographers. “To me Forsythe is a genius! We were somehow spoilt as his company used to perform here twice per year. Plenty of his ballets are in our repertory, we have been really privileged to have worked so often with him. Sometimes, other choreographers come round for only a few days but he worked intensely with us. That was great! I’m very grateful to dance in his ballets. The same applies to David (Dawson). He created several pieces with us, “Giselle” and recently “Tristan + Isolde”. One becomes familiar with the respective style and acquainted with the personality.” Nevertheless guesting with other companies attracts Vostrotina. “For some time now we have had more individual guest appearances. Touring the company has also come into focus. It took some time but now we start to make our mark out there. Yet it is a pity that many good shows weren’t noticed appropriately in earlier times.” Asked if the audience changed with the company’s evolvement, Vostrotina says Dresden’s audience had been and would be an educated one, always responsive and easily enthusiastic about a good show. However some years ago the opera had undergone a crisis, although the company was offering a fantastic program. Maybe a side effect of the global economic crisis? Many seats in the orchestra stalls stayed empty yet the small audience applauded like mad. “It is a bit like it happened a few times when still at school. When only a handful of students showed up in class – presumably to the teacher’s disappointment – we worked even more intensely and got so much attention that we went home, exhausted, but profoundly happy.” The Russian likes the classical as well as the modern repertory. Dawson created the role of Myrtha on her – a less malicious one compared to other classical versions, with Stijn Celis she worked amongst others on the part of Lady Capulet mentioned above. Asked about roles still on her wish list Vostrotina bursts out with “Everything! There is so much left to do!” Juliet would be a dream, next to a tall Romeo. The female parts in Forsythe’s “Quintett” and “Bolero” from Béjart. “Béjart isn’t in our repertory but who knows…” Interested in looking beyond the horizon Vostrotina loves to act, though she is scared by the idea of having to speak on stage. “We are trained to express everything without words. Ohad Naharin made us sing and shout in “Minus 16”, but we were shy in the beginning.” She enjoys biking along the river, watching movies or doing things with her hands, like sewing little creations which she gives away to friends as presents. Design in general attracts her: costumes, fashion or furniture. Vostrotina also experimented with teaching. Two years ago she taught a summer course at the Palucca School nearby for a fortnight. “An amazing experience! I started to reflect upon how I do things, to reevaluate. I suppose I learned more from the kids – psychological issues, for example – than they from me. We had a little performance afterwards and I remember two girls, who didn’t train professionally but rather participated for their own pleasure. They were the ones really dancing with their hearts. Their dance was so clear and they were absolutely present on stage! Witnessing that was the most rewarding! Some months ago I watched a ballet master class for other teachers in Dortmund. They, too, worked hard. Incredibly dedicated! Two pirouettes and even went one better! Their passion and respect for the art inspired me immensely. Regardless what you do it is utmost important to love it! To give your best even if you are not immediately turning into a high flyer. One needs discipline, basic everyday discipline.” A portrait of Jiří Bubeníček, principal dancer of the company since 2006, will follow in autumn this year. (All interviews have been edited for clarity.)
6847	dbpedia	2	64	https://www.operaonvideo.com/prince-igor-donbass-opera-2023-vladislav-lysak-anastasia-melnikova-andrey-krivokhata-vadim-volovchuk/	en	PRINCE IGOR Donbass Opera 2023 Vladislav Lysak, Anastasia Melnikova, Andrey Krivokhata, Vadim Volovchuk	https://www.operaonvideo…/capture-345.jpg	https://www.operaonvideo…/capture-345.jpg	[ "https://operaonvideo.com/wp-content/uploads/2018/08/OperaonVideo2a-1.jpg", "https://www.operaonvideo.com/videos/waving.gif", "https://www.operaonvideo.com/videos/waving.gif", "https://www.operaonvideo.com/wp-content/plugins/wti-like-post/images/pixel.gif", "https://www.operaonvideo.com/wp-content/plugins/wti-like-post/images/pixel.gif", "https://www.operaonvideo.com/videos/requestdownload1.jpg", "https://secure.gravatar.com/avatar/7a661764478c78948ffbcab2f445f6a8?s=50&d=identicon&r=g" ]	[ "https://www.youtube.com/embed/eJwRwZcaIKc?feature=oembed&wmode=opaque&rel=0&showinfo=0&iv_load_policy=3&modestbranding=0" ]	[]	[ "" ]	null	[ "Flamand" ]	2023-08-29T11:03:05+02:00		en	https://www.operaonvideo…ideo2a-50x50.jpg	Opera on Video	https://www.operaonvideo.com/prince-igor-donbass-opera-2023-vladislav-lysak-anastasia-melnikova-andrey-krivokhata-vadim-volovchuk/	Home Borodin PRINCE IGOR Donbass Opera 2023 Vladislav Lysak, Anastasia Melnikova, Andrey Krivokhata, Vadim Volovchuk FULL PRINCE IGOR Donbass Opera 2023 Vladislav Lysak, Anastasia Melnikova, Andrey Krivokhata, Vadim Volovchuk (Visited 331 times, 3 visits today) &nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp Info about this performance FULL VIDEO Read or write comments FULL PRINCE IGOR Donbass Opera 2023 Vladislav Lysak, Anastasia Melnikova, Andrey Krivokhata, Vadim Volovchuk 100% 2 Likes Video Recording from: YouTube&nbsp&nbsp&nbsp&nbsp FULL VIDEO &nbsp&nbsp&nbsp&nbsp &nbsp&nbsp&nbsp Information on the Performance Work Title: Prince Igor aka Knyaz Igor &nbsp&nbsp Composer: Borodin Alexander&nbsp&nbsp Libretto: Alexander Borodin &nbsp &nbspLibretto Text, Libretto Index Venue & Opera Company: Donbass Opera &nbsp Recorded: August 17, 2023 Type: Staged Opera Live Singers: Vladislav Lysak, Anastasia Melnikova, Andrey Krivokhata, Vadim Volovchuk, Maxim Alekseychuk, Svetlana Sytnik, Gudoshnik, Igor Rudenko Conductor: YURI PARAMONENKO&nbsp&nbsp Orchestra: Choreographer: VADIM PISAREV&nbsp&nbsp Stage Director: ALEXEY GOROBETS&nbsp&nbsp Stage Designer: IRINA DOLGOVA &nbsp Costume Designer: IRINA DOLGOVA &nbsp&nbsp Lighting Designer: IZABELLA NIKOLAENKO&nbsp&nbsp Information about the Recording Published by: Donbass Opera&nbsp&nbsp Date Published: 2023&nbsp&nbsp Format: Streaming Quality Video: 4 Audio:4 Subtitles: nosubs&nbsp&nbsp Video Recording from: YouTube&nbsp&nbsp&nbsp&nbsp FULL VIDEO &nbsp ADDITIONAL INFORMATION ON THIS PERFORMANCE (Visited 331 times, 3 visits today)
6847	dbpedia	3	53	https://www.gramilano.com/2014/07/young-american-at-the-bolshoi-julian-mackay-wins-sochi-and-istanbul-medals/	en	Young American at the Bolshoi: Julian MacKay wins Sochi and Istanbul medals	https://i0.wp.com/www.gr…y-Gold-Medal.jpg	https://i0.wp.com/www.gr…y-Gold-Medal.jpg	[ "https://i0.wp.com/www.gramilano.com/wp-content/uploads/2023/08/cropped-Gramilano-logo-2023-jpg.webp?fit=500%2C119&ssl=1", "https://i0.wp.com/www.gramilano.com/wp-content/uploads/2014/07/Maria-Sascha-and-I-celebrating-my-Gold-Medal.jpg?resize=492%2C500&ssl=1", "https://i0.wp.com/www.gramilano.com/wp-content/uploads/2014/07/La-fille-mal-gard%C3%A9e.jpg?w=220%7CTAXOPRESSENTITY038TAXOPRESSENTITY%7Ch=163%7CTAXOPRESSENTITY038TAXOPRESSENTITY%7Cssl=1", "https://i0.wp.com/www.gramilano.com/wp-content/uploads/2014/07/Flames-of-Paris.jpg?w=220%7CTAXOPRESSENTITY038TAXOPRESSENTITY%7Ch=143%7CTAXOPRESSENTITY038TAXOPRESSENTITY%7Cssl=1", 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"https://www.gramilano.com/wp-content/uploads/ninja-popups/bg_color.png", "https://www.gramilano.com/wp-content/uploads/2024/06/cross.png", "https://www.gramilano.com/wp-content/uploads/2024/06/cross.png" ]	[]	[]	[ "" ]	null	[ "Gramilano", "www.facebook.com", "Graham.Gramilano.Spicer" ]	2014-07-13T20:08:26+02:00	The (other) American at the Bolshoi, 16-year-old Julian MacKay, has been winning medals at the international ballet competitions at Sochi and Istanbul. Of	en	https://i0.wp.com/www.gr…it=32%2C32&ssl=1	Gramilano	https://www.gramilano.com/2014/07/young-american-at-the-bolshoi-julian-mackay-wins-sochi-and-istanbul-medals/	The (other) American at the Bolshoi, 16-year-old Julian MacKay, has been winning medals at the international ballet competitions at Sochi and Istanbul. Of course there are lots of ballet competitions and lots of medals, even if these particular competitions are important ones, but what is incredible is that he was representing the Bolshoi Academy at Sochi. An American in Paris doesn't surprise anyone nowadays, but an American in Moscow – especially at the very Russian and prestigious Bolshoi – is still a rarity, and to represent the Academy, a first! The Bolshoi always selects their top students to go and represent them. Sochi is held every two years and I really wanted to be a part of this Russian Competition before I graduate next Spring, said Julian, returning to Moscow after his whirlwind two-week adventure on the competition circuit. David Hallberg is trailblazing the way as the first American to be part of the Bolshoi Company, and others went through the Academy before Julian, (including the gloriously named Mario Labrador who now dances with the Mikhailovsky in St Petersburg), but to represent this great Russian institution in Russia itself is an outstanding achievement. I have worked hard at the Academy for five years, speak Russian fluently, and the Director, Marina Konstantinova Leonova, told me that even though I am an American, “You're ours!” I was required to show her my variations a few days before, and she approved! The preparation wasn't easy as the set pieces for Sochi had to be prepared outside his commitments to the Academy's own programme. I worked with my teacher, Mikhael Sharkov, but had to rehearse at the same time for three shows with the Bolshoi Academy. Two were in the Bolshoi Theatre, where I danced a lead role in Nacho Duato's L'Amorosa. Also there was a Hungarian character piece. This was all while learning six new pieces for Sochi! It was a challenge to keep all the choreography clear in my mind. The week before the competition I learned two new contemporary pieces, which were choreographed on me by Alisher Khasanov. I love working with him, he's great! I also had help on the classical variations from another coach, Nicolai Tikhomirov in Moscow. I am really thankful that Russians love ballet so much and are willing to help so readily when you ask . I am also grateful to the people who helped me get costumes for the competition from the Bolshoi Theatre. Although Julian is aware of his own abilities, and has the support of his rather exceptional family, he is not pushy or arrogant. He seems to be, in fact, rather like Hallberg in character, physique and onstage presence. I was excited, then worried, then exhausted… and then just thought, “Well, I'll just do my best”. The Sochi competition, called “Young Ballet of the World“, was set up by Yuri Grigorovich in 2006 as a junior version of the Prix Benois de la Danse, which Grigorovich has chaired since it was established in 1992. When I passed through the first round of Sochi I was more confident. For the second round, I just had fun, and I knew it went well. A few of the judges came back to congratulate me, and said they really liked my pieces. I was very nervous for the last round, as I had not rehearsed as much as I wanted. It went great! I was happy to win a medal, and it was an honour to be judged by such ballet legends. The best moment was when Yuri Grigorovich said, “This is a great victory,” as he hung my medal around my neck. An American from the Bolshoi had never won a medal at Sochi before. I was proud to represent the Bolshoi, and the Director said she was proud of me also. A great moment was when the dancers from the older category were cheering for me backstage. That really meant a lot. And the after party was a lot of fun! What Julian and his mother, Teresa, hadn't realised, however, was that medal winners were expected to perform not only in the closing gala in Sochi, but also in Krasnodar two days later with the Yuri Grigorovich Company. That meant a nine-hour train journey to get there for the gala which was on the same day that Julian was due to start at the Istanbul Ballet Competition. No time either to return to Moscow to pick up the costumes for Turkey. The journey to Krasnodar was an adventure in itself, as Teresa explains, We got stranded for 2½ hours without air or open windows. It was funny later, but exhausting, as it was unbearably hot. It was mostly filled with Russians who had been on vacation at the Black Sea, and wore no shirts, with little kids running around in their underpants. As Julian notes, Wow, so hot in there!!! No air… Now we know why none of the Bolshoi teachers came, haha! At Krasnodar, Julian performed two of his pieces from the competition – Albrecht's variation and a contemporary work, Cuban Nutcracker – which went so well that he was even offered a job. At one-thirty in the morning they left for the airport to get the night plane for Istanbul. A two-hour flight over the Black Sea and they arrived just in time for the competition, but not in time to sleep! The International Istanbul Ballet Competition has reached its fourth edition and is attracting much attention and important names from the dance world. In Istanbul everyone was really nice and supportive, dancers from the company there came and gave me tips, they are all so great to work with, says Julian. I danced new pieces that I had not danced before, both Don Q, Paquita, and a new contemporary work called Pointe of Origin. But he didn't have costumes. Two of the dancers at the Sochi competition had rallied round and lent him theirs – “they were awesome!” – and for the modern piece he managed to buy something suitable in Istanbul. His sister, Maria Sascha Khan, who dances with the Bayerisches Staatsballett, flew over to put him through his paces, putting the finishing touches on variations he didn't know that well, and even completing the choreography for the modern piece. The result was that he won the gold medal in the Juniors section. Istanbul was surreal: Vladimir Malakhov gave me my medal, and Irek Mukhamedov said “Great job, keep going!” My favorite comment after winning Gold in Istanbul was from Judge Vadim Pisarev, who also judged two days before in Sochi; he said, “Sochi was just a rehearsal!” The medal winners, as in Sochi, went on to dance in the closing Gala. I had the privilege of dancing in the Gala of Stars with Vladimir Malakhov and Beatrice Knop, who I met seven years ago in Berlin when my sister danced there! It was a great moment to be on stage with them! After winning the Gold medal in Istanbul I was really, really happy! I won two medals and did three Galas in the span of two weeks. I was exhausted, but it felt right because I had given all I had to my performances. Winning competitions is much more than receiving bits of metal on ribbons and a certificate to hang on the wall. It's about experience in front of an audience and colleagues, confronting fears, and getting recognition; outside the school it gives an idea of your place on the world stage, and what you need to work at if you want to climb up the rankings. It's not athletics, there are no absolutes, so competitions are always subjective affairs. Even if a young dancers is not placed in one event, it doesn't mean that he won't be getting a medal at another. I have already heard from several onlookers in Sochi who were astonished that Julian didn't get the gold medal there too, but each judge has his or her own way of seeing things. Competitions are there to be exploited by young talent, and if you can't come out at the end with your head held high – winner or loser – then the world of professional dance probably isn't for you. I think the most important thing I learned was that I can accomplish a lot if I am really focused, and don't let anyone tell you you cannot do it, or aren't ready. A lot of my fears disappeared just because I put myself there and decided to do my best. In Istanbul it helped to be out of Russia and with dancers from around the world. I am very happy with the training I have received from Russian teachers, and look forward to graduating in June 2015 from the Bolshoi. I plan to work in Russia, and these competitions helped me connect with people who want to support me in accomplishing that goal. International Istanbul Ballet Competition 2014
6847	dbpedia	1	8	https://www.facebook.com/photo.php%3Ffbid%3D2291482810896659%26id%3D1385891468122469%26set%3Da.1412102505501365	en	Facebook	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	[ "https://facebook.com/security/hsts-pixel.gif?c=3.2" ]	[]	[]	[ "" ]	null	[]	null	Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.	de	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico		https://www.facebook.com/login/
6847	dbpedia	0	10	http://www.granddanceacademy.com/en/jury-master	en	Ballet Masters			[ "http://www.granddanceacademy.com/images/logo_bg_new2.png", "http://www.granddanceacademy.com/images/mail.png", "http://www.granddanceacademy.com/pic/jury/sm/82_LeonovaMK_L-1.jpg", "http://www.granddanceacademy.com/pic/jury/sm/8_malahov.jpg", "http://www.granddanceacademy.com/pic/jury/sm/14_preview_andrienko.jpg", "http://www.granddanceacademy.com/pic/jury/sm/35_guest8.jpg", "http://www.granddanceacademy.com/pic/jury/sm/26_dorofeeva.jpg", "http://www.granddanceacademy.com/pic/jury/sm/48_Trunina-_1_2marta-1.jpg", "http://www.granddanceacademy.com/pic/jury/sm/57_tigleva.JPG", "http://www.granddanceacademy.com/pic/jury/sm/60_Syrova.jpg", "http://www.granddanceacademy.com/pic/jury/sm/69_TAKANE Photo.jpg", "http://www.granddanceacademy.com/pic/jury/sm/76_Egor Makveev.JPG", "http://www.granddanceacademy.com/pic/jury/sm/79_фото-Усанова-680x1024.jpg", "http://www.granddanceacademy.com/images/bgr/image1-1.png", "http://www.granddanceacademy.com/images/rose1.png", "http://www.granddanceacademy.com/pic/partners/sm/23_logo globex.jpg", "http://www.granddanceacademy.com/pic/partners/sm/38_лого ИФБЦ.jpg", "http://www.granddanceacademy.com/pic/partners/sm/8_logo.png", "http://www.granddanceacademy.com/pic/partners/sm/11_fon.jpg", "http://www.granddanceacademy.com/pic/partners/sm/14_1001605_351730781621092_1424129324_n.jpg", "http://www.granddanceacademy.com/pic/partners/sm/5_LogoLeft.png", "http://www.granddanceacademy.com/pic/partners/sm/17_logo-Grishko.png", "http://www.granddanceacademy.com/pic/partners/sm/26_FERRY.jpg", "http://www.granddanceacademy.com/pic/partners/sm/29_c92a802b0be1bf3e7d7d2b76472d4f4c.jpg", "http://www.granddanceacademy.com/images/facebook.png", "http://www.granddanceacademy.com/images/youtube.png" ]	[]	[]	[ "Ballet Masters", "Marina Leonova", "ballet", "Bolshoi Ballet Academy", "master class", "the best ballet masters", "Gediminas Taranda", "Elena Andrienko", "Boryana Sechanova", "summer master class" ]	null	[]	null	Ballet Masters		/images/favicon_balet.ico		null	MARINA LEONOVA Russia Prof. Marina Leonova . Rector of the Bolshoi Ballet Academy (the Moscow State Academy of Choreography, Russia). Master teacher of Classical Dance. Prof. Leonova began her ballet career when she graduated the Bolshoi Ballet Academy. She was invited to join the famous Bolshoi Ballet Theatre and was soon promoted to prima ballerina. She became a rector of the Bolshoi Ballet Academy in 2002. Awarded numerous prestigious national and international prizes, including the highest honorary title of People’s Artist of Russia. Laureate of the Russian Federation Government Award. VLADIMIR MALAKHOV Germany The ballet critique has given him the title "Dancer of the Century". He is one of the prominent alumni of the Moscow State Academy of Choreography. After graduation in 1986 Vladimir Malakhov was accepted as a leading soloist in the Moscow Classical Ballet. Numerous awards from international ballet competitions are won in Varna, Moscow, Paris, Jackson (USA), Venice, Monte Carlo. In 1992 Malakhov made his debut in Vienna State Opera, in 1994 - the National Ballet of Canada and in 1995 - The American Ballet Theater. He performed on the famous stages of Bolshoi and Mariinskiy Theater, in Stuttgart, Berlin and Japan. In 2002 Malakhov became a director of the Staatsoper Berlin. Sice 2004 he is appointed as an artistic director of the joined ballet troupes of the Staatsoper Berlin and Deutsche Opera ELENA ANDRIENKO Russia Prima ballerina of Bolshoi Theatre and honored People’s Artist of Russia. She was born in Kiev (Ukraine). She studied at the Bolshoi Ballet Academy (Moscow State Academy of Choreography), where she trained in Sophia Golovkina's graduates’ class. In 1991, having completed her studies, she joined the Bolshoi Theatre and became prima ballerina. She has performed in numerous leading and solo roles in spectacles: Swan Lake, Don Qiuxote, Nutcracker, Giselle and many others. She is a prize winner at the international Ballet Dancers Competition of Moscow (1993) and at the First International Serge Lifar Ballet Dancers Competition in Kiev (1994). Docent in Department of Choreography BalletMaster faculty of Russian Academy of Theater Arts INNA DOROFEEVA Ukraine People’s Artist of Ukraine. Ballet teacher. She graduated from Kyiv State Choreography School under the program of A. Vaganova Choreography Academy. She has been conducting an internship at the Moscow Bolshoi Theater and the Leningrad Marine Theater. 1990 she became the laureate of the International Ballet Competition in Jackson / USA /. In 1997 she received the title "People's Artist" of Ukraine. She participated in Gala concerts during the Olympic Games in Calgary and Seoul. Together with Vadim Pisarev she founded a choreographic masterpiece in Donetsk. They are the organizers of the “World Ballet Stars” International Festival. EKATERINA TRUNINA-SHALAEVA Russia Ekaterina Trunina-Shalaeva graduated The Bolshoi Ballet Academy in 1999, in the class of the ballet masters N. Revich, G. Kuznetsova and Prof. Marina Leonova. In 2003 she graduated Choreographic Performing in the class of Julia Syirova. Her career as a ballet master started as head of the Youth theater-choreographic school in Kurkino, Moscow. Since 2015 she has been teaching in the Bolshoi Ballet Academy and has participated as a ballet master in master classes in Russia, Italy and Bulgaria. SVETLANA TIGLEVA Москва, Русия In 1985 she graduated from the Moscow State Choreography School with the specialty "Ballet Artist". From 1985 to 2006 she is a soloist of the ballet of Bolshoi Theater. She participates in the ballet productions “Don Quixote”, “Silfide”, “Kniaz Igor”, “Ivan Susanin”, “Swan Lake”, “Raymond”, “Giselle”, “Romeo and Juliet” and many others. Since 2000 she has been teaching Jazz Modern dance in various dance studios. / Kimberly Land, Cinema Theater, Oktjabr Fitness Center /. She has repeatedly conducted master classes of folk-ethnic dances with elements of modern sculpture. More than 17 years of teaching experience. IRINA SYROVA Russia Professor, teacher in classical ballet in the Moscow State Academy of Choreography (the Bolshoi Ballet Academy) since 1979.Her professional carrier starts as prima ballerina of the Perm Tchaikovsky Opera and Ballet Theatre.Her experience with students of different ages leads her to Japan, Tokyo (1988-1998); Belorussia, Minsk (2001 г.); Germany and Norway (1997 г.); USA, Boston (2005); USA, New-York and Connecticut (2007, 2008, 2010, 2012, 2013); Japan (2006, 2008, 2009, 2011, 2013). In the Bolshoi Ballet Academy she trainees обхваща grand pas - „Paquita“ by Minkus ,waltz of Snowflakes -«Nutcracker» by Tchaikovsky, scene « The Lively Garden“ - «Le Corsair» by A. Adam (2014-2016). Prepares and carries out the program of the Bolshoi Ballet tours abroad. She assists in the preparation of study programs for professional education and traineeships. TAKANE YAMAMOTO Japan TAKANE is choreographer, he choreographs any dancers from children to pro dancers in all genre of dance, and their dance style is new unseen fusion. He is pursuing the meaning, the role, and the new possibility of DANCE from the international vision, and challenging international activities. 2005 founded“ DANCE WORLD made in TAKANE” 2005 Gold Medal as a dancer , The 5th Japan International Ballet & Modern Dance Competition, in Nagoya 2007＆08 Gold Medal, International Dance Festival TANZOLYMP in Berlin (Choreography) 2008 Choreograph the opening ceremony of at Beijing Paralympics 2008 China . 2011 Grand Prix, “World Ballet Stars 2011”in Donetsk Ukraine. (Choreography) 2013 Special Prize, at 10th Anniversary GALA of International Dance Festival TANZOLYMP in Berlin 2014 Vladimir Vasiliev Prize , The XIII Russian Open Ballet Competition “Arabesque‐2014” 2017 Grand Prix, Grand Dance Academy in Varna, Bulgaria 2018 Vladimir Vasiliev Prize , The XV Russian Open Ballet Competition “Arabesque‐2018” 2018 VARNA international ballet competition 2018 Super GALA Concert“Meeting of Generations” And works choreographed by TAKANE was awarded 1st prize at dance competition in Tokyo, Kobe, Kyoto, Nakano and Okinawa in Japan. Now about 1500,000 or more people in the world are viewing TAKANE's program 『Little Swan』on YouTube. SERGEY USANOV Russia General Director of International Federation of Ballet Competitions,First Vice-President of the International Union of Choreographers,From 1998 until 2002 was the Director of the Central Special Music School of the Moscow Conservatory named after P.I.Tchaikovsky.In 1998 Sergey Usanov was elected First Vice-President of the International Union of Choreographers.From 1981 is engaged in preparatory work and carrying out the International Ballet Competition and Contest of Choreographers in Moscow. In 2007 he was elected General Director on the General Assembly of the International Federation of Ballet Competitions. (President of the International Federation of Ballet Competitions is an eminent choreographer of the Bolshoi Theatre Yury Grigorovich).He was member of the Jury of many International and National Ballet and Music Competitions in the Soviet Union, Russia and other countries.
6847	dbpedia	3	45	https://www.facebook.com/uuopera/videos/%25D1%2581%25D0%25BF%25D0%25B5%25D0%25BA%25D1%2582%25D0%25B0%25D0%25BA%25D0%25BB%25D1%258E-200-%25D0%25BB%25D0%25B5%25D1%2582/588233425723046/%3Flocale%3Dhi_IN	en	"СПЕКТАКЛЮ 200 ЛЕТ! ПОСМОТРИТЕ НА ВЕЧНОСТЬ" Художественный руководитель Донецкого театра оперы и балета Вадим Писарев и художественный руководитель...	https://scontent.xx.fbcd…boHg&oe=66C5F255	https://scontent.xx.fbcd…boHg&oe=66C5F255	[]	[]	[]	[ "" ]	null	[]	null	"СПЕКТАКЛЮ 200 ЛЕТ! ПОСМОТРИТЕ НА ВЕЧНОСТЬ" Художественный руководитель Донецкого театра оперы и балета Вадим Писарев и художественный руководитель...	de	https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico		https://www.facebook.com/uuopera/videos/%D1%81%D0%BF%D0%B5%D0%BA%D1%82%D0%B0%D0%BA%D0%BB%D1%8E-200-%D0%BB%D0%B5%D1%82/588233425723046/
6847	dbpedia	2	3	https://www.jewelsfestival.com/vadim	en	About 5 — Jewels Festival	https://assets.squarespace.com/universal/default-favicon.ico	https://assets.squarespace.com/universal/default-favicon.ico	[ "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/6d9f9af5-e703-44d3-b759-b0ec428eb35b/Logo+Final+%28save+to+web%29+-+Copy.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/3f3c937f-4a72-43a0-ab48-2f1f84747fd1/Logo+-+Copy.jpg?format=1500w", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/6d9f9af5-e703-44d3-b759-b0ec428eb35b/Logo+Final+%28save+to+web%29+-+Copy.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/3f3c937f-4a72-43a0-ab48-2f1f84747fd1/Logo+-+Copy.jpg?format=1500w", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/f8138764-40fd-4499-a79c-6da09e802ed1/%D0%92%D0%B0%D0%B4%D0%B8%D0%BC+%D0%BF%D0%BE%D1%80%D1%82%D1%80%D0%B5%D1%82.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/c0a97786-46a6-4590-8672-fc50b2ab0f44/unnamed.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/3fa78c4a-1bcd-4f5c-a992-c01911d46f3b/rj+2.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	https://assets.squarespace.com/universal/default-favicon.ico	Jewels Festival	https://www.jewelsfestival.com/vadim	A people's artist of Ukraine, the artistic director of the A.B. Solovianenko Donetsk state academic Opera and Ballet Theatre. Vadim Pisarev was born in Donetsk, Ukraine and he graduated from the Kiev state choreographic school. He was trained at the Bolshoi Theater, Moscow, under teachers R. Struchkova and A. Messere, and at the Maryinsky Theater (Kirov ballet), St. Petersburg under teachers L. Kolpakova and V. Semenov. In 1983 he got Gold medal of the All-Ukrainian competition of ballet dancers (Kiev). 1984 – the Gold medal of the All-USSR competition of ballet dancers (Moscow) and Silver medal of the competition of ballet dancers (Helsinki). 1984 – the Bronze medal of the international competition of ballet dancers (Paris). 1985 – the Gold medal of the international competition of ballet dancers (Moscow). 1986 – the Gold medal of the international competition of ballet dancers (Jackson, the USA). In 1986 Vadim Pisarev was awarded the title of the People's artist of Ukraine. In 1990 he was awarded a prize of the Moscow public – "The best dancer of the USSR", Moscow. In 1994 he became the founder and the director of the International festival "The World Ballet Stars" in Donetsk. During 17 years in the festival Donetsk was visited by more than 450 outstanding ballet dancers from 30 countries of the world. Over 70 famous choreographers presented their productions. In 1995 Vadim Pisarev was awarded a prize of UNESCO "The Best dancer of the world“ and became the professor of honor of the Donetsk state University. In 1998 V. Pisarev was awarded the Theatre Union of Ukraine prize "Triumph". He was awarded the “Order of merit”, III grade and II grade. 1999 – Vadim Pisarev was awarded the Kazakhstan "Prize of Traditions“ and he won the All-Ukrainian prize "Recognition". In 2001 V. Pisarev was awarded the Commander's Cross – Order of Saint Stanislaus, III grade. In 2003 he was awarded by the Cabinet Council of Ukraine the honorary diploma "For Significant Personal Contribution to the Development of National Culture and Art, and High Professionalism".
6847	dbpedia	3	44	https://mysylph.com/2014/11/12/book-them-as-civil-war-devastates-their-home-the-donetsk-ballet-of-ukraine-will-travel-to-philadelphia-for-nutcracker/	en	Book them!!! As Civil War Devastates Their Home, The Donetsk Ballet of Ukraine Will Travel to Philadelphia for Nutcracker	http://img.youtube.com/vi/ApzqgKeOlFM/0.jpg	http://img.youtube.com/vi/ApzqgKeOlFM/0.jpg	[ "https://i0.wp.com/www.choosemyplate.gov/sites/default/files/myplate/ST_Logo.png", "https://mysylph.files.wordpress.com/2014/12/fundmysylph-button-paypal1.jpg?w=104", "https://badge.facebook.com/badge/865424506840033.2310.1002470270.png", "https://i0.wp.com/www.seanconnery.com/banners/images/sc_bnr_120x90.gif", "https://s-ssl.wordpress.com/wp-includes/images/rss.png?m=1354137473i", "https://s-ssl.wordpress.com/wp-includes/images/rss.png?m=1354137473i", "https://i0.wp.com/i.creativecommons.org/l/by-nc-nd/3.0/80x15.png", "https://s-ssl.wordpress.com/wp-includes/images/rss.png?m=1354137473i", "https://s-ssl.wordpress.com/wp-includes/images/rss.png?m=1354137473i", "https://s-ssl.wordpress.com/wp-includes/images/rss.png?m=1354137473i", "https://funds.gofundme.com/css/3.0_donate/pink/widget.png", "https://secure.gravatar.com/blavatar/07208ed3c4606115e1567e1e8ee12cac6bab16b457305017ee9e9a88ae6ad1ec?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/07208ed3c4606115e1567e1e8ee12cac6bab16b457305017ee9e9a88ae6ad1ec?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[ "https://www.youtube.com/embed/ApzqgKeOlFM?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" ]	[]	[ "" ]	null	[]	2014-11-12T00:00:00	Contact International ballet Exchange for details of their tour and possibly to book them!!! Performance is from 2008- read article following for more information. This makes me cry. http://youtu.be/ApzqgKeOlFM As civil war devastates their home, The Donetsk Ballet of Ukraine will travel to Philadelphia.	en	https://secure.gravatar.com/blavatar/07208ed3c4606115e1567e1e8ee12cac6bab16b457305017ee9e9a88ae6ad1ec?s=32	mysylph	https://mysylph.com/2014/11/12/book-them-as-civil-war-devastates-their-home-the-donetsk-ballet-of-ukraine-will-travel-to-philadelphia-for-nutcracker/	Contact International ballet Exchange for details of their tour and possibly to book them!!! Performance is from 2008- read article following for more information. This makes me cry.
6847	dbpedia	2	2	https://ddcity.tripod.com/vadim_pisarev_english.htm	en	Vadim Pisarev			[ "https://ddcity.tripod.com/transp.gif", "https://ddcity.tripod.com/transp.gif", "http://c.mystat-in.net/i041600012153&t4&g8&j0", "https://ddcity.tripod.com/pisarev_PeerGynt.gif", "https://ddcity.tripod.com/pisarev_cry.gif", "https://ddcity.tripod.com/pisarev_dorofeeva.gif", "https://ddcity.tripod.com/pisarev_Giselle.gif", "https://ddcity.tripod.com/pisarev_red.gif", "https://ddcity.tripod.com/pisarev_autograph.gif", "https://ddcity.tripod.com/pisarev.gif", "https://ddcity.tripod.com/pisarev-killer.jpg", "https://ddcity.tripod.com/pisarev_waits.jpg", "https://ddcity.tripod.com/pisarev_andrey.gif" ]	[]	[]	[ "" ]	null	[]	null					null	Vadim Pisarev was born in Donetsk, Ukraine. He received his training at the Choreographic School in Donetsk before going to Kiev to study at the Kiev State Choreography School on the program of Leningrad (St.Petersburg) Choreographic Academy of Vaganova. Irina Bulatova and Vladimir Denisenko were his teachers. Vadim's dancing career began in the hardly ever known to anybody "Zarnitsa" ("Summer Lightning") Company. Upon graduation from the Kiev Choreography School Mr.Pisarev joined the Donetsk State Academic Russian Opera and Ballet Theatre in 1983. In 1984, 1985 Vadim Pisarev practiced in Bolshoi Theatre, Moscow. His pedagogues in Bolshoi were Vladimir Nikonov, Raisa Struchkova, Asaf Messerer. In 1991 he practiced in Maryinsky Theatre (Kirov Opera and Ballet Theatre), St.Peterburg. His pedagogues in Maruinka were Irina Kolpakova and Vladlen Semenov. In 1984 at the First Republican Competition of Choreographers and ballet Dancers Vadim Pisarev won the highest reward the First Prize and the Gold Medal. The same year in June he won the Second Prize and the Silver Medal at the International Competition of Ballet Dancers a Bronze one. The Government of Ukraine SSR estimated the dancer's gift. Vadim Pisarev was awarded the title of Honoured Artist of the Ukraine. In 1985 Mr.Pisarev won the Gold Medal at the Fifth all-Union Competition of Ballet Dancers in Moscow. In 1986 Vadim Pisarev despite the injury the fracture of left hand won the Gold Medal at the International Ballet Competition in Jackson, Mississippi, USA. The same year Vadjm Pisarev was awarded the high title of People's Artist of Ukraine. In 1987 he has danced on tour to the United State together with the Moscow Ballet Company. In 1988 he has danced on tour to the United State together with Donetsk Ballet Theatre .The same year Mr.Pisarev was awarded the Prize of Lenin Komsomol (the Young Communist League). Becouse of still lasting reconstruction of the Donetsk theatre building its Company had to prolong its tour in the USA. The dancer's urgent necessity to maintain good form and to perfect their skills made Mr.Pisarev set up the Co-operative Theatre "Interballet". Since 1988 Mr.Pisarev work with Donetsk Opera and Ballet Theatre Company in the Usa according the contract. In the USA Vadim Pisarev and his parner ballerina Inna Dorofeeva received the title of Honorary Citizens of the American cities Hegerstown and New Orleans as the appreciation of their five-year fruitful creative work in the USA. In 1990 Vadim Pisarev took part in the Festival of Dance Giants in Paris. Since 1992 until 1995 Mr.Pisarev worked as a soloist of the Ballet Company in Dusseldorf Opera on the Rhine-river, Germany. His choreograph and ballet master was Haints Shoerly. For training of young ballet talents Mr.Pisarev set up private Ballet School named the Choreographic School of Vadim Pisarev. In 1994 in Donetsk was held the First International Festival "The World Ballet Stars". Mr.Pisarev is Artistic director and organizer of that festival and the following of annual festivals "The World Ballet Stars" in Donetsk. The dancers from Russia, USA, Swiss, Austria, Germany, France, Netherlands, Canada, took part in festival. In November 1994 the first spectators entered brightly shining auditorium of freshly-repaired the Donetsk State Academic Opera and Ballet Theatre. Since 1995 the "World Ballet Stars" Festivals were held successfully in the Donetsk Opera and Ballet Theatre. In 1995 according to decision of the UNESCO Vadim Pisarev was announced The Best Dancer of Europe 1995 and awarded the prize "Benoni". In Donetsk in the newly founded alley dedicated to the Donbass Region Masters of Art the first marble triumphal memorial plaque with Mr.Pisarev's autograph was installed. The same year he was awarded the title of Honorary Citizen of Donetsk and invited as a member of the ballet judge-board to the International Ballet Competition named after Serge Lifar in Kiev. In 1996 Mr.Pisarev was appointed the Artistic Director of the Donetsk Opera and Ballet Theatre. In June 1996 Vadim Pisarev as an honorary guest took part in celebration of the 3000 year anniversary of Jerusalem. In October 1996 at the International Competition in Alma-Ata, Kazakhstan, he was awarded the "Third Prize of Tradition" together with ballet famouses as Galina Ulanova, the First Prize and Yuriy Grigorovich, the Second Prize. Vadim Pisarev takes part in the annuel festivals "World Ballet Stars" and Gala-concerts in Monreal, Tokyo, Moscow, Athens, Vienna, Genoa, Paris, Pekin, Oslo, New-York etc. He has danced classical and modern repertoire in ballet companies of USA, Canada, Germany, France, China, Japan and Russia. He danced more than in 50s countries of the world. Vadim Pisarev participated in the opening of the Olympic Games in Calgary and Seul. In 1996 by order of Norvwegian government Vadim Pisarev realized the staging of ballet "Peer Gynt" on the music by Grieg in honour of 1000th anniversary of Norwegian first city Trondheim. For this staging and performing part of Peer Gynt he rewarded by prize of Norwegian press "Golden Rose. The same year at the all Ukrainian Competition he received a rank Man of Year 1996 in Ukraine and the next year he became a Laureate of that Competition. In 1997 Mr.Pisarev became a Triumph-97 prize-winner. President of Ukraine Leonid Kuchma rewarded Mr.Pisarev the Order of Merit of Third degree on November 23, 1998. The cultural life, ballet art report a newspaper "Vadim Pisarev. The first issue of the newspaper was published in 1994. The repertoire of talent dancer include principal part in ballets: Don Quixote, Swan Lake, Nutcracker, Giselle, The Night of Walpurg, Paquita, Sleeping Beauty, Peer Gent, La Bayadere, Le Corsare, Spartacus, Romeo and Juliet, etc. Modern ballets: Deadend, Joseflegenda, Due, Adajio, Fantasia, Solomons songs, etc. Altogether, there are more than 50 ballet parts, pa-de-de and choreographic compositions in the repertoire of Vadim Pisarev. Yuriy Grigorovich told about Vadim Pisarev: he astonished spectators and us who have seen a lot of professionals by his technical and brilliant performance of classical parts. September 1986. Jornal Soviet Ballet
6847	dbpedia	0	11	https://m.facebook.com/Salenko.Iana/videos/my-first-role-in-my-career-was-it-kitri-i-was-just-16-years-old-thankful-to-vadi/2058307340913781/	en	My first role in my career was it Kitri 💃 I was just 16 years old 🙈 thankful to Vadim Pisarev 🙌🏻❤️ that he believe on me #donq #kitri at the...	https://scontent.xx.fbcd…atvA&oe=66C61B25	https://scontent.xx.fbcd…atvA&oe=66C61B25	[]	[]	[]	[ "" ]	null	[]	null	My first role in my career was it Kitri 💃 I was just 16 years old 🙈 thankful to Vadim Pisarev 🙌🏻❤️ that he believe on me #donq #kitri at the...	de	https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico		https://www.facebook.com/Salenko.Iana/videos/my-first-role-in-my-career-was-it-kitri-i-was-just-16-years-old-thankful-to-vadi/2058307340913781/
6847	dbpedia	1	9	https://www.wikidata.org/wiki/Q4363542	en	Vadym Pysarev	https://upload.wikimedia…28cropped%29.jpg	https://upload.wikimedia…28cropped%29.jpg	[ "https://upload.wikimedia.org/wikipedia/commons/thumb/1/1e/%D0%9D%D0%B0%D1%81%D1%82%D1%8F_%D0%A4%D0%B5%D0%B4%D0%BE%D1%80%D0%B5%D0%BD%D0%BA%D0%BE._%D0%94%D0%BE%D0%BD%D0%B5%D1%86%D0%BA._%D0%A3%D0%B2%D0%B8%D0%B4%D0%B5%D1%82%D1%8C_%D0%B8_%D0%BF%D0%BE%D0%BB%D1%8E%D0%B1%D0%B8%D1%82%D1%8C._%D0%94%D0%BE%D0%BD%D0%B5%D1%86%D0%BA%D0%B8%D0%B9_%D1%82%D0%B5%D0%B0%D1%82%D1%80_%D0%BE%D0%BF%D0%B5%D1%80%D1%8B_%D0%B8_%D0%B1%D0%B0%D0%BB%D0%B5%D1%82%D0%B0_008_%28cropped%29.jpg/220px-%D0%9D%D0%B0%D1%81%D1%82%D1%8F_%D0%A4%D0%B5%D0%B4%D0%BE%D1%80%D0%B5%D0%BD%D0%BA%D0%BE._%D0%94%D0%BE%D0%BD%D0%B5%D1%86%D0%BA._%D0%A3%D0%B2%D0%B8%D0%B4%D0%B5%D1%82%D1%8C_%D0%B8_%D0%BF%D0%BE%D0%BB%D1%8E%D0%B1%D0%B8%D1%82%D1%8C._%D0%94%D0%BE%D0%BD%D0%B5%D1%86%D0%BA%D0%B8%D0%B9_%D1%82%D0%B5%D0%B0%D1%82%D1%80_%D0%BE%D0%BF%D0%B5%D1%80%D1%8B_%D0%B8_%D0%B1%D0%B0%D0%BB%D0%B5%D1%82%D0%B0_008_%28cropped%29.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://www.wikidata.org/static/images/footer/wikimedia-button.svg", "https://www.wikidata.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[]	null	Dancer and choreographer	en	/static/apple-touch/wikidata.png		https://www.wikidata.org/wiki/Q4363542	Dancer and choreographer Vadim Pisarev edit
6847	dbpedia	0	0	https://ddcity.tripod.com/vadim_pisarev_english.htm	en	Vadim Pisarev			[ "https://ddcity.tripod.com/transp.gif", "https://ddcity.tripod.com/transp.gif", "http://c.mystat-in.net/i041600012153&t4&g8&j0", "https://ddcity.tripod.com/pisarev_PeerGynt.gif", "https://ddcity.tripod.com/pisarev_cry.gif", "https://ddcity.tripod.com/pisarev_dorofeeva.gif", "https://ddcity.tripod.com/pisarev_Giselle.gif", "https://ddcity.tripod.com/pisarev_red.gif", "https://ddcity.tripod.com/pisarev_autograph.gif", "https://ddcity.tripod.com/pisarev.gif", "https://ddcity.tripod.com/pisarev-killer.jpg", "https://ddcity.tripod.com/pisarev_waits.jpg", "https://ddcity.tripod.com/pisarev_andrey.gif" ]	[]	[]	[ "" ]	null	[]	null					null	Vadim Pisarev was born in Donetsk, Ukraine. He received his training at the Choreographic School in Donetsk before going to Kiev to study at the Kiev State Choreography School on the program of Leningrad (St.Petersburg) Choreographic Academy of Vaganova. Irina Bulatova and Vladimir Denisenko were his teachers. Vadim's dancing career began in the hardly ever known to anybody "Zarnitsa" ("Summer Lightning") Company. Upon graduation from the Kiev Choreography School Mr.Pisarev joined the Donetsk State Academic Russian Opera and Ballet Theatre in 1983. In 1984, 1985 Vadim Pisarev practiced in Bolshoi Theatre, Moscow. His pedagogues in Bolshoi were Vladimir Nikonov, Raisa Struchkova, Asaf Messerer. In 1991 he practiced in Maryinsky Theatre (Kirov Opera and Ballet Theatre), St.Peterburg. His pedagogues in Maruinka were Irina Kolpakova and Vladlen Semenov. In 1984 at the First Republican Competition of Choreographers and ballet Dancers Vadim Pisarev won the highest reward the First Prize and the Gold Medal. The same year in June he won the Second Prize and the Silver Medal at the International Competition of Ballet Dancers a Bronze one. The Government of Ukraine SSR estimated the dancer's gift. Vadim Pisarev was awarded the title of Honoured Artist of the Ukraine. In 1985 Mr.Pisarev won the Gold Medal at the Fifth all-Union Competition of Ballet Dancers in Moscow. In 1986 Vadim Pisarev despite the injury the fracture of left hand won the Gold Medal at the International Ballet Competition in Jackson, Mississippi, USA. The same year Vadjm Pisarev was awarded the high title of People's Artist of Ukraine. In 1987 he has danced on tour to the United State together with the Moscow Ballet Company. In 1988 he has danced on tour to the United State together with Donetsk Ballet Theatre .The same year Mr.Pisarev was awarded the Prize of Lenin Komsomol (the Young Communist League). Becouse of still lasting reconstruction of the Donetsk theatre building its Company had to prolong its tour in the USA. The dancer's urgent necessity to maintain good form and to perfect their skills made Mr.Pisarev set up the Co-operative Theatre "Interballet". Since 1988 Mr.Pisarev work with Donetsk Opera and Ballet Theatre Company in the Usa according the contract. In the USA Vadim Pisarev and his parner ballerina Inna Dorofeeva received the title of Honorary Citizens of the American cities Hegerstown and New Orleans as the appreciation of their five-year fruitful creative work in the USA. In 1990 Vadim Pisarev took part in the Festival of Dance Giants in Paris. Since 1992 until 1995 Mr.Pisarev worked as a soloist of the Ballet Company in Dusseldorf Opera on the Rhine-river, Germany. His choreograph and ballet master was Haints Shoerly. For training of young ballet talents Mr.Pisarev set up private Ballet School named the Choreographic School of Vadim Pisarev. In 1994 in Donetsk was held the First International Festival "The World Ballet Stars". Mr.Pisarev is Artistic director and organizer of that festival and the following of annual festivals "The World Ballet Stars" in Donetsk. The dancers from Russia, USA, Swiss, Austria, Germany, France, Netherlands, Canada, took part in festival. In November 1994 the first spectators entered brightly shining auditorium of freshly-repaired the Donetsk State Academic Opera and Ballet Theatre. Since 1995 the "World Ballet Stars" Festivals were held successfully in the Donetsk Opera and Ballet Theatre. In 1995 according to decision of the UNESCO Vadim Pisarev was announced The Best Dancer of Europe 1995 and awarded the prize "Benoni". In Donetsk in the newly founded alley dedicated to the Donbass Region Masters of Art the first marble triumphal memorial plaque with Mr.Pisarev's autograph was installed. The same year he was awarded the title of Honorary Citizen of Donetsk and invited as a member of the ballet judge-board to the International Ballet Competition named after Serge Lifar in Kiev. In 1996 Mr.Pisarev was appointed the Artistic Director of the Donetsk Opera and Ballet Theatre. In June 1996 Vadim Pisarev as an honorary guest took part in celebration of the 3000 year anniversary of Jerusalem. In October 1996 at the International Competition in Alma-Ata, Kazakhstan, he was awarded the "Third Prize of Tradition" together with ballet famouses as Galina Ulanova, the First Prize and Yuriy Grigorovich, the Second Prize. Vadim Pisarev takes part in the annuel festivals "World Ballet Stars" and Gala-concerts in Monreal, Tokyo, Moscow, Athens, Vienna, Genoa, Paris, Pekin, Oslo, New-York etc. He has danced classical and modern repertoire in ballet companies of USA, Canada, Germany, France, China, Japan and Russia. He danced more than in 50s countries of the world. Vadim Pisarev participated in the opening of the Olympic Games in Calgary and Seul. In 1996 by order of Norvwegian government Vadim Pisarev realized the staging of ballet "Peer Gynt" on the music by Grieg in honour of 1000th anniversary of Norwegian first city Trondheim. For this staging and performing part of Peer Gynt he rewarded by prize of Norwegian press "Golden Rose. The same year at the all Ukrainian Competition he received a rank Man of Year 1996 in Ukraine and the next year he became a Laureate of that Competition. In 1997 Mr.Pisarev became a Triumph-97 prize-winner. President of Ukraine Leonid Kuchma rewarded Mr.Pisarev the Order of Merit of Third degree on November 23, 1998. The cultural life, ballet art report a newspaper "Vadim Pisarev. The first issue of the newspaper was published in 1994. The repertoire of talent dancer include principal part in ballets: Don Quixote, Swan Lake, Nutcracker, Giselle, The Night of Walpurg, Paquita, Sleeping Beauty, Peer Gent, La Bayadere, Le Corsare, Spartacus, Romeo and Juliet, etc. Modern ballets: Deadend, Joseflegenda, Due, Adajio, Fantasia, Solomons songs, etc. Altogether, there are more than 50 ballet parts, pa-de-de and choreographic compositions in the repertoire of Vadim Pisarev. Yuriy Grigorovich told about Vadim Pisarev: he astonished spectators and us who have seen a lot of professionals by his technical and brilliant performance of classical parts. September 1986. Jornal Soviet Ballet
6847	dbpedia	2	65	https://persona.rin.ru/eng/view/f/0/21243/artemiev-vadim-i	en	ARTEMIEV Vadim I., photo, biography	https://persona.rin.ru/favicon.ico	https://persona.rin.ru/favicon.ico	[ "https://persona.rin.ru/rus/img/pls.gif", "https://persona.rin.ru/eng/images/small/w50/2/9/9929.jpg", "https://persona.rin.ru/eng/images/small/w50/1/0/9910.jpg", "https://persona.rin.ru/rus/img/pls.gif", "https://persona.rin.ru/rus/img/pls.gif", "https://count.rin.ru/?d=persona.rin.ru", "https://persona.rin.ru/rus/img/gran.gif", "https://persona.rin.ru/rus/img/gran.gif", "https://persona.rin.ru/eng/images/small/h50/1/4/18814.jpg", "https://persona.rin.ru/eng/images/small/h50/8/2/34282.jpg", "https://persona.rin.ru/eng/images/small/h50/7/7/34877.jpg", "https://persona.rin.ru/rus/img/r1.jpg", "https://persona.rin.ru/rus/img/lm1.jpg", "https://persona.rin.ru/rus/img/lm2.jpg", "https://persona.rin.ru/rus/img/rz.gif", "https://persona.rin.ru/rus/img/rin.jpg", "https://persona.rin.ru/img/vote/eng/20.jpg", "https://persona.rin.ru/rus/img/rc.gif", "https://persona.rin.ru/rus/img/rc.gif", "https://persona.rin.ru/rus/img/rt.jpg", "https://persona.rin.ru/rus/img/rc.gif", "https://persona.rin.ru/rus/img/rt.jpg" ]	[]	[]	[ "" ]	null	[]	null			/favicon.ico		null	ARTEMIEV Vadim I. ( President FPG `Lefort-Invest '.) Comments for ARTEMIEV Vadim I. Biography ARTEMIEV Vadim I. Born on November 19 1945. in Ivano-Frankivsk in Ukraine. Father - Igor Artemyev - from a family of opera singers, a veteran of World War II. Mother - Artemjeva Olga (1920 g.rozhd.), The Don Cossack. Wife - Artemjeva Naila Sabitovna (rod.05.02.1950 g.). As a child, except school Vadim Artemiev was engaged in the sections of boxing, acrobatics, classical control. His wrestling coach was Vadim Pisarev, who trained two Olympic champions. His professional biography started as a turner, then a mechanic in a motor Kirov factory in Alma-Ata (1963-1964 gg.). He has a higher economic education in Alma-Ata Institute of National Economy (1962-1972 gg.) Specializing in economics of planning, organizer of Control. Later he graduated from the Academy of the MVD USSR (1976-1979 gg.). The Academy also graduated from National University of Culture (1976-1978 gg.) Department at the rate of film, theater, music and visual art. Rector was AI Khachaturian, and deans of faculties B. Pokrovsky, Glazunov, Yuri Yakovlev, and other prominent cultural figures. In 1964, Mr.. was drafted into the Armed Forces, served in the Southern Group of Forces reconnaissance infantry regiment, was secretary of the Komsomol organization, participated in the aftermath of the floods in Czechoslovakia and Hungary. After demobilization from 1967 to 1968. worked as a fitter-avtoremontnikom in the Republic of Hungary, parallel to the artist. After graduation he became an engineer of the Ministry of Road (1968-1970 gg.), Then a senior financier in Minmontazhspetsstroj (1970-1972 gg.). In 1972. came to the bodies of the USSR Ministry of Internal Affairs. It has been way up to lieutenant colonel of internal service. Last duty station VI Artemiev became the center of social and psychological rehabilitation. Led by their unit was one of the best in the country. In 1994, after leaving the reserve, became president of financial-industrial group "Lefort-Invest, a member of the Board of Directors and Chairman of the Board of Directors of JSC Plant accounting machines im.V.D.Kalmykova". In a short time, demonstrating leadership, VI Artemiev managed to win the confidence of shareholders and employees of company. At the company maintain production, and electronic equipment manufactured by them in their characteristics is one of the best in Europe . VI Artemiev, also known as one of the organizers and leaders of the broad cultural social movements "Stage-World" (the expert committee of the Council of the Center since 1993) and Pushkin Academy "(an honorary member since 1995), . activities are aimed at preserving cultural and historical character of Moscow, . He was elected an academician of International Academy of Information Processes and Technology (1996). Prior to 1993, Mr.. VI Artemiev is a member of the Moscow City Council to combat alcoholism and drug addiction, in 1994-1995. - Adviser to the Federation Council Commission for Economic Affairs. In 1995. ran for the State Duma of the Federal Assembly of the second convocation of Autazavodskki constituency N191 Moscow. He was awarded medals "20 Years of Victory over Germany in the Great Patriotic War" (1965), "For perfect service" III, II and I degree (1979, 1985, 1990.) "Veteran of Labor" (1988) . In his spare time engaged in the modernization of the home; loves classical and modern works of Russian writers, . Khachaturian's music, . Prokofiev, . Sviridov, . Shostakovich, . Grieg, . Vivaldi, . Beethoven, . as well as the work of contemporary artists: Elvis Presley, . Jeanne Bichevskaya, . Sofia Rotaru, . Favorite singers - Yuri and Vitaly Solomin, A. Ermakov, Yu Rumyantsev, Menchoff, V. Alentova, O. Aroseva, L. Akhedzhakova, L. Hityaeva. Since childhood love sports. Currently enjoys great tennis and swimming. Lives and works in Moscow. Address: 107006, Moscow, ul.N.Krasnoselskaya, 35, ZAO "Lefort-invest. User comments Write comment Neila Gortchakova. KM-Properties. UAE Dubai for ARTEMIEV Vadim I. Dear Vadim Igoryevich We are pleased to introduce our company and hope you are interested in our offer. Al Rostamani Enterprises, . based more than 40 years ago, . long established themselves as one of the leading business groups in the Gulf Region, . With assets worth more than U.S. $ 3 billion and a network of diverse businesses with the number of employees over 3000 people, . Al Rostamani is the exclusive representative of many world famous brands in the United Arab Emirates, . Among other components, in our holding company are in real estate, including the company has developer. To date, Al Rostamani well known not only in the Middle East and Asia, but also in many European countries. Park Lane Tower Park Lane is a business skyscraper in 60 floors of which will house offices of various companies. Our project is located on Sheikh Zayed Prospect - the main artery in the heart of Dubai. In the immediate vicinity is a major road interchange, . connecting modern business chat city, . Old Dubai, . free economic zone in Jebel Ali, . Street Zaabel and Diyafa. Why is it worth to invest? The essence of investing is to purchase office space under construction and their subsequent use of profit -, . At the moment Dubai is rapidly economically developing metropolis, where there is an increasingly growing demand for office space in the apparent absence of deficit. This causes the high cost of rent. By purchasing the right to this property, the owner has an opportunity to commercial use. Below are some figures to illustrate the pattern of investment and expected return. We hope you are interested in our new project and we invite you to attend. For more details you can find out by visiting our office in Dubai. Thank u Neila Gortchakova Sales Executive. KM-Properties. UAE Dubai Email: [email protected] Tel: 00 971 50 5593 524 Write comment
6847	dbpedia	1	26	https://alchetron.com/Vadim-Pisarev	en	Alchetron, The Free Social Encyclopedia	https://alchetron.com/cd…7-resize-750.gif	https://alchetron.com/cd…7-resize-750.gif	[ "https://alchetron.com/cdn/private_file_1517239297426d981296f-39c1-4192-9799-fba8475d9bd.jpg", "https://alchetron.com/cdn/vadim-pisarev-59975a21-64e2-4e23-bfef-5fca151a927-resize-750.gif" ]	[]	[]	[ "" ]	null	[]	2017-08-18T08:30:48+00:00	Vadim Pisarev is a famous Ukrainian dancer, People's Artist of Ukraine, Art Director of Donetsk State Academic Opera and Ballet Theatre named after Solovyanenko, founder and director of international festival World Ballet Stars. Vadim Yakovlevich Pisarev was born on February 1, 1965 in Donetsk. in 1	en	/favicon.ico	Alchetron.com	https://alchetron.com/Vadim-Pisarev	Tripti Joshi (Editor) I am a Teacher who started creating online content for my students from 2016 so that they can get access to free knowledge online. Vadim Pisarev Share on FacebookTweet on TwitterShare on LinkedInShare on Reddit Sign in Vadim pisarev Vadim Pisarev is a famous Ukrainian dancer, People's Artist of Ukraine, Art Director of Donetsk State Academic Opera and Ballet Theatre named after Solovyanenko, founder and director of international festival World Ballet Stars. Contents Vadim pisarev Peer gynt e grieg vadim pisarev ballet 1 Biography Education Awards Family Dance Choreographic School World Ballet Stars References Peer gynt e grieg vadim pisarev ballet 1 Biography Vadim Yakovlevich Pisarev was born on February 1, 1965 in Donetsk. Education in 1983 he graduated from the Kiev State Choreographic School, where his teachers were Irina Bulatova and Vladimir Denisenko in 1984 - 1985 Vadim Pisarev received trainings at the Bolshoi Theatre (Moscow) with such teachers: V. Nikonov, R. Struchkov, A. Messerer in 1991 he practiced in Maryinsky Theatre (at that time Kirov Opera and Ballet Theatre), (Saint Petersburg) in 2001 - graduated from Kiev National University of Culture and the Arts Awards At the 1st all-Ukrainian competition of ballet dancers and choreographers in 1984 in Kiev Vadim Pisarev won the first prize and was awarded with a gold medal. In June of the same year he won second prize and silver medal at the International Ballet Contest in Helsinki, Finland, and a bronze medal in November 1984 in Paris, France at the 1st International Ballet Contest. In 1984 Vadim Pisarev was awarded the title of Honoured Artist of the Ukraine. In 1985 Vadim Pisarev won the Gold Medal at the Fifth all-Soviet Union Ballet Contest in Moscow. In 1986 he won the Gold Medal at the International Ballet Competition in Jackson, Mississippi (United States), and the same year was awarded the title of People's Artist of Ukraine. In 1988 he was awarded the Lenin Komsomol Prize. Prior to this, he went on tour in the USA, together with the Moscow Ballet (1987) and with Donetsk Opera and Ballet Theatre Company (1988) In 1990 he won the Moscow public prize "The Best USSR Dancer" In 1995 - UNESCO prize "The Best Dancer of the World" In 1996, commissioned by Norwegian government, Vadim Pisarev staged the ballet Peer Gynt and played the lead role with the Donetsk troupe at the celebrations of the 1000th anniversary of the first capital of Norway, Trondheim. For this performance he was awarded the Norwegian press prize "Golden Rose" In 1996 Vadim Pisarev won the Ukrainian "Man of the Year" award In 1997 he prepared a special show and participated in the celebration of the 3000th anniversary of Jerusalem. Same year Vadim Pisarev received the diploma "Golden Skif". In 1998 Pisarev was awarded the Theatre Union of Ukraine prize called "Triumph". In 1999 awarded the Order of merit, III grade. Same year, Vadim Pisarev was awarded the Kazakhstan "Prize of Traditions" and won all-Ukrainian prize "Recognition" In 2001 awarded the Commander's Cross - Order of Saint Stanislaus, III grade. In 2003 awarded the Cabinet of Ministers of Ukraine honorary diploma "For Significant Personal Contribution to the Development of National Culture and Art, and High Professionalism" In 2004 awarded the Order of Merit, II grade. Vadim Pisarev is the Honorary Citizen of New Orleans and Baltimore Family Vadim Pisarev is married with three children. His wife is prima ballerina, People's Artist of Ukraine Inna Dorofeeva. His eldest son Andrey has followed in his father's steps and became a ballet dancer; recently he won a gold medal at prestigious XI International Ballet Competition in Moscow. Pisarev likes picking mushrooms and fishing. Dance He performed leading roles in ballets: Don Quixote Swan Lake Nutcracker Giselle Walpurgis Night Paquita Sleeping Beauty Peer Gynt La Bayadere Le Corsaire Spartacus Romeo and Juliet, etc. In 1996 Vadim Pisarev was appointed the Art Director of Donetsk State Academic Opera and Ballet Theatre named after Solovyanenko. Choreographic School In 1992 Vadim Pisarev, together with his wife, prima ballerina of Donetsk Opera and Ballet, People's Artist of Ukraine Inna Dorofeeva, established the Donetsk Opera and Ballet Theatre Choreographic School, also known as Vadim Pisarev Ballet School. It is the first Ukrainian non-governmental educational institution of this kind. Gifted children from Donetsk oblast' and other regions of Ukraine learn ballet skills at Vadim Pisarev' school, there's also a school board for non-resident students, with partial allowance. Graduates of the school become students of prestigious dance institutions over the world, such as the Saint Petersburg Academy of Russian Ballet named after A. Vaganova, Moscow Ballet School, Stuttgart Ballet Academy (Germany), Zurich Academy of Dance (Switzerland), etc. In 1997, Vadim Pisarev Choreography School was awarded the Sergei Diaghilev Medal. World Ballet Stars The festival was established in 1994, since then more than 400 outstanding dancers from 35 countries of the world have visited Donetsk, and over 70 ballets by famous choreographers have been performed. The festival is traditionally held in early October of each year in Donetsk and cities of Donetsk oblast. References Vadim Pisarev Wikipedia (Text) CC BY-SA Similar Topics
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Her vast and incredibly versatile repertoire ranged from classical & neoclassical productions to modern & contemporary works, included principal, title and lead roles in ballets by M. Petipa, A. Bournonville, J. Cranko, F. Ashton, K. MacMillan, G. Balanchine, A. Tudor, P. Taylor, J. Kudelka, B. Stevenson, S. Welsch, V. Caniparolli. As well as J. Kyllian, N. Duato, Twyla Tharp, M. Morris, L. Monte, M. Corder, B. Wells, M. Pink, and L. Berdo. Larissa originated roles in works by C. Wheeldon, H. Pickett, S. Baynes, D. Pelzig, V. Plotnikov, and became the muse for Boston Ballet resident choreographer Yorma Elo, creating roles that involved speaking and singing on stage. Besides Boston Ballet, Larissa’s coaching career as a guest Master Teacher presented her an opportunity to travel and teach for institutions like Washington Ballet, Harvard University, and Yale University. Larissa had been a part of International Masterclass Workshops in Prague, Czech Republic; Essen and Dresde, Germany and Palermo, Italy. Born in Odessa, Ukraine, Larissa started ballet training in her home city under Vladimir Issaev, who dramatically changed her life by writing a letter of recommendation on Larissa’s behalf and advising her to audition for Vaganova Ballet Academy in Saint Petersburg, Russia. After being accepted, Larissa spent 8-years living and studying ballet in Saint Petersburg, receiving top training from highly distinguished teachers including N. Kurgapkina, T. Borovikova, I.Gensler, O. Sokolov, L. Komisarova, K. Sergeev, N. Serebrennikov, N. Dudinskaya, M. Daukaev, N. Yananis, T. Shmyrova, V. Korneev. During which time Larissa performed on the stage of Mariinsky Theatre (then Kirov), as she was regularly used in all Kirov Ballet classical productions that involved children. She was chosen to represent the school, performing in major cities around the world. In 1989 Larissa graduated under legendary N. Kurgapkina and for her graduation performance was honored to dance pas de deux from Giselle with Kirov ballet principal dancer Marat Doukaev. Larissa’s ﬁrst company work was at Donetsk Ballet, Ukraine, where she performed Giselle as a lead with partner Vadim Pisarev. She also met her future husband Viktor Plotnikov. Prior to joining Boston Ballet, Larissa and Viktor have worked for Mississippi Ballet and Tulsa Ballet. Catherine Batcheller’s international career as a principal dancer spanned the San Francisco Ballet, the Stuttgart Ballet and the Birmingham Royal Ballet where she worked with some of the 20th century’s most significant choreographers of our time including Jiri Kylian, William Forsythe, Maurice Bejart, Sir Peter Wright, Hans Van Manen, David Bintely, Stanton Welch, James Kudelka and Wayne McGregor, as well as dancing principal roles in works by John Cranko, Sir Kenneth MacMillan, George Balanchine, Jerome Robbins and Sir Frederick Ashton. Catherine has worked as a guest teacher and choreographer, working with such schools and companies as Alberta Ballet School, Atlanta Ballet, Belhaven University, Birmingham Royal Ballet, Boston Ballet, Portland Ballet, San Fransisco Ballet, Indiana University, Texas Christian University, University of North Carolina School of the Arts, Walnut School for the Arts and SLK Ballet School. From 2010-2016, she served as Dean of the Cincinnati Ballet’s Otto M. Budig Academy for six years where she directed both the year round program and their international Summer Intensive, and also taught as adjunct faculty at Cincinnati College of Music. Prior to her work with Cincinnati Ballet, she was the Artistic Director at Ballet Conservatory of South Texas. In 2001, Catherine co-founded and co-directed Configuration Dance, a project based company that showcased contemporary and classical ballets as well as commissioned works from established and emerging choreographers. It celebrated the diversity in dance by bringing different artists from different backgrounds together to dance in a variety of styles of work. In 2004 she founded and directed the school for Configuration Dance. Catherine holds a M.A. in Dance in Education and the Community from Birmingham University, England. More information visit catherinebatcheller.com Born in Ukraine, Victor Plotnikov received his training at the Kiev’s National Ballet Academy, the Vaganova Ballet Academy in St. Petersburg, Russsia and private teaching from Theodor Popescu and Svetlana Kolyvanova. From 1987 to 1990, he was a soloist with Donetsk Ballet Company in the Ukraine. Plotnikov held Guest artist positions at Ballet Mississippi and Tulsa Ballet Theatre between 1990 and 1993, before joining Boston Ballet as a principal dancer in 1993, where he performed until 2006. He has danced major roles in extensive classical and contemporary ballets by many of the major choreographers, and has toured extensively in Russia and the United States. In 1998 Plotnikov’s extensive performance career lead to choreographic inspiration. He has since created original, commissioned works for companies including Boston Ballet, Cincinnati Ballet, Pittsburg Ballet Theatre, Richmond Ballet, New Jersey Ballet, First State Ballet Theatre, Festival Ballet Providence, Atlanta Ballet, and Kansas City Ballet. From 2002 to 2005, he received rave reviews for his choreography and as co-director and co-producer of the choreographer’s showcase Raw Dance in collaboration with Boston Ballet and Boston Center for the Arts. Plotnikov has created a myriad of original works for numerous organizations and individuals, often to great acclaim. These include solos and duets performed at International Gala Performances and as part of international ballet competitions, with musical taste ranging from Brahms to Pink Floyd. Awards include “Best Choreography” at Helsinki International Ballet Competition, World Ballet Competition, Orlando; Outstanding Choreography at Youth American Grand Prix; Beijing International Ballet Competition; Perm International Ballet Competition, Russia. Born in the Netherlands, Roger Jansen graduated from the Royal Conservatory in the Hague in 1989. He continued his studies at the Vaganova (Kirov) Ballet Academy in Russia. In 1990, he joined the Dutch National Ballet as aspirant under the directorship of Rudi van Dantzig and was promoted to Grand Sujet in 1995 by Wayne Eagling who was responsible for pushing Roger to the next level. Roger’s repertoire includes demi-soloist roles in "Swan Lake", "Giselle", "La Sylphide", "Nutcracker", "Romeo and Juliette", "Sleeping Beauty" and "Cinderella”, as well as ballets from George Balanchine including: "Symphony in Three Movements", "Agon", "Episodes", "Four Temperaments", "La Valse", "Jewels" and "Brahms Schoenberg Quartet". However, Roger’s passion for dance excelled most in contemporary works from Hans van Manen, Rudi van Dantzig, Tour van Schaik, Krzysztof Pastor, Ted Brandsen, William Forsyhthe, Twyla Tharp, Eduard Locke, and Wayne Eagling. Roger finished his professional career in 2003 after thirteen years with the Dutch National Ballet, and went on to fulfill his lifelong dream by joining the famous cabaret "Lido de Paris" in Paris. He continues to teach classical ballet back home in the Netherlands while he continues to expand his teaching engagements in the United States. Rebecca Rice is an award winning choreographer, respected teacher and the artistic director/choreographer of Rebecca Rice Dance, a noted modern dance company in Boston. Her professional company has been presented in Massachusetts by the Boston Ballet, Jacob's Pillow Dance Festival, Bank of America Celebrity Series, The Boston Pops, World Music and her choreography has been commissioned by various organizations such as the Samruk Ballet Company in Kazakhstan, Pont Aven School in France, Edinburgh Fringe Festival in Scotland and in New York City with the American Dance Guild. Rebecca Rice Dance made its New York City debut in 2006 to high acclaim. As resident choreographer and teacher of modern dance at the Boston Ballet for almost two decades, Rebecca created works on the company and school and was faculty of modern dance, choreography, ballet and creative process. Under Bruce Marks and Anna-Marie Holmes, she created numerous works on BBII as well as organized Boston Ballet's ﬁrst choreography workshops, "Studio 7 @ Boston Ballet." As a performer, Rebecca worked professionally with various artists and companies throughout the United States including the Dance Alloy in Pittsburgh, Gerri Houlihan, Stephen Pelton, Bill Evans and Marianne Goldberg. Rebecca grew up studying and performing the work of modern dance pioneers Ted Shawn, Ruth St. Denis and Doris Humphrey with her grandmother, Marion Rice. Rebecca graduated with honors in modern dance from the University of Utah where she worked with Bill Evans, Ron Ruby, Ririe-Woodbury and the Utah Repertory Dance Theatre. In New York City she trained with Viola Farber as well as studied at the Jose Limon and Ailey Schools. Rebecca recently traveled to Kazakhstan where she was invited by the US State Department to be a "Cultural Envoy". She choreographed a new work, "Uplift" on the Samruk Dance Company as well as presented master classes and lectures on American contemporary modern dance. Some of the students she trained in modern and choreography while at the Boston Ballet include Sarah Lamb, Principal-Royal Ballet, James Whiteside; Principal-American Ballet Theater and Nao Kazusaki, Soloist-Houston Ballet, as well as Isadora Wolfe of Johannes Wieland Co, Coco Karol and Julie Fiorenza of Jessica Lange Company. Rebecca set many premiere pieces of original choreography on Sara Knight, including "Mirage","Indigo","Russes Suite" and "Bach Dances". Jillian Davis is a Kutztown, PA native, and began her ballet training at the age of 3. She studied extensively with Risa Kaplowitz and Susan Jaffe at Princeton Dance and Theater Studio in Princeton, NJ. Jillian has attended San Francisco Ballet, School of American Ballet, as well as Pacific Northwest Ballet and LINES Ballet, both on scholarship. In 2013, she developed the “Jillian Davis Dance Project”, her choreography commissioned by Missouri Valley College. Her piece, “Tiel”, was featured at Jennifer Muller’s Hatched Series and was selected as a finalist for Rider University’s Emerging Choreographers Showcase. Jillian has been a company member with Complexions since 2014. She has been part of several Dwight Rhoden world premieres, including Headspace, Strum, Gutter Glitter, Star Dust, Bach 25, Woke, Love Rocks, and a world-premiere solo, Elegy. She has also performed installation works by Desmond Richardson and an excerpt of Approximate Sonata by William Forsthye. Jillian is entering her eighth season with Complexions. Along with being a dancer with Complexions, Jillian is part of the core faculty for Complexions Dance Academy, teaching at intensives and master classes around the world. She also frequents as a guest teacher and choreographer with schools around the country, including SLK Ballet, Berks Ballet Theater, Princeton Dance and Theater Studio, Missouri Valley College, among other schools. More information visit IG @Jillange93 Originally from a small town in Connecticut, Abbey began dancing at the young of three. Training in all disciplines, with a concentration in classical ballet, she attended various studios and summer intensives, including SLK Ballet, ABT, Alvin Ailey, and the Rockettes Summer Intensive. Following high school she attended Marymount Manhattan College and received her BFA in Dance with a double concentration in Ballet and Modern Dance. Following graduation, Abbey acquired her first professional job as a Knicks City Dancer performing at Madison Square Garden. While a part of KCD she was able to work with world-renowned choreographers, such as Mandy Moore, Val Chmerkovskiy, Bobby Newberry, Tracey Shibatta, and Ashley Everett. As a part of the Knicks she also performed in numerous halftime performances with varying musical artists, such as T-Pain and Ashanti. In Fall of 2019 Abbey began her first season as a Radio City Rockette for the iconic Christmas Spectacular and looks forward to the upcoming season ahead. Outside of professional dance, Abbey is also a fitness-instructor and model for Bella Agency, where she has booked commercials for Kay Jewelers and Fox's Fosse Verdon series. Leanne King trained at the Arts Educational School in London. She has both choreographed for and performed with many small companies and has choreographer credits in television and film. Leanne teaches Contemporary to Central’s first year students and oversees second year choreography including the collaborative choreographic project (Design for Dance) with Central St Martin’s School of Art & Design. She continues to work on external performance projects for the school, including linking Central School of Ballet students with Crystal Pite and Kidd Pivot, culminating in the performance of award winning Polaris on the Sadler’s Wells stage. More recently Leanne has seen a collaboration of student dancers with The National Centre of Circus Arts and the Australian troupe Circa in sell out site specific performances in East London. Leanne has both national and international teaching/choreographic credits to her name and having taught at The Royal Academy of Dance, Arts Educational School and the Royal Ballet School, Leanne is now Course Development Co-ordinator for the Senior School at Central and also continues to teach open classes at Danceworks. Leanne's credits include the conception and choreography for production company Fait Accompli for the London 2012 Olympics, a sell-out season at Edinburgh Fringe Festival and a one-off performance at the Royal Albert Hall. Leanne has coached and choreographed for two students at the Central school of Ballet throughout their journey to the contemporary category finals of BBC Young Dancer 2015. Most recently Leanne has conceived and created a work with students from Central School of Ballet and two young dancers in a collaboration with Bristol Children’s Hospital, discovering how dance and movement can help in the rehabilitation from neuro surgery and major neuro trauma. Razvan Stoian hails from Constanta, Romania, and graduated from the Caragiale Academy of Theatrical Arts and Cinematography winning the “Best Choreography” and “Best Interpretation” awards. Prior to joining Battery Dance in 2016, he danced internationally with Tangaj Dance Company including appearances at the Battery Dance Festival in New York in 2014, and collaborative performances with Battery Dancers in Romania the same year. His choreography has been presented annually in Battery Dance Festivals up through 2020 where, in addition to his work for the company, “Icarus”, his collaboration with Romanian dancer Ana Maria Lucaciu was commissioned by the Romanian Cultural Institute. Stoian has also performed with Gigi Caciuleanu Romania Dance Company at Sadler’s Wells Theatre in London; and is a champion ballroom dancer, winning competitions in Austria, Bulgaria, Italy, Romania, Turkey and elsewhere. Since the pandemic in March, 2020, he has taught hundreds of ballroom classes on Battery Dance TV and Battery Dance’s YouTube Channel. He has toured internationally with Battery Dance in Germany, South Korea and Sri Lanka.
6847	dbpedia	3	48	https://www.classicalsource.com/article/one-day-at-subcarpathian-spring-2016/	en	One day at Subcarpathian Spring 2016	https://www.classicalsou…oads/13566_1.jpg	https://www.classicalsou…oads/13566_1.jpg	[ "https://www.classicalsource.com/wp-content/uploads/tcsLogo.png", "https://www.classicalsource.com/wp-content/uploads/13566_1.jpg", "https://www.classicalsource.com/wp-content/uploads/13566_1.jpg", "https://www.classicalsource.com/wp-content/uploads/13566_2.jpg", "https://www.classicalsource.com/wp-content/uploads/13566_3.jpg" ]	[]	[]	[ "" ]	null	[]	2016-04-08T00:00:00+00:00	Subcarpathian Spring, which is actually a series of concerts organized by Ivano-Frankivsk Regional Philharmonic Society, is generally reckoned to be one of the	en	https://www.classicalsource.com/wp-content/uploads/favicon.ico	The Classical Source	https://www.classicalsource.com/article/one-day-at-subcarpathian-spring-2016/	LnRiLWZpZWxke21hcmdpbi1ib3R0b206MC43NmVtfS50Yi1maWVsZC0tbGVmdHt0ZXh0LWFsaWduOmxlZnR9LnRiLWZpZWxkLS1jZW50ZXJ7dGV4dC1hbGlnbjpjZW50ZXJ9LnRiLWZpZWxkLS1yaWdodHt0ZXh0LWFsaWduOnJpZ2h0fS50Yi1maWVsZF9fc2t5cGVfcHJldmlld3twYWRkaW5nOjEwcHggMjBweDtib3JkZXItcmFkaXVzOjNweDtjb2xvcjojZmZmO2JhY2tncm91bmQ6IzAwYWZlZTtkaXNwbGF5OmlubGluZS1ibG9ja311bC5nbGlkZV9fc2xpZGVze21hcmdpbjowfQ== 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
6847	dbpedia	1	47	https://www.operamrhein.de/en/people/svetlana-bednenko/	en	Deutsche Oper am Rhein	https://www.operamrhein.…ednenko_5218.jpg	https://www.operamrhein.…ednenko_5218.jpg	[ "https://www.operamrhein.de/en/blank-image/blank_1181_1417.png", "https://www.operamrhein.de/en/blank-image/blank_900_720.png", "https://www.operamrhein.de/en/content-images/image720/809c5d7caa3651fcb2499abe0f60392d/8293/visions_fugitives_foto_05_roman_novitzky.jpg", "https://www.operamrhein.de/en/blank-image/blank_1080_720.png", "https://www.operamrhein.de/en/content-images/image720/c7be4fab745eea67eb4f4ba23ffc28cc/8292/visions_fugitives_foto_09_roman_novitzky.jpg", "https://www.operamrhein.de/en/blank-image/blank_1080_720.png", "https://www.operamrhein.de/en/content-images/image720/2f930a8dad6bef769dac64598386f9d4/6863/the_cage_foto_1_bettina_stoess.jpg", "https://www.operamrhein.de/en/blank-image/blank_1052_720.png", "https://www.operamrhein.de/en/content-images/image720/a7aef64fe3d521bfd9b9bb9201a441f0/5619/northcountry_foto_03_bernhard_weis.jpg", "https://www.operamrhein.de/en/blank-image/blank_1099_720.png", "https://www.operamrhein.de/en/content-images/image720/f2be30c3e2ceeb1579d206db3a712e5d/5626/northcountry_foto_04_bernhard_weis.jpg", "https://www.operamrhein.de/en/blank-image/blank_1113_720.png", "https://www.operamrhein.de/en/content-images/image720/4abd2c9caa572bbee3e52ab52f76f27a/5635/parallel_bodies_foto_04_bernhard_weis.jpg", "https://www.operamrhein.de/en/blank-image/blank_1080_720.png", "https://www.operamrhein.de/en/content-images/image720/05f5733d91c8f9a8e5d5860292c5825b/3235/gp_stepbystep_11_foto_danielsenzek.jpg" ]	[]	[]	[ "Schauspiel", "Theaterbasis", "Theater", "Abonnements", "people", "Svetlana Bednenko" ]	null	[ "Deutsche Oper am Rhein" ]	null	Svetlana Bednenko	en	/apple-touch-icon.png		https://www.operamrhein.de/en/people/svetlana-bednenko/	Svetlana Bednenko was born in Donetsk, Ukraine, and trained as a dancer at the Vadim Pisarev Choreographic Mastery School. She is a prize winner of various competitions, such as the Tanzolymp Berlin, the International Ballet Competition in Seoul, the Premio Roma Danza and the Serge Lifar International Ballet Competition. Svetlana Bednenko has danced a variety of major roles in the classical ballet repertoire, including Giselle, Gamzatti in "La Bayadère", Odette and Odile in "Swan Lake", Kitri in "Don Quixote" and Medora in "Le Corsaire". For her artistic achievements, she was awarded the title "Cavalier of the Order of Arts of Ukraine" by the Ukrainian government in 2020. Before becoming a company member of the Ballett am Rhein in the 2021/22 season, she danced as a soloist at the Mikhailovsky Theatre in Saint Petersburg since 2013. Since then she has danced the Queen in Jerome Robbin's "The Cage", in Demis Volpi's "the Nutcracker" and "the thing with feathers" as well as "Short Cut" by Hans van Manen, among others.
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6847	dbpedia	0	66	https://www.wilsoncenter.org/person/alia-al-neyadi	en	Alia Al Neyadi	https://www.wilsoncenter…adi_portrain.jpg	https://www.wilsoncenter…adi_portrain.jpg	[ "https://www.wilsoncenter.org/themes/custom/wilson/assets/images/wilson-quarterly.svg", "https://www.wilsoncenter.org/themes/custom/wilson/logo.svg?v=20210609", "https://www.wilsoncenter.org/sites/default/files/styles/large/public/media/uploads/images/Alia%20Al%20Nayadi_portrain.jpg", "https://www.wilsoncenter.org/themes/custom/wilson/assets/images/program-logos/middle-east-womens-initiative.svg", "https://www.wilsoncenter.org/sites/default/files/styles/large/public/media/uploads/images/Alia%20Al%20Nayadi_portrain.jpg", "https://www.wilsoncenter.org/sites/default/files/styles/insights/public/media/uploads/images/MEP_Ballet.jpg", "https://www.wilsoncenter.org/themes/custom/wilson/assets/images/footer-logo.svg", "https://www.wilsoncenter.org/themes/custom/wilson/assets/images/wilson-quarterly.svg" ]	[]	[]	[ "" ]	null	[]	null		en	/core/misc/favicon.ico	Wilson Center	https://www.wilsoncenter.org/person/alia-al-neyadi	At the age of five, Alia began ballet training in Abu Dhabi at the Cultural Foundation, being one of just five Emirati girls to take up the dance form. Four years later she stood on her toes for the first time ‘en pointe’ and became recognized as the very first Emirati ballerina. Her years of professional training in the UAE saw her become a member of the Fantasia Ballet – the first ballet school in the country. Her repertoire includes classical ballet, classical modern, jazz, Latin and character/folk following the renowned Russian method – Vaganova Academy style, which is the only one followed by Fantasia Ballet in the UAE, and has taken yearly exams by renowned artists of Ukraine, USA and Russia. (Such as Vadim Pisarev, Nobuhiro Terada). Alia has performed in numerous competitions and festivals including within the UAE and overseas in the United States, Ukraine and Bulgaria. She was honoured in 2009 at L’Officiel Middle East: Arab Woman Awards with ‘Talent of the Year’ and at the GR8 Middle East Awards in 2013 as ‘Best Talent’. In 2018, she won ‘Young Talent’ at the Emirates Woman: Woman of the Year Awards and Grazia Middle East 2018: Generation Z – Influencers under 25. Alia, a BA graduate specializing in culture and society affairs from Zayed University in Abu Dhabi is currently working with the Department of Culture and Tourism – Abu Dhabi curating classical dance and music programmes for the Abu Dhabi Region.
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Nureyev made his London debut. Former Royal Ballet principal Nehemiah Kish is the artistic director for the performances that will feature 22 leading dancers performing nine classical ballet excerpts representing highlights of Nureyev's career. The dancers that can be seen from 5-12 September are William Bracewell, Yuhui Choe, Alina Cojocaru, Cesar Corrales, Guillaume Côté (12 September), Benjamin Ella, Francesco Gabriele Frola, Emma Hawes, Francesca Hayward, Daichi Ikarashi, Oleg Ivenko, Germain Louvet (5 and 6 September), Natascha Mair, Maia Makhateli, Vadim Muntagirov, Yasmine Naghdi, Natalia Osipova, Xander Parish, Iana Salenko, Marcelino Sambé, Alexandr Trusch, Marianna Tsembenhoi from companies includingThe Royal Ballet, Paris Opera Ballet, Dutch National Ballet, National Ballet of Canada, and the English National Ballet. Dame Monica Mason (who shared the stage with Nureyev many times) and Ralph Fiennes (who appeared in and directed The White Crow, the film about Nureyev's early life and defection), are the presenters on the opening night, and a filmed version will be shown at the subsequent performances. Nehemiah Kish said, From my earliest memories as a young dancer, I have regarded Rudolf Nureyev as synonymous with classical ballet. At Canada's National Ballet School, I was fortunate to study with a close colleague of Nureyev and our training was infused with daily reminders of the impossibly high standard of discipline and artistry that Nureyev practiced. Every step of my dance education and professional career has been shaped by those who knew Nureyev and drew inspiration from his passion and commitment to illustrate the highest achievements in dance and inspire the next generation of dancers. In presenting this programme, I want to celebrate Rudolf Nureyev's transformative influence on dance and his legacy, expressed through the performances of today's most incredible dancers. The evening will begin with a solo Nureyev choreographed forThe Sleeping Beauty underlining the impact he had on elevating the role of the male dancer by adding solos to the classical repertoire. It will be danced by Germain Louvet of the Paris Opera Ballet. Other extracts include a pas de deux from Gayane, which reflects Nureyev's folk dance roots and will danced by Oleg Ivenko (who played Nureyev in The White Crow) with Maia Mahkateli; and the pas de six from Laurencia, which Nureyev staged with the Royal Ballet for a TV special in 1964, which has been staged for the gala by Natalia Osipova, who will be accompanied by Marcelino Sambé and four dancers from The Royal Ballet. Live music will come from 40 musicians of the Royal Ballet Sinfonia, conducted by David Briskin, Musical Director of the National Ballet of Canada. Costumes which draw on archival footage of Nureyev's performances have been created by ballet dancer turned designer Natalia Stewart. A proportion of tickets for the production will be offered free of charge to ballet students and workers in the NHS. Some of the dancers in the programme have been direct beneficiaries of bursaries to study from The Rudolph Nureyev Foundation. Nureyev Legend and Legacy \| Theatre Royal Drury Lane 5 September 2022 at 7.30pm 6 & 12 September 2022 at 2pm and 7.30pm Tickets from £25: lwtheatres.co.uk/theatres/theatre-royal-drury-lane Dancers' Biographies William Bracewell Welsh dancer William Bracewell joined The Royal Ballet in 2017. Bracewell was born in Swansea. He trained from the age of 11 at The Royal Ballet School. Awards while a student include the 2007 Young British Dancer of the Year Award and the grand prix at the 2010 Youth America Grand Prix. He joined Birmingham Royal Ballet in 2010, promoted to first artist in 2012 and to soloist in 2014. His repertory with The Royal Ballet and BRB includes Romeo, Prince Siegfried (The Nutcracker), Franz (Coppélia), Oberon (The Dream), Prince (Cinderella), Ferdinand (The Tempest). He has created roles for The Royal Ballet in Yugen and Corybantic Games. Bracewell's other awards include Outstanding Male Performance (Classical) at the 2015 Critics Circle National Dance Awards. Bracewell starred as Romeo alongside Francesca Hayward in the feature length film Romeo and Juliet: Beyond Words (2019). Yuhui Choe Korean dancer Yuhui was born and raised in Japan and is a first Soloist of The Royal Ballet. She was a Prix de Lausanne Apprentice with The Royal Ballet in 2002 and joined the Company as an Artist in 2003, promoted to First Artist in 2006 and First Soloist in 2008. Yuhui began dancing aged 5. She moved to Paris to train with Daini Kudo and after winning silver in the 2000 Paris International Dance Competition began training with Dominique Khalfouni. In 2002 she won first prize and the contemporary dance prize at the Prix de Lausanne and went on to join The Royal Ballet as an apprentice. Her first major solo role with the Company was Princess Florine (Natalia Makarova's The Sleeping Beauty) in 2004. She has danced many of the Principal Dancer roles. Her awards include Best Female Artist (Classical) at the 2008 Critics' Circle National Dance Award, and in 2016 she was nominated for the Asian Women of Achievement Awards (Arts and Culture). Alina Cojocaru Internationally acclaimed, Romanian ballerina, Alina is one of the most celebrated dancers of this generation. Formerly a Principal Ballerina with the Kiev Ballet, The Royal Ballet, and English National Ballet, Alina is currently a guest Principal Dancer with The Hamburg Ballet and an independent artist. Among her numerous awards are Critics' Circle Award (2018 Outstanding Female Classical Performance); Critics' Circle Award (2017 Outstanding Female Classical Performance); ‘Dancer of the year' German Dance Critics Award (2012); Benois de la Danse (2012 Best Female Dancer, Liliom); ‘Ballerina of the Decade' Award (Moscow 2010); VIP Romanian Music and Performing Arts Award (2010); The Nijinsky Award (2004 Best Female Dancer); Benois de la Danse (2004 Best Female Dancer, Giselle); 1 Internationaler Movimentos Tanz Preis (2004 Best Female Dancer); Nagoya International Ballet Competition (Gold Medal); Prix de Lausanne (1997 winner); Critics' Circle Dance Award (2002 Best female dancer); April 2002 she was given by the President of Romania Ion Iliescu, the medal of Cavaler of Romania (Ordinul national ‘Pentru Merit' in grad de Cavaler). Cesar Corrales Cuban-Canadian dancer and former star of Billy Elliot the musical, Cesar is one of the most exciting dancers today. He danced with American Ballet Theatre Studio Company in 2014, He was promoted to Principal at English National Ballet in 2017 and is currently dancing with The Royal Ballet. His awards include Grand Prix Award and Artistry Award at the Youth America Grand Prix, 2016's Emerging Dancer Award and the 2017 National Dance Award for Outstanding Male Performance (Classical) for Le Corsaire. Guillaume Cote Canadian dancer and choreographer Guillaume Côté joined the National Ballet of Canada at the age of 17. At age 19, he made his debut as Prince Siegfried in Swan Lake, making him the youngest person in the company to dance that role. As a guest artist, Guillaume had performed with La Scala Theatre Ballet, English National Ballet, The Royal Ballet, American Ballet Theatre, The Hamburg Ballet and Stuttgart Ballet, as well as in Kings of the Dance, The Vision of Manuel Legris and Roberto Bolle and Friends. With English National Ballet, he originated the role of Gene Kelly in Strictly Gershwin.] In 2020, he made his debut at the New York City Ballet, dancing Swan Lake. A man of many talents, Guillaume is a trained musician and composer. He was appointed Choreographic Associate at the National Ballet in 2013. In 2014, Guillaume became the artist director of Festival des Arts de Saint-Sauveur, a dance festival in Quebec. He was made a Knight of the National Order of Quebec in 2020 Benjamin Ella Benjamin Ella is an Australian born Soloist of The Royal Ballet. He trained at The Royal Ballet Upper School and graduated into the Company in 2009, promoted to First Artist in 2016 and to Soloist in 2017.Benjamin was born in Melbourne to former ballet dancers Christine Walsh and Ricardo Ella. After initially training as a tennis player, at the age of 11 he joined his parents' ballet school, the Australian Conservatoire of Ballet in Richmond. Aged 15 he won the Alicia Markova Bursary to train at The Royal Ballet Upper School. Performances at the School included roles in Soirée Musicale and Garland Dance, and pas de deux (Le Corsaire) at a gala in Portugal. Benjamin's awards as a student included silver prize at the 2008 Youth American Grand Prix. In his final year in 2009 he performed a pas de deux at the Critics' Circle National Dance awards and was named joint Outstanding Graduate of the Year at The Royal Ballet School. Francesco Gabriele Frola is an Italian Principal Dancer with English National Ballet. Gabriele trained in Italy, Germany and Mexico. He joined English National English National Ballet in 2018, promoted to Lead Principal in 2020. Leading roles include Des Grieux, Manon, Nephew/Prince, Nutcracker, Prince Siegfried, Swan Lake, Prince Guillaume and Benjamin in Christopher Wheeldon's Cinderella Conrad and Birbanto in Le Corsaire and Harald Lander's Etudes. Awarded the Rolex Dancers First Award (2015) for his performance of the title role in Nijinsky and Prince Florimund in The Sleeping Beauty, and the Patron Award of Merit in 2014. In 2012, he won the Silver Medal at the Helsinki International Ballet Competition and the Bronze Medal in the International Ballet Competition in Cuba in 2010. He was also a semi-finalist at Prix de Lausanne in 2008 and received the prize for Best Male at the Grand Prix Pavlova in 2006 and 2003. Francesca Hayward Kenyan-born English dancer and actress, Francesca is a Principal Ballerina of The Royal Ballet. In 2019, she starred as Victoria the White Cat in the musical film Cats, an adaptation of the stage musical of the same name.Francesca studied at The Royal Ballet School 2003-11 and while a student won the 2009 Lynn Seymour Award for Expressive Dance, the 2010 Young British Dancer of the Year and both silver medal and the Audience Choice Award at the 2010 Genée International Ballet Competition. After joining The Royal Ballet, she represented the Company at the 2012 International Competition for the Erik Bruhn Prize and won Best Emerging Artist (2014) and Best Female Dancer (2016, 2019) at the Critics' Circle National Dance Awards. Emma Hawes Emma is an American-born Principal Ballerina at English National Ballet. Title roles with the Company have included Manon and Lescaut's Mistress in Manon and Odette/Odile in Swan Lake. In 2012 she represented The National Ballet of Canada in The Tenth International Competition for The Erik Bruhn Prize and received the Audience Choice Award for Favourite Female Competitor. Created roles include corps de ballet in Alexei Ratmansky's Romeo and Juliet, 2011; original cast of Robert Binet's Unearth, 2012; pas de deux of Guillaume Côté's Enkeli, 2012; original cast of Robert Binet's Terra Incognita, 2016; original cast of James Kudelka's Dark Night's Bright Day, 2013; original cast of Robert Binet's The Dreamers Ever Leave You, 2016 and the Pas De Trois in Nikolaj Hubbe's Swan Lake, 2015. Earlier in her life, Emma was a competitive swimmer. Daichi Ikarashi Japanese dancer Daichi Ikarashi joined The Royal Ballet as an Aud Jebsen Young Dancer from the start of the 2020/21 Season. Ikarashi began his training at the Niigita Ballet School before attending and graduating from The Royal Ballet School. He won the Youth America Grand Prix (YAGP) Hope Award in 2013, the April Olrich Award for Dynamic Performance in 2016, the Gailene Stock Award in 2019 and in 2020 he was awarded the London Ballet Circle Dame Ninette Award. Oleg Ivenko Ukrainian dancer and actor, Oleg starred as Rudolf Nureyev in The White Crow, a 2018 biographical drama film chronicling the life and dance career of Rudolf Nureyev directed by Ralph Fiennes. Oleg performed leading roles with the Tatar State Academic Opera and Ballet Theatre named and in galas internationally. He is a winner of many prestigious international ballet competitions, an honoured artist of Tatarstan. In 2020, Ivenko was awarded the Leonide Massine Prize in Positano, Italy in the category “Best Dancer of the Year on the International Stage”. Natascha Mair Natascha was born and raised in Austria and is now a Principal Dancer with the English National Ballet. She received her education from the age of seven at the Vienna State Opera. In 2012 she joined the Vienna State Ballet. In 2012, Natascha was awarded the Jury Prize at the International Ballet Competition in Beijing and received the first prize in the Premio Roma Danza. In 2014 she was promoted to demi-soloist and in 2016 to soloist.In December 2018, Vienna State Ballet Director Manuel Legris promoted Mair to first soloist following a perform-ance of Rudolf Nureyev's The Nutcracker at the Vienna State Opera House. In 2020 Natascha left the Vienna State Ballet and was appointed Principal Dancer at the English National Ballet.She also appears as a guest principal in many lead roles and galas in Europe and overseas. Several television appearances including in the broadcasts of the New Year's Concert of the Vienna Philharmonic, the opening of the Vienna Opera Ball and “Just Ballet” documentary. Maia Makhateli Maia Makhateli is from Tbilisi in Georgia and was born into a dancing family – her father, Nikolas Makhateli, was a Principal Dancer with the National Opera & Ballet Theatre of Georgia for 26 years. Maia's dance training started in Tbilisi at the Choreographic Institute of Chabukiani. After moving to the United States in 2002, she studied at the Sun Valley Ballet School in Idaho. After dancing with Colorado Ballet for four years, she moved to the Birmingham Royal Ballet in 2006 and then auditioned for Dutch National Ballet where she was accepted as a Grand Sujet in 2007. In 2009 she was promoted to Soloist and one year later to Principal Dancer. Maia is an internationally sought-after guest principal. She has also won several awards, including the Nina Ananiashvili & Gilbert Albert Star Award (2011) and the Alexandra Radius Prize (2015). In 2019, she was nominated for the prestigious Benois de la Danse, for her performance of the role of Marguerite in The Lady of the Camellias. In its Critics' Choice of 2019, the leading dance magazine Dance Europe included Maia twice in the category “Outstanding performance by a female dancer”. At the end of November 2020, she won the magazine's Dancer of the Year Award. Germain Louvet Born and raised in France, Germain is an Étoile, the highest rank of dancer at the renowned Paris Opera Ballet, where he trained from the age of 12. He joined the professional company in 2011 and in 2013 he was awarded the Prix de la Danse du Cercle Carpeaux. In 2016 he was made an Étoile following a performance of Nureyev's arrangement of Swan Lake in which he performed the role of Prince Siegfried. He has danced some of the great roles of the classic repertoire as well as working with a number of contemporary choreographers. Vadim Muntagirov Hailing from Russia and residing in the UK, Vadim is one of the finest classical male dancers today and a Principal of The Royal Ballet. Before joining The Royal Ballet, Vadim was a Principal Dancer with the English National Ballet and has guested with The Paris Opera Ballet, American Ballet Theatre, Mariinsky Ballet, Vienna State Opera Ballet, National Ballet of Japan, Bavarian State Ballet, Mikhailovsky and Cape Town City Ballet. Vadim's awards include the 2011 Outstanding Male Performance (Classical), 2018 and 2015 Best Male Dancer at the Critics' Circle National Dance Awards and the 2018 and 2013 Benois de la danse. Vadim received a scholarship from the Rudolf Nureyev Foundation to study at The Royal Ballet School. Yasmine Nahgdi Yasmine is a Principal of The Royal Ballet. She joined The Royal Ballet in 2010. She was promoted to First Artist in 2012, Soloist in 2014, First Soloist in 2016 and Principal in 2017. Born in London, Yasmine was a Junior Associate before entering full-time training at The Royal Ballet School, White Lodge and Upper School. In 2009 she won the Young British Dancer of the Year Competition. In 2018, she was nominated for Best Female Dancer at the Critic's Circle National Dance Awards. Natalia Osipova An incomparable Ballerina, Natalia is a powerful dancer of explosive jumps and dramatic intensity. Natalia travels the world headlining her own artistic projects and performing as a Principal Ballerina with The Royal Ballet and guest artist with leading dance companies. Before joining The Royal Ballet, Natalia was a principal Ballerina with the Bolshoi Ballet in Moscow and American Ballet Theatre. Her awards include Golden Masks for her performances in In the Upper Room (2008) and La Sylphide (2009), Critics' Circle National Dance Awards (Best Female Dancer, 2007, 2010 and 2014), Positano Dance Awards (Best Female Dancer, 2008 and 2011) and a Benois de la Danse Award (Best Female Dancer, 2008). In 2019 Natalia starred in the documentary Force of Nature Natalia. Xander Parish OBE A dancer of supreme elegance, Xander is the first British dancer to be employed by the Mariinsky Ballet in St Petersburg, Russia. Before joining the Mariinsky Ballet, Xander trained at The Royal Ballet School and danced with The Royal Ballet. While Studying at The Royal Ballet School, Xander won the Ursula Moreton Choreographic Award (2003), The Young British Dancer of the Year Award (2nd prize 2004) and a Silver Medal at the Genée International Ballet Competition (Athens, 2004). He was awarded an OBE in the 2019 New Year's Honours List for services to dance and UK/Russia cultural relations. Recently, Xander has taken leave of the Mariinsky Ballet Company. Iana Salenko Ukrainian ballet dancer Iana Salenko is a principal of Berlin State Ballet. Iana was born in Kiev and trained at the Pisarev Ballet School, Donetsk, graduating in 2000. She was a member of Donetsk Ballet 2000–02 before joining Kiev Opera Ballet as a principal. She joined the Berlin State Ballet in 2005 as a demi-soloist, promoted to soloist in 2006 and principal in 2007. She made her Royal Ballet debut as a Guest Artist in 2013 and regularly performs as a guest artist around the world, with engagements including in Florence, Munich, and Rome. Iana's many awards include 1st Prize in the Diaghilev-Price Serge-Lifar-Competition Kiev in 2002, 1st Prize ÖTR Contest Vienna in 2004, 1st Prize and Makharova-Price at the Arabesque-Competition in 2004, 1st Prize at the International Ballet Competition in Helsinki in 2005 and 1st Prize at the International Ballet Competition in Nagoya also in 2005. Marcelino Sambé Portuguese dancer Marcelino is a Principal of The Royal Ballet and one of the most engaging and powerful performers in ballet. Marcelino's dance awards include a silver medal at the Moscow International Ballet Competition in 2008, first prize at the Youth American Grand Prix in 2009, a gold medal and special award at the USA International Ballet Competition in 2010 and the Critics' Circle National Dance Awards for Outstanding Male Classical Performance (2017) and Best Male Dancer (2019). Alexandr Trusch Born and raised in Dnipropetrovsk in Ukraine, Alexandr began his training very young. In 2001, he enrolled in the School of the Hamburg Ballet and joined the Hamburg Ballet in 2007. Alexandr became a Soloist in 2010 and a Principal Dancer in 2014. His repertoire is extensive and he is a lyrical, classical dancer.He won a prestigious Dr. Wilhelm Oberdörffer Prize in 2010. Marianna Tsembenhoi Ukrainian dancer, Marianna joined The Royal Ballet's Aud Jebsen Young Dancers Programme at the start of the 2020/21 Season.Born in Kiev, Marianna began her training at the age of three at the Kiyanochka Cultural Centre. She went on to train at the Choreographic Gymnasium and the Choreographic College, both in Kiev, before attending The Royal Ballet Upper School, graduating in 2020. Marianna was awarded the Grand Prize at the Mysl-Potok Ballet Competition in 2014 and second prize at the Yuri Gregorovich Ballet Competition in Sochi in 2015. At the Youth American Grand Prix (YAGP), she won silver and gold medals in 2016 and in 2017 she won a scholarship to The Royal Ballet School and was one of the top 12 finalists.
6847	dbpedia	2	74	http://www.granddanceacademy.com/en/jury	en	Jury			[ "http://www.granddanceacademy.com/images/logo_bg_new2.png", "http://www.granddanceacademy.com/images/mail.png", "http://www.granddanceacademy.com/pic/jury/sm/5_Юрий-Григорович-685x1024.jpg", "http://www.granddanceacademy.com/pic/jury/sm/82_LeonovaMK_L-1.jpg", "http://www.granddanceacademy.com/pic/jury/sm/8_malahov.jpg", "http://www.granddanceacademy.com/pic/jury/sm/14_preview_andrienko.jpg", "http://www.granddanceacademy.com/pic/jury/sm/35_guest8.jpg", "http://www.granddanceacademy.com/pic/jury/sm/41_75b44b0e9c2e5d305fa323c6c51d3476_XL.jpg", "http://www.granddanceacademy.com/pic/jury/sm/54_12650823_10153269886016759_4124227096064154406_n.jpg", "http://www.granddanceacademy.com/pic/jury/sm/29_NTerrada.jpg", "http://www.granddanceacademy.com/pic/jury/sm/69_TAKANE Photo.jpg", "http://www.granddanceacademy.com/pic/jury/sm/79_фото-Усанова-680x1024.jpg", "http://www.granddanceacademy.com/images/bgr/image1-1.png", "http://www.granddanceacademy.com/images/rose1.png", "http://www.granddanceacademy.com/pic/partners/sm/23_logo globex.jpg", "http://www.granddanceacademy.com/pic/partners/sm/38_лого ИФБЦ.jpg", "http://www.granddanceacademy.com/pic/partners/sm/8_logo.png", "http://www.granddanceacademy.com/pic/partners/sm/11_fon.jpg", "http://www.granddanceacademy.com/pic/partners/sm/14_1001605_351730781621092_1424129324_n.jpg", "http://www.granddanceacademy.com/pic/partners/sm/5_LogoLeft.png", "http://www.granddanceacademy.com/pic/partners/sm/17_logo-Grishko.png", "http://www.granddanceacademy.com/pic/partners/sm/26_FERRY.jpg", "http://www.granddanceacademy.com/pic/partners/sm/29_c92a802b0be1bf3e7d7d2b76472d4f4c.jpg", "http://www.granddanceacademy.com/images/facebook.png", "http://www.granddanceacademy.com/images/youtube.png" ]	[]	[]	[ "Jury", "competition", "festival", "grand dance academy", "Bulgaria", "Bolsjoi theater" ]	null	[]	null	Jury Festival		/images/favicon_balet.ico		null	YURI GRIGOROVICH Russia Chairman of the International Jury,President of International Federation of Ballet Competitions,People’s Artist of the USSR,President of the International Union of Choreographers,Ballet master and choreographer at the Bolshoi Theatre,Professor at the Bolshoi Ballet Academy,Yuri Grigorovich has repeatedly transferred his own and classical ballets to the stages of other theaters in Russia and in the world. In each new production, whether his own performance is transferred, or a performance of ballet classics, Grigorovich never repeats himself, but finds new creative approaches and techniques in the implementation of his artistic ideas as a choreographer, stage director, librettist. In every performance, staged by the renowned choreographer, the hand of the Great Master of the Art of Ballet is clearly visible. MARINA LEONOVA Russia Prof. Marina Leonova . Rector of the Bolshoi Ballet Academy (the Moscow State Academy of Choreography, Russia). Master teacher of Classical Dance. Prof. Leonova began her ballet career when she graduated the Bolshoi Ballet Academy. She was invited to join the famous Bolshoi Ballet Theatre and was soon promoted to prima ballerina. She became a rector of the Bolshoi Ballet Academy in 2002. Awarded numerous prestigious national and international prizes, including the highest honorary title of People’s Artist of Russia. Laureate of the Russian Federation Government Award. VLADIMIR MALAKHOV Germany The ballet critique has given him the title "Dancer of the Century". He is one of the prominent alumni of the Moscow State Academy of Choreography. After graduation in 1986 Vladimir Malakhov was accepted as a leading soloist in the Moscow Classical Ballet. Numerous awards from international ballet competitions are won in Varna, Moscow, Paris, Jackson (USA), Venice, Monte Carlo. In 1992 Malakhov made his debut in Vienna State Opera, in 1994 - the National Ballet of Canada and in 1995 - The American Ballet Theater. He performed on the famous stages of Bolshoi and Mariinskiy Theater, in Stuttgart, Berlin and Japan. In 2002 Malakhov became a director of the Staatsoper Berlin. Sice 2004 he is appointed as an artistic director of the joined ballet troupes of the Staatsoper Berlin and Deutsche Opera ELENA ANDRIENKO Russia Prima ballerina of Bolshoi Theatre and honored People’s Artist of Russia. She was born in Kiev (Ukraine). She studied at the Bolshoi Ballet Academy (Moscow State Academy of Choreography), where she trained in Sophia Golovkina's graduates’ class. In 1991, having completed her studies, she joined the Bolshoi Theatre and became prima ballerina. She has performed in numerous leading and solo roles in spectacles: Swan Lake, Don Qiuxote, Nutcracker, Giselle and many others. She is a prize winner at the international Ballet Dancers Competition of Moscow (1993) and at the First International Serge Lifar Ballet Dancers Competition in Kiev (1994). Docent in Department of Choreography BalletMaster faculty of Russian Academy of Theater Arts SARA-NORA KRASTEVA Bulgaria In 1996 has graduated the National School for Dance Art in Bulgaria. The same year she was awarded for the best participant in the International Ballet Competition in Osaka, Japan and in 1997 she was a finalist in the International Ballet Competition in Moscow. After her graduation she was accepted in the ballet troupe of the National Opera in Sofia, Bulgaria and in 2003 she became a leading soloist. In 2009 - Director of the Ballet of Sofia Opera and Ballet Theatre. MASHA ILIEVA Bulgaria Prima ballerina of the Bulgarian National Opera and Ballet. She graduated the Ballet Academy “Vaganova” in Saint Petersburg, Russia. In 1986 she was a laureate of the International Ballet Competition in Varna and in 1988 Juriy Grigorovich has given her a role in his spectacle in Sofia – “The Nutcracker”. Maria Ilieva has been a director of the Bulgarian National Ballet during the period 2001 – 2003. She set up a private ballet school for children in Sofia. Maria Ilieva has a Master Degree in Ballet choreography and pedagogy and has received a Doctoral Degree as well. She is ballet master in folk and traditional dance, and classical repertoire in the Music Academy “Pancho Vladigerov” in Sofia, Bulgaria. NOBUHIRO TЕRADA Ukraine People’s Artist of Ukraine. Art Director of Kiev School Ballet. In 1995 he became a soloist of the National Opera of Ukraine. In the same year he became also a prize-winner in the International Ballet Competition in Japan. In 1999 he graduated Dance Academy and became a prize-winner at the International Serge Lifar Ballet Dancers Competition. Mr. Tеrada is a Director of “Grand Prix Kiev” International Ballet Festival and a sponsor of “World Ballet Stars” International Festival. TAKANE YAMAMOTO Japan TAKANE is choreographer, he choreographs any dancers from children to pro dancers in all genre of dance, and their dance style is new unseen fusion. He is pursuing the meaning, the role, and the new possibility of DANCE from the international vision, and challenging international activities. 2005 founded“ DANCE WORLD made in TAKANE” 2005 Gold Medal as a dancer , The 5th Japan International Ballet & Modern Dance Competition, in Nagoya 2007＆08 Gold Medal, International Dance Festival TANZOLYMP in Berlin (Choreography) 2008 Choreograph the opening ceremony of at Beijing Paralympics 2008 China . 2011 Grand Prix, “World Ballet Stars 2011”in Donetsk Ukraine. (Choreography) 2013 Special Prize, at 10th Anniversary GALA of International Dance Festival TANZOLYMP in Berlin 2014 Vladimir Vasiliev Prize , The XIII Russian Open Ballet Competition “Arabesque‐2014” 2017 Grand Prix, Grand Dance Academy in Varna, Bulgaria 2018 Vladimir Vasiliev Prize , The XV Russian Open Ballet Competition “Arabesque‐2018” 2018 VARNA international ballet competition 2018 Super GALA Concert“Meeting of Generations” And works choreographed by TAKANE was awarded 1st prize at dance competition in Tokyo, Kobe, Kyoto, Nakano and Okinawa in Japan. Now about 1500,000 or more people in the world are viewing TAKANE's program 『Little Swan』on YouTube. SERGEY USANOV Russia General Director of International Federation of Ballet Competitions,First Vice-President of the International Union of Choreographers,From 1998 until 2002 was the Director of the Central Special Music School of the Moscow Conservatory named after P.I.Tchaikovsky.In 1998 Sergey Usanov was elected First Vice-President of the International Union of Choreographers.From 1981 is engaged in preparatory work and carrying out the International Ballet Competition and Contest of Choreographers in Moscow. In 2007 he was elected General Director on the General Assembly of the International Federation of Ballet Competitions. (President of the International Federation of Ballet Competitions is an eminent choreographer of the Bolshoi Theatre Yury Grigorovich).He was member of the Jury of many International and National Ballet and Music Competitions in the Soviet Union, Russia and other countries.
6847	dbpedia	3	38	https://www.abouther.com/node/9926/people/features/emirati-ballerina-alia-al-neyadi-stages-spectacular-comeback-performance	en	Emirati Ballerina Alia Al-Neyadi Stages Spectacular Comeback Performance	https://www.abouther.com…ia_al_neyadi.jpg	https://www.abouther.com…ia_al_neyadi.jpg	[ "https://www.facebook.com/tr?id=1898197220457927&ev=PageView&noscript=1", "https://analytics.twitter.com/i/adsct?txn_id=nxv5j&p_id=Twitter&tw_sale_amount=0&tw_order_quantity=0", "https://t.co/i/adsct?txn_id=nxv5j&p_id=Twitter&tw_sale_amount=0&tw_order_quantity=0", "https://www.abouther.com/sites/all/themes/sayidatyenglish/assets/img/logo.png?aa", "https://www.abouther.com/sites/default/files/styles/210x140/public/2024/05/07/perfume_last_longer_in_the_heat.jpg?itok=bG0NmBNB", "https://www.abouther.com/sites/default/files/styles/210x140/public/2024/05/04/bella_hadid_unveils_orebella.jpg?itok=gsUxnFPH", 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"https://www.abouther.com/sites/default/files/styles/154x115/public/2022/06/10/infleuncer_tamar_thrift.png?itok=agBP1Ikl", "https://www.abouther.com/sites/default/files/styles/154x115/public/2022/08/30/saudi_women_gamers.jpg?itok=V0Q1DLs4", "https://www.abouther.com/sites/default/files/styles/154x115/public/2022/11/17/andy_warhol_exhibition_al_ula.jpg?itok=19ydQzie", "https://www.abouther.com/sites/default/files/styles/362x372/public/2024/05/07/american_model_amelia_gray_.jpg?itok=AdXI8M6H", "https://www.abouther.com/sites/default/files/styles/362x372/public/2024/05/07/colombian_singer_karol_g.jpg?itok=wYFP2VGd", "https://www.abouther.com/sites/default/files/styles/362x372/public/2024/05/07/loli_bahia.jpg?itok=IWhSM_Sb", "https://www.abouther.com/sites/all/themes/sayidatyenglish/assets/img/logo.png" ]	[]	[]	[ "" ]	null	[]	2018-04-28T10:11:18+03:00	A mix of awe-inspiring finesse, poise, suppleness and confidence helped ballerina Alia Al-Neyadi perfectly pirouette, plié and arabesque her way through her biggest dancing challenge yet. Considered the “first” Emirati ballerina, Al-Neyadi performed the spine-tingling performance at the Emirates Palace with none other than the Bolshoi soloists Ivan Vasiliev and Maria	en	https://www.abouther.com/sites/default/files/favicon.ico	About Her	https://www.abouther.com/node/9926/people/features/emirati-ballerina-alia-al-neyadi-stages-spectacular-comeback-performance	A mix of awe-inspiring finesse, poise, suppleness and confidence helped ballerina Alia Al-Neyadi perfectly pirouette, plié and arabesque her way through her biggest dancing challenge yet. Considered the “first” Emirati ballerina, Al-Neyadi performed the spine-tingling performance at the Emirates Palace with none other than the Bolshoi soloists Ivan Vasiliev and Maria Vinogradova. The dancers from the Donetsk Opera and Ballet Theatre, a historic Ukrainian troupe directed by the internationally acclaimed dancer Vadim Pisarev, and the 24-year-old regional ballet star commanded the stage on April 20 while performing “Le Corsaire” for the Abu Dhabi Classics’ season final show. Al-Neyadi, who has been lighting up the stage from a young age, trained rigorously, for her role in the famed story based on Lord Byron’s poem, which mixes adventure and romance. According to “The National” newspaper, the brunette, who prefers to stay out of the limelight, trained for seven months, rehearsing over 20 hours a week for what was undoubtedly the highlight of her 20-year-career. This kind of gruelling practice schedule, necessary for her to perfect her act, which included a solo part from the “Danse des Forban” section, isn’t something Al-Neyadi shirks from. “That’s the backbone of who I am now. And in ballet, you push someone who has talent,” she told “Friday” magazine in an interview. Spanning three gripping acts across a visual variety of locations and set-pieces, ranging from lively marketplaces to mysterious caves, the gripping narrative guided spellbound audiences through the tale of Conrad, chief of the pirates and his whirlwind romance with the beautiful Medora, a young Greek maiden. While the two married soloists from the renowned Bolshoi ballet played the lead parts, Al-Neyadi played one of Medora’s reassuring friends. “Not every girl gets to perform alongside primary soloists from the renowned Bolshoi theatre. I hope to be half the artists they are some day,” she told “The National.” Le Corsaire Ballet with Alia Al Neyadi Organised by the Department of Culture and Tourism (DCT) – Abu Dhabi and produced by FLASH Entertainment, the ballet was based on the version renowned Russian choreographer Yury Grigorovich first staged at Moscow’s Bolshoi Theatre in 1994. However, this time, the theatrical re-imaginings took place around all the grandeur of the Emirates Palace. A Patriotic Dedication to Making Ballet Accessible Perhaps what made the performance even more special for Al-Neyadi was the fact she helped organise DCT’s first ballet event due to her role as the department’s cultural curator. After hanging her ballet shoes during a brief retirement in 2016, she focused on working with the government to help promote the performing arts in the nation. She has helped bring performers and organised educational exchanges with international academies. Her calling to bring ballet to the UAE and assist the cultural scene has seen her decline an offer from New York University and stops her from joining the international ballet companies she respects.
6847	dbpedia	2	23	https://www.jewelsfestival.com/classes	en	Judges & Founders — Jewels Festival	https://assets.squarespace.com/universal/default-favicon.ico	https://assets.squarespace.com/universal/default-favicon.ico	[ "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/6d9f9af5-e703-44d3-b759-b0ec428eb35b/Logo+Final+%28save+to+web%29+-+Copy.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/3f3c937f-4a72-43a0-ab48-2f1f84747fd1/Logo+-+Copy.jpg?format=1500w", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/6d9f9af5-e703-44d3-b759-b0ec428eb35b/Logo+Final+%28save+to+web%29+-+Copy.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/3f3c937f-4a72-43a0-ab48-2f1f84747fd1/Logo+-+Copy.jpg?format=1500w", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/9127dd67-2f38-4eaf-b0ca-cd62865137bd/Gala2008Jul.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/0ddfcab0-576c-4403-b253-f7d08ebf1d20/albert_hs.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/7c8b7592-c12f-4b88-8e37-ea8a65f98217/DSC_0532.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/f8138764-40fd-4499-a79c-6da09e802ed1/%D0%92%D0%B0%D0%B4%D0%B8%D0%BC+%D0%BF%D0%BE%D1%80%D1%82%D1%80%D0%B5%D1%82.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/e13df549-30af-4fc2-b026-7d4bb7f897bb/Alex_Kedrov_01.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/c5071ed9-181f-4bb3-9b91-c61b1a567f81/20160118_130915%280%29.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/60822c5c-6fb3-492a-9b73-16dc20d2ee58/IMG_6043.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/a69b641b-5b28-4936-994f-44d60f6eb642/unnamed+%282%29.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/fbce14ae-f7d9-4dff-9590-c8c6f6a1ae63/Konstantin.JPG", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/1a47ff81-cd47-4778-916e-3fd214df96ed/IMG_6976.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/19d32e32-f55e-4db5-99d7-d80df25f5e34/unnamed.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/411c79c3-fbb7-49e4-99d1-33a43e959e6e/Viktor-Picture-300x300.jpg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/93ee2426-7fad-42fe-9fce-8659f279d86c/Yuri.jpeg", "https://images.squarespace-cdn.com/content/v1/63d82f63f2190b4c0d27c9f3/3fa78c4a-1bcd-4f5c-a992-c01911d46f3b/rj+2.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	https://assets.squarespace.com/universal/default-favicon.ico	Jewels Festival	https://www.jewelsfestival.com/classes	Founder / Executive Director Has won the hearts of all who experienced her delicate, refined performances. Treating audiences to many masterful and memorable roles, Ms. Julia danced the starring role in many ballets including Giselle, Nutcracker, Swan Lake, Macbeth, Spartacus, Romeo and Juliet, Sleeping Beauty and Allegro Brilliant, Concerto Barocco, Sylvia Pas De Deux, Who Cares, Raymonda of Balanchine and other beautiful pieces of acclaimed masters. She scored tremendous critical success and the New York Times ballet critic Anna Kisselgoff praised her work in the title role of ballet Esmeralda with NJBallet Co. Ms. Julia’s career began in Moscow at the world famous Bolshoi Ballet Academy (Degree of Ballet Artist) and the Bolshoi Institute of Choreography (Bachelor degree of Ballet teacher). She toured throughout the world as a principal artist with the Moscow Classical Ballet and Russian State Ballet. She performed at the world famous Bolshoi Theatre, Vienna State Opera and other big stages of the world. From 1998 she was with the New Jersey Ballet Co. as a principal dancer. As a teacher Ms. Julia has been praised for her extraordinary ability to work with today’s young generation of dancers. Her thorough knowledge of the most current teaching methods and styles has produced many dancers who have been accepted into some of the most prestigious dance programs and companies. In 2020 she founded the Duet School of Russian Ballet (Duet-SRB) with her late husband Konstantin Dournev. She created International Summer Ballet program for ballet students and Intensive Summer Ballet Camp. The students under leadership of Ms Julia have great performing skills, competition experience and scholarships. All of Duet’s students were able to get accepted to various art schools such as; Mark Twain, Bay Academy, La Guardia and more. Artistic Director American Youth Ballet’s Artistic Director, Albert Davydov, was born in Russia and trained at the Kazan Choreographic School of Ballet. Upon graduation, he joined the Tatar State Theater of Opera and Ballet where he danced solo and principal roles and toured with the company throughout Europe and the United States. Albert has won numerous prizes in international ballet competitions. Albert’s professional career in the United States includes principle positions with New Jersey Ballet from 2004 through 2017. His repertoire includes the Nutcracker, Coppelia, Don Quixote, Cinderella, Corsare, Paquita, Sleeping Beauty, Romeo and Juliet, amongst others. Prior to becoming the Artistic Director of American Youth Ballet he has taught at the Sharon Miller Academy, New Jersey Ballet School and continues to teach master classes at the Valentina Kozova’s Dance Conservatory, and International Ballet Theater.
6847	dbpedia	3	80	https://www.gutenberg.org/ebooks/67882.html.images	en	Parts I and II, translated by J. D. Duff—A Project Gutenberg eBook	https://www.gutenberg.or…cover.medium.jpg	https://www.gutenberg.or…cover.medium.jpg	[ "https://www.gutenberg.org/ebooks/images/cover.jpg", "https://www.gutenberg.org/ebooks/images/publogo.jpg" ]	[]	[]	[ "" ]	null	[]	2022-04-20T00:00:00		en	images/cover.jpg		https://www.gutenberg.org/ebooks/67882/pg67882-images.html	The Project Gutenberg eBook of The Memoirs of Alexander Herzen, Parts I and II This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: The Memoirs of Alexander Herzen, Parts I and II Author: Aleksandr Herzen Translator: J. D. Duff Release date: April 20, 2022 [eBook #67882] Language: English Original publication: United States: Yale University Press, 1923 Credits: Carlos Colon, Barry Abrahamsen, the University of Michigan and the Online Distributed Proofreading Team at https://www.pgdp.net (This book was produced from images made available by the HathiTrust Digital Library.) * START OF THE PROJECT GUTENBERG EBOOK THE MEMOIRS OF ALEXANDER HERZEN, PARTS I AND II * The present volume is the seventh work published by the Yale University Press on the Theodore L. Glasgow Memorial Publication Fund. This foundation was established September 17, 1918, by an anonymous gift to Yale University in memory of Flight Sub-Lieutenant Theodore L. Glasgow, R.N. He was born in Montreal, Canada, and was educated at the University of Toronto Schools and at the Royal Military College, Kingston. In August, 1916, he entered the Royal Naval Air Service and in July, 1917, went to France with the Tenth Squadron attached to the Twenty-second Wing of the Royal Flying Corps. A month later, August 19, 1917, he was killed in action on the Ypres front. vii CONTENTS Chapter I. My Nurse and the Grande Armeé—Moscow in Flames—My Father and Napoleon—General Ilovaiski—A Journey with French Prisoners—Patriotism—Calot—Property Managed in Common—The Division—The Senator. 3 Chapter II. Gossip of Nurses and Conversation of Generals—A False Position—Boredom—The Servants’ Hall—Two Germans—Lessons and Reading—Catechism and the Gospel. 28 Chapter III. Death of Alexander I—The Fourteenth of December—Moral Awakening—Bouchot—My Cousin—N. Ogaryóv. 62 Chapter IV. My Friend Niko and the Sparrow Hills. 85 Chapter V. Details of Home Life—Men of the Eighteenth Century in Russia—A Day at Home—Guests and Visitors—Sonnenberg—Servants. 95 Chapter VI. The Kremlin Offices—Moscow University—The Chemist—The Cholera—Philaret—Passek. 120 viiiChapter VII. End of College Life—The “Schiller” Stage—Youth—The Artistic Life—Saint—Simonianism and N. Polevói—Polezháev. 173 Chapter I. A Prophecy—Ogaryóv’s Arrest—The Fires—A Moscow Liberal—Mihail Orlóv—The Churchyard. 201 Chapter II. Arrest—The Independent Witness—A Police-Station—Patriarchal Justice. 214 Chapter III. Under the Belfry—A Travelled Policeman—The Incendiaries. 222 Chapter IV. The Krutitski Barracks—A Policeman’s Story—The Officers. 235 Chapter V. The Enquiry—Golitsyn Senior—Golitsyn Junior—General Staal—The Sentence—Sokolovski. 246 Chapter VI. Exile—A Chief Constable—The Volga—Perm. 265 Chapter VII. Vyatka—The Office and Dinner-table of His Excellency—Tufáyev. 283 Chapter VIII. Officials—Siberian Governors—A Bird of Prey—A Gentle Judge—An Inspector Roasted—The Tatar—A Boy of the Female Sex—The Potato Revolt—Russian Justice. 307 ixChapter IX. Alexander Vitberg. 342 Chapter X. The Crown Prince at Vyatka—The Fall of Tufáyev—Transferred to Vladímir—The Inspector’s Enquiry. 360 Chapter XI. The Beginning of my Life at Vladímir. 374 xi INTRODUCTION I ALEXANDER HERZEN was born in Moscow on March 25,[1] 1812, six months before Napoleon arrived at the gates of the city with what was left of his Grand Army. He died in Paris on January 9, 1870. Down to his thirty-fifth year he lived in Russia, often in places selected for his residence by the Government; he left Russia, never to return, on January 10, 1847. He was the elder son of Iván Yákovlev, a Russian noble, and Luise Haag, a German girl from Stuttgart. It was a runaway match; and as the Lutheran marriage ceremony was not supplemented in Russia, the child was illegitimate. “Herzen” was a name invented for him by his parents. Surnames, however, are little used in Russian society; and the boy would generally be called, from his own Christian name and his father’s, Alexander Ivánovich. His parents lived together in Moscow, and he lived with them and was brought up much like other sons of rich nobles. It was quite in Herzen’s power to lead a life of selfish ease and luxury; but he early chose a different path and followed it to the end. Yet this consistent champion of the poor and humble was himself a typical aristocrat-generous, xiiindeed, and stoical in misfortune, but bold to rashness and proud as Lucifer. The story of his early life is told fully in these pages—his solitary boyhood and romantic friendship with his cousin, Nikolai Ogaryóv; his keen enjoyment of College life, and the beginning of his long warfare with the police of that other aristocrat, Nicholas, Tsar of all the Russias, who was just as much in earnest as Herzen but kept a different object in view. Charged with socialistic propaganda, Herzen spent nine months of 1834-1835 in a Moscow prison and was then sent, by way of punishment, to Vyatka. The exiles were often men of exceptional ability, and the Government made use of their talents. So Herzen was employed for three years in compiling statistics and organizing an exhibition at Vyatka. He was then allowed to move to Vladímir, near Moscow, where he edited the official gazette; and here, on May 9, 1838, he married his cousin, Natálya Zakhárin, a natural daughter of one of his uncles. Receiving permission in 1839 to live, under supervision of the police, where he pleased, he spent some time in Moscow and Petersburg, but he was again arrested on a charge of disaffection and sent off this time to Novgorod, where he served in the Government offices for nearly three years. In 1842 he was allowed to retire from his duties and to settle with his wife and family in Moscow. In 1846 his father’s death made him a rich man. For twelve years past, Herzen, when he was not in prison, had lived the life of a ticket-of-leave man. He was naturally anxious to get away from Russia; but a passport was indispensable, and the Government would not give him a passport. At last the difficulties were overcome; and xiiiin the beginning of 1847 Herzen, with his wife and children and widowed mother, left Russia for ever. Twenty-three years, almost to a day, remained for him to live. The first part of that time was spent in France, Italy, and Switzerland; but the suburbs of London, Putney and Primrose Hill, were his most permanent place of residence. He was safe there from the Russian police; but he did not like London. He spoke English very badly;[2] he made few acquaintances there; and he writes with some asperity of the people and their habits. His own family party was soon broken up by death. In November, 1851, his mother and his little son, Nikolai (still called Kólya) were drowned in an accident to the boat which was bringing them from Marseilles to Nice, where Herzen and his wife were expecting them. The shock proved fatal to his wife: she died at Nice in the spring of 1852. The three surviving children were not of an age to be companions to him. For many years after the coup d’état of Louis Napoleon, Herzen, who owned a house in Paris, was forbidden to live in France. He settled in London and was joined there by Ogaryóv, the friend of his childhood. Together they started a printing press, in order to produce the kind of literature which Nicholas and his police were trying to stamp out in Russia. In 1857, after the death of the great Autocrat, they began to issue a fortnightly paper, called Kólokol (The Bell); and this Bell, probably inaudible in London, made an astonishing noise in Russia. Its circulation and influence there were unexampled: it is said that xivthe new Tsar, Alexander, was one of its regular readers. Alexander and Herzen had met long before, at Vyatka. February 19, 1861, when Alexander published the edict abolishing slavery throughout his dominions, must have been one of the brightest days in Herzen’s life. There was little brightness in the nine years that remained. When Poland revolted in 1863, he lost his subscribers and his popularity by his courageous refusal to echo the prevailing feeling of his countrymen; and he gave men inferior to himself, such as Ogaryóv and Bakúnin, too much influence over his journal. He was on a visit to Paris, when he died rather suddenly of inflammation of the lungs on January 9, 1870. At Nice there is a statue of Herzen on the grave where he and his wife are buried. II The collected Russian edition of Herzen’s works—no edition was permitted by the censorship till 1905—extends to seven thick volumes. These are: one volume of fiction; one of letters addressed to his future wife; two of memoirs; and three of what may be called political journalism. About 1842 he began to publish articles on scientific and social subjects in magazines whose precarious activity was constantly interrupted or arrested by the censorship. His chief novel, Who Was To Blame? was written in 1846. From the time when he left Russia he was constantly writing on European politics and the shifting fortunes of the cause which he had at heart. When he was publishing xvhis Russian newspapers in London, first The Pole-Star and then The Bell, he wrote most of the matter himself. To readers who are not countrymen or contemporaries of Herzen’s, the Memoirs are certainly the most interesting part of his production. They paint for us an astonishing picture of Russian life under the grim rule of Nicholas, the life of the rich man in Moscow, and the life of the exile near the Ural Mountains; and they are crowded with figures and incidents which would be incredible if one were not convinced of the narrator’s veracity. Herzen is a supreme master of that superb instrument, the Russian language. With a force of intellect entirely out of Boswell’s reach, he has Boswell’s power of dramatic presentation: his characters, from the Tsar himself to the humblest old woman, live and move before you on the printed page. His satire is as keen as Heine’s, and he is much more in earnest. Nor has any writer more power to wring the heart by pictures of human suffering and endurance. The Memoirs have, indeed, one fault—that they are too discursive, and that successive episodes are not always clearly connected or well proportioned. But this is mainly due to the circumstances in which they were produced. Different parts were written at considerable intervals and published separately. The narrative is much more continuous in the earlier parts: indeed, Part V is merely a collection of fragments. But Herzen’s Memoirs are among the noblest monuments of Russian literature. III The Memoirs, called by Herzen himself Past and Thoughts, are divided into five Parts. This translation, xvimade six years ago from the Petersburg edition of 1913, contains Parts I and II. These were written in London in 1852-1853, and printed in London, at 36 Regent’s Square, in the Russian journal called The Pole-Star. Part I has not, I believe, been translated into English before. A translation of Part II was published in London during the Crimean war;[3] but this was evidently taken from a German version by someone whose knowledge of German was inadequate. The German translation of the Memoirs by Dr. Buek[4] seems to me very good; but it is defective: whole chapters of the original are omitted without warning. To make the narrative easier to follow, I have divided it up into numbered sections, which Herzen himself did not use. I have added a few footnotes. June 5, 1923. J. D. Duff. 3 CHAPTER I My Nurse and the Grande Armée—Moscow in Flames—My Father and Napoleon—General Ilovaiski—A Journey with French Prisoners—Patriotism—Calot—Property Managed in Common—The Division—The Senator. §1 “OH, please, Nurse, tell me again how the French came to Moscow!” This was a constant petition of mine, as I stretched myself out in my crib with the cloth border to prevent my falling out, and nestled down under the warm quilt. My old nurse, Vyéra Artamónovna, was just as eager to repeat her favourite story as I was to hear it; but her regular reply was: “You’ve heard that old story ever so often before, and besides it’s time for you to go to sleep; you had better rise earlier to-morrow.” “Oh, but please tell me just a little—how you heard the news, and how it all began.” “Well, it began this way. You know how your papa puts off always. The packing went on and on till at last it was done. Everyone said it was high time to be off; there was nothing to keep us and hardly a soul left in Moscow. But no! He was always discussing with your 4uncle Paul[5] about travelling together, and they were never both ready on the same day. But at last our things were packed, the carriage was ready, and the travellers had just sat down to lunch, when the head cook came into the dining-room as white as a sheet and reported that the enemy had entered the city at the Dragomirovsky Gate. Our hearts went down into our boots, and we prayed that the power of the Cross might be on our side. All was confusion, and, while we were bustling to and fro and crying out, suddenly we saw a regiment of dragoons galloping down the street; they wore strange helmets with horses’ tails tied on behind. They had closed all the city gates; so there was your papa in a pretty mess, and you with him! You were still with your foster-mother, Darya; you were very small and weak then.” And I smiled, with pride and pleasure at the thought that I had taken a part in the Great War. “At first, all went reasonably well, during the first days at least. From time to time two or three soldiers would come into the house and ask for something to drink; of course we gave them a glass apiece, and then they would go away and salute quite politely as well. But then, you see, when the fires began and got worse and worse, there was terrible disorder, and pillage began and every sort of horror. We were living in a wing of the Princess’s house, and the house caught fire. Then your uncle Paul invited us to move to his house, which was built of stone and very strong and stood far back in a court-yard. So we all set off, masters and servants together—there was no thought of distinctions at such a time. When we got 5into the boulevard, the trees on each side were beginning to burn. At last we reached your uncle’s house, and it was actually blazing, with the fire spouting out of every window. Your uncle could not believe his eyes; he stood rooted to the ground. “Behind the house, as you know, there is a big garden, and we went there, hoping to be safe. We sat down sadly enough on some benches there were there, when suddenly a band of drunken soldiers came in and one of them began to strip your uncle of a fur coat he had put on for the journey. But the old gentleman resisted, and the soldier pulled out his dirk and struck him in the face; and your uncle kept the scar to his dying day. The other soldiers set upon us, and one of them snatched you from the arms of your foster-mother, and undid your clothes, to see if there were any notes or jewels hidden there; when he found nothing, the mean fellow tore the clothes on purpose and then left you alone. “As soon as they had gone, a great misfortune happened. You remember our servant Platon, who was sent to serve in the Army? He was always fond of the bottle and had had too much to drink that day. He had got hold of a sword and was walking about with it tied round his waist. The day before the enemy came, Count Rostopchín distributed arms of all kinds to the people at the Arsenal, and Platon had provided himself with a sword. Towards evening, a dragoon rode into the court-yard and tried to take a horse that was standing near the stable; but Platon flew at him, caught hold of the bridle, and said: ‘The horse is ours; you shan’t have it.’ The dragoon pointed a pistol at him, but it can’t have been loaded. Your father saw what was happening and called out: 6‘Leave that horse alone, Platon! Don’t you interfere.’ But it was no good: Platon pulled out his sword and struck the soldier over the head; the man reeled under the blow, and Platon struck him again and again. We thought we were doomed now; for, if his comrades saw him, they would soon kill us. When the dragoon fell off, Platon caught hold of his legs and threw him into a lime-pit, though the poor wretch was still breathing; the man’s horse never moved but beat the ground with its hoof, as if it understood; our people shut it up in the stable, and it must have been burnt to death there. “We all cleared out of the court as soon as we could; the fires everywhere grew worse and worse. Tired and hungry, we went into a house that had not caught fire, and threw ourselves down to rest; but, before an hour had passed, our servants in the street were calling out: ‘Come out! come out! Fire, fire!’ I took a piece of oil-cloth off the billiard table, to wrap you up from the night air. We got as far as the Tversky Square, and the Frenchmen were putting out the fires there, because one of their great generals was living in the Governor’s house in the square; we sat down as we were on the street; there were sentries moving all about and other soldiers on horseback. You were crying terribly; your foster-mother had no more milk, and none of us had even a piece of bread. But Natálya Konstantínovna was with us then, and she was afraid of nothing. She saw some soldiers eating in a corner; she took you in her arms and went straight off, and showed you to them. ‘The baby wants manger,’ she said. At first they looked angrily at her and said, ‘Allez, allez!’ Then she called them every bad name she could think of; and they did not understand a word, but they 7laughed heartily and gave her some bread soaked in water for you and a crust for herself. Early next morning an officer came and collected all the men, and your father too, and took them off to put out the fires round about; he left the women only, and your uncle who had been wounded. We stayed there alone till evening; we just sat there and cried. But at dark your father came back, and an officer with him.” §2 But allow me to take the place of my old nurse and to continue her story. When my father had finished his duties as a fireman, he met a squadron of Italian cavalry near the Monastery of the Passion. He went up to the officer in command, spoke to him in Italian, and explained the plight of his family. When the Italian heard his native language—la sua dolce favella—he promised to speak to the Duc de Trévise,[6] and to post a sentinel at once, in order to prevent a repetition of the wild scenes which had taken place in my uncle’s garden. He gave orders to this effect to an officer, and sent him off with my father. When he heard that none of the party had eaten any food for two days, the officer took us all off to a grocer’s shop; it had been wrecked and the floor was covered with choice tea and coffee, and heaps of dates, raisins, and almonds; our servants filled their pockets, and of dessert at least we had abundance. The sentinel proved to be of no little service: again and again, bands of soldiers were inclined to give trouble to the wretched party of women and servants, 8camping in a corner of the square; but an order from our protector made them pass on at once. Mortier, who remembered having met my father in Paris, reported the facts to Napoleon, and Napoleon ordered him to be presented the next day. And so my father, a great stickler for propriety and the rules of etiquette, presented himself, at the Emperor’s summons, in the throne-room of the Kremlin, wearing an old blue shooting-jacket with brass buttons, no wig, boots which had not been cleaned for several days, grimy linen, and a beard of two days’ growth. Their conversation—how often I heard it repeated!—is reproduced accurately enough in the French history of Baron Fain and the Russian history of Danilevski. Napoleon began with those customary phrases, abrupt remarks, and laconic aphorisms to which it was the custom for thirty-five years to attribute some profound significance, until it was discovered that they generally meant very little. He then abused Rostopchín for the fires, and said it was mere vandalism; he declared, as always, that he loved peace above all things and that he was fighting England, not Russia; he claimed credit for having placed a guard over the Foundling Hospital and the Uspenski Cathedral; and he complained of the Emperor Alexander. “My desire for peace is kept from His Majesty by the people round him,” he said. My father remarked that it was rather the business of the conqueror to make proposals of peace. “I have done my best. I have sent messages to Kutúzov,[7] but he will hear of no discussions whatever and does not acquaint his master with my proposals. I 9am not to blame—if they want war they shall have it!” When this play-acting was done, my father asked for a safe-conduct to leave Moscow. “I have ordered that no passes be given. Why do you want to go? What are you afraid of? I have ordered the markets to be opened.” Apparently the Emperor did not realise that, though open markets are a convenience, so is a shut house, and that to live in the open street among French soldiers was not an attractive prospect for a Russian gentleman and his family. When my father pointed this out, Napoleon thought for a little and then asked abruptly: “Will you undertake to hand to the Tsar a letter from me? On that condition, I will order a pass to be made out for you and all your family.” “I would accept Your Majesty’s proposal,” said my father, “but it is difficult for me to guarantee success.” “Will you give me your word of honour, that you will use all possible means to deliver my letter with your own hands?” “I pledge you my honour, Sir.” “That is enough. I shall send for you. Is there anything you need?” “Nothing, except a roof to shelter my family till we leave.” “The Duc de Trévise will do what he can.” Mortier did in fact provide a room in the Governor’s palace, and ordered that we should be supplied with provisions; and his maître d’hôtel sent us wine as well. After several days Mortier summoned my father at four in the morning, and sent him off to the Kremlin. 10By this time the conflagration had spread to a frightful extent; the atmosphere, heated red-hot and darkened by smoke, was intolerable. Napoleon was dressed already and walking about the room, angry and uneasy; he was beginning to realise that his withered laurels would soon be frozen, and that a jest would not serve, as it had in Egypt, to get him out of this embarrassment. His plan of campaign was ill-conceived, and all except Napoleon knew it—Ney, Narbonne, Berthier, and even officers of no mark or position; to all criticisms his reply was the magic word “Moscow”; and, when he reached Moscow, he too discovered the truth. When my father entered the room, Napoleon took a sealed letter from a table, gave it to him, and said by way of dismissal, “I rely upon your word of honour.” The address on the envelope ran thus: À mon frère l’empereur Alexandre. The safe-conduct given to my father is preserved to this day; it is signed by the Duc de Trévise and counter-signed below by Lesseps, chief of police at Moscow. Some strangers, hearing of our good fortune, begged my father to take them with him, under the pretext that they were servants or relations; and they joined our party. An open carriage was provided for my mother and nurse, and for my wounded uncle; the rest walked. A party of cavalry escorted us; when the rear of the Russian Army came in sight, they wished us good fortune and galloped back again to Moscow. The strange party of refugees was surrounded a moment later by Cossacks, who took us to head-quarters. The generals in command were Wintzengerode and Ilovaiski. When the former was told of the letter, he told my 11father that he would send him at once, with two dragoons, to see the Tsar at Petersburg. “What is to become of your party?” asked the Cossack general, Ilovaiski; “They can’t possibly stay here, within rifle-shot of the troops; there may be some hot fighting any day.” My father asked that we might be sent, if possible, to his Yaroslavl estate; and he added that he was absolutely penniless at the time. “That does not matter: we can settle accounts later,” said the General; “and don’t be uneasy: I give you my promise that they shall be sent.” While my father was sent off to Petersburg on a courier’s cart, Ilovaiski procured an old rattle-trap of a carriage for us, and sent us and a party of French prisoners to the next town, under an escort of Cossacks; he provided us with money for posting as far as Yaroslavl, and, in general, did all that he could for us in a time of war and confusion. This was my first long journey in Russia; my second was not attended by either French cavalry or Ural Cossacks or prisoners of war; the whole party consisted of myself and a drunk police-officer sitting beside me in the carriage. §3 My father was taken straight to Arakchéyev’s[8] house and detained there. When the Minister asked for the letter, my father said that he had given his word of honour to deliver it in person. The Minister then promised to consult the Tsar, and informed him next day in 12writing, that he himself was commissioned by the Tsar to receive the letter and present it at once. For the letter he gave a receipt, which also has been preserved. For about a month my father was under arrest in Arakchéyev’s house; no friend might see him, and his only visitor was S. Shishkóv, whom the Tsar sent to ask for details about the burning of Moscow, the entry of the French, and the interview with Napoleon. No eye-witness of these events had reached Petersburg except my father. At last he was told that the Tsar ordered him to be set at liberty; he was excused, on the ground of necessity, for having accepted a safe-conduct from the French authorities; but he was ordered to leave Petersburg at once, without having communication with anyone, except that he was allowed to say good-bye to his elder brother. When he reached at nightfall the little village where we were, my father found us in a peasant’s cottage; there was no manor-house on that estate. I was sleeping on a settle near the window; the window would not shut tight, and the snow, drifting through the crack, had covered part of a stool, and lay, without melting, on the window-sill. All were in great distress and confusion, and especially my mother. One morning, some days before my father arrived, the head man of the village came hurriedly into the cottage where she was living, and made signs to her that she was to follow him. My mother could not speak a word of Russian at that time; she could only make out that the man was speaking of my uncle Paul; she did not know what to think; it came into her head that the people had murdered him or wished to murder first him and then her. She took me in her arms and followed the 13head man, more dead than alive, and shaking all over. She entered the cottage occupied by my uncle; he was actually dead, and his body lay near a table at which he had begun to shave; a stroke of paralysis had killed him instantly. My mother was only seventeen then, and her feelings may be imagined. She was surrounded by half-savage bearded men, dressed in sheepskins and speaking a language to her utterly incomprehensible; she was living in a small, smoke-grimed peasant’s cottage; and it was the month of November in the terrible winter of 1812. My uncle had been her one support, and she spent days and nights in tears for his loss. But those “savages” pitied her with all their heart; their simple kindness never failed her, and their head man sent his son again and again to the town, to fetch raisins and gingerbread, apples and biscuits, to tempt her to eat. Fifteen years later, this man was still living and sometimes paid us a visit at Moscow. The little hair he had left was then white as snow. My mother used to give him tea and talk over that winter of 1812; she reminded him how frightened she was of him, and how the pair of them, entirely unintelligible to one another, made the arrangements about my uncle’s funeral. The old man continued to call my mother Yulíza Ivánovna (her name was Luise); and he always boasted that I was quite willing to go to him and not in the least afraid of his long beard. We travelled by stages to Tver and finally to Moscow, which we reached after about a year. At the same time, a brother of my father’s returned from Sweden and settled down in the same house with us. Formerly ambassador 14in Westphalia, he had been sent on some mission to the court of Bernadotte. §4 I still remember dimly the traces of the great fire, which were visible even in the early twenties—big houses with the roof gone and window-frames burnt out, heaps of fallen masonry, empty spaces fenced off from the street, remnants of stoves and chimneys sticking up out of them. Stories of the Great Fire, the battle of Borodino, the crossing of the Berezina, and the taking of Paris—these took the place of cradle-song and fairy-tale to me, they were my Iliad and Odyssey. My mother and our servants, my father and my old nurse, were never tired of going back to that terrible time, which was still so recent and had been brought home to them so painfully. Later, our officers began to return from foreign service to Moscow. Men who had served in former days with my father in the Guards and had taken a glorious part in the fierce contest of the immediate past, were often at our house; and to them it was a relief from their toils and dangers to tell them over again. That was indeed the most brilliant epoch in the history of Petersburg: the consciousness of power breathed new life into Russia; business and care were, so to speak, put off till the sober morrow, and all the world was determined to make merry to-day and celebrate the victory. At this time I heard even more than my old nurse could tell me about the war. I liked especially to listen to the stories of Count Milorádovitch;[9] I often lay at his back 15on the long sofa, while he described and acted scenes of the campaign, and his lively narrative and loud laugh were very attractive to me. More than once I fell asleep in that position. These surroundings naturally developed my patriotic feeling to an extreme degree, and I was resolved to enter the Army. But an exclusive feeling of nationality is never productive of good, and it landed me in the following scrape. One of our guests was Count Quinsonet, a French émigré and a general in the Russian army. An out-and-out royalist, he had been present at the famous dinner where the King’s Body-Guards trampled on the national cockade and Marie Antoinette drank confusion to the Revolution.[10] He was now a grey-haired old man, tall and slight, a perfect gentleman and the pink of politeness. A peerage was awaiting him at Paris; he had been there already to congratulate Louis XVIII on his accession, and had returned to Russia to sell his estates. As ill luck would have it, I was present when this politest of generals in the Russian service began to speak about the war. “But you, surely, were fighting against us,” I said very innocently. “Non, mon petit, non! J’étais dans l’armée russe.” “What!” said I, “you a Frenchman and fighting on our side! That’s impossible.” My father gave me a reproving look and tried to talk of something else. But the Frenchman saved the situation nobly: he turned to my father and said, “I like to see such patriotic feeling.” But my father did not like to see it, and scolded me severely when our guest had gone. “You see what comes of rushing into things which you 16don’t and can’t understand: the Count served our Emperor out of loyalty to his own sovereign.” That was, as my father said, beyond my powers of comprehension. §5 My father had lived twelve years abroad, and his brother still longer; and they tried to organise their household, to some extent, on a foreign plan; yet it was to retain all the conveniences of Russian life and not to cost much. This plan was not realised; perhaps their measures were unskilful, or perhaps the old traditions of Russian country life were too strong for habits acquired abroad. They shared their land in common and managed it jointly, and a swarm of servants inhabited the ground floor of their house in town; in fact, all the elements of disorder were present. I was under the charge of two nurses, one Russian and the other German. Vyéra Artamónovna and Mme. Provo were two very good-natured women, but I got weary of watching them all day, as they knitted stockings and wrangled together. So, whenever I could, I escaped to the part of the house occupied by the Senator—my uncle, the former ambassador, was now a Senator[11] and was generally called by this title—and there I found my only friend, my uncle’s valet, Calot. I have seldom met so kind and gentle a creature as this man. Utterly solitary in Russia, separated from all his own belongings, and hardly able to speak our language, he had a woman’s tenderness for me. I spent whole hours in his room, and, though I was often mischievous 17and troublesome, he bore it all with a good-natured smile. He cut out all kinds of marvels for me in cardboard, and carved me many toys of wood; and how I loved him in return! In the evenings he used to take picture-books from the library and bring them up to my nursery—The Travels of Gmelin and Pallas, and another thick book called The World in Pictures, which I liked so much and looked at so long, that the leather binding got worn out: for two hours together Calot would show me the same pictures and repeat the same explanations for the thousandth time. Before my birthday party, Calot shut himself up in his room, and I could hear mysterious sounds of a hammer and other tools issuing from it. He often walked quickly through the passage, carrying a glue-pot or something wrapped up in paper, but each time he left his room locked. I knew he was preparing some surprise for me, and my curiosity may be imagined. I sent the servants’ children to act as spies, but Calot was not to be caught napping. We even managed to make a small hole in the staircase, through which we could look down into the room; but we could see nothing but the top of the window and the portrait of Frederick the Great, with his long nose and a large star on his breast, looking like a sick vulture. At last the noises stopped, and the room was unlocked—but it looked just as before, except for snippings of gilt and coloured paper on the floor. I was devoured by curiosity; but Calot wore a pretence of solemnity on his features and never touched the ticklish subject. I was still suffering agonies of impatience when the great day arrived. I awoke at six, to wonder what Calot 18had in store for me; at eight Calot himself appeared, wearing a white tie and white waistcoat under his blue livery, but his hands were empty! I wondered how it would all end, and whether he had spoilt what he was making. The day went on, and the usual presents were forthcoming: my aunt’s footman had brought me an expensive toy wrapped up in a napkin, and my uncle, the Senator, had been generous also, but I was too restless, in expectation of the surprise, to enjoy my happiness. Then, when I was not thinking of it, after dinner or perhaps after tea, my nurse said to me: “Go downstairs for a moment, there is someone there asking for you.” “At last!” I thought, and down the bannisters I slid on my arms. The drawing-room door flew open; I heard music and saw a transparency representing my initials; then some little boys, disguised as Turks, offered me sweets; and this was followed by a puppet-show and parlour fireworks. Calot was very hot and very busy; he kept everything going and was quite as excited as I was myself. No presents could rank with this entertainment. I never cared much for things; the bump of acquisitiveness was never, at any age, highly developed in me. The satisfaction of my curiosity, the abundance of candles, the silver paper, the smell of gunpowder—nothing was wanting but a companion of my own age. But I spent all my childhood in solitude and consequently was not exacting on that score. §6 My father had another brother, the oldest of the three; but he was not even on speaking terms with his two 19juniors. In spite of this, they all took a share in the management of the family property, which really meant that they combined to ruin it. This triple management by owners at variance with one another was the height of absurdity. Two of them were always thwarting their senior’s plans, and he did the same for them. The head men of the villages and the serfs were utterly bamboozled: one landlord required carts to convey his household, the second demanded hay, and the third, fire-wood; each of the three issued orders, and sent his man of business to see that they were carried out. If the eldest brother appointed a bailiff, the other two dismissed the man in a month on some absurd pretext, and appointed another, who was promptly disowned by their senior. As a natural result, there were spies and favourites, to carry slanders and false reports, while, at the bottom of this system, the wretched serfs, finding neither justice nor protection and harassed by a diversity of masters, were worked twice as hard and found it impossible to satisfy such unreasonable demands. As a consequence of this quarrel between brothers, they lost a great lawsuit in which the law was on their side. Though their interests were identical, they could never settle on a common course of procedure, and their opponents naturally took advantage of this state of affairs. They lost a large and valuable property in this way; and the Court also condemned each brother to pay damages to the amount of 30,000 roubles. This lesson opened their eyes for the first time, and they determined to divide the family estates between them. Preliminary discussions went on for nearly a year; the land was divided into three fairly even parts, and chance was to decide to whom each 20should fall. My father and the Senator paid a visit to their brother, whom they had not seen for several years, in order to talk things over and be reconciled; and then it was noised abroad that he would return the visit and the business would be finally settled on that occasion. The report of this visit spread uneasiness and dismay throughout our household. §7 My uncle was one of those monsters of eccentricity which only Russia and the conditions of Russian society can produce. A man of good natural parts, he spent his whole life in committing follies which often rose to the dignity of crimes. Though he was well educated after the French fashion and had read much, his time was spent in profligacy or mere idleness, and this went on till his death. In youth he served, like his brothers, in the Guards and was aide-de-camp in some capacity to Potemkin;[12] next, he served on a diplomatic mission, and, on his return to Petersburg, was appointed to a post in the Ecclesiastical Court. But no association either with diplomatists or priests could tame that wild character. He was dismissed from his post, for quarrelling with the Bishops; and he was forbidden to reside in Petersburg, because he gave, or tried to give, a box on the ear to a guest at an official dinner given by the Governor of the city. He retired to his estate at Tambóv; and there he was nearly murdered by his serfs for interference with their daughters and for acts of cruelty; he owed his life to his coachman and the speed of his horses. 21After this experience he settled in Moscow. Disowned by his relations and by people in general, he lived quite alone in a large house on the Tver Boulevard, bullying his servants in town and ruining his serfs in the country. He collected a large library and a whole harem of country girls, and kept both these departments under lock and key. Totally unoccupied and inordinately vain, he sought distraction in collecting things for which he had no use, and in litigation, which proved even more expensive. He carried on his lawsuits with passionate eagerness. One of these suits was about an Amati fiddle; it lasted thirty years, and he won it in the end. He won another case for the possession of a party-wall between two houses: it cost him extraordinary exertions, and he gained nothing by owning the wall. After his retirement, he used to follow in the Gazette the promotions of his contemporaries in the public service; and, whenever one of them received an Order, he bought the star and placed it on his table, as a painful reminder of the distinctions he might have gained. His brothers and sisters feared him and had no intercourse with him of any kind; our servants would not walk past his house, for fear of meeting him, and turned pale at the sight of him; the women dreaded his insolent persecution, and the domestic servants had prayer offered in church that they might never serve him. §8 Such was the alarming character of our expected visitor. From early morning all the inmates of our house were keenly excited. I had never seen the black sheep myself, though I was born in his house, which was occupied 22by my father on his return from foreign parts; I was very anxious to see him, and I was also afraid, though I don’t know what I was afraid of. Other visitors came before him—my father’s oldest nephew, two intimate friends, and a lawyer, a stout good-natured man who perspired freely. For two hours they all sat in silent expectation, till at last the butler came in, and, with a voice that seemed somehow unnatural, announced the arrival of our kinsman. “Bring him in,” said the Senator, in obvious agitation; my father began to take snuff, the nephew straightened his tie, and the lawyer turned to one side and cleared his throat. I was told to go upstairs, but I remained in the next room, shaking all over. The uncle advanced at a slow and dignified pace, and my father and the Senator went to meet him. He was carrying an ikon[13] with both arms stretched out before him, in the way that ikons are carried at weddings and funerals; he turned towards his brothers and in a nasal drawl addressed them as follows: “This is the ikon with which our father blessed me on his deathbed, and he then charged me and my late brother, Peter, to take his place and care for you two. If our father could know how you have behaved to your elder brother....” “Come, mon cher frère,” said my father, in his voice of studied indifference, “you have little to boast about on that score yourself. These references to the past are painful for you and for us, and we had better drop them.” “What do you mean? Did you invite me here for this?” shouted the pious brother, and he dashed the ikon down 23with such violence that the silver frame rang loudly on the floor. Now the Senator began, and he shouted still louder; but at this point I rushed upstairs, just waiting long enough to see the nephew and the lawyer, as much alarmed as I was, beating a retreat to the balcony. What then took place, I cannot tell. The servants had all hid for safety and could give no information; and neither my father nor the Senator ever alluded to the scene in my presence. The noise grew less by degrees, and the division of the land was carried out, but whether then or later, I do not know. What fell to my father was Vasílevskoë, a large estate near Moscow. We spent all the following summer there; and during that time the Senator bought a house for himself in the Arbat quarter of Moscow, so that, when we returned alone to our big house, we found it empty and dead. Soon after, my father also bought a new house in Moscow. When the Senator left us, he took with him, in the first place, my friend Calot, and, in the second place, all that gave life in our establishment. He alone could check my father’s tendency to morbid depression, which now had room to develop and assert itself fully. Our new house was not cheerful: it reminded one of a prison or hospital. The ground-floor rooms were vaulted; the thick walls made the windows look like the embrasures of a fortress; and the house was surrounded on all sides by a uselessly large court-yard. The real wonder was, not that the Senator left us, but that he was able to stay so long under one roof with my father. I have seldom seen two men more unlike in character. 24 §9 My uncle was a kind-hearted man, who loved movement and excitement. His whole life was spent in an artificial world, a world of diplomats and lords-in-waiting, and he never guessed that there is a different world which comes nearer to the reality of things. And yet he was not merely a spectator of all that happened between 1789 and 1815, but was personally involved in that mighty drama. Count Vorontsov sent him to England, to learn from Lord Grenville what “General Buonaparte” was up to, after he left the army of Egypt. He was in Paris at the time of Napoleon’s coronation. In 1811 Napoleon ordered him to be detained and arrested at Cassel, where he was minister at the court of King Jérôme[14]—“Emperor Jérôme,” as my father used to say when he was annoyed. In fact, he witnessed each scene of that tremendous spectacle; but, somehow, it seemed not to impress him in the right way. When captain in the Guards, he was sent on a mission to London. Paul, who was then Tsar, noticed this when he read the roster, and ordered that he should report himself at once in Petersburg. The attaché sailed by the first ship and appeared on parade. “Do you want to stay in London?” Paul asked in his hoarse voice. “If Your Majesty is graciously pleased to allow it,” answered the captain. “Go back at once!” the hoarse voice replied; and the young officer sailed, without even seeing his family in Moscow. While he served as ambassador, diplomatic questions 25were settled by bayonets and cannon-balls; and his diplomatic career came to an end at the Congress of Vienna, that great field-day for all the diplomats of Europe. On his return to Russia, he was created a lord-in-waiting at Moscow—a capital which has no Court. Then he was elected to the Senate, though he knew nothing of law or Russian judicial procedure; he served on the Widows’ and Orphans’ Board, and was a governor of hospitals and other public institutions. All these duties he performed with a zeal that was probably superfluous, a love of his own way that was certainly harmful, and an integrity that passed wholly unnoticed. He was never to be found at home. He tired out a team of four strong horses every morning, and another in the afternoon. He never missed a meeting of the Senate; twice a week he attended the Widows’ Board; and there were also his hospitals and schools. Besides all this, he was never absent from the theatre when a French play was given, and he was driven to the English Club on three days of every week. He had no time to be bored—always busy with one of his many occupations, perpetually on the way to some engagement, and his life rolled along on easy springs in a world of files and official envelopes. To the age of seventy, he kept the health of youth. He was always to be seen at every great ball or dinner; he figured at speech-days and meetings of public bodies; whatever their objects might be—agriculture or medicine, fire insurance or natural science—it was all one to him; and, besides all this (perhaps because of this), he kept to old age some measure of humanity and warmth of heart. 26 §10 It is impossible to conceive a greater contrast to all this than my father. My uncle was perpetually active and perpetually cheerful, an occasional visitor at his own house. But my father hardly ever went out-of-doors, hated all the world of official business, and was always hard to please and out of humour. We had our eight horses too, but our stable was a kind of hospital for cripples; my father kept them partly for the sake of appearance, and partly that the two coachmen and two postilions might have some other occupation, as well as going to fetch newspapers and arranging cock-fights, which last amusement they carried on with much success in the space between the coach-house and the neighbours’ yard. My father did not remain long in the public service. Brought up by a French tutor in the house of a pious aunt, he entered the Guards as a serjeant at sixteen and retired as a captain when Paul became Tsar. In 1801 he went abroad and wandered about from one foreign country to another till the end of 1811. He returned to Russia with my mother three months before I was born; the year after the burning of Moscow he spent in the Government of Tver, and then settled down permanently in Moscow, where he led by choice a solitary and monotonous life. His brother’s lively temperament was distasteful to him. After the Senator had left it, the whole house assumed a more and more gloomy aspect. The walls, the furniture, the servants—every thing and person had a furtive and dissatisfied appearance; and of course my father himself was more dissatisfied than anyone else. The artificial stillness, the hushed voices and noiseless steps of the servants, 27were no sign of devotion, but of repression and fear. Nothing was ever moved in the rooms: the same books lay on the same tables, with the same markers in them, for five or six years together. In my father’s bedroom and study the furniture was never shifted and the windows never opened, not once in a twelvemonth. When he went to the country, he regularly took the key of his rooms in his pocket, lest the servants should take it into their heads to scour the floors or to clean the walls in his absence. 28 CHAPTER II Gossip of Nurses and Conversation of Generals—A False Position—Boredom—The Servants’ Hall—Two Germans—Lessons and Reading—Catechism and the Gospel. §1 UNTIL I was ten, I noticed nothing strange or peculiar in my position.[15] To me it seemed simple and natural that I was living in my father’s house, where I had to be quiet in the rooms inhabited by him, though in my mother’s part of the house I could shout and make a noise to my heart’s content. The Senator gave me toys and spoilt me; Calot was my faithful slave; Vyéra Artamónovna bathed me, dressed me, and put me to bed; and Mme. Provo took me out for walks and spoke German to me. All went on with perfect regularity; and yet I began to feel puzzled. My attention was caught by some casual remarks incautiously dropped. Old Mme. Provo and the household in general were devoted to my mother, but feared and disliked my father. The disputes which sometimes took place between my parents were often the subject of discussion 29between my nurses, and they always took my mother’s side. It was true that my mother’s life was no bed of roses. An exceedingly kind-hearted woman, but not strong-willed, she was utterly crushed by my father; and, as often happens with weak characters, she was apt to carry on a desperate opposition in matters of no importance. Unfortunately, in these trifles my father was almost always in the right, and so he triumphed in the end. Mme. Provo would start a conversation in this style: “In her place, I declare I would be off at once and go back to Germany. The dulness of the life is fit to kill one; no enjoyment and nothing but grumbling and unpleasantness.” “You’re quite right,” said Vyéra Artamónovna; “but she’s tied hand and foot by someone”—and she would point her knitting-needles at me. “She can’t take him with her, and to leave him here alone in a house like ours would be too much even for one not his mother.” Children in general find out more than people think. They are easily put off, and forget for a time, but they persist in returning to the subject, especially if it is mysterious or alarming; and by their questions they get at the truth with surprising perseverance and ingenuity. Once my curiosity was aroused, I soon learned all the details of my parents’ marriage—how my mother made up her mind to elope, how she was concealed in the Russian embassy at Cassel by my uncle’s connivance, and then crossed the frontier disguised as a boy; and all this I found out without asking a single question. The first result of these discoveries was to lessen my attachment to my father, owing to the disputes of which 30I have spoken already. I had witnessed them before, but had taken them as a matter of course. The whole household, not excluding the Senator, were afraid of my father, and he spared no one his reproofs; and I was so accustomed to this, that I saw nothing strange in these quarrels with my mother. But now I began to take a different view of the matter, and the thought that I was to some extent responsible threw a dark shadow sometimes over my childhood. A second thought which took root in my mind at that time was this—that I was much less dependent on my father than most children are on their parents; and this independence, though it existed only in my own imagination, gave me pleasure. §2 Two or three years after this, two old brother-officers of my father’s were at our house one evening—General Essen, the Governor of Orenburg, and General Bakhmétyev, who lost a leg at Borodino and was later Lieutenant-Governor of Bessarabia. My room was next the drawing-room where they were sitting. My father happened to mention that he had been speaking to Prince Yusúpov with regard to my future; he wished me to enter the Civil Service. “There’s no time to lose,” he added; “as you know, he must serve a long time before he gets any decent post.” “It is a strange notion of yours,” said Essen good-humouredly, “to turn the boy into a clerk. Leave it to me; let me enroll him in the Ural Cossacks; he will soon get his commission, which is the main thing, and then he can forge ahead like the rest of us.” 31But my father would not agree: he said that everything military was distasteful to him, that he hoped in time to get me a diplomatic post in some warm climate, where he would go himself to end his days. Bakhmétyev had taken little part in the conversation; but now he got up on his crutches and said: “In my opinion, you ought to think twice before you reject Essen’s advice. If you don’t fancy Orenburg, the boy can enlist here just as well. You and I are old friends, and I always speak my mind to you. You will do no good to the young man himself and no service to the country by sending him to the University and on to the Civil Service. He is clearly in a false position, and nothing but the Army can put that right and open up a career for him from the first. Any dangerous notions will settle down before he gets the command of a regiment. Discipline works wonders, and his future will depend on himself. You say that he’s clever; but you don’t suppose that all officers in the Army are fools? Think of yourself and me and our lot generally. There is only one possible objection—that he may have to serve some time before he gets his commission; but that’s the very point in which we can help you.” This conversation was as valuable to me as the casual remarks of my nurses. I was now thirteen; and these lessons, which I turned over and over and pondered in my heart for weeks and months in complete solitude, bore their fruit. I had formerly dreamt, as boys always do, of military service and fine uniforms, and had nearly wept because my father wished to make a civilian of me; but this conversation at once cooled my enthusiasm, and by degrees—for it took time—I rooted out of my mind 32every atom of my passion for stripes and epaulettes and aiguillettes. There was, it is true, one relapse, when a cousin, who was at school in Moscow and sometimes came to our house on holidays, got a commission in a cavalry regiment. After joining his regiment, he paid a visit to Moscow and stayed some days with us. My heart beat fast, when I saw him in all his finery, carrying his sabre and wearing the shako held at a becoming angle by the chin-strap. He was sixteen but not tall for his age; and next morning I put on his uniform, sabre, shako, and all, and looked at myself in the glass. How magnificent I seemed to myself, in the blue jacket with scarlet facings! What a contrast between this gorgeous finery and the plain cloth jacket and duck trousers which I wore at home! My cousin’s visit weakened for a time the effect of what the generals had said; but, before long, circumstances gave me a fresh and final distaste for a soldier’s uniform. By pondering over my “false position,” I was brought to much the same conclusions as by the talk of the two nurses. I felt less dependence on society (of which, however, I knew nothing), and I believed that I must rely mainly on my own efforts. I said to myself with childish arrogance that General Bakhmétyev and his brother-officers should hear of me some day. In view of all this, it may be imagined what a weary and monotonous existence I led in the strange monastic seclusion of my home. There was no encouragement for me, and no variety; my father, who showed no fondness for me after I was ten, was almost always displeased with me; I had no companions. My teachers came and 33went; I saw them to the door, and then stole off to play with the servants’ children, which was strictly forbidden. At other times I wandered about the large gloomy rooms, where the windows were shut all day and the lights burnt dim in the evening; I either did nothing or read any books I could lay hands on. My only other occupation I found in the servants’ hall and the maids’ room; they gave me real live pleasure. There I found perfect freedom; I took a side in disputes; together with my friends downstairs, I discussed their doings and gave my advice; and though I knew all their secrets, I never once betrayed them by a slip of the tongue in the drawing-room. §3 This is a subject on which I must dwell for a little. I should say that I do not in general mean to avoid digressions and disquisitions; every conversation is full of them, and so is life itself. As a rule, children are attached to servants. Parents, especially Russian parents, forbid this intimacy, but the children do not obey orders, because they are bored in the drawing-room and happy in the pantry. In this case, as in a thousand others, parents don’t know what they are doing. I find it impossible to imagine that our servants’ hall was a worse place for children than our morning-room or smoking-room. It is true that children pick up coarse expressions and bad manners in the company of servants; but in the drawing-room they learn coarse ideas and bad feelings. The mere order to keep at a distance from people with whom the children are in constant relations, is in itself revolting. 34Much is said in Russia about the profound immorality of servants, especially of serfs. It is true that they are not distinguished by exemplary strictness of conduct. Their low stage of moral development is proved by the mere fact that they put up with so much and protest so seldom. But that is not the question. I should like to know what class in Russia is less depraved than the servant class. Certainly not the nobles, nor the officials. The clergy, perhaps? What makes the reader laugh? Possibly the peasants, but no others, might have some claim to superiority. The difference between the class of nobles and the class of servants is not great. I hate, especially since the calamities of the year 1848, democrats who flatter the mob, but I hate still more aristocrats who slander the people. By representing those who serve them as profligate animals, slave-owners throw dust in the eyes of others and stifle the protests of their own consciences. In few cases are we better than the common people, but we express our feelings with more consideration, and we are cleverer at concealing selfish and evil passions; our desires are not so coarse or so obvious, owing to the easiness of satisfying them and the habitual absence of self-restraint; we are merely richer, better fed, and therefore more difficult to please. When Count Almaviva named to the barber of Seville all the qualifications he required in a servant, Figaro said with a sigh, “If a servant must possess all these merits, it will be hard to find masters who are fit for a servant’s place.” In Russia in general, moral corruption is not deep. It might truly enough be called savage, dirty, noisy, coarse, 35disorderly, shameless; but it is mainly on the surface. The clergy, in the concealment of their houses, eat and drink to excess with the merchant class. The nobles get drunk in the light of day, gamble recklessly, strike their men-servants and run after the maids, mismanage their affairs, and fail even worse as husbands and fathers. The official class are as bad in a dirtier way; they curry favour, besides, with their superiors and they are all petty thieves. The nobles do really steal less: they take openly what does not belong to them, though without prejudice to other methods, when circumstances are favourable. All these amiable weaknesses occur in a coarser form among servants—that class of “officials” who are beneath the fourteenth grade—those “courtiers” who belong, not to the Tsar, but to the landowners.[16] But how they, as a class, are worse than others, I have no idea. When I run over my recollections on the subject—and for twenty-five years I was well acquainted, not only with our own servants, but with those of my uncle and several neighbours—I remember nothing specially vicious in their conduct. Petty thefts there were, no doubt; but it is hard to pass sentence in this case, because ordinary ideas are perverted by an unnatural status: the human chattel is on easy terms with the chattels that are inanimate, and shows no particular respect for his master’s property. One ought, in justice, to exclude exceptional cases—casual favourites, either men or women, who bask in their master’s smiles and carry tales against the rest; and besides, their behaviour is exemplary, for they never 36get drunk in the daytime and never pawn their clothes at the public-house. The misconduct of most servants is of a simple kind and turns on trifles—a glass of spirits or a bottle of beer, a chat over a pipe, absence from the house without leave, quarrels which sometimes proceed as far as blows, or deception of their master when he requires of them more than man can perform. They are as ignorant as the peasants but more sophisticated; and this, together with their servile condition, accounts for much that is perverted and distorted in their character; but, in spite of all this, they remain grown-up children, like the American negroes. Trifles make them laugh or weep; their desires are limited and deserve to be called simple and natural rather than vicious. Spirits and tea, the public-house and the tea-shop—these are the invariable vices of a servant in Russia. For them he steals; because of them he is poor; for their sake he endures persecution and punishment and leaves his wife and children to beggary. Nothing is easier than to sit, like Father Matthew,[17] in the seat of judgement and condemn drunkenness, while you are yourself intoxicated with sobriety; nothing simpler than to sit at your own tea-table and marvel at servants, because they will go to the tea-shop instead of drinking their tea at home, where it would cost them less. Strong drink stupefies a man and makes it possible for him to forget; it gives him an artificial cheerfulness, an artificial excitement; and the pleasure of this state is increased by the low level of civilisation and the narrow 37empty life to which these men are confined. A servant is a slave who may be sold, a slave condemned to perpetual service in the pantry and perpetual poverty: how can such a man do otherwise than drink? He drinks too much when he gets the chance, because he cannot drink every day; this was pointed out by Senkovsky in one of his books fifteen years ago. In Italy and the south of France, there are no drunkards, because there is abundance of wine. And the explanation of the savage drunkenness among English workmen is just the same. These men are broken in a hopeless and ill-matched struggle against hunger and beggary; after all their efforts, they have found everywhere a leaden vault above their heads, and a sullen opposition which has cast them down into the nether darkness of society and condemned them to a life of endless toil—toil without an object and equally destructive of mind and body. What wonder that such a man, after working six days as a lever or wheel or spring or screw, breaks out on Saturday night, like a savage, from the factory which is his prison, and drinks till he is dead drunk? His exhaustion shortens the process, and it is complete in half an hour. Moralists would do better to order “Scotch” or “Irish” for themselves, and hold their tongues; or else their inhuman philanthropy may evoke formidable replies. To a servant, tea drunk in a tea-shop is quite a different thing. Tea at home is not really tea: everything there reminds him that he is a servant—the pantry is dirty, he has to put the samovár[18] on the table himself, his cup 38has lost its handle, his master’s bell may ring at any moment. In the tea-shop he is a free man, a master; the table is laid and the lamps lit for him; for him the waiter hurries in with the tray, the cups shine, and the teapot glitters; he gives orders, and other people obey him; he feels happy and calls boldly for some cheap caviare or pastry to eat with his tea. In all this there is more of childlike simplicity than of misconduct. Impressions take hold of them quickly but throw out no roots; their minds are continually occupied—if one can call it occupation—with casual objects, trifling desires, and petty aims. A childish belief in the marvellous turns a grown man into a coward, and the same belief consoles him in his darkest hours. I witnessed the death of several of my father’s servants, and I was astonished. One could see then that their whole life had been spent, like a child’s, without fears for the future, and that no great sins lay heavy on their souls; even if there had been anything of the kind, a few minutes with the priest were enough to put all to rights. It is on this resemblance between children and servants that their mutual attachment is based. Children resent the indulgent superiority of grown-up people; they are clever enough to understand that servants treat them with more respect and take them seriously. For this reason, they enjoy a game of bézique with the maids much more than with visitors. Visitors play out of indulgence and to amuse the child: they let him win, or tease him, and stop when they feel inclined; but the maid plays just as much for her own amusement; and thus the game gains in interest. Servants have a very strong attachment to children; 39and this is not servility at all—it is a mutual alliance, with weakness and simplicity on both sides. §4 In former days there existed—it still exists in Turkey—a feudal bond of affection between the Russian landowner and his household servants. But the race of such servants, devoted to the family as a family, is now extinct with us. The reason of this is obvious. The landowner has ceased to believe in his own authority; he does not believe that he will answer, at the dreadful Day of Judgement, for his treatment of his people; and he abuses his power for his own advantage. The servant does not believe in his inferiority; he endures oppression, not as a punishment or trial inflicted by God, but merely because he is defenceless. But I knew, in my young days, two or three specimens of that boundless loyalty which old gentlemen of seventy sometimes recall with a sigh: they speak of the wonderful zeal and devotion of their servants, but they never mention the return which they and their fathers made to that faithfulness. There was Andréi Stepánov, whom I knew as a decrepit old man, spending his last days, on very short commons, on an estate belonging to my uncle, the Senator. When my father and uncle were young men in the Army, he was their valet, a kind, honest, sober man, who guessed what his young masters wanted—and they wanted a good deal—by a mere look at their faces; I know this from themselves. Later he was in charge of an estate near Moscow. The war of 1812 cut him off at once from all communications; the village was burnt down, and he 40lived on there alone and without money, and finally sold some wood, to save himself from starvation. When my uncle returned to Russia, he went into the estate accounts and discovered the sale of wood. Punishment followed: the man was disgraced and removed from his office, though he was old and burdened with a family. We often passed through the village where he lived and spent a day or two there; and the old man, now paralysed and walking on crutches, never failed to visit us, in order to make his bow to my father and talk to him. I was deeply touched by the simple devotion of his language and by his miserable appearance; I remember the tufts of hair, between yellow and white, which covered both sides of his bare scalp. “They tell me, Sir,” he said once to my father, “that your brother has received another Order. I am getting old, bátyushka, and shall soon give back my soul to God; but I wish God would suffer me to see your brother wearing his Order; just once before I die, I would like to see him with his ribbon and all his glory.” My eyes were on the old man, and everything about him showed that he was speaking the truth—his expression as frank as a child’s, his bent figure, his crooked face, dim eyes, and feeble voice. There was no falsehood or flattery there: he did really wish to see, once more before he died, the man who, for fourteen years, had never forgiven him for that wood! Should I call him a saint or a madman? Are there any who attain to sanctity, except madmen? But this form of idolatry is unknown to the rising generation; and, if there are cases of serfs who refuse emancipation, it is due either to mere indolence or selfish considerations. 41This is a worse condition of things, I admit, but it brings us nearer the end. The serfs of to-day may wish to see something round their master’s neck; but you may feel sure that it is not the ribbon of any Order of Chivalry! §5 This seems an opportunity to give some general account of the treatment shown to servants in our household. Neither my father nor my uncle was specially tyrannical, at least in the way of corporal punishment. My uncle, being hot-tempered and impatient, was often rough and unjust to servants; but he thought so little about them and came in contact with them so seldom, that each side knew little of the other. My father wore them out by his fads: he could never pass over a look or a word or a movement without improving the occasion; and a Russian often resents this treatment more than blows or bad language. Corporal punishment was almost unknown with us; and the two or three cases in which it was resorted to were so exceptional, that they formed the subject of conversation for whole months downstairs; it should also be said that the offences which provoked it were serious. A commoner form of punishment was compulsory enlistment in the Army, which was intensely dreaded by all the young men-servants. They preferred to remain serfs, without family or kin, rather than carry the knapsack for twenty years. I was strongly affected by those horrible scenes: at the summons of the landowner, a file of military police would appear like thieves in the night and seize their victim without warning; the bailiff would explain that the master had given orders the night before 42for the man to be sent to the recruiting office; and then the victim, through his tears, tried to strike an attitude, while the women wept, and all the people gave him presents, and I too gave what I could, very likely a sixpenny necktie. I remember too an occasion when a village elder spent some money due from peasants to their master, and my father ordered his beard to be shaved off, by way of punishment. This form of penalty puzzled me, but I was impressed by the man’s appearance: he was sixty years old, and he wept profusely, bowing to the ground and offering to repay the money and a hundred roubles more, if only he might escape the shame of losing his beard. While my uncle lived with us, there were regularly about sixty servants belonging to the house, of whom nearly half were women; but the married women might give all their time to their own families; there were five or six house-maids always employed, and laundry-maids, but the latter never came upstairs. To these must be added the boys and girls who were being taught housework, which meant that they were learning to be lazy and tell lies and drink spirits. As a feature of those times, it will not, I think, be superfluous to say something of the wages paid to servants. They got five roubles a month, afterwards raised to six, for board-wages; women got a rouble less, and children over ten half the amount. The servants clubbed together for their food, and made no complaint of insufficiency, which proves that food cost wonderfully little. The highest wages paid were 100 roubles a year; others got fifty, and some thirty. Boys under eighteen got no wages. Then our servants were supplied with clothes, 43overcoats, shirts, sheets, coverlets, towels, and mattresses of sail-cloth; the boys who got no wages received a sum of money for the bath-house and to pay the priest in Lent—purification of body and soul was thus provided for. Taking everything into account, a servant cost about 300 roubles a year; if we add his share of medical attendance and drugs and the articles of consumption which came in carts from the landlord’s estates in embarrassing amount, even then the figure will not be higher than 350 roubles. In Paris or London a servant costs four times as much. Slave-owners generally reckon “insurance” among the privileges of their slaves, i.e., the wife and children are maintained by the master, and the slave himself, in old age, will get a bare pittance in some corner of the estate. Certainly this should be taken into account, but the value of it is considerably lessened by the constant fear of corporal punishment and the impossibility of rising higher in the social scale. My own eyes have shown me beyond all doubt, how the horrible consciousness of their enslaved condition torments and poisons the existence of servants in Russia, how it oppresses and stupefies their minds. The peasants, especially those who pay obrók,[19] are less conscious of personal want of freedom; it is possible for them not to believe, to some extent, in their complete slavery. But in the other case, when a man sits all day on a dirty bench in the pantry, or stands at a table holding a plate, there is no possible room for doubt. 44There are, of course, people who enjoy this life as if it were their native element; people whose mind has never been aroused from slumber, who have acquired a taste for their occupation, and perform its duties with a kind of artistic satisfaction. §6 Our old footman, Bakai, an exceedingly interesting character, was an instance of this kind. A tall man of athletic build, with large and dignified features, and an air of the profoundest reflexion, he lived to old age in the belief that a footman’s place is one of singular dignity. This respectable old man was constantly out of temper or half-drunk, or both together. He idealised the duties of his office and attributed to them a solemn importance. He could lower the steps of a carriage with a peculiarly loud rattle; when he banged a carriage-door he made more noise than the report of a gun. He stood on the rumble surly and straight, and, every time that a hole in the road gave him a jolt, he called out to the coachman, “Easy there!” in a deep voice of displeasure, though the hole was by that time five yards behind the carriage. His chief occupation, other than going out with the carriage, was self-imposed. It consisted in training the pantry-boys in the standard of manners demanded by the servants’ hall. As long as he was sober, this went well enough; but when he was affected by liquor, he was severe and exacting beyond belief. I sometimes tried to protect my young friends, but my authority had little weight with the Roman firmness of Bakai: he would open the door that led to the drawing-room, with the words: “This is not your place. I beg you will go, or I shall carry 45you out.” Not a movement, not a word, on the part of the boys, did he let pass unrebuked; and he often accompanied his words with a smack on the head, or a painful fillip, which he inflicted by an ingenious and spring-like manipulation of his finger and thumb. When he had at last driven the boys from the room and was left alone, he transferred his attentions to his only friend, a large Newfoundland dog called Macbeth, whom he fed and brushed and petted and loved. After sitting alone for a few minutes, he would go down to the court-yard and invite Macbeth to join him in the pantry. Then he began to talk to his friend: “Foolish brute! What makes you sit outside in the frost, when there’s warmth in here? Well, what are you staring at? Can’t you answer?” and the questions were generally followed by a smack on the head. Macbeth occasionally growled at his benefactor; and then Bakai reproved him, with no weak fondness: “Do what you like for a dog, a dog it still remains: it shows its teeth at you, with never a thought of who you are. But for me, the fleas would eat you up!” And then, hurt by his friend’s ingratitude, he would take snuff angrily and throw what was left on his fingers at Macbeth’s nose. The dog would sneeze, make incredibly awkward attempts to get the snuff out of his eyes with his paw, rise in high dudgeon from the bench, and begin scratching at the door. Bakai opened the door and dismissed the dog with a kick and a final word of reproach. At this point the pantry-boys generally came back, and the sound of his knuckles on their heads began again. We had another dog before Macbeth, a setter called Bertha. When she became very ill, Bakai put her on his bed and nursed her for some weeks. Early one morning 46I went into the servants’ hall. Bakai tried to say something, but his voice broke and a large tear rolled down his cheek—the dog was dead. There is another fact for the student of human nature. I don’t at all suppose that he hated the pantry-boys either; but he had a surly temper which was made worse by drinking bad spirits and unconsciously affected by his surroundings. §7 Such men as Bakai hugged their chains, but there were others: there passes through my memory a sad procession of hopeless sufferers and martyrs. My uncle had a cook of remarkable skill in his business, a hard-working and sober man who made his way upwards. The Tsar had a famous French chef at the time and my uncle contrived to secure for his servant admission to the imperial kitchens. After this instruction, the man was engaged by the English Club at Moscow, made money, married, and lived like a gentleman; but, with the noose of serfdom still round his neck, he could never sleep easy or enjoy his position. Alexyéi—that was his name—at last plucked up courage, had prayers said to Our Lady of Iberia, and called on my uncle and offered 5,000 roubles for his freedom. But his master was proud of the cook as his property—he was proud of another man, a painter, for just the same reason—and therefore he refused the money, promising the cook to give him his freedom in his will, without any payment. This was a frightful blow to the man. He became depressed; the expression of his features changed; his hair turned grey; and, being a Russian, he took to the bottle. He became careless about his work, and the English Club dismissed him. Then he was engaged by the Princess 47Trubetskoi, and she persecuted him by her petty meanness. Alexyéi was a lover of fine phrases; and once, when he was insulted by her beyond bearing, he drew himself up and said in his nasal voice, “What a stormy soul inhabits Your Serene Highness’s body!” The Princess was furious: she dismissed the man and wrote, as a Russian great lady would, to my uncle to complain of his servant. My uncle would rather have done nothing, but, out of politeness to the lady, he sent for the cook and scolded him, and told him to go and beg pardon of the Princess. But, instead of going there, he went to the public-house. Within a year he was utterly ruined: all the money he had saved for his freedom was gone, and even his last kitchen-apron. He fought with his wife, and she with him, till at last she went into service as a nurse away from Moscow. Nothing was heard of him for a long time. At last a policeman brought him to our house, a wild and ragged figure. He had no place of abode and wandered from one drink-shop to another. The police had picked him up in the street and demanded that his master should take him in hand. My uncle was vexed and, perhaps, repentant: he received the man kindly enough and gave him a room to live in. Alexyéi went on drinking; when he was drunk, he was noisy and fancied he was writing poetry; and he really had some imaginative gift but no control over it. We were in the country at the time, and my uncle sent the man to us, fancying that my father would have some control over him. But the man was too far gone. His case revealed to me the concentrated ill-feeling and hatred which a serf cherishes in his heart against his masters: he gnashed his teeth as he spoke, and used gestures which, especially as coming from a cook, were ominous. My 48presence did not prevent him from speaking freely; he was fond of me, and often patted my shoulder as he said, “This is a sound branch of a rotten tree!” When my uncle died, my father gave Alexyéi his freedom at once. But this was too late: it only meant washing our hands of him, and he simply vanished from sight. §8 There was another victim of the system whom I cannot but recall together with Alexyéi. My uncle had a servant of thirty-five who acted as a clerk. My father’s oldest brother, who died in 1813, intending to start a cottage hospital, placed this man, Tolochanov, when he was a boy, with a doctor, in order to learn the business of a dresser. The doctor got permission for him to attend lectures at the College of Medicine; the young man showed ability, learned Latin and German, and practised with some success. When he was twenty-five, he fell in love with the daughter of an officer, concealed his position from her, and married her. The deception could not be kept up for long: my uncle died, and the wife was horrified to discover that she, as well as her husband, was a serf. The “Senator,” their new owner, put no pressure on them at all—he had a real affection for young Tolochanov—but the wife could not pardon the deception: she quarrelled with him and finally eloped with another man. Tolochanov must have been very fond of her: he fell into a state of depression which bordered on insanity; he spent his nights in drunken carouses, and, having no money of his own, made free with what belonged to his master. Then, when he saw he could not balance his accounts, he took poison, on the last day of the year 1821. 49My uncle was away from home. I was present when Tolochanov came into the room and told my father he had come to say good-bye; he also gave me a message for my uncle, that he had spent the missing money. “You’re drunk,” said my father; “go and sleep it off.” “My sleep will last a long time,” said the doctor; “I only ask you not to think ill of my memory.” The man’s composure frightened my father: he looked at him attentively and asked: “What’s the matter with you? Are you wandering?” “No, Sir; I have only swallowed a dose of arsenic.” The doctor and police were summoned, milk and emetics were administered. When the vomiting began, he tried to keep it back and said: “You stop where you are! I did not swallow you, to bring you up again.” When the poison began to work more strongly, I heard his groans and the agonised voice in which he said again and again, “It burns, it burns like fire!” Someone advised that the priest should be sent for; but he refused, and told Calot that he knew too much anatomy to believe in a life beyond the grave. At twelve at night he spoke to the doctor: he asked the time, in German, and then said, “Time to wish you a Happy New Year!” and then he died. In the morning I went hastily to the little wing, used as a bath-house, where Tolochanov had been taken. The body was lying on a table in the attitude in which he died; he was wearing a coat, but the necktie had been removed and the chest was bare; the features were terribly distorted and even blackened. It was the first dead body I had ever seen; and I ran out, nearly fainting. The toys and picture-book which I had got as New Year’s presents could not comfort me: I still saw before me the blackened 50features of Tolochanov, and heard his cry, “It burns like fire!” To end this sad subject, I shall say only one thing more: the society of servants had no really bad influence on me. On the contrary, it implanted in me, in early years, a rooted hatred for slavery and oppression in all their manifestations. When I had been naughty as a child and my nurse, Vyéra Artamónovna, wished to be very cutting, she used to say, “Wait a bit, and you will be exactly like the rest, when you grow up and become a master!” I felt this to be a grievous insult. Well, the old woman may rest in peace—whatever I became, I did not become “exactly like the rest.” §9 I had one other distraction, as well as the servants’ hall, and in this I met at least with no opposition. I loved reading as much as I disliked my lessons. Indeed, my passion for desultory reading was one of the main difficulties in the way of serious study. For example, I detested, then as now, the theoretical study of languages; but I was very quick in making out the meaning more or less and acquiring the rudiments of conversation; and there I stopped, because that was all I needed. My father and my uncle had a fairly large library, consisting of French books of the eighteenth century. The books lay about in heaps in a damp unused room on the ground-floor of the house. Calot kept the key and I was free to rummage as much as I pleased in this literary lumber-room. I read and read with no interruptions. My father approved for two reasons: in the first place, I would learn French quicker; and besides I was kept occupied, 51sitting quietly in a corner. I must add that I did not display all the books I read openly on the table: some of them I kept secreted in a cupboard. But what books did I read? Novels, of course, and plays. I read through fifteen volumes, each of which contained three or four plays, French or Russian. As well as French novels, my mother had novels by Auguste Lafontaine and Kotzebue’s comedies; and I read them all twice over. I cannot say that the novels had much effect on me. As boys do, I pounced on all the ambiguous passages and disorderly scenes, but they did not interest me specially. A far greater influence was exercised over my mind by a play which I loved passionately and read over twenty times, though it was in a Russian translation—The Marriage of Figaro. I was in love with Cherubino and the Countess; nay more, I myself was Cherubino; I felt strong emotion as I read it and was conscious of some new sensation which I could not at all understand. I was charmed with the scene where the page is dressed up as a woman, and passionately desired to have a ribbon belonging to someone, in order to hide it in my breast and kiss it when no one was looking. As a matter of fact, no female society came in my way at that age. I only remember two school-girls who paid us occasional Sunday visits. The younger was sixteen and strikingly beautiful. I became confused whenever she entered the room; I never dared to address her, or to go beyond stolen glances at her beautiful dark eyes and dark curls. I never spoke a word of this to anyone, and my first love-pangs passed off unknown even to her who caused them. When I met her years afterwards, my heart beat fast 52and I remembered how I had worshipped her beauty at twelve years old. I forgot to say that Werther interested me almost as much as The Marriage of Figaro; half of the story I could not understand and skipped, in my eagerness to reach the final catastrophe; but over that I wept quite wildly. When I was at Vladímir in 1839, the same book happened to come into my hands, and I told my wife how I used to cry over it as a boy. Then I began to read the last letters to her; and when I reached the familiar passage, the tears flowed fast and I had to stop. I cannot say that my father put any special pressure upon me before I was fourteen; but the whole atmosphere of our house was stifling to a live young creature. Side by side with complete indifference about my moral welfare, an excessive degree of importance was attached to bodily health; and I was terribly worried by precautions against chills and unwholesome food, and the fuss that was made over a trifling cold in the head. In winter I was kept indoors for weeks at a time, and, if a drive was permitted, I had to wear warm boots, comforters, and so on. The rooms were kept unbearably hot with stoves. This treatment must have made me feeble and delicate, had I not inherited from my mother the toughest of constitutions. She, on her part, shared none of these prejudices, and in her part of the house I might do all the things which were forbidden when I was with my father. Without rivalry and without encouragement or approval, my studies made little progress. For want of proper system and supervision, I took things easy and thought to dispense with hard work by means of memory and a lively imagination. My teachers too, as a matter 53of course, were under no supervision; when once the fees were settled, provided they were punctual in coming to the house and leaving it, they might go on for years, without giving any account of what they were doing. §10 One of the queerest incidents of my early education was when a French actor, Dalès, was invited to give me lessons in elocution. “People pay no attention to it nowadays,” my father said to me, “but your brother Alexander practised le recit de Théramène[20] every evening for six months with Aufraine, the actor, and never reached the perfection which his teacher desired.” So I began to learn elocution. “I suppose, M. Dalès,” my father once said to him, “you could give lessons in dancing too.” Dalès was a stout old gentleman of over sixty; with a profound consciousness of his own merits but an equally profound sense of modesty, he answered that he could not judge of his own talents, but that he often gave hints to the ballet-dancers at the Opera. “Just as I supposed,” remarked my father, offering him his snuff-box open—a favour he would never have shown to a Russian or German tutor. “I should be much obliged if you would make him dance a little after the declamation; he is so stiff.” “Monsieur le comte peut disposer de moi.” And then my father, who was a passionate lover of Paris, began to recall the foyer of the Opera-house as it was in 1810, the début of Mlle. George and the later 54years of Mlle. Mars,[21] and asked many question about cafés and theatres. And now you must imagine my small room on a dismal winter evening, with the water running down the frozen windows over the sandbags, two tallow candles burning on the table, and us two face to face. On the stage Dalès spoke in a fairly natural voice, but, in giving a lesson, he thought himself bound to get away as far as possible from nature. He recited Racine in a sing-song voice, and made a parting, like the parting of an Englishman’s back hair, at the caesura of each line, so that every verse came out in two pieces like a broken stick. Meanwhile he made the gestures of a man who has fallen into the water and cannot swim. He made me repeat each verse several times and constantly shook his head: “Not right at all! Listen to me! ‘Je crains Dieu, cher Abner’—now came the parting; he closed his eyes, shook his head slightly, and added, repelling the waves with a languid movement of the arm, ‘et n’ai point d’autre crainte.’”[22] Then the old gentleman, who “feared nothing but God,” would look at his watch, put away his books, and take hold of a chair. This chair was my partner. Is it surprising that I never learned to dance? These lessons did not last long: within a fortnight they were brought to an end by a very tragic event. I was at the theatre with my uncle, and the overture was played several times without the curtain rising. The front rows, wishing to show their familiarity with Paris 55customs, began to make the noise which is made in Paris by the back rows only. A manager came out in front of the curtain; he bowed to the left, he bowed to the right, he bowed to the front, and then he said: “We ask for all the indulgence of the audience; a terrible misfortune has befallen us: Dalès, a member of our company,”—and here the manager’s speech was interrupted by genuine tears,—“has been found dead in his room, poisoned by the fumes from the stove.” Such were the forcible means by which the Russian system of ventilation delivered me from lessons in elocution, from spouting Racine, and from dancing a solo with the partner who boasted four legs carved in mahogany. §11 When I was twelve, I was transferred from the hands of women to those of men; and, about that time, my father made two unsuccessful attempts to put a German in charge of me. “A German in charge of children” is neither a tutor nor a dyádka[23]—it is quite a profession by itself. He does not teach or dress the children himself, but sees that they are dressed and taught; he watches over their health, takes them out for walks, and talks whatever nonsense he pleases, provided that it is in German. If there is a tutor in the house, the German is his inferior; but he takes precedence of the dyádka, if there is one. The visiting teachers, if they come late from unforeseen causes, or leave too early owing to circumstances beyond their control, are polite to the German; and, though quite uneducated, 56he begins to think himself a man of learning. The governesses make use of the German to do all sorts of errands for them, but never permit any attentions on his part, unless they suffer from positive deformity and see no prospect of any other admirers. When boys are fourteen they go off to the German’s room to smoke on the sly, and he allows it, because he needs powerful assistance if he is to keep his place. Indeed, the common practice is to dismiss him at this period, after thanking him in the presence of the boys and presenting him with a watch. If he is tired of taking children out and receiving reprimands when they catch cold or stain their clothes, then the “German in charge of children” becomes a German without qualification: he starts a small shop where he sells amber mouth-pieces, eau-de-cologne, and cigars to his former charges, and performs secret services for them of another kind. The first German attached to my person was a native of Silesia, and his name was Iokisch; in my opinion, his name alone was a sufficient disqualification. He was a tall, bald man, who professed a knowledge of agriculture, and I believe that this fact induced my father to take him; but his chief distinction was his extreme need of soap and water. I looked with aversion at the Silesian giant, and only consented to walk about with him in the parks and gardens on condition that he told me improper stories, which I retailed in the servants’ hall. He did not survive more than a year; he was guilty of some misconduct on our country estate, and a gardener tried to kill him with a scythe; and this made my father order him to clear out. His successor was Theodore Karlovitch, a soldier (probably a deserter) from Brunswick-Wolfenbüttel, who 57was remarkable for his beautiful handwriting and excessive stupidity. He had filled a similar post twice already, and had gained some experience, so that he gave himself the airs of a tutor; also, he spoke French, mispronouncing j as sh and misplacing the accents.[24] I had no kind of respect for him, but poisoned every moment of his existence, especially after I was convinced that, in spite of all my efforts, he was unable to understand either decimal fractions or the rule of three. In most boys’ hearts there is a good deal that is ruthless and even cruel; and I persecuted the Jäger of Wolfenbüttel unmercifully with sums in proportion. I was so much interested by this, that, though I did not often speak on such subjects to my father, I solemnly informed him of the stupidity of Theodore Karlovitch. He once boasted to me of a new frock-coat, dark blue with gold buttons, and I actually saw him once wearing it; he was going to a wedding, and the coat, though it was too large for him, really had gold buttons. But the boy who waited on the German informed me that the garment was borrowed from a friend who kept a perfumer’s shop. Without the least feeling of pity, I attacked my victim, and asked bluntly where his blue coat was. “There is a great deal of moth in this house, and I have given it to a tailor whom I know to keep it safe for me.” “Where does the tailor live?” “What business is that of yours?” “Why not say?” 58“People should mind their own business.” “Oh, very well. But my birthday is next week, and, to please me, you might get the blue coat from the tailor for that day.” “No, I won’t; you don’t deserve it, after your rudeness.” I held up a threatening finger at him. But the final blow to the German’s position took place as follows. He must needs boast one day, in the presence of Bouchot, my French tutor, that he had fought at Waterloo and that the Germans had given the French a terrible mauling. Bouchot merely looked at him and took snuff with such a formidable air that the conqueror of Napoleon was rather taken aback. Bouchot left the room, leaning angrily on his knotted stick, and he never afterwards called the man by any other name than le soldat de Vilain-ton.[25] I did not know then that this pun is the property of Béranger, and I was exceedingly delighted by Bouchot’s cleverness. At last this comrade of Blücher’s left our house, after a quarrel with my father; and I was not troubled further with Germans. During the time of the warrior from Brunswick-Wolfenbüttel, I sometimes visited a family of boys, who were also under the charge of a German; and we took long walks together. The two Germans were friends. But, when my German departed, I was left once more in complete solitude. I disliked it and tried hard to escape from it, but without success. As I was powerless to overcome my father’s wishes, I should, perhaps, have been crushed by this kind of life; but I was soon saved by a new form of 59mental activity, and by two new acqu
6847	dbpedia	0	7	https://www.nevadaschoolofdance.org/faculty.html	en	Faculty	https://www.nevadaschool…6423/6076351.jpg	https://www.nevadaschool…6423/6076351.jpg	[ "https://www.nevadaschoolofdance.org/uploads/8/0/7/6/8076423/2078208.jpg", "https://www.nevadaschoolofdance.org/uploads/8/0/7/6/8076423/2078208.jpg", "https://www.nevadaschoolofdance.org/uploads/8/0/7/6/8076423/6076351.jpg", "https://www.nevadaschoolofdance.org/uploads/8/0/7/6/8076423/1466631186.png", "https://www.nevadaschoolofdance.org/uploads/8/0/7/6/8076423/8369954.jpg?1466566954", "https://cdn2.editmysite.com/images/site/footer/footer-toast-published-image-1.png" ]	[]	[]	[ "" ]	null	[]	null	Ella Gourkova School Director/Ballet Mistress Ms. Gourkova began her classical ballet training at age seven in her birthplace, Donetsk, Ukraine. At age eleven she auditioned for admittance...	en		Nevada School of Dance	https://www.nevadaschoolofdance.org/faculty.html	Ella Gourkova School Director/Ballet Mistress Ms. Gourkova began her classical ballet training at age seven in her birthplace, Donetsk, Ukraine. At age eleven she auditioned for admittance into the Kirov Ballet’s famed Vaganova Institute in St. Petersburg, Russia and was accepted. Thus began her association with legendary teachers, dancers and choreographers of Russia’s renowned Bolshoi and St. Petersburg ballet companies. Upon her graduation from the Vaganova school, she joined the Donetsk Theatre of Opera and Ballet where she rose to the rank of principal dancer. She later performed on international tours with the ‘cream’ of Russia’s ballet artists including Vladimir Vasiliev, Ekaterina Maximova and Nina Ananiashvili, among many others. During a tour of the USA she and her husband, Sergey Popov, came to the attention of Vassili Sulich and Nancy Houssels, co-founders of Nevada Ballet Theatre (then, Nevada Dance Theatre) and were engaged as principal dancers, positions they held from 1995 to 2000. After her retirement from the stage, Ms. Gourkova was contracted to teach at the company’s academy where she continues to conduct ballet and character classes and to provide choreography for its annual concerts. In addition, she is a faculty Teacher for Dance Masters of America. She is happy to be sharing her experience and expertise with the students of Nevada School of Dance. Sergey Popov Principal/Artistic Director Mr. Popov trained extensively at the State Choreographic School in Perm, Russia. He has performed throughout the world dancing leading roles from the classical ballet repertoire, including the princes in “Swan Lake,” “Sleeping Beauty” and “The Nutcracker.” His numerous awards include first prize as Best Partner at the Ukrainian Contest of Ballet. During his career, his partnering skills have been much sought after by many renowned ballerinas, including Russia’s Lyubov Kunakova and Inna Dorofeeva. He has been a guest artist with numerous companies and in many international gala performances with such luminaries as Irina Kolpakova, Galina Mezentseva, Vadim Pisarev, Julio Bocca and Farukh Ruzimatov, to name just a few. While principal dancer with Donetsk Theatre of Opera and Ballet in Ukraine he met and married ballerina Ella Gourkova. Before they retired from performing they were principal dancers together at Nevada Ballet Theatre for five years. Mr. Popov has taught dance at the College of Southern Nevada since 1999 and, as a faculty member of Dance Educators of America and Dance Masters of America, conducts classes throughout the USA. Mr. Popov brings vast knowledge and experience to Nevada School of Dance.
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"https://soulclassicalballet.com/wp-content/uploads/2024/03/Switzerland-map-300x300.png", "https://soulclassicalballet.com/wp-content/uploads/2024/03/Ireland-map-300x300.png", "https://soulclassicalballet.com/wp-content/uploads/2024/03/Netherlands-map-300x300.png", "https://soulclassicalballet.com/wp-content/uploads/2024/03/Luxembourg-map-1-300x300.png", "https://soulclassicalballet.com/wp-content/uploads/2023/05/logo2-160x43.png" ]	[]	[]	[ "" ]	null	[]	2017-07-27T06:25:42+00:00	The Ukrainian Ballet of Peace is made up of over 30 of the Ukraine’s finest Ballet dancers who have graduated from the most prestigious Ballet schools and academies in the Ukraine	ru	https://soulclassicalbal…-black-32x32.png	Soul of Classical Ballet	https://soulclassicalballet.com/	Vladimir Troshchenko graduated from the St. Petersburg Academy of Dance named after Vaganova in 1973, from the class of legendary teacher Svyatoslav Kuznetsov together with World renowned Ballet Star Mikhail Baryshnikov.He made his first appearance in Pas de deux in the ballet “Giselle” on July 17, 1973. He became Laureate of the Komsomol Prize in Literature and Art in 1981. Vladimir has received Government Awards of Republics of Tatarstan, Bashkiria and Chuvashia. Honored Artist of Chuvashia (1985). In 1992 Vladimir graduated with merit from the Academy of theatrical art as a director-choreographer and this led him to be a Principal Ballet Dancer on stages across the world. His repertoire includes the leading parts in such ballets as “Swan Lake”, “Sleeping Beauty”, “The Nutcracker”, “La Bayadere”, “Giselle”, “Don Quixote” and others. Vladimir toured in more than 10 countries as a member of the “Moscow City Ballet” company, dancing with such great ballet stars as Nadezhda Pavlova – People’s Artist of the USSR, Lyudmila Semenyaka – People’s Artist of the USSR, Galina Mezentseva – People’s Artist of the RSFSR and Elena Pankova. As a Choreographer, Vladimir created new ballets for the stages of the USA & Europe to include : 1987 – “Mozart and Salieri” (first production) 1990 – “Francesca da Rimini”, “Mercedes”, “The Last Step” 1992 – “Flight to Shanghai” 1993 – “Don Quixote” 1994 – “Carmen Suite” 1995 – “The Sleeping Beauty” 1996 – “Zora” In 1996 Vladimir performed leading parts in the ballets “Swan Lake” and “Sleeping Beauty” in duet with the renowned People’s Artist of USSR – Nadezhda Pavlova, Prima ballerina of world renowned Bolshoi Theatre. From 1998 – 2010 Vladimir was the Chief choreographer of the Odessa Academic National Opera and Ballet Theatre. During this period, Vladimir created new versions of: “Swan Lake”, “Sleeping Beauty”, “The Nutcracker”, “Lilea” as well as restored: “Don Quixote” and “La Bayadere”. In the children’s theater – studio, he created ballets “Alice in Wonderland” and “Peter Pan”. In 2004 Vladimir produced the ballet “La Bayadère” on the stage of the Kharkiv Opera and Ballet Theater. In recent years, he was repeatedly creating ballet divertissements for Government concerts in the Odesa region and the capital Kyiv. With The Ukrainian National ballet he toured in Switzerland, USA, Greece, Russia, Romania, Canada, Mexico. Since 2005 Vladimir has been a member of the Board of the Union of Choreographers of Ukraine. 2007 — Honorary Award of the Governor of Odesa region for merits in the field of choreography. 2007 – 2021: the Artistic Director and Choreographer of the Soul of Classical Ballet company. 2016 -2021: Vladimir was Acting Assistant Professor of the Choreography Department of the South Ukrainian Pedagogical University named after Ushinsky Born in Odesa, Ukraine. At the age of 15, after graduating from the Odessa City Ballet School, Alexandra started her career in Odessa Academic National Opera and Ballet Theatre in 1981 immediately taking an active place in the entire ballet and opera repertoire. Aleksandra toured with the theatre in USA, Italy, Spain, Germany, Greece, Switzerland, Hungary and others countries. In 2009 and 2013 she received awards from the governor of the Odessa region for her significant contribution to the development of national ballet art in the Country. Aleksandra was at the origins of the company, being the main assistant of its founder, Vladimir Troschenko, also doing all the administrative duties as well as holding all of the rehearsals and stage activities of the group whilst on International tours. In June 2021 Aleksandra graduated from the Academy of Music, Theatre and Fine Arts in Chisinau as a Master of choreography. During the years of the Covid epidemic Aleksandra has devoted herself to improving the repertoire of the Company and preparing new star performers of the future. Following the death of Vladimir Troshenko in 2021, she was appointed as Artistic Director of the company. Born in Mariupol, Ukraine and trained as a dancer at the Vadim Pisarev’s ballet school, where she graduated in 2003. Kateryna joined the Donbass Opera (Donetsk State Academic Opera and Ballet Theatre named after Solovyanenko) same year and was promoted to the rank of Prima Ballerina in 2005). Being very young, Kateryna performed most of leading roles, including Aurora in The Sleeping beauty and double role of Odette/Odile in Swan Lake. In 2016 Floria joined Mariinsky ballet company (Primorsky brunch) as a First Soloist. Her repertoire at the Primorsky stage of Mariinsky includes most of title and solo roles in classical ballets as: Odette-Odile “Swan Lake”, Gamzatti “La Bayadère”, Giselle and Myrtha “Giselle”, Aurora, Lilac Fairy “Sleeping Beauty”, Sugar Plum Fairy “Nutcracker”, Street Dancer and Queen of Dryads in “Don Quixote” etc. Also her repertoire includes neoclassical works of Fleming Flindt’s Phaedra, the Death in “Le Jeune homme et La Mort », the Tsar-maiden in Alexei Ratmansky’s “The little Humpbacked Horse”, Carmen , Chloe ; George Balanchine’s ballets “Apollo” and “The Prodigal Son”. Since 2022 being a member of Luxembourg ballet company Kateryna performed “Carmen” by Volha Kastsel, “Servant of the Muse” staged by Volha for Gala des Étoiles 2023, and “Don Juan” piece at Capri Ballet gala 2023. In 2023 Kateryna was the part of “Great Gatsby” project dancing Jordan Baker (Dwight Rhoden’s choreography). With Ukrainian ballet team, Floria performed on the stage of the London Peacock Theater and together with her partner Artem Shoshin, was very highly appreciated by London critics. Since beginning of 2024 Kateryna is Prima Ballerina in Ukrainian Dance company “Soul of Classical Ballet” (Ukrainian Ballet of Peace) Born in 1987, in Dnipro (formerly Dnipropetrovsk), Ukraine. “A Ballerina with a special gift and an Individual style” At the age of 14, Olena made her debut in the role of Lisa in Hertel’s “Vain Caution” and received general recognition in the Ukrainian Ballet world, as well as a Diploma Award. Then successful performances at the All-Ukrainian Ballet competition “Youth Ballet-97” in Donetsk and a first place at the International Ballet Competition “Youth Ballet-2000” on the stage of the National Opera in Kyiv was the start of a successful journey for Olena. After graduating from ballet school in Dnipro, Olena continued her education in advanced classes at the Ballet Academy named after John Cranko in Stuttgart (2004–2005). In 2005 Olena returned to Dnipro Academic Opera and Ballet Theatre and became Prima Ballerina. Her repertoire includes the main role in “Sleeping Beauty” (Aurora) and “Giselle”, “Romeo & Juliet” (Juliet), “Pakhita”, “The Nutcracker” (Masha), “Carmen”, “Cinderella”, “Corsair” (Medora), “Don Quixote” (Kitri), “Swan Lake” (Odetta – Odile) and many others. One of the bright national choreographic heritages was the ballet “Princess Olga” to the music of Stankovich. The role of Princess Olga was performed by Olena. Her character turned out to be gentle, lyrical, sensual, but determined and strong-willed. The ballerina harmoniously combined the epic scale of the historical character with the sincere insight and depth of the image. An intense creative life gives Olena the opportunity to express herself not only in complex parts of the classical repertoire, but also in modern choreography. As an Honored Artist of the Ukraine, the Prima Ballerina enthusiastically supports the bold ideas of ballet masters. “Lady with Camellias” In 2017 Olena received the prize for the best female role in the visual performance “Carmen&Jose”. Each performance with the participation of Olena is invariably a great success with the public and is worth attending. Each of the creative works confirms Olena’s undeniable right to the status of the first ballerina in the company. Since 2022 Olena is Prima Ballerina in Ukrainian Dance company “Soul of Classical Ballet” (Ukrainian Ballet of Peace). Born in 1988 in Kryvyi Rih, Ukraine. Since childhood Kostiantyn was fond of drama theater and pantomime. At the age of 16 he started to learn ballet. He graduated from Kiev City Ukrainian Academy of Dance founded by Serge Lifar and in 2009 Kostiantyn joined Odessa National Opera and Ballet Theater. Whilst there he has shown strong skills in partnering and continued developing in various opportunities such as a Young Man in Chopiniana or Bacchus in Walpurgis Night. Kostiantyn has also a large touring experience. He has danced in the USA, Japan, France, Germany, Ireland, Spain and many other countries. In 2021 he returned to Ukraine and joined Kyiv Opera as ballet soloist. For many years Kostiantyn worked as Guest Principal Dancer with the Ukrainian Dance Company «Soul of Classical Ballet» (Ukrainian Ballet of Peace) and since 2022 has become Principal Dancer in the company on an ongoing basis.
6847	dbpedia	2	19	https://www.chestnuthilllocal.com/stories/unique-hill-ballet-dancer-ends-her-extraordinary-career,11623	en	Unique Hill ballet dancer ends her extraordinary career	https://alpha.creativeci…148-web-bank.jpg	https://alpha.creativeci…148-web-bank.jpg	[ "https://api.weather.gov/icons/land/night/skc?size=medium", "https://www.chestnuthilllocal.com/images/new-chestnuthill-logo.jpg", "https://chlbanners.creativecirclemedia.com/www/delivery/avw.php?zoneid=1&cb=INSERT_RANDOM_NUMBER_HERE&n=afc4e2c5", "https://cdn2.creativecirclemedia.com/chestnuthilllocal/medium/20200622-124148-web-bank.jpg", "https://cdn2.creativecirclemedia.com/chestnuthilllocal/medium/20200622-124148-web-quartet.jpg", "https://bf0e5310ebc5f474fd2a-8f566261961f597f36b9755f907e4e2d.ssl.cf1.rackcdn.com/facebook.png", "https://alpha.creativecirclecdn.com/creativecirclemedia/original/20230731-182509-x-formerly-twitter.png.jpg", "https://bf0e5310ebc5f474fd2a-8f566261961f597f36b9755f907e4e2d.ssl.cf1.rackcdn.com/linkedin.png", "https://bf0e5310ebc5f474fd2a-8f566261961f597f36b9755f907e4e2d.ssl.cf1.rackcdn.com/email.png", "https://bf0e5310ebc5f474fd2a-8f566261961f597f36b9755f907e4e2d.ssl.cf1.rackcdn.com/print.png", "https://chlbanners.creativecirclemedia.com/www/delivery/avw.php?zoneid=1&cb=INSERT_RANDOM_NUMBER_HERE&n=afc4e2c5", "https://www.chestnuthilllocal.com/uploads/medium/20240815-105315-32f-Toby Eisenstein.jpg", "https://www.chestnuthilllocal.com/uploads/medium/20240814-203751-ef0-ric1.jpg", "https://www.chestnuthilllocal.com/uploads/medium/20240814-203433-2b9-Act II Playhouse - An Act of God 3.jpg", "https://www.chestnuthilllocal.com/uploads/medium/20240814-202840-bbe-Chapman.jpg", "https://www.chestnuthilllocal.com/uploads/medium/20240814-201702-88a-2023-11-15 Big Star Mike hands in air 132 photo by Ruben Gutierrez.jpeg", "https://chlbanners.creativecirclemedia.com/www/delivery/avw.php?zoneid=1&cb=INSERT_RANDOM_NUMBER_HERE&n=afc4e2c5", "https://www.chestnuthilllocal.com/images/new-chestnuthill-logo-footer.png" ]	[]	[]	[ "arts", "locallife" ]	null	[]	2018-08-22T00:00:00	Chestnut Hill's own Carinthia Bank (right) had to be at least a little nervous as she stood backstage in costume with an unnamed Ukrainian dancer for her debut performance with the Donetsk Ballet in …	en	/images/favicon.png	The Chestnut Hill Local	https://www.chestnuthilllocal.com/stories/unique-hill-ballet-dancer-ends-her-extraordinary-career,11623	by Len Lear In 2012, the acclaimed Donetsk Ballet of Ukraine, which tours internationally, had about 60 dancers in all of their touring groups, of whom Carinthia Bank of Chestnut Hill was the only non-Ukrainian. After attending primary school at Germantown Friends School, Bank went to the prestigious Kirov Academy in Washington, D.C., a private boarding school where she studied ballet as well as academic subjects. (Carinthia had taken ballet classes after school at the Wissahickon Dance Academy in Germantown from 2001 to 2008.) Because of her extraordinary talent, Carinthia, now 23, was invited to join the Donetsk, led by artistic director Vadim Pisarev, upon her graduation from Kirov in May of 2012. She had already been accepted to Princeton University, but she opted to defer admission and traveled instead to Ukraine. This unique experience allowed Carinthia to dance such ballets with Donetsk as “Spartacus,” “Le Corsaire,” “Romeo and Juliet,” “Peer Gynt” and, of course, “Swan Lake,” which the company performed over 140 times. “As a human being,” she told us last week, “many of my best ballet-related experiences involve spending time with my ballet friends. I think that the experience of feeling so close with other people has been very important to me, and it was easier to find that in ballet than in other spaces because it came naturally as we pursued something so hard alongside each other, laughed and cried. “In the company, I also had some very special human experiences. As an introvert, I find it easy to get overstimulated, and walking around Donetsk alone, I found peace in not understanding the words in the air or on signs around me. I had the opportunity to appreciate beauty outside of words, and I learned to feel the joy inside of myself. “The language barrier also enabled me to appreciate other people in new ways. As in any community, there was some drama in the company, but I didn't understand it, and nobody pressured me to pick sides.” Despite this truly unique experience as the only American in the company, Carinthia stopped dancing in the summer of 2013, flying back to Philadelphia on July 4. After having such a thrilling, storybook experience, why did Carinthia leave? This photo was taken at a conference that Carinthia’s student group hosted at Princeton University in October, 2016. They are, from left: Catherine Babiec, a rower, class of 2017; Carinthia; Brian Taylor, a Princeton alumnus and professional basketball player, and Erica Waller-Hill, Olympic hopeful and founder of Destined for a Dream Foundation.[/caption] “Many reasons,” she said. “I could never quite work out the balance between working hard enough that I thought it was worth it for me to be dancing and not pushing myself so hard that I hurt myself, physically and mentally. At that point, I really valued perfection … I felt bad that I was putting time into ballet when I could be putting it into something that helped other people. “I was actually able to find more joy in dancing when I was in the company than I had when I was in school, but I still felt that I wasn't perfect enough to deserve to continue … I did have a lot of other interests that I wanted to explore. Some of the ballet friends I admire the most as artists and people do an incredible job of incorporating other interests into their lives as dancers, but I did not know how to use my other interests to complement my dancing … “I had four days to decide (whether to stay or leave), and I still think those were the worst four days of my life. I came to the conclusion that if it was this hard to make the decision at that point, I did not want to know how hard it would be after another year dancing, another year of loving the company and my life there. I decided to leave rather than ever have to make the decision again.” Carinthia graduated with honors as a history major from Princeton last year and now plans to study sports psychology in the United Kingdom. Her ultimate goal is to be a therapist within an organization that offers a full range of support to athletes going through retirement and life transition. “This plan,” she explained, “comes, of course, from my own post-ballet struggles. I was very confused early in my time at Princeton because I was loving college but feeling horribly lost and empty at the same time. When I started reading articles about athletes retiring and going through ‘transition,’ I realized that I wasn't alone and that there was hope … “I think it's unfortunate for an athlete and for the rest of society when the athlete's energy and power to contribute is lost, post-retirement. In my future work, I hope to support former athletes in feeling well and to create a space where they can get to know their whole selves, appreciate their transferrable skills and find new sources of fulfillment.” Carinthia’s father, Brad, is a lawyer, and her mother, Daryl, is an obstetrician/gynecologist who formerly worked at Chestnut Hill Hospital. She has a sister, Caroline. Carinthia, by the way, is named for a friend of her mother's. "I never met anyone else with my name," she once told us. You can reach Len Lear at [email protected]
6847	dbpedia	0	16	https://www.olympicballet.org/liliia-yastrub/	en	Olympic Ballet Theatre	https://www.olympicballe…ets-Page-Nut.jpg	https://www.olympicballe…ets-Page-Nut.jpg	[ "https://www.olympicballet.org/wp-content/uploads/2019/08/logo-OlympicBallet-Theatre.gif", "https://www.olympicballet.org/wp-content/uploads/2023/11/Web-Liliia-Y.jpg" ]	[]	[]	[ "" ]	null	[]	2024-02-28T08:09:23+00:00		en	https://www.olympicballe…avicon-32x32.gif	Olympic Ballet Theatre \| Professional Ballet in the Pacific Northwest	https://www.olympicballet.org/liliia-yastrub/	Liliia Yastrub was born in Donetsk, Ukraine, and began studying ballet at the Vadim Pisarev Choreographic School at the age of eight. At 16, she embarked on her career as a professional dancer with the Donetsk State Academic Opera and Ballet Theatre, later moving to Kyiv to work with the Grand Kyiv Ballet. Liliia has participated in numerous international festivals and tours, performing in many famous ballets. She holds a bachelor’s and a master’s degree in dance from The University of Luhansk. In 2021, she moved to the United States where she continues her journey as a ballet dancer and educator. Liliia is also joining the faculty at OBS.
6847	dbpedia	3	43	https://www.usaibc.com/author/btrigg/	en	Brenda Trigg, Author at International Ballet Competition	https://secure.gravatar.com/avatar/c2cf30a1ada0600c03ecf58a068beea3?s=500&d=mm&r=g	https://secure.gravatar.com/avatar/c2cf30a1ada0600c03ecf58a068beea3?s=500&d=mm&r=g	[ "https://www.facebook.com/tr?id=1185257768696162&ev=PageView&noscript=1", "https://www.usaibc.com/wp-content/themes/usaibc/images/logo.png", "https://www.usaibc.com/wp-content/uploads/cache/2018/06/char-headshot-hires/4289522968.jpg", "https://www.usaibc.com/wp-content/uploads/cache/2018/06/BWSingleton-e1529272752732/4228556867.jpeg", "https://www.usaibc.com/wp-content/uploads/cache/2018/06/Nicole-Duffy_by-Lucas-Chilczuk-25_LOW-RES/1267285360.jpg", "https://www.usaibc.com/wp-content/uploads/cache/2017/11/Ashely-Wheater-2017-2018-headshot_Photo-by-Cheryl-Mann/3833728785.jpg", "https://www.usaibc.com/wp-content/themes/usaibc/images/logo-mark.png" ]	[]	[]	[ "" ]	null	[ "Brenda Trigg" ]	2020-10-16T05:04:33-06:00		en		International Ballet Competition	https://www.usaibc.com/author/btrigg/	The Dance World Will Come to Jackson, Mississippi, in 2023 The USA International Ballet Competition (USA IBC) will take the stage in Jackson, Mississippi, June 10-24, 2023. More than 100 dancers from around the world will compete in Jackson for the 12th time on the stage at Thalia Mara Hall. The USA IBC is among the oldest and most prestigious international ballet competitions in the world. The USA IBC competition was originally scheduled for June of 2022, but was rescheduled for 2023 when the COVID-19 pandemic disrupted 2020 competitions planned for Helsinki, Finland, and Varna, Bulgaria. “USA IBC leaders worked with our sister competitions in three countries to develop new, coordinated schedules and ensure that despite the pandemic, dancers who had trained for years would still be able to compete and the world would still have the opportunity to come together for these celebrations of art and athleticism,” said Mona Nicholas, USA IBC executive director. The forced postponements of the 2020 competitions would have moved their new dates to within months of the 2022 Jackson competition. Having three major competitions within two months would have negatively impacted all three of the IBCs. The pool of competing dancers would have been diluted and ticket sales would have suffered; the sister competitions would have essentially been competing with each other. Instead, the four competitions came together to work out a solution. USA IBC led the way by volunteering to reschedule its competition until 2023. “Our partners in Varna, Moscow, and Helsinki shared our belief that we should work together to make the competitions accessible to as many gifted dancers and as many global audience members as possible,” Nicholas said. “The pandemic affected the entire world, with countries closing borders and the arts temporarily dark. Now more than ever, the people of the world need art. We need events that unify us and remind us there is still beauty in the world. These competitions do just that.” For more information about USA IBC or becoming a sponsor, visit usaibc.com or contact Mona Nicholas at [email protected] or call 601-355-9853 x 4. New Competition Schedule 2021 Moscow 2022 Helsinki and Varna 2023 Jackson 2024 Varna 2025 Moscow 2026 Helsinki and Varna 2027 Jackson 2028 Varna Impact of USA IBC in Mississippi in 2018, the most recent competition year Total Economic impact of $12.5 million The event generated in-state spending of more than $9.3 million, a payroll impact of more than $2.8 million and contributed $416,491 to the state general fund through tax revenues, for a combined economic impact approaching $12.5 million. Additionally, there were: 40,400 attendees during the two-week competition and related events; Ticket holders from 35 states and 25 countries; 400 million media impressions worldwide; 100 competing dancers from 17 nations; 92 dance students from 17 states and three countries; and 600 volunteers. HISTORY OF THE IBCS USA IBC / Jackson The dance world comes to Jackson because legendary dancer and instructor Thalia Mara (1911-2003) brought it here. In 1975, the Jackson Ballet Guild invited Mara, who was then living and working in New York, to develop a professional ballet company and school for the state of Mississippi. As part of her developmental plan, Mara worked with city leaders to secure the USA IBC for the city of Jackson. The first USA IBC was held in 1979, featuring 70 dancers from 15 countries. Robert Joffrey, renowned artistic director of the Joffrey Ballet, chaired the first international panel of jurors. In 1982, the United States Congress passed a Joint Resolution designating Jackson the official home of the International Ballet Competition. Subsequent competitions have earned an ever-growing number of dancer applications and worldwide acclaim. Over the competition’s 40-plus-year history, many USA IBC medalists have gone on to dance as principals in major international companies. The storied careers of Grand Prix Winners Nina Ananiashvili, Andris Liepa, Johan Kobborg, and José Manuel Carreño were launched in Jackson. USA IBC alumni, including Jeffrey Cirio, Sarah Lane, Christine Shevchenko, Daniil Simkin, Misa Kuranaga, Isaac Hernandez, and Jurgita Dronina, are helping to shape the ballet world today. Varna IBC Established in 1964, Varna IBC is the oldest event of its kind in the world. As a pioneer of the International Ballet Competitions movement, Varna IBC has set the highest professional standards, and was later followed by the establishment of similar competitions in Moscow, Jackson, Helsinki, Lausanne, New York, Perm, Seoul, Shanghai, and other locations. For over half a century, Varna IBC has discovered and nurtured such legendary dancers as Mikhail Baryshnikov, Vladimir Vasiliev, Natalia Makarova, Maximiliano Guerra, Aurelie Dupont, Vladimir Malakhov, Sylvie Guillem and Patrick Dupond. Some of the laureates have joined the Varna IBC’s prestigious jury, alongside Galina Ulanova, Yuri Grigorovich, Serge Lifar, Alicia Alonso, and Robert Joffrey. Moscow IBC The Moscow IBC was established in 1969 and has been celebrated ever since as one of the world’s most important and prestigious ballet competitions. Staged at the world-famous Bolshoi Theater, Moscow IBC is recognized as a serious platform for young dancers. Legendary choreographer Yuri Grigorovich has served as the permanent chairman of the jury and artistic director of the competition since 1973. Helsinki IBC The Helsinki International Ballet Competition was founded by Professor Doris Laine-Almi, a former prima ballerina and director of the Finnish National Ballet. Professor Laine-Almi was inspired to found the Helsinki event after serving on the juries of international ballet competitions in Jackson, Moscow, and Varna. The first Helsinki IBC took place in 1984. The home of the HIBC is the Finnish National Opera and Ballet. Jackson, Varna, Moscow, and Helsinki are members of the International Federation of Ballet Competitions (IFBC), an organization founded in 2005 to coordinate international competitive activities and help young dancers develop their careers. IFBC includes 18 international ballet competitions. The USA International Ballet Competition has been awarded a $26,100 grant from the Mississippi Arts Commission (MAC). This grant is a portion of the $1.3 million in grants the Commission will award in 2018-2019 and will help the USA IBC fund operations and programming. The grants are made possible by continued funding from the Mississippi Legislature and the National Endowment for the Arts. “Arts organizations throughout the state of Mississippi play a pivotal role in sharing the power of the arts with people from all walks of life,” said Malcolm White, executive director of MAC. “The arts are for everyone, and the Mississippi Arts Commission is pleased to support arts organizations committed to growing the presence of the arts in their communities.” The USA IBC is the official international ballet competition for the United States, as designated by a Joint Resolution of Congress. Held in Jackson every four years, the competition attracts dancers and visitors from around the world and generates a multi-million-dollar economic impact for the state and capital city. In between competitions, the USA IBC presents a Reunion Gala performance by past medalists. It also sponsors CityDance, an ongoing ballet instructional program for students in the Jackson Public Schools. The Mississippi Arts Commission, a state agency, serves residents by providing grants that support programs to enhance communities; assist artists and arts organizations; promote the arts in education; and celebrate Mississippi’s cultural heritage. Established in 1968, the Mississippi Arts Commission is funded by the Mississippi Legislature, the National Endowment for the Arts, the Mississippi Endowment for the Arts at the Community Foundation of Greater Jackson and other private sources. The agency serves as an active supporter and promoter of arts in community life and in arts education. For information from the Mississippi Arts Commission, contact Anna Ehrgott, Communications Director, 601-359-6546 or [email protected]. Robert Joffrey, co-founder of The Joffrey Ballet, is being remembered at the 2018 USA International Ballet Competition. Joffrey was instrumental in the launch of the first IBC in Jackson in 1979 and chaired the juries for the first three Jackson competitions. Representatives of the Gerald Arpino and Robert Joffrey Foundation will present a panel discussion on Joffrey at 10 a.m. Monday, June 18, in the 3rd Floor Theatre of the Jackson Convention Complex. Speakers include Charthel Estner, Trinette Singleton, and Nicole Duffy Robertson. Ashley Wheater, artistic director of the Joffrey Ballet, will moderate. Charthel Arthur Estner began her dance training in Pasadena, California, and also had one year of classes with Mme. Bronislava Nijinska. She went to New York after high school and was given a full scholarship to the Joffrey Ballet School, soon becoming a member of the Joffrey Ballet. She performed with the company for 13 years as a principal dancer touring the United States, Russia, Canada, London and Vienna. She performed twice at the White House. During her years with the Joffrey she created roles and performed in the works of Joffrey and Arpino, Balanchine, Robbins, Ashton, Tudor, Jooss, DeMille, Ailey, Massine, and Fokine, among others. She, her husband, and son moved to Grand Rapids, Michigan, to establish a professional ballet school in 1983. The School of the Grand Rapids Ballet has produced dancers that have gone on to major companies throughout the United States. As artist director of the Grand Rapids Ballet for 10 years, Estner raised the level of the company from a small civic group to a professional ballet company. Robert Joffrey asked her to join him to instruct at his Joffrey Workshop in San Antonio, Texas, where she taught each summer from 1981 until 1992. She rejoined the Joffrey Ballet as a ballet master in 1998 and can be seen in the 2003 Robert Altman feature film “The Company,” as well as the 2012 documentary “Joffrey, Mavericks of American Dance.” Retiring from the Joffrey Ballet in 2011, she continues to guest teach and stage Arpino and Joffrey ballets throughout the world. Currently she is Executive Director of The Gerald Arpino Foundation, the licensor of the two men’s works. Trinette Singleton began her professional career with New York’s Joffrey Ballet in 1965. Upon graduating from high school, she attended The Joffrey Ballet School, NYC, on full scholarship. She joined the company a year later and toured the U.S, Canada, Mexico, and Europe, performing in ballets by notable choreographers such as Joffrey, Arpino, Ashton, Balanchine, Cranko, DeMille, Jooss, Tharp, and Tudor. She has performed at the White House for two presidents and King Olaf of Norway. She appeared on Broadway with The Joffrey as part of Nureyev and Friends, Tribute to Diaghelev. She was thrust into national prominence in 1967, appearing in the multi-media ballet, Astarte, created on her by her mentor, Robert Joffrey. She was the first American dancer to appear on the cover of Time magazine.Following her performing years, she was administrative assistant to Robert Joffrey and Ballet Mistress for the company, 1979-1984. After the birth of her daughter in 1984, she joined the faculty of The Joffrey Ballet School, NYC, teaching until 2004. In 2002, she restaged Astarte for the Joffrey Ballet, Chicago. Currently, Singleton is Co-Artistic Director of Repertory Dance Theatre in Allentown, Pennsylvania. She is on the faculty at DeSales University, Center Valley, Pennsylvania, where she teaches ballet, pointe and partnering technique, as well as directing the Conservatory of Dance. For the past 15 years, she has been on the faculty of The Joffrey Texas Workshop in San Antonio, set up by Robert Joffrey 40 years ago. Singleton serves on the Advisory Board for Cecchetti USA, and is frequently a guest Master Teacher at their seminars. She is an honorary member of Cecchetti International Classical Ballet. In 2010, she was appointed to the Board of Directors for the Gerald Arpino Foundation, a position she continues in. She holds her Licentiate, Imperial Society of Teachers of Dance, London, England, and her Doctor of Fine Arts, Honoris Causa, DeSales University. Nicole Duffy Robertson is a co-founder and Associate Artistic Director of the New York Dance Project. She danced with the Joffrey Ballet for over a decade, based both in New York and Chicago, performing works by Joffrey, Arpino, Ashton, Balanchine, Cranko, DeMille, Limon, Massine, and Nijinska, among many others. She is a répétiteur for The Gerald Arpino Foundation, most recently staging Arpino’s Light Rain and assisting Trinette Singleton in the reconstruction of Robert Joffrey’s Gamelan. She teaches nationally and internationally, and is on the faculty of the Ballet Hispanico School, Marymount Manhattan College, and a guest teacher at STEPS on Broadway. Duffy was raised in Puerto Rico, where she began her training with Ana Garcia and Maria Carrera at Ballets de San Juan, dancing the classical repertory. She has a B.A. in Art History from Columbia University, and is a master’s candidate at New York University’s Gallatin School. Her writing has been published in The Massachussetts Review, Eye on Dance and the Arts, and the NYU journal Esferas. Ashley Wheater was born in Scotland and raised in England, where he trained at The Royal Ballet School. Wheater began his professional career with The Royal Ballet and danced at the London Festival Ballet, The Australian Ballet, The Joffrey Ballet, and San Francisco Ballet. In 1997, he became Ballet Master at San Francisco Ballet, and in 2002, Assistant to the Artistic Director. In 2007, Wheater was appointed Artistic Director of The Joffrey Ballet. New work is the life blood of a company, and he has introduced numerous premieres to the repertoire. In 2008, the Boeing Corporation recognized his commitment to community outreach and diversity in the world of dance, presenting him the “Game Changer” award. In 2010, Wheater, representing The Joffrey Ballet, was named Lincoln Academy Laureate, the highest honor presented by the State of Illinois. The Chicago Tribune selected Wheater as 2013 “Chicagoan of the Year” for his contributions to dance. In 2014, Wheater accepted the Chicago Spirit of Innovation Award for The Joffrey Ballet and in 2015, he received the University of Chicago Rosenberger Medal for Outstanding Achievement in the Creative and Performing Arts. He also serves as the Artistic Director of the Joffrey Academy of Dance, the Official School of The Joffrey Ballet.
6847	dbpedia	3	34	https://balletalert.invisionzone.com/topic/19766-moscow-intl-ballet-competition-reports/	en	Moscow Int'l Ballet Competition reports			[ "https://content.invisioncic.com/r149306/monthly_2020_08/1683315259_BalletAlertLogoWhiteBackground72pt.png.72b16b900aab472b7cb6a40f9fbf07c8.png" ]	[]	[]	[ "" ]	null	[ "Natalia" ]	2005-06-20T14:17:46+00:00	The quadrennial Moscow IBC -- one of the most prestigious & 'granddaddy' of all competitions -- begins today & continues through June 30. It is being widely reported on Russian-language sites. I will try my best to pass-on (translate) reports & 'news' on this thread. Anyone who happen...	en	//content.invisioncic.com/r149306/monthly_2020_08/favicon.png	Ballet Alert!	https://balletalert.invisionzone.com/topic/19766-moscow-intl-ballet-competition-reports/	The various rounds & events: June 20 - final registration & draw; Bolshoi Ballet's 'La Bayadere' (Grigorovich version), starring Svetlana Zakharova June 21 - 23 - Round One (all competitors) - includes classical & modern dances; soloists and couples (pairs) allowed; both junior (ages 14-18) & senior (19-26) levels June 25 - 26 - Round Two (semifinalists) June 28 - 29 - Round Three (finals) June 30 - Awarding of Prizes to dancers in all categories + special choreographic prize (among Modern Ballet segments) July 1 - Special Gala Concert At the Thursday, June 16, press conference, the following information concerning competitors was provided: We received 450 applicants from 38 countries. After eliminations work, including the screening of videos, photos and applications, some 230 participants from 22 countries (including Austria, Bulgaria, Venezuela, China, USA, Ukraine, the Philippines, Russia, etc.) were invited to compete. So far, 201 dancers have confirmed their participation, among whom are 60 'juniors.' The rest are seniors. **Among the 201 dancers are some 45 past winners of recent International Ballet Competitions & from the All-Russia Competition in Krasnodar, who were allowed to pass-on to Round One without going through the preliminary elimination committee. Some 30 choreographers have applied to the Choreographic Competition (their work to be seen in the modern segment of Round One). Source: Bolshoi Theater web site press release. I will post the list of all competing dancers as soon as it is available. DAY ONE REPORT (will add/delete/edit this, as new info comes in) Bits of Info re. Roster of Dancers, Jury changes - REGARDING ROSTER: Although the competition just started, I'm still waiting for the final roster. I've e-mailed the competition site for this & other official releases but have received nothing yet. [Mikhail -- if you have the final roster, or the order for Round One days, could you please e-mail them to me at [email protected] or post a link to them here? Thanks.] Confirmed top Russian & Ukrainian names, among dancers: Bolshoi Ballet dancers, incl soloists: Natalia Osipova (grad in '03...I've seen her...spectacular raven-haired beauty) Anna Tikhomirova (another top grad of '02 or '03) Lola Kochetkova - competing as BOTH dancer & choreographer (tall, dark-haired Glamazon type; I've reviewed her here before) Ekaterina Krysanova Chinara Alizade Alexei Matrakhov Pavel Dmitrichenko Anton Kondratov Bolshoi Choreographers, in addition to Lola Kochetkova: Morihiro Ivata Andrei Melanin Kremlin Ballet soloist: Roman Artyushkin (I wonder if he is related to Alla Artyushkina, Bolshoi star 20 years ago?) Moscow Ballet of Kasatkina-Vasiliov soloist: Nikolai Chevychelov Kirov-Mariinsky Soloist: Evgenia Obraztsova (grad of '02...sensation as Juliet at home and abroad...seen by some as a new Ulanova) Favorite Ukrainian dancers, all confirmed: Alla Domracheva, who competed as a junior last time, partnered by winner Leonid Sarafanov (now a Kirov star) Denis & Anastasia Matvienko, as a couple - Denis has already won gold here; perhaps he is now a non-competing partner to Anastasia? Andrei Pisarev (any relation to Ukrainean superstar Vadim Pisarev of 20 yrs back?) Zherlin Ndudi Yaroslav Salenko "Favorites' if they show up; not yet sighted/confirmed: Kirov-Mariinsky - Alina Somova, Julia Bolshakova, and this year's grads, many of whom are to be competing here Tatchkin Ballet soloist Irina Kolesnikova not yet confirmed, but is to be competing JURY NEWS: On Russian TV last night , Altynai Assylmuratova was not among the final jurors named by Yuri Grigorovich, although her no-show has not been publicly acknowledged yet. Instead, esteemed Bolshoi coach & former ballerina, Ludmilla Semenyaka (not on the original list), was named. So Semenyaka is definitely there as a juror. Too, Charles Jude (France) had not appeared as of this morning but there is still a spot for him in the panel; he's expected to arrive later today (Day One). COMPETITION NEWS: It all began this morning, with Group One of Day One (two groups each day, with a mix of Juniors & Seniors in each) . Standouts in this initial group include senior men Zherlin Ndudi of Ukraine & Ivan Vasiliev of Belarus. The former is elegant & soft; the latter very powerful jumper & Spartacus type of guy, who 'nailed it' with a Flames of Paris variation. No big stand-outs among the women yet, although the Bolshoi's Anna Tikhomirova made an impression in her Kitri Act III variation. Natalia Vorontsova (Russia?) was mentioned as a good junior girl in this morning's group. No junior boys mentioned yet. No non-USSR-territory dancers mentioned yet. Perhaps the Americans & others have yet to compete. [uPDATE: Matthias Dingman of the USA/U.B.A.-Wash, DC, competed this morning, as per chiapuris' report, below.] Edited June 21, 2005 by Natalia DAY TWO information For starters, here are the links to the full lists of competitors, alas only in Russian but many of you should be able to understand the names: The 56 Juniors: http://www.bolshoiballet.ru/spisok1.htm The 73 Seniors: http://www.bolshoiballet.ru/spisok2.htm So out of the over-200 approved entries, 129 actually showed up in Moscow & are competing. Among these, 34 dancers represent non-USSR-territory countries: Japan - 11 dancers Korea - 7 USA - 4 China and the Philippines - 2 each Bulgaria, Greece, Serbia, Macedonia, Venezuela, Brazil, Israel & Mexico - one dancer each Among yesterday's unconfirmed famous names, we can now confirm Irina Kolesnikova, 'prima' of the K. Tachkine Ballet. The Kirov's Alina Somova opted to not compete but there's an 'unknown' Natalia Somova from Moscow. Kirov soloist Evgenia Obraztsova -- their famous Juliet -- is here. All of the anticipated Bolshoi dancers are here. Certain dancers are so famous (Kolesnikova & Obraztsova, for example) that they are practically guaranteed medals unless they fall flat on their po-pos. Ditto the more favored soloists among the various Moscow-based dancers (Osipova, Kochetkova & such). Just my observation after umpteen years of following IBC events chaired by Yuri Grigorovich. :blush: Not that those famous dancers would not deserve it if they dance to their known potential. Hopefully, 'new discoveries' will also be rewarded, if they perform well...as was the case with Thiago Soares (Brazil) in 2001 and the unknown sprite Alina Cojocaru (Romania) in 1997! This year's discoveries could be established stars four years from now, dancing with ABT or the Royal Ballet. Who knows? To confirm the final list of USA dancers: One Senior: Jonathan Drake Three Juniors: Kristina Chevchenko, Matthias Dingman, & Jana Feldman MORE NEWS FROM YESTERDAY (the evening round): It was reported on 'Kultura' television news that Russia's Natalia Somova broke her foot in the midst of the competition & is out. Her partner had to finish the pdd all by himself. Everyone agrees that the standouts among junior men, yesterday, were Ivan Vasiliev of Belarus and Ndudi of Ukraine. A late report on yesterday's morning round also notes -- besides those pointed out earlier -- Miss Sayaka Takuda of Japan, in Flames of Paris pdd. In yesterday's evening round, stand-outs (all seniors) included Ekaterina Alayeva of Ukraine - for her lightness, as Giselle Maria Seletskaya of Estonia - for her contemporary dance, to Stravinsky Lola Kochetkova of the Bolshoi - considered rather weak in classical but superb in contemporary (her own choreography) Miryana Pop-Alexova of Macedonia - a big surprise! Excellent Corsaire Medora variation Ludmilla Konovaliova of Moscow - very professional, clean classicist, by all accounts TODAY's COMPETITION NEWS: A report of Day Two's morning round, in the Bolshoi Forum (by author "Marekh") states that the biggest impressions were made by the "two Americans" (in parentheses, as names are not typically American) Kristina Chevchenko and Jana Feldman for the junior girls. Ukraine's Xenia Rusina, dancing a contemporary tango, impressed for her sheer physical beauty. Junior guys of note today were Ukraine's Alexander Shpak -- mentioned by ALL reports as superb! -- and Japan's Yasuomi Akimoto in Flames of Paris. Another report on the morning round also praised Alexander Shpak of Ukraine & Ilya Bolotov of Perm-Russia, both of whom appear to have danced the same contemporary number by Radu Poklitaru (a modern take on a Chopin Mazurka). By the way, Poklitaru is the perennial winner of the choreography prize at such competitions; he choreographed the controversial new 'Romeo & Juliet' at the Bolshoi. A lot of people figure that he'll win yet again here. Standouts (all seniors) in today's evening round, according to various reports: Alexei Matrakhov of Moscow Roman Artyushkin of Moscow (who was a memorable lead in the Kremlin Ballet's Coppelia not long ago, writes one reviewer) Evgenia Obraztsova of St. Petersburg - huge accolades for her classical work Vladimir Kuklachev of Israel -- actually born in Russia -- who is being coached by ex-Kirov great Valery Panov Alexander Buber of Belarus - said to have the most spectacular technique, so far, among the senior men From the writings I've read, it appears that the huge hope of all Muskovites is NATALIA OSIPOVA of the Bolshoi, who will dance tomorrow. [she was my big favorite at the May 2002 graduation of the Bolshoi Academy, even outdancing her classmate, the now-famous Polina Semionova, IMO.] Osipova was lucky to have received a 'high draw number' and will dance on the 3rd and final day of Round One. In other words, she is set to make a huge impression tomorrow, if she 'delivers.' Fans will be there en-masse for her. Natalia Edited June 22, 2005 by Natalia DAY THREE Point of clarification: I am not on site, in Moscow. I thought that I had made my location clear at the start of this thread; sorry if this was not the case. I am in my home in Washington, DC, reading/compiling/translating various Russian-language reports on the competition, as they trickle in, as a service to you. Chiapuris, who has posted a bit, is on site & we welcome his/her additional postings. The more, the merrier. DAY THREE STANDOUTS, as per a compilation of reports on various Russian-language fora: Natalia Osipova of the Bolshoi - magnificent classical portion: 'Flames of Paris' pdd with non-comp-partner Jan Godovsky. Then people's hearts sank with her contemporary piece: a pdd from V. Gordeev's "Last Tango" that seemed under-rehearsed & generally shaky. Partner for this was Ruslan Pronin. Still, the general consensus is that she'll make it on to Round Two. Magnificent Chinese pair, esp. the girl, Sin SAN, dancing the Black Swan pdd. The man, Zhibbei BANG, is also good, if not as impressive as the girl. Anastasia & Denis Matvienko of Ukraine - very polished, beautiful 'Sleeping Beauty' pdd [He has already won a gold medal -- maybe even an Grand Prix? -- at this competition. How can he top himself this year, one wonders?] Miriam Faustino & Gerardo Francisco of the Philippines - surprisingly good classical but downright SPECTACULAR contemporary pdd 'Spiders' (Arachnids), with very tricky acrobatic supports Katia & Peter Borchenko of Russia - another good Black Swan pdd Viktoria Luchkina of Krasnodar, Russia impressed with her light elegance, reminding one reporter of Irina Kolpakova Doshan Tabuildi of Kazakhstan was cited as one of the best solo (non-pair) men in the senior ranks DISAPPOINTMENTS today (beside Osipova's contemporary piece) - Irina Kolesnikova of St Petersburg/Tatchkin Ballet Troupe - cited as one of the 'most professional' competitors but very 'rough' in-your-face manner, as if trying too hard. Natalia Domracheva of Russia - she was wonderful in 2001 (when I attended live), as Leonid Sarafanov's partner. This year's audiences are not quite as impressed. She has grown up (body wise) and isn't as fresh & sparkling. People were expecting her to build on 2001 & it doesn't appear to be the case. ONE MORE NOTE ON YESTERDAY's COMPETITION: People are still buzzing about the magnificent Israeli, Vladimir Kuklachev, calling him a new Yuri Vladimirov (ex-Bolshoi star) due to his acrobatic leaps and quick shifts of direction in midair. Kuklachev's coach is Valeri Panov, himself a wonderful demi-caractere dancer & high-jumper from the Kirov in the 1960s & early '70s. Natalia
6847	dbpedia	0	61	https://www.instagram.com/balletpro95/reel/CDcwQ5EgBdo/	en	Instagram	https://static.cdninstag…/VsNE-OHk_8a.png	https://static.cdninstag…/VsNE-OHk_8a.png	[]	[]	[]	[ "" ]	null	[]	null		en	https://static.cdninstag…/VsNE-OHk_8a.png		null
6847	dbpedia	2	78	https://balletalert.invisionzone.com/topic/31978-ibc-jackson-2010/	en	IBC-Jackson 2010			[ "https://content.invisioncic.com/r149306/monthly_2020_08/1683315259_BalletAlertLogoWhiteBackground72pt.png.72b16b900aab472b7cb6a40f9fbf07c8.png", "https://content.invisioncic.com/r149306/emoticons/default_smile.png" ]	[]	[]	[ "" ]	null	[ "workinprogress3" ]	2010-06-11T18:53:53+00:00	Is there someplace other than the IBC webpage to get information on this year's competition? And is there another source of daily information as it occurs?	en	//content.invisioncic.com/r149306/monthly_2020_08/favicon.png	Ballet Alert!	https://balletalert.invisionzone.com/topic/31978-ibc-jackson-2010/
6847	dbpedia	3	63	https://en.wikipedia.org/wiki/Diana_Ankudinova	en	Diana Ankudinova	https://upload.wikimedia…_Ankudinova3.jpg	https://upload.wikimedia…_Ankudinova3.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/cd/Diana_Ankudinova3.jpg/220px-Diana_Ankudinova3.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2020-08-13T22:48:41+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Diana_Ankudinova	Russian singer (born 2003) Musical artist Diana Dmitrievna Ankudinova (Russian: Диана Дмитриевна Анкудинова, born May 31, 2003)[1] is a Russian singer. Much of her initial fame resulted from her winning two consecutive seasons of You Are Super!, a talent competition show on the Russian NTV network for children who have spent some significant part of their childhood without parental care.[2] Diana Ankudinova's performances were posted on the NTV web site and the NTV YouTube channel, where they soon gained hundreds of millions of views around the world.[2] Diana Ankudinova sings mostly in Russian, English and French. She has also sung in other languages including Spanish, German and Arabic. Early life [edit] Diana Ankudinova was born on May 31, 2003, in the far eastern Primorsky Territory of Russia in an area north of the city of Vladivostok. Diana's biological mother physically abused her.[3] At the age of three, Diana was left at a bus stop in the winter with a broken collarbone.[3] Diana's biological aunt rescued Diana from the street, but was unable to care for the traumatized child. Diana's aunt made a statement about the abuse of Diana to the local prosecutor, and it was agreed that the young Diana should be turned over to the care of an orphanage in Primorsky Territory which provided for the care of abandoned young children in the general area. Children from the orphanage were periodically sent to a sanatorium in Arsenyev to help them regain and maintain their physical and mental health. A massage therapist, Irina Anatolyevna Ponik, who worked at the sanatorium developed a special affection for Diana. The daughter of Irina Ponik, who sometimes visited her mother at work, was the one who first began to insist that her mother adopt Diana.[3] In 2008, Irina Ponik filed the necessary paperwork to assume formal legal guardianship of Diana Ankudinova with the territorial department of guardianship and trusteeship.[4] The new family lived in Arsenyev.[4] In 2012, the family moved far away to the city of Tolyatti in the Samara Oblast of southwestern Russia. The move to Tolyatti was mostly due to Diana's fears that her biological mother might try to find and abuse Diana or even attempt to regain custody of Diana. These fears were so intense that they had been significantly affecting young Diana's mental health.[3][5] Irina Ponik, Diana's adoptive mother, had previously lived in Tolyatti. Tolyatti was also much closer to Moscow, which was the city where Diana and her family believed she would find the greatest opportunities for her future musical education and career.[6] Musical career [edit] Career beginnings [edit] At the age of four-and-a-half years, Diana's speech was extremely poor, with stuttering and other problems. Speech pathologists recommended that she be given singing lessons to improve her general speech and vocal skills.[7] She quickly discovered that she loved singing. The head of the brass band of the city of Arsenyev, Alexander Varnamov, was the first to say that Diana had an extraordinary and very beautiful voice, and also a perfect ear for music. He predicted a great future for Diana as a singer.[8][9] Diana's instructors also noticed her unusual vocal abilities in her singing. Alexander Varnamov made an agreement with Elena Kazantseva, head of the vocal pop ensemble Zhemchuzhinki (Pearls), so that she would accept Diana into the collective.[10][11] She also sang in a duet "Malinki" under the direction of Elena Kazantseva. Diana entered the Elegance vocal and choreographic school under the guidance of Anna Pekhtereva in the city of Arsenyev.[12] Diana began entering many vocal contests while still very young. She also began singing in public events at every opportunity that was presented to her. After the move to Tolyatti, Diana continued singing in public at every opportunity and continued to enter many vocal competitions. She began studying vocals at the Melody circle of the Tolyatti House of Culture where she took vocal lessons from Svetlana Vovk.[5] Diana played one of the main roles in the musical Teremok with the Russian orchestra of the Tolyatti Philharmonic in November 2014.[13] In the theater and music studio at DKIT under the direction of Dmitry Marfin, she played in the musical Visiting the Fairy Tale, and also played the role of Becky Thatcher in the Jazz musical Tom Sawyer and His Friends,[14][15] played the role of Muryonka the cat in the opera "Silver Hoof" in Tolyatti Philharmonic, in the musical Vovka in the Jazz Kingdom, in the musical New Adventures of Electronics.[16] Here are a few of the prizes and diplomas of Diana Ankudinova:[13] 2010 – Solo Diploma-recipient of the 15th regional competition of vocalists Voices of Primorye and Laureate of the 1st degree as part of the vocal duet Malinki; 2011 – In Harbin in China, she participated as part of the Malinki duet in the Second International Festival of Young Artists' Competition "Planet of Childhood", having won the gold medal in the pop vocal category; 2012 – She participated in the second Superfinal of the International project Salute of Talents in Moscow and became a laureate of the superfinal; 2013 – She won the Grand Prix of the regional competition for children and youth creativity Kind Heart at the festival Bereginya in the nomination "soloists – pop vocal"; 2014 – She became the Silver Voice of the All-Russian competition-festival Talents of the land of Volga; January 2017 – She received the diploma of the 1st degree Laureate, semi-finalist of the International Competition for Children and Youth Creativity "Art Premium" with the support of the Federation Council of the Federal Assembly of the Russian Federation, the Presidential Administration of the Russian Federation, the Ministry of Education of the Russian Federation, and the Government of Moscow of Moscow city. April 2017 – She won the gold medal of the XVI All-Russian Youth Delphic Games in the category "Variety Singing" – finishing first among 39 participants.[17] 2017: The Voice Kids Russia [edit] In late 2016, Diana Ankudinova passed the non-televised preliminary auditions for season 4 of the Russian The Voice Kids.[18] She appeared on the blind auditions of the show that were televised on February 17, 2017. Diana sang "Jodel Time" which was originally performed by the Swiss band Oesch's die Dritten.[1] None of the judges selected Diana, so she was eliminated from the competition. Before Diana left the stage, however, the judges asked her to sing a part of another song. She then sang a part of the Édith Piaf song "Non, je ne regrette rien" in French. As a result of her televised performance on Russia's The Voice Kids, Diana became so popular with the public that she became the first person on The Voice projects to gain more than a million views on YouTube after failing to pass the initial televised blind auditions on the show.[18] 2018–2019: You Are Super! (Ты супер!) [edit] You Are Super! (Ты супер! in Russian) is a talent competition show on the Russian NTV television network. It is for disadvantaged children who have spent some significant part of their childhood without parental care.[2][19] Diana Ankudinova won the 2018 season of You Are Super! with 49 percent of the vote of the viewing audience. The 2019 season of the show was called a superseason and was to consist mostly of winners and finalists from previous seasons. As the 2018 winner, Diana Ankudinova was invited back, and she also won that 2019 superseason. Immediately after the announcement of Diana's win of the 2018 season of You Are Super!, one of the jury members, Igor Krutoy, promised to give Diana an apartment in Moscow so that she could continue her musical studies in Moscow. Diana was given the keys to the new apartment on August 20, 2018, where she continues to live.[20][21] Performances on You Are Super! [edit] 2018 Season Broadcast date Title Performance Language Songwriters Original Artist February 10, 2018 "Dernière Danse" French Indila Indila April 14, 2018 "It's a Man's Man's Man's World" English James Brown and Betty Jean Newsome James Brown May 12, 2018 "Rechenka" Russian (Russian folk song) May 25, 2018 (Season finale) "Tomorrow is a Lie" English Igor Krutoy and Lara Fabian Lara Fabian 2019 Season Broadcast date Title Performance Language Songwriters Original Artist April 21, 2019 "Blizzard" [1] Russian Fil Pisarev (Phil Ginzburg) (music), Egor Zakharov (lyrics) Grigory Leps May 12, 2019 "Wicked Game" English Chris Isaak Chris Isaak May 26, 2019 (Super-season finale) "Human" English Rory Graham and Jamie Hartman Rag'n'Bone Man After You Are Super! [edit] Before and after winning the 2018 season of You Are Super!, her biological mother and some other biological relatives wrote to Diana on social networks. Diana had no desire to communicate with any of them, though, since she already had a loving adoptive family who had happily raised her.[22][6] Diana Ankudinova took part in the 2018 New Wave Junior international contest for young pop music performers in Artek, where she won the Audience Award.[23][24] She has done a number of solo concerts in Russia, as well as performances in a few nearby countries such as Estonia, Kazakhstan and Tajikistan. On October 18, 2019, Brad Cooney (US) posted a podcast interview with Diana Ankudinova.[25] Diana gave another interview with a vocal сoach Emre Yücelen from Turkey, which was posted to YouTube on August 24, 2019.[26] On January 23, 2020, the presentation of the first single by Diana Ankudinova took place in Moscow in the bard club "Capercaillie's Nest". It included songs "As Your voice", "In your city", "How are you there" and "On the waves of fate".[27][28] On September 10, 2020, the official video for "Into the Sky" was released.[29] In September 2020, she was accepted as a student at the Russian Institute of Theatre Arts (GITIS).[30][31][32] On October 4, 2020, Diana acted as a guest star of the 4th season of the You Are Super! program with the song "Into the Sky".[33] On October 12, 2020, Diana's voice teacher Olga Donskaya died in Moscow.[34] In late 2020, Diana's foster father died.[35] In December 2020, she decided to attempt to finance her first full CD music album though crowdfunding using the Russian crowdfunding web site Boomstarter.[36] When the crowdfunding period expired in early 2021, Diana Ankudinova had reached 236% of her goal.[37] The released album is entitled "D.A." after the initials of Diana Ankudinova. The album was released in early December 2021. It contains nine original songs.[38] 2021: ShowMaskGoOn (ШОУМАСКГООН) [edit] Diana Ankudinova began taking part in ShowMaskGoOn on the NTV channel during its first weekly episode on September 25, 2021.[39] This was a nine-episode weekly televised vocal contest among nine professionals, with the finale scheduled for November 20, 2021. That final show concluded with Diana Ankudinova being declared the overall winner of the series of nine programs.[40][41] ShowMaskGoOn was a competition among 9 professional singers associated with 3 major vocal competitions that had appeared on the Russian NTV network. The shows were You Are Super, Mask, and Superstar. The 9 participants acted as judges and commented and voted on the performances of each of the other participants. Each of the 9 songs were to be from a different specified song classification, except for one song which was the choice of the performer. Each episode also had a guest judge who could vote and comment on the participants performances, but the guest judge did not perform a song.[42] At the end of each episode, the participants and the guest judge had to rate the other participants on a scale of from 2 to 9 points. Participants could not vote on themselves. At the end of the final episode, Diana Ankudinova had accumulated 468 points, which was 25 points above the second-place finisher.[42][40] Performances on ShowMaskGoOn [edit] Broadcast date Title Performance Language Songwriters Original Artist September 25, 2021 "Can't Help Falling in Love" [2] English Hugo Peretti, Luigi Creatore, George David Weiss Elvis Presley (1961) October 2, 2021 "Mom, I'm Dancing" [3] Russian Maria Zaitseva and Maria Sheikh # 2Mashi (2018) October 9, 2021 "Oh, it is not yet evening" [4] Russian Russian Folk Song October 16, 2021 "Twist in My Sobriety" [5] English Tanita Tikaram Tanita Tikaram (1988) October 23, 2021 "The Way" [6] Russian Sergei Savvateev Olga Kormukhina (2010) October 30, 2021 "Help Me" [7] Russian Aleksandr Zatsepin (music) and Leonid Derbenyov (lyrics) for the motion picture The Diamond Arm Aida Vedishcheva (voiceover) in the motion picture The Diamond Arm (1969) November 6, 2021 "Crow" (Vorona) [8] Russian Maxim Fadeev Linda (1996) November 13, 2021 "The Little Prince" [9] Russian Mikael Tariverdiev (music) and Nikolai Dobronravov (lyrics) for the motion picture Passenger from the "Equator" Elena Kamburova (1968) November 20, 2021 (Season finale) "Personal Jesus" [10] English Martin Gore Depeche Mode (1989) 2021: Д.А. ("D.A") Full-length Album [edit] On March 26, 2021, the official video for "Happiness" was released.[43] Diana Ankudinova released her first full-length studio album, Д.А. ("D.A"), in December, 2021 to all digital platforms and also to her YouTube account. This was one year after crowdfunding for the album had begun. The album was produced by Brandon Stone (Russian: Брендон Стоун). Tracks on Д.А. ("D.A") [edit] Track Title Performance Songwriters Arranger 1 Счастье ("Happiness") [11] Maria Tarasenko, Brandon Stone 2 Мой камин ("My Fireplace") [12] Brandon Stone, Maria Tarasenko Nikita AuRino 3 На краю ("At the Edge") [13] Brandon Stone, Maria Tarasenko Nikita AuRino 4 Ночь ("My Night") [14] Brandon Stone, Maria Tarasenko Nikita AuRino 5 Ангел ("Angel") [15] Brandon Stone, Maria Tarasenko Nikita AuRino 6 Хрупкий лёд ("Thin Ice") [16] Brandon Stone, Maria Tarasenko Nikita AuRino 7 Я Россией тебя зову ("I Call You Russia") [17] Brandon Stone, Maria Tarasenko Nikita AuRino 8 Дудук ("Duduk") [18] Brandon Stone, Maria Tarasenko 9 Родная ("The Closest Soul") [19] Brandon Stone 2023: Маска (The Masked Singer) [edit] Beginning on February 12, 2023, Diana Andkudinova appeared on the weekly television show Маска (The Masked Singer) on the Russian NTV channel. She sang under the Ermine mask. She was eliminated as a contestant on the April 9, 2023 show, and she removed her Ermine mask to reveal her true identity. She then performed a reprise of her song California Dreamin' from episode 6 of Маска (The Masked Singer) show.[44] Performances on Маска (The Masked Singer) Broadcast date Title Language Songwriters Original Artist February 12, 2023 "Bloody Mary" English Lady Gaga, Fernando Garibay and DJ White Shadow Lady Gaga February 19, 2023 "Скажи, не молчи" (Say, Do Not Be Silent) Russian Maxim Fadeev Serebro February 26, 2023 "Всё в твоих руках" (All in Your Hands) Russian Anzhelika Varum and Leonid Agutin (1999) March 5, 2023 "Шагай" (Stride) and Gangnam Style Russian Konstantin Meladze (Шагай) Polina Gagarina (Шагай) (2014) and Psy (Gangnam Style) March 12, 2023 "Ты мой Бог" (You are my God) Russian Irina Ponarovskaya (1992) March 19, 2023 "California Dreamin'" English John Phillips and Michelle Phillips The Mamas & the Papas (1965) March 26, 2023 "Я тебя отвоюю" (I Will Win You Back) Russian Igor Krutoy (music) and Marina Tsvetaeva (lyrics) Irina Allegrova (1994) April 2, 2023 "Sweet Dreams (Are Made of This)" English Annie Lennox and David A. Stewart Eurythmics (1983) April 9, 2023 "Улетай на крыльях ветра" (Fly on the Wings of the Wind) Russian Alexander Borodin (From the opera Prince Igor) Vocal range and style [edit] When Ankudinova first came to broader attention in 2017, her range was measured as D3 to A5. As of September 2021, her functional range was measured as C3 to B♭5.[45][46][47] Together with her tessitura, it identifies her potential voice type as dramatic contralto, the deepest, darkest, and most powerful contralto voice. As of August 2023 her upper range reached D6 in the song "The Day You..." Notes and references [edit] Additional reference information: Some of the information for the 2018–2019 You Are Super! section, including the rules of the competition, derives directly (although mostly paraphrased) from the Russian-language Wikipedia article on the Ты супер! television program. Notes about the names of songwriters: It is not uncommon for singer/songwriters to use a stage name as a singer and their original legal name as a songwriter. For songwriters mentioned in this article, Indila writes songs under her birth name of Adila Sedraïa. Lara Fabian is often credited as a songwriter as Lara Sophie Katy Crokaert. As a songwriter, Rag'n'Bone Man is Rory Charles Graham. (These names can be confirmed in the appropriate linked article in the English-language Wikipedia.) In her videos of the song "V'yuga" (Blizzard), Diana Ankudinova credits F. Pisarev (Fil Pisarev) with composing the music. (The composer's mother's name is Kira Pisareva and his father's name is Boris Ginzburg. "V'yuga" was his first major songwriting success.) Today, he is more widely-known in Russia both as a musician and composer under the name Fil Ginzburg (or Phil Ginzburg). See the Russian-language Wikipedia article for Фил Гинзбург. That article gives his real full name as "Philip Borisovich Ginzburg (Pisarev)."
6847	dbpedia	1	83	https://www.iamdancecomp.com/judges/trishacarter	en	i am JUDGE Trisha Carter	http://static1.squarespace.com/static/62ebbf32471be322ffa4d6ee/62f96432d50ed96bfac923c8/632cb49678ffdb7fd87330da/1700105071182/Trisha+headshot+%281000words+by+Ryan+Orion%29.jpg?format=1500w	http://static1.squarespace.com/static/62ebbf32471be322ffa4d6ee/62f96432d50ed96bfac923c8/632cb49678ffdb7fd87330da/1700105071182/Trisha+headshot+%281000words+by+Ryan+Orion%29.jpg?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/62ebbf32471be322ffa4d6ee/9c521f62-8da7-40b8-a953-af4d9421a761/iamDance_Logo_RGB_Logotype_OrangeBlue.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/62ebbf32471be322ffa4d6ee/425102e5-e47e-4b10-a1f8-041b0948fc8b/iamDance_Logo_RGB_Logotype_OrangeBlue.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/62ebbf32471be322ffa4d6ee/9c521f62-8da7-40b8-a953-af4d9421a761/iamDance_Logo_RGB_Logotype_OrangeBlue.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/62ebbf32471be322ffa4d6ee/425102e5-e47e-4b10-a1f8-041b0948fc8b/iamDance_Logo_RGB_Logotype_OrangeBlue.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/62ebbf32471be322ffa4d6ee/0b8da58f-9bc1-446b-8640-5498713dd0de/Trisha+action+%281000words+by+Ryan+Orion%29.jpg", "https://images.squarespace-cdn.com/content/v1/62ebbf32471be322ffa4d6ee/a3d92117-8afa-42c8-8ed4-40771451c676/iamDance_Logo_RGB_Icon_WhiteOrange.png" ]	[]	[]	[ "" ]	null	[]	null	trisha carter	en	https://images.squarespace-cdn.com/content/v1/62ebbf32471be322ffa4d6ee/4d18eb33-f2b1-4df5-964b-97f0cec5d1f6/favicon.ico?format=100w	i am DANCE	https://www.iamdancecomp.com/judges/trishacarter	Trisha Carter began her training in Maine with Bossov Ballet Theater and continued training abroad under the instruction of Alla Sizova, Dimitri Simkin, Irina Trofimova Golovkina, Natalia Papinashvilli, and Vadim Pisarev, ultimately leading to her acceptance into the Vaganova School in St. Petersburg, Russia. She completed her schooling at the Harid Conservatory and Kirov Academy in the United States before joining Houston Ballet II and later Ballet Florida. Trisha has performed with multiple companies and choreographers touring both locally and internationally: Houston Ballet, Ballet Florida, Cuban Classical Ballet, Miami Contemporary Dance Company, Dance Now Miami, and was a founding member with Dimensions Dance Theater of Miami. Her classical repertoire includes soloist roles in Anna Karenina, Cinderella, Coppelia, Don Quixote, Giselle, La Bayadere, La Vivandiere, La Sylphide, Les Sylphides, Nutcracker, Paquita, Peer Gynt, Raymonda, Romeo & Juliet, Sleeping Beauty, Swan Lake, Talisman, as well as contemporary works by the likes of Gerald Arpino, Kevin Jenkins, Leonardo Reale, Paolo Mohovic, Tara Lee, Vicente Nebrada, and Yanis Pikeris, among others. Trisha holds a B.B.A. in International Business & Trade and a B.S. in International Economics, which she uses to develop the performing arts. Her greatest off-stage achievement is founding Miami Dance Hub, the dance alliance organization for South Florida, where she served as Executive Director for three years.
6847	dbpedia	0	20	https://www.thereporteronline.com/2012/12/12/local-dancer-shines-as-donetsk-ballets-new-addition/	en	Local dancer shines as Donetsk Ballet’s new addition	https://www.thereportero…jpg?w=1024&h=670	https://www.thereportero…jpg?w=1024&h=670	[ "https://www.thereporteronline.com/wp-content/uploads/2021/09/reporterpngs.png", "https://www.thereporteronline.com/wp-content/uploads/migration/2012/12/193f6158533fe313afe53cf1105c97a1.jpg?w=535", "https://secure.gravatar.com/avatar/?s=85&d=mm&r=g", "https://www.thereporteronline.com/wp-content/uploads/2024/08/TMC-L-AfaAnoai2-125868219.jpg?w=599", "https://www.thereporteronline.com/wp-content/uploads/2024/08/CTC-L-BAD-MONKEY-01-e1723222140657.jpg?w=620", "https://www.thereporteronline.com/wp-content/uploads/2024/08/TNH-L-FilmReview-MyPenguinFriend-WBOX-081624-03.jpg?w=525", "https://www.thereporteronline.com/wp-content/uploads/2024/08/SJM-L-MOVIEPICKS-0815-XX1.png?w=620", "https://www.thereporteronline.com/wp-content/uploads/2021/09/reporterpngs.png" ]	[]	[]	[ "" ]	null	[ "Audrey McGlinchy" ]	2012-12-12T00:00:00	In 2007, Carinthia Bank traveled to Ukraine for the first time. As an exchange student studying ballet at the Donetsk Ballet, Bank, now 18, participated in weekend trips scheduled by the company for its visiting students. Here she recognized a refinement that, according to her, most people don’t discern in a country that, in the […]	en	https://www.thereportero…iteicon.png?w=16	thereporteronline	https://www.thereporteronline.com/2012/12/12/local-dancer-shines-as-donetsk-ballets-new-addition/	In 2007, Carinthia Bank traveled to Ukraine for the first time. As an exchange student studying ballet at the Donetsk Ballet, Bank, now 18, participated in weekend trips scheduled by the company for its visiting students. Here she recognized a refinement that, according to her, most people don’t discern in a country that, in the late 20th century, struggled to manage its independence from a Soviet regime. “A lot of people say that it’s not a beautiful place, but I think it is,” says the soft-spoken Chestnut Hill native. As for the dance training, “it was just really intense,” says Bank. “The teachers want you to get the most out of it, so they give you a lot of corrections and attention. You want to do a good job, so you push yourself more than you normally would. I was a lot younger then and it was hard.” Accompanied by a handful of other promising students from Wissahickon Dance Academy, Bank traveled to Donetsk through Philadelphia’s International Ballet Exchange, benefiting from a relationship the nonprofit’s executive director Nancy Malmed has worked tirelessly to cultivate between IBE and the Donetsk Ballet. Although the company has always welcomed a partnership with IBE, Ukraine, and the ever-evolving city of Donetsk, haven’t always been an environment congenial to young students. In 1993, Malmed brought her first group of students over, but found that the country’s eight-year recession that followed its independence made future trips more difficult. “In 1995, the country had fallen apart when we went back, and it was a horrible experience,” says Malmed. “We didn’t go back again until 2003, when we were invited back for a big festival. We saw how the city had changed, how money had been infused in it; Donetsk resembled a little Paris, so cosmopolitan, and that’s when I decided I could bring kids back again in 2007.” The company’s artistic director, Vadim Pisarev, welcomed the American students, especially Bank. Pisarev, who used the studio at Wissahickon Dance Academy as a rehearsal space during tours through the U.S., had seen Bank dance during summer classes. Like Bank’s estimation of a beautiful Ukraine beneath a distressed economy, the Ukrainian performer recognized a unique talent. “[Pisarev] saw Carinthia at a very early age,” says Malmed. “When Carinthia came with me in 2007 to study at his school in Ukraine, he looked at Carinthia and he said, ‘She is our future.'” When Bank graduated from the Kirov Academy in Washington, D.C., this past May, Pisarev invited her to join the Donetsk Ballet. Deferring her enrollment in Princeton University, Bank joined the company in September for two months of rehearsals before a weeklong tour in France. Despite a multitude of cultural barriers, ballet and the kindness of fellow dancers, she found, acted as a bridge, and her transition to life in the Eastern European country wasn’t as dramatic as she anticipated. “Obviously I don’t understand much Russian,” says Bank. “But the company has been very nice about helping me, and they translate for me. Even if they can’t convey a specific movement in English, they are really understanding of the fact that it might take me longer to understand. They’ve been very patient.” When Bank dances in the Donetsk Ballet’s performance of “The Nutcracker” at Plymouth Whitemarsh High School in Plymouth Meeting on Dec. 15 and 16, it will be the realization of a young woman’s international achievements. But, whereas the ballet’s lead, Clara, falls back to sleep at the close of a whirlwind adventure, throwing the entire story into the shroud of a dream, Bank’s career is no figment – though it may feel like one to a budding professional. “I’ve been watching the Donetsk Ballet perform ‘The Nutcracker’ with my studio since I was 8 years old, and I always really admired them,” she says. “Dancing with amazing people that I’ve looked up to for so long is a dream come true.” As any young person does, Bank dreams for miles, and her aspirations seem limitless. When she enrolls in Princeton next fall, she hopes to test subjects outside of ballet. “I’ve spent so much time focused on ballet, so there are a lot of things I want to explore in college,” Bank says. “I am interested in journalism, and I’m interested in food. My other dream job would be writing for Bon Appetit magazine. I’m also interested in travel, so writing about it would be amazing. I really don’t know. I want to go to college and explore.” Malmed and the IBE are just as forward-thinking. The organization, which also works with Philadelphia schools to bring ballet to low-income students, is hoping to take another several talented dancers to study abroad. “We’re going to take a group of students this summer to Cuba,” Malmed says. Whether bringing teachers into local schools, or traveling thousands of miles to introduce exceptional students to a world-renowned company, the IBE, and those like Bank, whose talents it cultivates, are testaments to the value of a dance education. “Our program gives kids a broad perspective of ballet,” says Malmed. “It is an international perspective, and it is invaluable.” The Donetsk Ballet’s “The Nutcracker” Runs at Plymouth Whitemarsh High School, 201 East Germantown Pike Plymouth Meeting, PA. 19462, Saturday, Dec. 15, 6:30 p.m. and Sunday, Dec. 16, 2 p.m. Tickets: $18 – $28. Info: 215-849-7950 or 1-800-849-4919.
6847	dbpedia	3	59	https://morethanthecurve.com/tag/plymouth-whitemarsh-high-school/page/2/	en	Plymouth Whitemarsh High School	https://morethanthecurve…ult-og-image.jpg	https://morethanthecurve…ult-og-image.jpg	[ "https://www.facebook.com/tr?id=171562500173658&ev=PageView&noscript=1", "https://morethanthecurve.com/wp-content/themes/burbcommunities/img/logos/morethanthecurve-dark-bg.png", "https://morethanthecurve.com/wp-content/themes/burbcommunities/img/logos/morethanthecurve.png", "https://morethanthecurve.com/wp-content/uploads/2020/08/protest-header.jpg", "https://morethanthecurve.com/wp-content/uploads/2017/01/plymouth-whitemarsh-high-school-sign-header.jpg", "https://morethanthecurve.com/wp-content/uploads/2017/03/generic-football-header-1.jpg", "https://morethanthecurve.com/wp-content/uploads/2017/03/chanel-smith-header.jpg", "https://morethanthecurve.com/wp-content/uploads/2017/03/uncle-rico-header.jpg", "https://morethanthecurve.com/wp-content/uploads/2017/03/al-bundy-header.jpg", "https://morethanthecurve.com/wp-content/uploads/2017/03/rent-header.png", "https://morethanthecurve.com/wp-content/uploads/2017/01/jahmir-mug-shot-header.jpg", "https://morethanthecurve.com/wp-content/uploads/2017/01/plymouth-whitemarsh-high-school-sign-header.jpg", "https://morethanthecurve.com/wp-content/uploads/2016/12/plymouth-whitemarsh-high-school-sign-header.jpg", "https://morethanthecurve.com/wp-content/uploads/2024/08/car-stolen-nbc-10-header-120x90.jpg", "https://morethanthecurve.com/wp-content/uploads/2024/08/bike-race-generic-header-1-120x90.jpg", "https://morethanthecurve.com/wp-content/uploads/2024/08/push-to-start-header-120x90.jpg", "https://morethanthecurve.com/wp-content/uploads/2024/08/league-proving-header-120x90.jpg", "https://morethanthecurve.com/wp-content/uploads/2020/04/septa-regional-rail-header-120x90.jpg" ]	[]	[]	[ "" ]	null	[]	null	Local News, Events and Guides in Conshohocken, Lafayette Hill, Plymouth Meeting and West Conshohocken	en	/wp-content/themes/burbcommunities/img/sites/morethanthecurve/favicons/apple-touch-icon.png	MoreThanTheCurve	https://morethanthecurve.com/tag/plymouth-whitemarsh-high-school/page/2/	Plymouth Whitemarsh High School athletes are planning to protest at the school on Thursday, August 6th at noon in front … Continue reading “Plymouth Whitemarsh High School athletes plan to protest on Thursday in support of playing this fall” A recent publication of the Pennsylvania Department of Education details the average SAT test scores for every public high school … Continue reading “Plymouth Whitemarsh High School Among Top 50 Regionally in SAT Scores” Back in 1996, Plymouth Whitemarsh High School faced Downingtown in the District 1 Class 4A Football Championship. The Plymouth Whitemarsh … Continue reading “Video from the 1996 District 1 Class 4A Football Championship Between Plymouth Whitemarsh High School and Downingtown” Yesterday the Philadelphia Eagles signed Torrey Smith to a three year contract and there is a local connection. Smith’s wife, … Continue reading “New Eagle Torrey Smith’s Wife Was a Track Star at Plymouth Whitemarsh High School” Uncle Rico likes to we reminisce about his glory days back in ’82 (he could throw a pigskin a quarter … Continue reading “Back in ’82 at Plymouth Whitemarsh High School” Anyone know anyone who played football for Plymouth Whitemarsh High School back in 1981? Below is video from a game: Tony Award winning actor Wilson Jermaine Heredia recently visited Plymouth Whitemarsh High School for a rehearsal of the upcoming Colony Players’ … Continue reading “Original Angel from Broadway’s RENT Visited Plymouth Whitemarsh High School Rehearsal of Play” A Plymouth Whitemarsh High School graduate, Jahmir Mapp, was recently arrested in Monroe County after an investigation into illegal drugs … Continue reading “Plymouth Whitemarsh High School Grad Arrested for Alleged SnapChat Arranged Drug Deals at East Stroudsburg University” Plymouth Whitemarsh High School’s Adult Evening School has announced its spring class schedule. The class listing and a printable registration … Continue reading “Spring Schedule for the Adult Evening School at Plymouth Whitemarsh High School”
6847	dbpedia	2	15	http://www.granddanceacademy.com/en/jury-master	en	Ballet Masters			[ "http://www.granddanceacademy.com/images/logo_bg_new2.png", "http://www.granddanceacademy.com/images/mail.png", "http://www.granddanceacademy.com/pic/jury/sm/82_LeonovaMK_L-1.jpg", "http://www.granddanceacademy.com/pic/jury/sm/8_malahov.jpg", "http://www.granddanceacademy.com/pic/jury/sm/14_preview_andrienko.jpg", "http://www.granddanceacademy.com/pic/jury/sm/35_guest8.jpg", "http://www.granddanceacademy.com/pic/jury/sm/26_dorofeeva.jpg", "http://www.granddanceacademy.com/pic/jury/sm/48_Trunina-_1_2marta-1.jpg", "http://www.granddanceacademy.com/pic/jury/sm/57_tigleva.JPG", "http://www.granddanceacademy.com/pic/jury/sm/60_Syrova.jpg", "http://www.granddanceacademy.com/pic/jury/sm/69_TAKANE Photo.jpg", "http://www.granddanceacademy.com/pic/jury/sm/76_Egor Makveev.JPG", "http://www.granddanceacademy.com/pic/jury/sm/79_фото-Усанова-680x1024.jpg", "http://www.granddanceacademy.com/images/bgr/image1-1.png", "http://www.granddanceacademy.com/images/rose1.png", "http://www.granddanceacademy.com/pic/partners/sm/23_logo globex.jpg", "http://www.granddanceacademy.com/pic/partners/sm/38_лого ИФБЦ.jpg", "http://www.granddanceacademy.com/pic/partners/sm/8_logo.png", "http://www.granddanceacademy.com/pic/partners/sm/11_fon.jpg", "http://www.granddanceacademy.com/pic/partners/sm/14_1001605_351730781621092_1424129324_n.jpg", "http://www.granddanceacademy.com/pic/partners/sm/5_LogoLeft.png", "http://www.granddanceacademy.com/pic/partners/sm/17_logo-Grishko.png", "http://www.granddanceacademy.com/pic/partners/sm/26_FERRY.jpg", "http://www.granddanceacademy.com/pic/partners/sm/29_c92a802b0be1bf3e7d7d2b76472d4f4c.jpg", "http://www.granddanceacademy.com/images/facebook.png", "http://www.granddanceacademy.com/images/youtube.png" ]	[]	[]	[ "Ballet Masters", "Marina Leonova", "ballet", "Bolshoi Ballet Academy", "master class", "the best ballet masters", "Gediminas Taranda", "Elena Andrienko", "Boryana Sechanova", "summer master class" ]	null	[]	null	Ballet Masters		/images/favicon_balet.ico		null	MARINA LEONOVA Russia Prof. Marina Leonova . Rector of the Bolshoi Ballet Academy (the Moscow State Academy of Choreography, Russia). Master teacher of Classical Dance. Prof. Leonova began her ballet career when she graduated the Bolshoi Ballet Academy. She was invited to join the famous Bolshoi Ballet Theatre and was soon promoted to prima ballerina. She became a rector of the Bolshoi Ballet Academy in 2002. Awarded numerous prestigious national and international prizes, including the highest honorary title of People’s Artist of Russia. Laureate of the Russian Federation Government Award. VLADIMIR MALAKHOV Germany The ballet critique has given him the title "Dancer of the Century". He is one of the prominent alumni of the Moscow State Academy of Choreography. After graduation in 1986 Vladimir Malakhov was accepted as a leading soloist in the Moscow Classical Ballet. Numerous awards from international ballet competitions are won in Varna, Moscow, Paris, Jackson (USA), Venice, Monte Carlo. In 1992 Malakhov made his debut in Vienna State Opera, in 1994 - the National Ballet of Canada and in 1995 - The American Ballet Theater. He performed on the famous stages of Bolshoi and Mariinskiy Theater, in Stuttgart, Berlin and Japan. In 2002 Malakhov became a director of the Staatsoper Berlin. Sice 2004 he is appointed as an artistic director of the joined ballet troupes of the Staatsoper Berlin and Deutsche Opera ELENA ANDRIENKO Russia Prima ballerina of Bolshoi Theatre and honored People’s Artist of Russia. She was born in Kiev (Ukraine). She studied at the Bolshoi Ballet Academy (Moscow State Academy of Choreography), where she trained in Sophia Golovkina's graduates’ class. In 1991, having completed her studies, she joined the Bolshoi Theatre and became prima ballerina. She has performed in numerous leading and solo roles in spectacles: Swan Lake, Don Qiuxote, Nutcracker, Giselle and many others. She is a prize winner at the international Ballet Dancers Competition of Moscow (1993) and at the First International Serge Lifar Ballet Dancers Competition in Kiev (1994). Docent in Department of Choreography BalletMaster faculty of Russian Academy of Theater Arts INNA DOROFEEVA Ukraine People’s Artist of Ukraine. Ballet teacher. She graduated from Kyiv State Choreography School under the program of A. Vaganova Choreography Academy. She has been conducting an internship at the Moscow Bolshoi Theater and the Leningrad Marine Theater. 1990 she became the laureate of the International Ballet Competition in Jackson / USA /. In 1997 she received the title "People's Artist" of Ukraine. She participated in Gala concerts during the Olympic Games in Calgary and Seoul. Together with Vadim Pisarev she founded a choreographic masterpiece in Donetsk. They are the organizers of the “World Ballet Stars” International Festival. EKATERINA TRUNINA-SHALAEVA Russia Ekaterina Trunina-Shalaeva graduated The Bolshoi Ballet Academy in 1999, in the class of the ballet masters N. Revich, G. Kuznetsova and Prof. Marina Leonova. In 2003 she graduated Choreographic Performing in the class of Julia Syirova. Her career as a ballet master started as head of the Youth theater-choreographic school in Kurkino, Moscow. Since 2015 she has been teaching in the Bolshoi Ballet Academy and has participated as a ballet master in master classes in Russia, Italy and Bulgaria. SVETLANA TIGLEVA Москва, Русия In 1985 she graduated from the Moscow State Choreography School with the specialty "Ballet Artist". From 1985 to 2006 she is a soloist of the ballet of Bolshoi Theater. She participates in the ballet productions “Don Quixote”, “Silfide”, “Kniaz Igor”, “Ivan Susanin”, “Swan Lake”, “Raymond”, “Giselle”, “Romeo and Juliet” and many others. Since 2000 she has been teaching Jazz Modern dance in various dance studios. / Kimberly Land, Cinema Theater, Oktjabr Fitness Center /. She has repeatedly conducted master classes of folk-ethnic dances with elements of modern sculpture. More than 17 years of teaching experience. IRINA SYROVA Russia Professor, teacher in classical ballet in the Moscow State Academy of Choreography (the Bolshoi Ballet Academy) since 1979.Her professional carrier starts as prima ballerina of the Perm Tchaikovsky Opera and Ballet Theatre.Her experience with students of different ages leads her to Japan, Tokyo (1988-1998); Belorussia, Minsk (2001 г.); Germany and Norway (1997 г.); USA, Boston (2005); USA, New-York and Connecticut (2007, 2008, 2010, 2012, 2013); Japan (2006, 2008, 2009, 2011, 2013). In the Bolshoi Ballet Academy she trainees обхваща grand pas - „Paquita“ by Minkus ,waltz of Snowflakes -«Nutcracker» by Tchaikovsky, scene « The Lively Garden“ - «Le Corsair» by A. Adam (2014-2016). Prepares and carries out the program of the Bolshoi Ballet tours abroad. She assists in the preparation of study programs for professional education and traineeships. TAKANE YAMAMOTO Japan TAKANE is choreographer, he choreographs any dancers from children to pro dancers in all genre of dance, and their dance style is new unseen fusion. He is pursuing the meaning, the role, and the new possibility of DANCE from the international vision, and challenging international activities. 2005 founded“ DANCE WORLD made in TAKANE” 2005 Gold Medal as a dancer , The 5th Japan International Ballet & Modern Dance Competition, in Nagoya 2007＆08 Gold Medal, International Dance Festival TANZOLYMP in Berlin (Choreography) 2008 Choreograph the opening ceremony of at Beijing Paralympics 2008 China . 2011 Grand Prix, “World Ballet Stars 2011”in Donetsk Ukraine. (Choreography) 2013 Special Prize, at 10th Anniversary GALA of International Dance Festival TANZOLYMP in Berlin 2014 Vladimir Vasiliev Prize , The XIII Russian Open Ballet Competition “Arabesque‐2014” 2017 Grand Prix, Grand Dance Academy in Varna, Bulgaria 2018 Vladimir Vasiliev Prize , The XV Russian Open Ballet Competition “Arabesque‐2018” 2018 VARNA international ballet competition 2018 Super GALA Concert“Meeting of Generations” And works choreographed by TAKANE was awarded 1st prize at dance competition in Tokyo, Kobe, Kyoto, Nakano and Okinawa in Japan. Now about 1500,000 or more people in the world are viewing TAKANE's program 『Little Swan』on YouTube. SERGEY USANOV Russia General Director of International Federation of Ballet Competitions,First Vice-President of the International Union of Choreographers,From 1998 until 2002 was the Director of the Central Special Music School of the Moscow Conservatory named after P.I.Tchaikovsky.In 1998 Sergey Usanov was elected First Vice-President of the International Union of Choreographers.From 1981 is engaged in preparatory work and carrying out the International Ballet Competition and Contest of Choreographers in Moscow. In 2007 he was elected General Director on the General Assembly of the International Federation of Ballet Competitions. (President of the International Federation of Ballet Competitions is an eminent choreographer of the Bolshoi Theatre Yury Grigorovich).He was member of the Jury of many International and National Ballet and Music Competitions in the Soviet Union, Russia and other countries.
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6847	dbpedia	2	9	https://www.internationalballetsc.org/faculty-bios/1000	en	International Ballet	https://static.wixstatic…0295c1%7Emv2.jpg	https://static.wixstatic…0295c1%7Emv2.jpg	[ "https://static.wixstatic.com/media/8a9d5a_17514a66bb864e45a08e8e7b61a47d98~mv2.png/v1/crop/x_17,y_0,w_637,h_823/fill/w_61,h_75,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/IBonly.png", "https://static.wixstatic.com/media/8a9d5a_573a8b857e7047129a328293feffe547~mv2.jpg/v1/fill/w_147,h_59,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_573a8b857e7047129a328293feffe547~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_227f1d661ebb4653aaa060885300d651~mv2.png/v1/fill/w_98,h_122,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_227f1d661ebb4653aaa060885300d651~mv2.png", "https://static.wixstatic.com/media/8a9d5a_2ce83d1217af4b95b54e46bd88a347a8~mv2.jpg/v1/fill/w_76,h_114,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_2ce83d1217af4b95b54e46bd88a347a8~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_eeebe3384c1c4fe4b11898e43bf4de97~mv2.jpg/v1/fill/w_78,h_110,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_eeebe3384c1c4fe4b11898e43bf4de97~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_26477e7e846645bd8cf59a531fc6306c~mv2.jpg/v1/fill/w_90,h_127,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_26477e7e846645bd8cf59a531fc6306c~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_89d794ab5c5d4cd4acfc7eb5682ff42e~mv2.jpeg/v1/fill/w_98,h_147,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_89d794ab5c5d4cd4acfc7eb5682ff42e~mv2.jpeg", "https://static.wixstatic.com/media/8a9d5a_764c7dcd67204441bd33b5a09b092466~mv2.jpg/v1/fill/w_88,h_111,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_764c7dcd67204441bd33b5a09b092466~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_09799dcbb29f4ba9be6595f821936636~mv2.png/v1/fill/w_85,h_121,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_09799dcbb29f4ba9be6595f821936636~mv2.png", "https://static.wixstatic.com/media/8a9d5a_5266b4af43a74617a4201193ce7aea8e~mv2.jpg/v1/fill/w_98,h_115,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_5266b4af43a74617a4201193ce7aea8e~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_c10e971cc5da40f79e6f2c9daa436fa9~mv2.jpg/v1/fill/w_82,h_123,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_c10e971cc5da40f79e6f2c9daa436fa9~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_76c907b42a7c40ffbcef3aa7af6b79cb~mv2.jpg/v1/fill/w_96,h_144,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_76c907b42a7c40ffbcef3aa7af6b79cb~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_4d4dcdfecd7a47faa3fb12adafd4c10a~mv2.jpg/v1/fill/w_70,h_106,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_4d4dcdfecd7a47faa3fb12adafd4c10a~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_14f6f3b763bd41aaaa450887dbdea5e9~mv2.png/v1/fill/w_98,h_125,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_14f6f3b763bd41aaaa450887dbdea5e9~mv2.png", "https://static.wixstatic.com/media/8a9d5a_86154f56e7b549a9b7d71364ad0783cc~mv2.jpg/v1/fill/w_98,h_118,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_86154f56e7b549a9b7d71364ad0783cc~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_f8643fc527384f65a0fdb44a29ce8f98~mv2.jpg/v1/fill/w_98,h_147,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/8a9d5a_f8643fc527384f65a0fdb44a29ce8f98~mv2.jpg", "https://static.wixstatic.com/media/8a9d5a_bc55f1e0567648bc901d90115295c79f~mv2.png/v1/crop/x_316,y_316,w_2666,h_2528/fill/w_77,h_73,al_c,q_85,usm_0.66_1.00_0.01,blur_3,enc_auto/SCAC-Logo_Stacked-White.png", "https://static.wixstatic.com/media/8a9d5a_1bde068a2873401fa567f6169b50cf1c~mv2.png/v1/fill/w_139,h_139,al_c,q_85,usm_0.66_1.00_0.01,blur_3,enc_auto/8a9d5a_1bde068a2873401fa567f6169b50cf1c~mv2.png" ]	[]	[]	[ "" ]	null	[]	null	Get to know our world-class faculty and their experience in the dance world.	en	https://static.wixstatic…0295c1%7Emv2.jpg	International Ballet	https://www.internationalballetsc.org/faculty-bios/1000	Vlada Kysselova, also the Artistic Director of International Ballet’s pre-professional company, is originally from Kiev, Ukraine. She graduated from the Kiev State College of Choreography and holds a bachelor’s degree from Kiev National Linguistics University and a master’s degree with honors in Dance Pedagogy and Choreography from the Ukrainian Academy of Dance at International Slavic University. She danced and toured as a soloist with the National Theater of Opera and Ballet in Kiev, Ukraine, and as a principal dancer with Kiev Theatre of Classical Ballet and Ballet Classique de Paris in France before immigrating to the United States in 2001. Since May 2004, Vlada has choreographed and staged full-length productions for International Ballet such as Francesca da Rimini, Swan Lake, The Nutcracker, Lady and the Hooligan, Giselle, La Sylphide, Coppelia, Don Quixote, Paquita, and numerous short works including original choreography for the South CarolinaRegional Ballet festival, as well as numerous collaborative works with the Greenville Symphony Orchestra. A founding instructor for International Ballet Academy since its inception in 2003, she has coached and traveled with students for such prestigious ballet competitions as Youth America Grand Prix (Regional and NYC Finals), Serge Lifar International Ballet Competition (Kiev, Ukraine), and the USA International Ballet Competition (Jackson, MS), and her students have received multiple top placements, including “Regional Grand Prix,” in YAGP regional as well as NYC final competitions, and Most Outstanding School in 2008. Ms. Yanchuck graduated from Kiev Ballet Academy, Ukraine. In her career as a dancer she has performed a large repertoire of roles both nationally and internationally. She has worked with Donetsk Opera and Ballet Theater of Ukraine, Vadim Pisarev Russian Ballet and the Russian Ballet Company of Delaware. Ms. Yanchuck has also toured with the Soviet ballet troupe, “Stars of Russian Ballet” and has performed at the Nervi International Ballet Stars Festival in Genoa, Italy. Ms. Yanchuck began teaching ballet in 1996 when she joined Nevada Festival Ballet Company of Reno. In 2011, she joined Kirov Academy of Ballet in Washington, DC as a Summer Preparatory Program Instructor, where she taught Historical Dance and Preparatory Ballet. Ms. Yanchuk still regularly teaches audition classes as well as summer program courses for the Kirov Academy of Ballet in Washington, DC. Ms. Yanchuck completed the professional program “Method of Classical Dance Teaching” at the Vagonova Ballet Academy in Russia in March 2018. Irina Ushakova received her training from the Perm State Ballet School and was a principal dancer for 19 years for major ballet companies both in Russia and in the United States. Ms. Ushakova is a Bronze and Silver Medal winner in two international ballet competitions. Her repertory includes many classical ballet roles, Balanchine choreography, contemporary works, and modern performances. In 1989, she toured the United States with the Donetsk Ballet, followed by a tour of Israel and Turkey with the Bolshoi Ballet. Since 2002, Ms.Ushakova has been a faculty member of the Dance department at the South Carolina Governor’s School for the Arts and Humanities in Greenville, South Carolina, where she is known for her staging of many character and classical ballet works. In 2007, she graduated from Chelyabinsk State Pedagogical University (Russia) with a Master’s Degree in Dance and Education. A native of Greenville, South Carolina, Liz Blackwood studied with Josée Beauséjour in Montreal, Canada where she successfully passed dancer and teacher exams with the Cecchetti Society of Canada. While in Montréal, she also worked with Odette Lalonde, Suzanne Plante, Victoria Yakobov, and other renowned teachers. She has attended workshops at Canada’s National Ballet School, l’École supérieure de ballet du Québec, Richmond Ballet, and other locations. She’s worked with numerous schools and choreographed dances for productions including The Wizard of Oz and La Boutique Fantasque. Ms. Blackwood most recently taught for Ballet Spartanburg before returning to International Ballet Academy in 2015, where she teaches many intermediate level classes, including pre-pointe training, beginning pointe, as well as Open Adult classes and IB Summer Camps. Josha Williams has been a dance educator in the Greenville community for the past 15 years. After completing her formal dance training at North Carolina School of the Arts, she returned to her hometown to begin her professional dancing career with Carolina Ballet Theatre in 2004 and teaching for Barbara Selvy’s School of Carolina Ballet Theatre. She continued training under the direction of Hernan Justo and the mentorship of Anita Pacylowski Justo, while dancing and teaching. One of the highlights of her career was having the opportunity to work with Alonzo King and to perform his originally choreographed piece, “MAP.” Josha served as one of Carolina Ballet Theatre’s lead teachers for the outreach programs as well as an independent teaching artist in Greenville County Schools for over seven years. She has taught many levels but is best known for her love of teaching tiny ballerinas and specialized adult ballet/strengthening classes. Josha’s passion for exercise, fitness, and overall wellness is now stronger than ever. She currently works as an instructor for Greenville’s Pure Barre and has been since it’s opening in 2012. Josha is thrilled to start this coming year at International Ballet Academy teaching young ballerinas. Lydia Sanders was born and raised in Columbia, South Carolina. She began her serious ballet training at the USC Dance Conservatory, under the guidance of Susan Anderson and Stacey Calvert. She continued formally training at Southeastern School of Ballet, studying under Hillary Krieger-Toth and Gabor Toth and at International Ballet Academy under Vlada Kysselova, Irina Ushakova, and Victoria Yanchuck. Lydia has attended summer programs with Pacific Northwest Ballet, Cincinnati Ballet, Boston Ballet, Miami City Ballet, Carolina Ballet, Central Pennsylvania Youth Ballet and Charlotte Ballet. Lydia graduated from the University of South Carolina in 2018 with a BA in Dance Performance and Choreography and a Psychology minor. In the USC Dance Company, she performed in several works by George Balanchine, including the principal role in Walpurgisnachtand soloist roles in Raymonda, Who Cares, andStars and Stripes. Lydia also danced the title role as the Firebird in Susan Anderson’s production of The Firebird.Post-graduation she joined Virginia National Ballet, where she danced a variety of soloist roles in choreography by artistic director Rafik Hegab. Lydia will be joining Ballet Spartanburg for the 2019-2020 season. In addition to dancing herself, Lydia has a passion for teaching and is thrilled to be joining IBA’s faculty this year. She has been cultivating her love of teaching since she was 14 and has not stopped since, working as a teacher for Aletheia Dance Inc., Southeastern School of Ballet, USC Dance Conservatory, and Virginia National Ballet School. Lydia has experience working with students from the age of 2-20 and is excited to share her knowledge in an environment that shaped her into the person she is at International Ballet Academy. Lauren Russ received her training at International Ballet under Vlada Kysselova, Victoria Yanchuck, and Irina Ushakova. She danced five seasons with the IB company. She has performed in The Nutcracker as Spanish, Snow, and Waltz of the Flowers, in the Waltz of the Hours and Czardas in Coppélia, and in numerous mainstage performances, as well as in community outreach events such as Storytime Ballet at the Greenville County Library. Lauren attended Ballet Magnificat's Summer Dance Intensive in Jackson, MS, and volunteered and performed at Greenville's Artisphere. She is a student at Bob Jones University. Linda O’Brien Thompson trained with the Boston Ballet School performing the Nutcracker every year of her youth. She finished her training with Pacific Northwest Ballet School and then Cleveland Ballet School. Mrs. Thompson began her professional career with the Cleveland Ballet but later joined the Ohio Ballet where she enjoyed performing many roles choreographed by George Balanchine, Anthony Tudor, and Heinz Poll, the director of Ohio Ballet. Mrs. Thompson was ballet mistress to both the Gwinnett Ballet Theatre and Carolina Ballet Theatre. She has worked with Tuscaloosa Community Dancers, setting the Nutcracker and choreographing original works. Mrs. Thompson has five young adult children and is married to Lee Thompson, a former ballet dancer now Michelin employee. Mrs. Thompson is delighted to return to the studio and share her love of ballet with the youth of Greenville. Ginny Lynn fell in love with Ballet right here in Greenville, SC. She began her training at the age of 3 and has been dancing, teaching, and performing ever since. Through grade school she studied Ballet, Tap, and Jazz at SODA in Florence, SC. She became a member of the South Carolina Dance Theatre Company in 1994 and enjoyed many years of performing her favorite Ballet: The Nutcracker, in roles as a Mouse, Soldier, Party Girl, Snowflake, Angel, Arabian, Polichinelle, Mirliton, and Flowers. While achieving her degree in Business Management from Clemson University in 2006, she spent most of her extra time in the studio. Ginny Lynn was the Ballet Teacher for the Clemson Dancers from 2003-2006. She also performed with the Clemson Dancers in all areas of dance from Pointe to Clogging all four years. In 2005, Ginny Lynn was accepted into the very first year of the Clemson UDC. She also enjoyed performing in musicals with the Clemson Theatre Department. Ginny Lynn was the President of the Clemson Shag and Ballroom Club and still enjoys teaching shag today. She has taught in many places over the years including Ballet Spartanburg, and for the last five years/currently teaches Ballet, Tap, and Jazz for DTG. Susan, a seasoned dance instructor originally from Columbia, South Carolina embarked on her ballet journey under the guidance of the esteemed Ann Brodie. She joined the Columbia City Ballet Company at a young age and continued her studies at the School of American Ballet and classes at American Ballet Theatre. Susan’s academic journey includes a Bachelor of Science in Marketing and Management from the University of South Carolina where she was a member of the USC Dance Company under director Susan Anderson and later an instructor at the USC Dance Conservatory. Prior to completion of a Master of Business Administration from the State University of New York, with a specialization in Arts Management, she was a member of the former regional company South Carolina Ballet Theatre under the direction of Anita Ashley. Susan is thrilled to embark on a new chapter as an instructor at the prestigious International Ballet Academy, where she is eager to continue her mission of inspiring and nurturing young dancers, imparting her wealth of skills, experience and dedication to the art of dance. Uriah Boyd is an interdisciplinary performance artist from Portland, Oregon. Her primary artistic mediums are dance and music, which she often integrates in live performance. She began her dance training in 2006, studying jazz, tap, ballet and modern. In 2009 she enrolled in Jefferson High School, a performing arts school with a renowned pre-professional dance training program. While at Jefferson High, she met a filmmaker and began working on a documentary with her older sister entitled Soar. The film focuses on their relationship as siblings, dancers, and creative partners. Soar was released in 2014 and has aired on PBS internationally. It is still in syndication today. After graduating high school and releasing Soar, Uriah began dancing professionally. She performed and toured with numerous dance companies and collectives in Portland and the greater NW, most notably, Rejoice! Diaspora Dance Theater. Uriah was a founding member of Rejoice! and it was during her time with the company that she began training in folkloric dances of the African Diaspora, which has become a large influence in her movement to this day. She began teaching in 2016 and has led contemporary dance workshops throughout the Pacific Northwest, in Mexico and Peru. Uriah travels often and enjoys connecting to new communities by way of movement and music. In recent years, music and aerial dance have become more prominent creative focuses for Uriah. She’s working on more intentionally integrating her music and movement practices, and spends most of her time engaged in creative play. Uriah is currently based in Greenville, SC and has found a warm home in the live music and contemporary dance communities here. Carissa Niewinski began dancing at 3 and began teaching 20 years ago. She toured Europe with a youth ballet company, filmed for an Apple iPod commercial & was on the dance team for the NBA Cleveland Cavaliers (during Lebron James’ second season!). She lived in Los Angeles to further her dance training and has also studied extensively in New York City. She is certified from the Finis Jhung’s teacher training program, a certified WuDang Qigong teacher & has over 200 hours of teacher training with Yin Yoga master Douglas Johnson of Mahapatha Yoga. She moved to Greenville, SC from Atlanta where she had been teaching competitive & pre-professional dance for 10 years. Her students have placed in overalls at national competitions and can be seen dancing in movies, commercials, music videos and for professional sports teams. She is excited to work with the dancers of International Ballet. Cate has over 15 years of diverse training experience, beginning at age 4 in her hometown of Fort Mill, SC. Throughout her dance experience, Cate has trained under Emmy-award winning choreographer Jena Burgin-Peters, Amelia Binford of Northwest School of the Arts, Anna Lauren Fresk of Jolie South Dance Academy, Amber Griffin of Steps N Motion, and many others. During that time, Cate served as an assistant to many of her instructors and was selected to perform in the Carolina Voices productions of The Singing Christmas Tree, televised performances with the Charlotte Symphony Orchestra, the Artists Music Guild Heritage Awards, paid performances with Opera Carolina at the Belk Theater, and numerous conventions and competitions such as Radix, ShowStopper, 24 Seven, Velocity, and JUMP. Additionally, Cate traveled to studios in North and South Carolina to assist her instructor, Jena Burgin-Peters, to guest teach and choreograph. Cate has choreographed dance performances for the Nation Ford High School Scholarship pageant as well as the SC Strawberry Pageant. She has participated in the Rockette Summer Dance Intensive, the Joffrey Jazz & Contemporary program, as well as coursework at Broadway Dance Center, among a variety of other master classes in a diverse array of disciplines. Cate now works in the nonprofit sector and is passionate about community health and engagement. She has taken up running as a supplementary form of exercise and is a 3x half marathon and 2x marathon finisher. She has completed 40 hours of yoga teacher training and will continue her training with Greenville Yoga in 2024. She believes that dance is not only a form of personal expression and storytelling, but it is also a practice of love for self and care for community. Laura Winship Dunn is the former owner and director of Ballet Aresko in Lynchburg, Virginia. She has trained under artists such as; Martin Friedman of Colorado Ballet, world renown Galina Panova, Eli Lazar, Adam Sage, Martha Fesia, Dominique Angel, Tyrone Brooks and Sandra Meythaler. She has danced for several companies including The Sangre de Cristo Ballet Theatre, North Carolina Academy of Dance Arts and Roanoke Ballet Theatre. She also danced at several Summer Intensives with the Sangre de Cristo Ballet Theatre and Ballet Magnificat! She received her dance education from The Sangre de Cristo Ballet and from Virginia School of the Arts as a postgraduate student.Shortly after this she joined and began dancing for Roanoke Ballet Theatre. She danced lead roles for RBT including, the Snow Queen, Isabella in Napoli, The Queen Fairy in an original Ballet and the principal role of Cinderella. Prior to founding Ballet Aresko, she taught dance for many other studios such as Dance Theatre of Lynchburg, Seven Hills Dance studio, Roanoke Ballet Theatre and Assemble Dance studio as their Director of Dance. She is also the Co-founder of Haven School of Dance in Pueblo, Colorado. She received her Bachelor of Science in 2011 and hopes to one day obtain her MFA in dance pedagogy. Her desire is to provide an exceptional dance education for her students. One that leaves them with skills and lessons to apply to everyday life. Believing that every dancer is unique, it is important to her to teach according to the needs of each individual student. Originally from the Washington, DC area, Robin Otey began her intensive training at the Maryland Youth Ballet under the direction of Tensia Fonseca and Michelle Lees. After moving to Houston, TX to complete her training, she began dancing professionally with the Houston Ballet in corps de ballet roles in La Bayadere, Swan Lake, The Snow Maiden, Manon, and The Sleeping Beauty. While with Houston Ballet she had the privilege of performing with such stars as Carlos Acosta, Angel Corella, and Nina Ananiashvili. She later danced with Ballet Memphis performing numerous soloist and principal roles. While touring to New York City, she received praise from the New York Times for her contemporary roles in Mark Godden’s Angels in the Architecture and Trey McIntyre’sSecond Before the Ground. Her passion for teaching began in her late teens and then grew as she matured as a professional, learning new ways of moving that she wished she had learned as a student. Convinced it was possible to teach students this artistry and movement quality along with their technique, she began teaching in the Ballet Memphis School while still dancing as a professional. After marrying and moving to St. Louis in 2002, she taught at the St. Louis Ballet School (where she also guest starred as the Sugar Plum Fairy in St. Louis Ballet’s Nutcracker). Since, she has taught beginning through advanced levels at a variety of ballet schools throughout the Midwest and West. In 2015, Ms. Otey became a certified STOTT Pilates Instructor. She appreciates how this form of exercise brings her love of movement, alignment, and anatomy/physiology together. New to the Greenville area, she is thrilled to be joining the International Ballet Academy faculty and excited to be teaching such a wonderful group of students.
6847	dbpedia	2	8	https://www.operabase.com/vadim-pisarev-a2113764/performances/en	en	Performances and Tickets on Operabase	https://www.operabase.co…e-logo-large.png	https://www.operabase.co…e-logo-large.png	[ "https://static.operabase.com/17b662b2-bbaf-49ed-a2d8-d1f9ba935da2/images/landing-pages/companies-logos/2080_berliner-philharmoniker.png", "https://static.operabase.com/17b662b2-bbaf-49ed-a2d8-d1f9ba935da2/images/landing-pages/companies-logos/1534_theater-krefeld-und-monchengladbach.png" ]	[]	[]	[ "Operabase" ]	null	[]	2020-11-23T17:36:44+00:00	Follow Vadim Pisarev on Operabase to view upcoming and past performances.	en	/apple-touch-icon.png	Operabase	https://www.operabase.com/vadim-pisarev-a2113764/performances/en
6847	dbpedia	1	3	https://www.alamy.com/stock-photo-dancer-vadim-pisarev-at-the-5th-international-ballet-dancers-contest-23037761.html	en	Dancer Vadim Pisarev at the 5th International ballet dancers contest in Moscow Stock Photo	https://c7.alamy.com/com…ntest-B9DCW5.jpg	https://c7.alamy.com/com…ntest-B9DCW5.jpg	[ "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/assets/latest/footer/mastercard.svg", "https://s.alamy.com/assets/latest/footer/visa.svg", "https://s.alamy.com/assets/latest/footer/amex.svg", "https://s.alamy.com/assets/latest/footer/paypal.svg", "https://s.alamy.com/assets/latest/footer/apple-pay.svg", "https://s.alamy.com/assets/latest/footer/google-pay.svg" ]	[]	[]	[ "5th", "ballet", "contest", "dance", "dancer", "international ballet", "moscow", "pisarev", "vadim pisarev" ]	null	[ "Alamy Limited" ]	null	Download this stock image: Dancer Vadim Pisarev at the 5th International ballet dancers contest in Moscow - B9DCW5 from Alamy's library of millions of high resolution stock photos, illustrations and vectors.	en	https://s.alamy.com/logo…avicon-16x16.png		https://www.alamy.com/stock-photo-dancer-vadim-pisarev-at-the-5th-international-ballet-dancers-contest-23037761.html	Dancer Vadim Pisarev at the 5th International ballet dancers contest in Moscow Captions are provided by our contributors. RMID:Image ID :B9DCW5 Image details Contributor : SPUTNIK / Alamy Stock Photo Image ID : B9DCW5 File size : 17.7 MB (1.3 MB Compressed download) Open your image file to the full size using image processing software. Releases : Model - no \| Property - noDo I need a release? Dimensions : 2059 x 3000 px \| 17.4 x 25.4 cm \| 6.9 x 10 inches \| 300dpi Date taken : 1 June 1985 Photographer : SPUTNIK More information : This image could have imperfections as it’s either historical or reportage. Sorry this image isn’t available for license in your territory, please contact us for more information.
6847	dbpedia	2	14	https://en.wikipedia.org/wiki/Donetsk_State_Academic_Opera_and_Ballet_Theatre	en	Donetsk State Academic Opera and Ballet Theatre	https://upload.wikimedia…Zentrum_Oper.JPG	https://upload.wikimedia…Zentrum_Oper.JPG	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f0/Donezk_Zentrum_Oper.JPG/250px-Donezk_Zentrum_Oper.JPG", "https://maps.wikimedia.org/img/osm-intl,13,a,a,250x200.png?lang=en&domain=en.wikipedia.org&title=Donetsk_State_Academic_Opera_and_Ballet_Theatre&revid=1229155778&groups=_4cc1f84c6ce9c551b1f30d48622933c62c404758", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/31/1941-1943._%D0%9E%D0%BF%D0%B5%D1%80%D0%BD%D1%8B%D0%B9_%D1%82%D0%B5%D0%B0%D1%82%D1%80_%D0%B2%D0%BE_%D0%B2%D1%80%D0%B5%D0%BC%D1%8F_%D0%BE%D0%BA%D0%BA%D1%83%D0%BF%D0%B0%D1%86%D0%B8%D0%B8.jpg/220px-1941-1943._%D0%9E%D0%BF%D0%B5%D1%80%D0%BD%D1%8B%D0%B9_%D1%82%D0%B5%D0%B0%D1%82%D1%80_%D0%B2%D0%BE_%D0%B2%D1%80%D0%B5%D0%BC%D1%8F_%D0%BE%D0%BA%D0%BA%D1%83%D0%BF%D0%B0%D1%86%D0%B8%D0%B8.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/71/Opera_theatre_in_donetsk_016.jpg/220px-Opera_theatre_in_donetsk_016.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/77/Donetsk_cinderella_01.jpg/220px-Donetsk_cinderella_01.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2011-08-26T11:27:35+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Donetsk_State_Academic_Opera_and_Ballet_Theatre	Theatre in Donetsk, Ukraine Donetsk State Academic Opera and Ballet Theatre named after A. Solovyanenko (Ukrainian: Донецький академічний державний театр опери та балету імені Анатолія Солов'яненка) was established in 1932 in Donetsk on the basis of fit-up theatre of Right-bank Ukraine. Since 15 March 1932 the theatre was transferred to Donetsk theatre group[1] The first season opened on September 1, 1932 with opera Prince Igor composed by Alexander Borodin.[2] On April 12, 1941, the Theatre opened the season in the new theater building by premiere of Mikhail Glinka's Ivan Susanin.[2][1] On August 7, same year, the premiere of the first ballet performance Laurencia by Alexander Crain was held. After the outbreak of the Great Patriotic War part of the company was evacuated to Kirghizia, later, in June 1942, the theater moved to Przhevalsk city, where actors held concerts in hospitals and military units.[1] In January 1944 the theater returned to Donetsk and already in September, right after the liberation of the Donets Basin a premiere of Alexander Borodin's Prince Igor took place. On October 2, 1977, the Theater was awarded with Academic status for significant contribution to the development of Soviet art. In 1992 the Choreographic School of Vadym Pysarev was established in the Theater. Starting from 1994 the Theater has been hosting the International Festival "World Ballet Stars", Vadim Pisarev is as well the founder and art director. On December 9, 1999 by the Resolution of the Cabinet of Ministers of Ukraine, the theater was named after Soviet Ukrainian opera singer Anatoliy Solovyanenko.[1] Architecture [edit] The theatre building was initially designed for drama theatre, construction works started in 1936. Ludwig Kotovskiy was the leading architect and overall management of construction project was scheduled by Solomon Krol'. The theater building is made in classic style. On three sides approaches to the theater are organized. The auditorium and the lobby are decorated with stucco details. Initially, the auditorium was designed for 1300 seats, at the present time there are 976.[3] Above the mezzanine and balcony of the auditorium, as well as in some niches of the foyer there are sculptural busts of composers, poets and decorative vases. The theater is equipped with mechanized stage, the main stage area is 560 m2. It can withstand the load of up to 75 tons. The troupe [edit] Many famous artists started their career in Donetsk Opera and Ballet Theatre, among them being Yuri Gulayev, Anatoliy Solovyanenko, Nickolay Momot,[4] Valentin Zemlyanskiy,[5][1] Alexander Korobeychenko and others - they were the People's artists of Ukraine.[2][6] The Theatre was named after prominent opera tenor Anatoliy Solovyanenko, awardee of Taras Shevchenko and Lenin Prizes, who was born in Donetsk. In different years on the stage of Donetsk Opera and Ballet Theatre such stars of Soviet Union art danced and sang, as Ivan Kozlovsky and Sergei Lemeshev, Maria Bieshu, Olga Lepeshinskaya, Marina Semenova, Klavdiya Shulzhenko and many others. Current troupe of the Theatre includes (2014): Management [edit] Director - Honoured Artist of Ukraine Vasiliy Ryabenkiy Art Director - People's Artist of Ukraine Vadim Pisarev Chief Choirmaster - People's Artist of Ukraine Ludmila Streltsova Chief choreographer - People's Artist of Ukraine Evgeniya Hasyanova Chief conductor - Honoured Artist of Ukraine Vasily Vasilenko Opera [edit] People's Artist of Ukraine's Tamara Lagunova (since 1977) People's Artist of Ukraine Valentin Zemlyanskiy People's Artist of Ukraine Nickolay Momot (since 1969) Honored Artist of Ukraine Kaleria Kamenyanova Honored Artist of Ukraine Petr Labatiy Honored Artist of Ukraine, Anatoly Voronin Honored Artist of Ukraine Vasily Sorokin (since 1966)[2] Ballet [edit] Anastasia Aseyeva Svetlana Bednenko Roman Belgorodskiy Yekaterina Botaikina Inna Dorofeieva Maxim Valchik Irina Komarenko, Honored Artist of Ukraine Yulia Polgorodnik, Honored Artist of Ukraine[2] and many others. See also [edit] Donetsk (City) Donetsk National Academic Ukrainian Musical and Drama Theatre References [edit]
6847	dbpedia	3	58	https://www.thenationalnews.com/arts-culture/on-stage/what-tempted-the-uaes-first-ballet-star-alia-al-neyadi-back-to-the-stage-1.721804	en	What tempted the UAE’s ‘first’ ballet star Alia Al Neyadi back to the stage	https://thenational-the-…=1200&height=630	https://thenational-the-…=1200&height=630	[ "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/PKUXQ5H4Z7234OSRRITGCDEKBI.jpg?smart=true&auth=250c83e01b711c0f5304e0263682a7bc53b481af7416d1ff34236e318fafaa97&width=400&height=225", "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/37OW4KDCDCVIFR534YBJY6OB6A.jpg?smart=true&auth=17734cd9cf554aca9f5a3678a5860253adb9300f82ae4881fa621b8ab38788d6&width=400&height=225", "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/EV7NESETNOFGIABSVKJUDXZ4IA.jpg?smart=true&auth=469a91f2d3ab417acf88c8c40ab02ae099f496f41512cf50ff01dc97b22db4af&width=400&height=225", "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/Z4WAFBU3GYQCI445AYUNGWB4GQ.jpg?smart=true&auth=24659148e96bcb6f40811fa7169813471b8baccb1750a33de181b19db98583df&width=400&height=225", "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/YRUL3FQ2PQWHMC4CBKPXBSKSRM.jpg?smart=true&auth=138cd397fb5f76ac6ef3c5ae49dffb56b3fa0d30b875960c719426ecf9eb6a19&width=400&height=225", "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/ZJ53LKLACLY5TJ6HFRVAULP5Y4.jpg?smart=true&auth=abb6d9064743f43182c662b9b7aa37a81ad6e2c62903fc36f9a81b660c6f41f7&width=400&height=225", "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/PKUXQ5H4Z7234OSRRITGCDEKBI.jpg?smart=true&auth=250c83e01b711c0f5304e0263682a7bc53b481af7416d1ff34236e318fafaa97&width=400&height=225", "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/37OW4KDCDCVIFR534YBJY6OB6A.jpg?smart=true&auth=17734cd9cf554aca9f5a3678a5860253adb9300f82ae4881fa621b8ab38788d6&width=400&height=225", "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/EV7NESETNOFGIABSVKJUDXZ4IA.jpg?smart=true&auth=469a91f2d3ab417acf88c8c40ab02ae099f496f41512cf50ff01dc97b22db4af&width=400&height=225", "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/Z4WAFBU3GYQCI445AYUNGWB4GQ.jpg?smart=true&auth=24659148e96bcb6f40811fa7169813471b8baccb1750a33de181b19db98583df&width=400&height=225", "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/YRUL3FQ2PQWHMC4CBKPXBSKSRM.jpg?smart=true&auth=138cd397fb5f76ac6ef3c5ae49dffb56b3fa0d30b875960c719426ecf9eb6a19&width=400&height=225", "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/ZJ53LKLACLY5TJ6HFRVAULP5Y4.jpg?smart=true&auth=abb6d9064743f43182c662b9b7aa37a81ad6e2c62903fc36f9a81b660c6f41f7&width=400&height=225", "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/PKUXQ5H4Z7234OSRRITGCDEKBI.jpg?smart=true&auth=250c83e01b711c0f5304e0263682a7bc53b481af7416d1ff34236e318fafaa97&width=400&height=225" ]	[]	[]	[ "" ]	null	[ "Rob Garratt" ]	2021-06-24T07:29:32.912000+00:00	“I really was retiring – I was about to put my shoes down and say, ‘it’s time for me’,” remembers the 24-year-old. “But, I just missed dancing.”	en	/pf/resources/favicon.jpeg?d=771	The National	https://www.thenationalnews.com/arts-culture/on-stage/what-tempted-the-uaes-first-ballet-star-alia-al-neyadi-back-to-the-stage-1.721804
6847	dbpedia	0	76	https://medium.com/the-awl/how-to-be-a-dancer-178630173bf9	en	How To Be A Dancer	https://miro.medium.com/…UF-81LQzoAg.jpeg	https://miro.medium.com/…UF-81LQzoAg.jpeg	[ "https://miro.medium.com/v2/resize:fill:64:64/1dmbNkD5D-u45r44go_cf0g.png", "https://miro.medium.com/v2/resize:fill:88:88/0lZy1cQGsMfr2TVl6.jpg", "https://miro.medium.com/v2/resize:fill:48:48/1aHoNR6F_3EG6pv6iGNIJaA.png", "https://miro.medium.com/v2/resize:fill:144:144/0lZy1cQGsMfr2TVl6.jpg", "https://miro.medium.com/v2/resize:fill:64:64/1*aHoNR6F_3EG6pv6iGNIJaA.png" ]	[]	[]	[ "" ]	null	[ "Betsy Morais", "medium.com" ]	2016-12-27T18:56:01.323000+00:00	When I was two, my parents took me to see the New York City Ballet production of the Nutcracker. The room went dark, but I wasn’t scared. I saw the bodies on stage fluttering and catapulting, all…	en	https://miro.medium.com/…CHiNHM96fXpQ.png	Medium	https://medium.com/the-awl/how-to-be-a-dancer-178630173bf9	When I was two, my parents took me to see the New York City Ballet production of the Nutcracker. The room went dark, but I wasn’t scared. I saw the bodies on stage fluttering and catapulting, all arms and legs and story. I didn’t understand that I wasn’t part of their euphoric twirling, so I got up from my seat, spun around, and joined in. And after not very long I was, in fact, very much a part of the show. In 1810, Heinrich von Kleist suggested in an essay on marionette theater that “grace appears most purely in that human form which either has no consciousness or an infinite consciousness. That is, in the puppet or in the god.” And there I was at two, Bunraku Baby, lifted by strings to dance. I’ll never be more graceful than that. Recalling the delight of my debut (I got applause, naturally), I think I am able to understand where the pleasure of dance comes from. It’s somewhere beyond consciousness, combining the great parts of other art forms, with motion and catharsis. It is silent and musical, expressive and abstract, ancient and immediate, athletic and theatrical. Set it to piano or drums or chanting, and people are transformed into spirits. Like so many kids, from the time I went to see the Nutcracker, I wanted to be a dancer. I had several teachers, but the one I stuck with the longest was Miss Alexia, a tall, thin Texan who had maintained her accent after years of living in the Northeast. She mostly talked about George Balanchine and Jerome Robbins, for whom she’d danced as a company member of the New York City Ballet. After having had a successful career as a ballerina, she moved to my small town in New Jersey, and proved herself to be a terrific choreographer of children’s dances. My mom once asked her if our production of Aaron Copland’s “Rodeo” had been adapted from a Balanchine show; Alexia turned red, grinned, and gently explained that it was Agnes de Mille who had made that ballet, in the forties, but this one was an original for our twelve-year-old class. I was O.K. I could get my leg up high and I had good feet — I often got compliments on my arches when I tried on ballet shoes — but good feet will only take you so far. I could never land a killer triple pirouette; my balance was off. I was not “disciplined about my body,” as they say. I was always short, too chubby, too curvy. Lots of my peers hurled themselves into eating disorders, and my failure to follow, to my warped mind, demonstrated a lack of nerve. I wasn’t especially coordinated, and sometimes intricate choreography was lost on me. Alexia used to call me Sybil, because of my inconsistency. I remember her groaning, while I was in mid-flail, “What are you doing? Twyla Tharp?” By then, I was dancing seven or eight hours a week — which is nothing compared to kids enrolled in pre-professional programs, who might dance seven hours a day — but this was the major commitment of my after-school life, and thus my childhood. And unlike peewee sports, with town recreational leagues, dance is not a default. It seems somehow out of feminist fashion to sign your daughter up—a son, maybe. Those who stick with it develop a particular identity, and an exceptional devotion. In addition to ballet, I took jazz, tap, and hip-hop (“Stop being so white!” my teacher shouted, to no avail), and so did the other girls in my group (we were all girls). Some of us were very good, but only a few were encouraged to audition for the School of American Ballet or Joffrey. The rest of us flapped along from one recital to the next, getting a little better and receiving bouquets for our efforts. Every year we learned more of what we would never truly master. Occasionally, my mom would bring me on the bus to Manhattan, holding my hand from the Port Authority to 57th Street, and I’d drop in for a big, open class at Broadway Dance Center. Sweating among professionals in those studios, I had my moments, at twelve and thirteen and fourteen, of knowing how it feels to be promising. But puberty ended that. It became obvious that I was never going to be a real dancer. I could have invested more hours in class, but what would have been the point? I’d never really be good enough, or have the right shape. It was time to grow up, and try something else. Before I stopped entirely, I scaled back, and masked my disappointment by becoming the class clown of ballet. I wanted everyone to know that I was just there to have fun. If I couldn’t be the most talented girl in the mirror, I’d be the jokiest. The only one I failed to convince was myself, and when I went to college, I decided to pretend like that I’d never danced at all. “The only sin is mediocrity,” Martha Graham said. For dancers, either you’re the chef of a five-star restaurant or you’re nothing; there is no home-cooking. “You don’t just dabble in it,” a now grown dance kid told me. Jenifer Ringer, who started as an apprentice at the New York City Ballet in 1989, when she was sixteen, left when she was twenty-three. She had gained weight, gotten injured — human responses to a super-human endeavor. “When a performance wasn’t absolutely perfect, I took it as a sign that I was a horrible dancer and a horrible person,” she explained to the New York Times. She went to college, and waited to miss dancing, which took three months. Then she signed up for a class at Steps, where, she said, “I felt like a 10-year-old again, dancing just because it felt good.” Ringer returned to City Ballet reinvigorated — “I feel so free on stage” — and was promoted to principal dancer. When she retired, in 2014, the Times reviewer remarked on how young she looked in her final performance. The tension between the pure pleasure of dancing and the arduous discipline of honing technique can be debilitating, because it’s both physical and cosmic. Dance is about freedom, yes, but it’s also, obviously, about control. “It’s hard,” a teacher once told me of her young students. “I want them to get free, but they also have to learn.” Governing your entire being, for a purely aesthetic sake, demands rigor. “I treated it like a profession,” another childhood dancer said. In “Apollo’s Angels,” a phenomenal book by the dance historian Jennifer Homans, you can follow an early lesson plan for ballerinas at the beginning of the nineteenth century: “49 pliés followed by 128 grand battements, 96 battements glisse, 128 ronds de jambes sur terre and 128 en l’air, and ending finally with 128 petits battements sur le cou-de-pied.” Marie Taglioni, who is known for being the first person to go up on pointe, would practice by holding a pose for a count of a hundred, and before bed she’d work on her jumps — Homans describes her building strength in her back and legs by touching her hands to the floor without leaning over, and then pushing herself up on pointe. The model for the body that can perform this way, Homans writes — feet turned out 180 degrees; lifted torso; lean, muscular extensions — is that of Leonardo da Vinci’s Vitruvian Man, whose proportions are designed according to the elegant geometry of God. The female dancers I saw when I was growing up — Darci Kistler, the models in catalogues, images of the divine — did not look like me. But intellectually, I figured, I could relate to them, because the ethos of dance isn’t about simply achieving perfect form, it’s in the practice itself: the repetition of 49 pliés at the barre, and again at the center of the floor. This is what dancers believe in, commit to, endure, conquer. You need to have the right body, but you’ve also got to have the mettle. If Jenifer Ringer couldn’t make it out unscathed, how could any of us regulars? One summer, my dance studio flew in Vadim Pisarev and Inna Dorofeeva, a married pair of principals at the Donetsk Opera and Ballet Theatre, to teach us for a week, and my class was forced to sit through a ten-minute diatribe against fat. “How can you go out and eat and then come in and dance? You have too much Veight!” They were concerned that we didn’t take our training seriously enough. The lecture was directed at one girl in particular, who sat cross-legged at the end of my row, but we were all unsettled; it happened just before lunch. The girl on the end did not eat hers. Recently, at dinner with two friends (pasta and cake), I wondered aloud, “Is dance something you are or something you do? Are you a dancer if you haven’t been dancing?” One said, “There’s something ingrained. Everyone learns to write, but not everyone learns to dance.” The other agreed, and told me, as both a blessing and a warning, “You chose it.” In the old tribes of Madagascar, when the men went off on a headhunting expedition in the jungle, the women had to perform a dance until they returned. The sociologist Marcel Mauss wrote that, among the Dayaks, women would rise at dawn, pick up weapons, and begin moving ceaselessly; “all those Dayak women, dancing and carrying sabers, are really at war,” he observed. “Acting this way, they actually believe the success of their ritual.” That is, they believe that their dance is magic. There is sorcery to dance, and it worked on me as a toddler, and it works still. You enter a designated space, where the light is different, and you’re transported into an altered state — these are the conditions for going into a trance. A couple years ago, I was at a performance of “Who Cares?,” a Balanchine ballet set to sixteen Gershwin songs. Occasional audience members of City Ballet, like me, may not be able to catalogue all the Balanchine program staples, but “Who Cares?” stands out for being the jazziest, and for being the one most likely to elicit a wavering, mumbly, sing-a-long. At the performance I attended, the karaoke was intermittent and subtle, but there was another sound effect: What I heard, over Gershwin’s melodies, was approximately an orgasm. The happy customer was in the row in front of mine, so I could see clearly that there was nothing happening in her seat other than ballet-watching elation. She saw the sturdy arabesques and the confident lifts; she wiggled her toes under her chair, clutched her brooch to her chest, and let out a series of oh’s! and gasps, culminating in an enthusiastic round of applause. I have always taken pleasure in watching dancers perform, though not quite like that. Those who cannot do, do vicariously. If, at two, the distinction between watching and participating was beyond my understanding, it began to evolve into its own kind of meaningful erasure. A wannabe going to the ballet can will herself into a daydream. This isn’t sleepy, but almost like an exercise: by seeing the movement, and appreciating it deeply, you might, in some way, join in. You’re a third person floating into a pas de deux, practicing in your head. And in fairness to that woman sitting in front of me: watching the realization of what, for you, would have been impossible, can come with mad longing. “Do you ever wonder if it was a scam?” one of my dance-kid friends asked. Like an elaborate trick demonstrated by suburban dance schools around the country: give us a decade, and we’ll make tens of thousands of dollars vanish into stage smoke. Classes, tights, leotards, shoes, recital costumes, recital videos, dance team entry fees, dance team sweats. If the purpose of a dance education is for making dancers — not in some remote, aspirational way, but as a matter of practice — and most children won’t wind up hacking it, what is the point? Exercise, discipline, a sense of timing — there are other means to those. To put on a show for our parents? “I feel weird talking about it,” my friend went on. “Even the term: ballet mistress. She wasn’t a scary Russian lady. She was in some off-Broadway shows. She was just in small-town America and she was training us as if we would become these great ballet dancers, even if none of us would.” Then she said, “I’m embarrassed I ever thought I was good.” The magic that happens in a dance class is that you believe the success of the ritual. You see yourself making yourself good — we all do it, because we’re supposed to. Why else would we be there? Sometime after I’d concluded that I would never be great, what followed was that I wasn’t any good, and the spell was broken. I had to ditch the longing — turns out that it was a shameful waste of time, a delusion. I put it out of my head: all of the pliés and grand battements and petits battements sur le cou-de-pied. And I made that part of myself disappear. A few words about feet: Dancers’ feet get dinged up pretty bad, professional or not. There are many gruesome ways to describe the ramifications on individual toes, the ball of the foot, and the heel, which suffer from blisters, bunions, Achilles tendonitis, and other pains. When I first started with pointe shoes, all us girls would show off after class by scooping out our lamb’s wool toe pads and comparing the bloodiest. A toe pad is placed around the top of your foot like a mitten; many manufacturers make a gel version, too, sometimes called an “Ouch Pouch,” but good dancers tend to avoid them, because they’re too thick and you lose the feeling of the floor. A dance shoe is supposed to mold to the foot, like a second skin, and the more you’ve got covering your feet, the clunkier your steps will be. Dance supply stores also sell silicone individual toe tubes (“Jelly Tips”), which are more like gloves, but you can choose to slide them on only certain toes. I would often use these on my big toes, and any others that might have had a particularly nasty-looking blister, but then I’d try to forego the lamb’s wool. When I was at my peak dance-hours, my feet started to seem like horrible obtrusions on my body. They looked generally purplish. I kept my nails short, and for obvious reasons I never attempted a pedicure. I avoided open-toe shoes, and when I wanted so badly to wear them that I convinced myself that my feet weren’t really so grotesque, I would show up at school and immediately be mortified, and have to wait until I’d forgotten the hallway humiliation before I tried again. Then the worst thing happened: I completely lost the toenail on one big toe, and then the other. (Actually, after a couple classes, I forced myself to complete the symmetry; had to be done, a loose toenail is like a loose tooth.) This is a rite of passage. Real dancers dance through it, proudly, under the belief that, ultimately, toenails are only getting in the way. When I stopped dancing, my feet gradually softened. After a while, the last evidence of damage healed. The summer before I started college, I bought my first pair of flip-flops, which I wore around the dorm with preposterous glee. I still catch myself admiring my feet, intact and unremarkable. I give myself pedicures because I can. Having gnarly feet is something I never started to miss about dance. One Saturday afternoon, I went to see my friend Adrianna Aguilar and her infant dance company, Trees, perform a new show. The event was supposed to take place outside, at a park in Bed-Stuy, but we were expecting rain, so word went around that the setting had changed to a spot nearby, with only a street address. Upon my arrival it was clear this was going to be at someone’s apartment. I went with a non-dancer friend, a kindergarten teacher. We buzzed in. Someone had not picked up his newspaper; we left it by the entryway. Inside, we ascended four flights of plywood stairs, which looked to have only recently been nailed together. At the landing, people had taken off their shoes and left them outside the door. We kept ours on. Adrianna let us in, with a hug and an offering of snacks that were arranged on the kitchen island, which was also the middle of the stage. Chairs were positioned against the walls, and there was a big open space to the right of the refrigerator. A guy sat at the base of the fridge banging on a metal pot. We found seats by Adrianna’s mother. “She was dancing when she was pregnant with me,” Adrianna said. The pot-player began to wind up. Next to him, a young woman with her hair tied in two perfect buns, like Princess Leia, began to tap-dance a beat on a slab of wood. A man with long dreadlocks and a woman in a woodland-design tank top moved to the center of the room, and began to sway. My friend leaned over and whispered, “This is going to be immersive as hell.” But nobody touched us, nobody asked us to participate. The woman sitting on the floor beneath my feet got up for the second movement, an intense stand-off with another woman; the two had nearly identical buzz cuts. At one point, a guy shuffled over for a glass of water, which was not part of the performance; later, Adrianna started eating a popsicle at her seat, which was. There were lots of swooping arms, elbows jutting out, writhing on the floor in a move that I recall as a sexy seizure, and quite a lot of pushing and spinning someone into submission, down to the ground, aikido-style. Some of this was hard to parse. There were moments when I looked around curiously to see how others were reacting (lots of mellow grins; I caught water guy mid-chortle). But there were as many moments when I watched these people — twenty-somethings from Brooklyn and Washington Heights, dancing around a refrigerator — and felt as if I had been let into something more intimate than a show. There, in the kitchen, I had the sensation of walking through a door that I wasn’t supposed to have opened, and, upon entering, being welcomed in. This was not dance as I’d known it, but the people I saw were unafraid of letting me see them try something new. When they were finished, I felt admiration and envy. They had found for themselves a way to move. Erick Hawkins started his career in the inaugural class of Balanchine’s School of American Ballet, met Martha Graham, married her, divorced her, got into Buddhism, and choreographed a show about a July Fourth party called “Hurrah!” His productions included “Early Floating,” “Naked Leopard,” and “To Everybody Out There.” (Dance names are weird.) He was famous for saying, “The body is a clear place.” That was the title of a book he published in 1992; ballet is a “diagram,” he wrote, in which “too much of the indescribable pure poetry of movement had to be left out.” Language and dance are allies, but exist in different hemispheres. If ballet, the root, is like Latin or Greek, nearly all dancers are expected to be fluent, even if only to apply the terminology to new forms. This is why many dancers know some French, or at least useful conversational phrases like saut de chat (jump of the cat), pas de cheval (step of the horse), cou-de-pied (neck of the foot). The aim is for the steps, when realized onstage, to become so fluid and specific that they become something else, as individual letters are to a poem. Hawkins, my friend Adrianna — and most interesting choreographers these days — got somewhere by learning other languages, but they all had to study the diagram. It didn’t occur to me until I started working at literary magazines that my childhood ballet teacher, Alexia, had been a brilliant describer. Great dance teachers, like great writers, distinguish themselves through evocative language. How can one learn to move the body in a precise way, so that your back and neck and legs and arms and feet are positioned exactly as they’re supposed to be? So that your mind doesn’t intervene, and topple you over? There were many times when Alexia would come over to me and move my hips or shift my shoulders, but even more often she would say something like “Imagine that there is a string holding you up, and you’re a marionette.” And I knew in my body exactly what she meant. Other great metaphors I have heard: “You know those ringed red-and-white spinning stripe signs outside barber shops? Imagine that’s your turned-out thighs.” “Every movement is a photograph.” Adrianna told me about a time when she was in class, and a teacher said: place your foot in cou-de-pied like you’re caressing your lover’s face.” Adrianna tried her best, but soon the teacher walked over, raised an eyebrow, and said, “You’ve never been in love.” This was the profession I found myself in as an adult, reading copy and wondering about the best ways to express ideas. I took to in it much the same way as I had with dance: when I read, I am lifted. But this I could do while eating a sandwich. At various points over the years, I fact-checked, researched, wrote, made comments on structure. Sometimes I sat at my desk and believed that I’d made it — like when I was two, and I was part of the show. Much more of the time, when my suggestions were tossed aside, or my pitches were trashed, or my prose failed to impress, I sensed that I was merely spinning in darkness, adjacent to the real talent. But I couldn’t pretend that this was some childhood lark; mastery didn’t depend on being lithe. One day a few years ago, I was summoned by an editor to answer a ballet question for a caption. By then I had apparently let slip that I had been a dance kid. He called me over, pointed to a picture of a ballerina, and asked, “What’s she doing here?” I looked and immediately melted. It was the most elementary query. Anyone who has ever taken ballet should be able to identify the steps; it’s basic diagram stuff. But when I looked at the image my mind was totally blank. Her leg was in the air — not arabesque, what’s that other one? I had the sensation of having lost the ability to speak a language that I had known as a child. “I forget that one,” I said, pathetically, lobbed some dumb joke — I was still good for being the jokiest girl in the mirror — and rushed away. Back at my desk, I sat staring at my computer screen, my brain sputtering. Was this my first encounter with severe memory loss? But I was twenty-five! How could I have willed myself to erase dance so completely from my mind that, when trying to recall the name of a simple position, I came up empty? It was as if, after having determined to extricate myself from the person I’d failed to become, I had sacrificed a decade of earned education. I sat for twenty minutes, confused and remorseful. And then, finally, out of the farthest, rustiest cabinet in my brain, I retrieved the word: attitude. Other people do not get hung up about their childhood pastimes. They join a pick-up basketball game or buy a piano, and even if it doesn’t come easy, it’s fine. They find some way to transition from kid play to adult satisfaction. Dancers, on the other hand, are never really playing. They are striving in a room full of strivers. And it’s possibly because of this that adult dance classes always bummed me out. Who were these losers? What could they be striving for, at this point? There wasn’t even a recital to prepare for. It wasn’t just me. “I felt like, if I was dancing, I was training for something,” one of my former dance-kid friends said. “If I didn’t have a show, it didn’t seem like there was a reason.” There is something odd about dancing without performing, sort of like hitting the batting cages without ever playing baseball. But now that I was a dance amnesiac, I started to get curious. And now that I was striving for other things, I wondered what it would feel like to strive in a dance class for its own sake. My failure to become a dance virtuoso had already passed me by. Maybe in my age of advanced concerns, it would be O.K. to just be O.K. Balanchine would have approved, I thought, since he was known for saying stuff like: “Why are you holding back? What are you saving for — for another time? There are no other times. There is only now. Right now.” When my birthday came around, my boyfriend — a strong receiver of hints — gave me a gift certificate to take five classes at a studio in Brooklyn. I sat on it for five months, psyching myself out. Then, finally, I used it. I decided to subject myself fully to whatever trauma might be merely lurking if I attempted some other kind of dance, so I went for beginner’s ballet. The first thing I had to do was get dressed. I had thought of this in advance, so the last time I’d gone to visit my parents, in New Jersey, I opened the bottom drawer of my old dresser and pulled out the single remaining intact leotard — I’d hacked up the rest, during a cut-up-my-clothes phase — and lifted my dusty dance bag from the back of the closet to find my ballet shoes. They were stiff, but still usable. I brought them back home to my apartment, along with a pair of pink tights, which I knew would make me look like a dork, but at every other ballet class I’d taken they had been the required uniform. To be safe, I brought shorts, too. When I walked through the door to the studio on that first night, everyone was wearing shirts and sweats; the only person dressed anything like me was a tiny person with her hair pulled back in a tidy girl bun. Right away, I felt the dread of regressing in public. I took my place at the barre. Everything was where I had left it: the mirror, the gray Marley floor, the sequence of steps; it was only I who had changed. We began with a simple routine to roll out our feet, and then moved on to pliés, tendues, dégagés, and rond de jambes, all of which my body remembered before my brain did. It occurred to me that, months earlier, I might have been able to recall attitude much more easily if it hadn’t been a matter of naming a word. The “indescribable pure poetry of movement” is the stuff internalized without language — the feeling of a step. “Connect your belly button to your spine,” the teacher said, and we all shifted our posture. Then we got to grand battements. My legs felt like overstuffed suitcases that I had to carry over a subway turnstile. When I lifted them, I believed that I had made it to my old 125 degrees or thereabouts, but when I peeked, I hadn’t cleared 90. Then I thought: Something to strive for. I went back the next week, and the week after that. When my gift card ran out, I bought myself another one. I came after days of work where I felt like I’d achieved nothing, and in class, I accomplished something. I invested in a second leotard. A few months in, when I had the nerve, I invited one of my fellow former dance kids to come along, and afterward she didn’t stick with ballet, but she started going to hip-hop. She still finds the performance void to be odd. “In the back of my mind,” she said, “I’m thinking, maybe something more will come of it.” I started a new job, and left the beginner’s class. One night, I ran into Adrianna. She’d been taking three or four classes a week — always including one in ballet — but she wasn’t interested in the exclusive club of ballerinas. “Dance is a spectrum,” she told me. “I’m a dancer, you’re a dancer, too.” Two years in, a new person came to class. She had her hair tied into a ponytail, and wore a purple tank top and gray leggings, with socks, not ballet shoes. The teacher asked, as she did every week, if there was anybody who might be unfamiliar with the steps. The new dancer raised her hand. The teacher looked around. “Let’s put you between two people you can follow.” She turned to me — me! — and asked, “Can you stand over here?” I breathed out a yes, and smiled deliriously. After barre, the new dancer shook her head, looking flustered, and said by way of apology to the teacher, “I haven’t done this for 16 years.” The teacher said not to worry, and flashed a generous smile. “We’ve all come back to it.”
6847	dbpedia	2	80	https://www.dancemagazine.com/tiny-dancer-giant-career/	en	Tiny Dancer, Giant Career	https://dancemag.wpengin…giant-career.jpg	https://dancemag.wpengin…giant-career.jpg	[ "https://www.dancemagazine.com/wp-content/uploads/2021/10/tiny-dancer-giant-career.jpg", "https://www.dancemagazine.com/wp-content/uploads/2021/10/lauracappelle-avatar-150x150.jpg", "https://www.dancemagazine.com/wp-content/uploads/2024/08/dance-studio-getty-e1723734689931-740x320.jpg", "https://www.dancemagazine.com/wp-content/uploads/2024/06/margiegillishero-740x320.jpg", "https://www.dancemagazine.com/wp-content/uploads/2024/08/cast-of-How-to-Bend-Down-How-to-Pick-It-Up-Maria-Baranova-courtesy-Kayla-Hamilton2-740x320.jpg", "https://www.dancemagazine.com/wp-content/uploads/2024/08/Courtesy-Tristan-Ihne2-740x320.jpg", "https://dancemag.wpengine.com/wp-content/uploads/2021/07/dancemedia-logo.png" ]	[]	[]	[ "" ]	null	[ "Laura Cappelle" ]	2015-10-31T23:00:00+00:00	Iana Salenko didn't let her height keep her from becoming a sought-after guest ballerina.	en	https://www.dancemagazin…/07/favicons.png	Dance Magazine	https://www.dancemagazine.com/tiny-dancer-giant-career/	Iana Salenko didn’t let her height keep her from becoming a sought-after guest ballerina. A principal at 18, Salenko later joined Staatsballett Berlin as a demi-soloist to dance with her husband. Photo by Nathan Sayers. Leotard from Maldire Dancewear. As she waits for her cover shoot to get underway, Iana Salenko looks tiny and unassuming in the makeup chair. In front of the lens, however, the ballerina that comes out is all glamorous confidence. In a tutu from Don Quixote, her polished lines snap into place for the click. When the photographer suggests a pose, she studies it quietly; she looks ready to whip out triple fouettés, but is equally happy to play on the floor. This good-natured work ethic—along with a technique that seems to combine flowing Russian lyricism with the eerily precise small steps favored in Europe—has made the Ukraine-born ballerina a force to be reckoned with. At 32, Salenko is a shining example of the jet-setting careers afforded to ballet stars in the 21st century. Contrary to current wisdom, her petite frame (she is a touch over 5′ 2″) has helped make her a sought-after guest ballerina, dancing alongside partners such as Steven McRae and Daniil Simkin. As a principal with the Staatsballett Berlin and regular guest with The Royal Ballet, as well as a staple at galas and festivals worldwide, her life has become a steady balancing act. Salenko was introduced to gymnastics and folk dancing at a young age by her parents, who worked in a restaurant but loved both disciplines. When her father took her to a dance school in Kiev when she was 12, the teacher asked if she’d be interested in ballet. Despite her late start, Salenko thrived. “I think it was the best age because I knew I wanted to do it, and I gave everything,” she says. Salenko is known for her rock-solid turns, precise footwork—and gorgeous legs. Photo by Bettina Stöß, courtesy Staatsballett Berlin. After just two years, she was invited to the Vaganova Ballet Academy, but her mother deemed it too far from home. Instead, Salenko moved to Vadim Pisarev’s school in Donetsk, 400 miles from Kiev, with her brother. It was a lonely environment for the 14-year-old, who was told by one teacher she was too small to become a ballerina, and she developed an eating disorder. “I was really fanatical, and I stopped eating,” she says. She became so weak that she sustained a dangerous back injury. The director of the school, Pisarev’s sister, took her under her wing. “She fed me, took care of me, brought me to therapy. She gave me love, and then I started recovering.” Once she was healthy, Pisarev decided she was better off finishing her schooling in his company. “I was 16, and he said, You will get everything in the theater,” she says. There, he pushed her, giving her roles like Kitri in Don Quixote. At 18, however, wanting to be closer to her family, she moved back to Kiev, where the National Ballet of Ukraine offered her a position as principal. She was on course to take over the repertoire when she met her future husband, German dancer Marian Walter, at a competition in Vienna in 2004. Both won first prize, and fell in love in the wings, communicating in broken English. Salenko auditioned for Staatsballett Berlin, where Walter was based, but was refused by director Vladimir Malakhov. Instead of giving up, Walter asked Salenko to marry him. Meanwhile, Diana Vishneva, who had guested with Salenko’s home company, intervened in her favor, telling Malakhov her height would be an asset. Salenko received a contract as demi-soloist in 2005, and proved herself in the title role of Malakhov’s Cinderella, reaching principal status in 2007. “When I got demi-soloist, it made me work harder to improve,” Salenko says. “If you get everything too fast at the beginning of your career, it can get boring.” Her profile rose with star turns in Berlin’s classical premieres, including reconstructions of La Esmeralda and Nutcracker. Last winter, new Berlin director Nacho Duato chose her as first-cast Aurora for his Sleeping Beauty. On the side, invitations to guest abroad started piling up, many from friends made at international competitions. In 2013, she was even featured in a Baileys Irish Cream commercial. While she is signed to David Makhateli’s D&D agency, Salenko books most of her gigs on her own. She recently traded her Ukrainian passport for a German one, in part to make travel easier. Salenko relishes the challenge of getting accustomed to new companies, whether in Croatia, Russia or Italy. “At home, you know everyone, each personality,” she says. “Elsewhere, it’s like the first day of kindergarten: People are curious, excited to see you onstage.” She also thrives on taking corrections from various coaches and dancing with new partners: “It makes my brain work: How can I help him, how can I be more on my leg?” Her partnership with Steven McRae also grew out of galas. After McRae talked to The Royal Ballet director Kevin O’Hare about Salenko, she guested in London for the first time in 2013 in Don Quixote, and their partnership has blossomed into a meeting of minds as well as body types, as their heights complement each other perfectly. “We challenge each other onstage. We always try to add something extra—more turns, longer balances,” Salenko says. McRae adds, “Stepping onstage with Iana is completely different from anyone else. She is extremely calm. Her relaxed energy is contagious and is truly a wonderful gift.” Salenko with husband Marian Walter. This month, Staatsballett Berlin performs works by Nacho Duato, Ohad Naharin and Jiri Kilián, plus Nutcracker and Onegin. Juggling traveling with her life in Berlin is no small feat, however, as Salenko and Walter have a 7-year-old son, Marley, born just after Malakhov promoted her to principal. “It was a big step because I was just 24,” she says, “and it was so hard to come back after, but it’s made me want everything even more in my career.” Salenko declined a full-time contract with The Royal to allow her son to continue his schooling in Germany, but the company has welcomed her nonetheless as an ongoing guest artist, with debuts scheduled in Romeo and Juliet, Nutcracker and Ashton’s The Two Pigeons this season. She giggles when she explains that she felt right at home at The Royal, a company known for relatively small dancers. Salenko usually has only one week of rehearsals before performances, but finds it actually helps her. “When you prepare for two months, you get too used to the steps.” Commuting between her quiet Berlin house, next to a forest and just 10 minutes from the theater, and London’s Royal Opera House is made easier by her love of sewing, she says. She likes to replicate costumes from photos, and works on her latest creations on the plane to relax. And at 32, Salenko is finally at peace with her height. In December, she will guest on the Shanghai Ballet’s Amsterdam tour in Swan Lake; the ballet most identified with tall ballerinas has become one of her calling cards. “Odette/Odile was my biggest dream, and companies now invite me for it,” she says. “I realized I can dance with any guy, tall or small.” In her case, one size fits all. Laura Cappelle, based in Paris, is a frequent contributor to Dance Magazine.
6847	dbpedia	0	21	https://skyrastudios.com/men/	en	Training for Men - Skyra Studios	https://skyrastudios.com…teIcon-32x32.png	https://skyrastudios.com…teIcon-32x32.png	[ "https://www.facebook.com/tr?id=833192390189949&ev=PageView&noscript=1", "https://www.facebook.com/tr?id=1378333455578734&ev=PageView&noscript=1", "https://skyrastudios.com/wp-content/uploads/2019/05/1Z0A5743-1680x1344.jpg", "https://skyrastudios.com/wp-content/uploads/2020/07/1Z0A5731square-watermarked-350x350.jpg", "https://skyrastudios.com/wp-content/uploads/2020/07/11Z0A9286byNyldaAldarondoJeffries-350x350.jpg", "https://skyrastudios.com/wp-content/uploads/2020/01/Zherlin-1680x1680.jpg", "https://skyrastudios.com/wp-content/uploads/2020/07/51Z0A8976byNyldaAldarondoJeffries-1680x1680.jpg", "https://googleads.g.doubleclick.net/pagead/viewthroughconversion/852308076/?guid=ON&script=0" ]	[]	[]	[ "" ]	null	[]	2020-07-17T17:57:44+00:00		en	https://skyrastudios.com…teIcon-32x32.png	Skyra Studios	https://skyrastudios.com/men/	In addition to our full professional conservatory program, this Fall we are excited to offer two supplemental classes for men, taught by Zherlin Ndudi. These classes are designed to complement a full ballet curriculum and are open to men training at any studio, at no cost. Advance registration is required to secure your spot. The Ballet Conservatory at Skyra is a world-class training and performance program for talented and driven students aimed at preparing dancers for a professional career in classical ballet or contemporary dance with a strong classical ballet foundation. Students are selected by audition for their potential and mental readiness to begin a rigorous training program. Our Vaganova-based curriculum gives our students ample opportunity to achieve significant technical skill milestones while gaining a deeper understanding of the individual artistic potential and developing greater self-awareness. Led by master instructors Natalia Bashkatova, Zherlin Nhudi, and Diane Withee, our unique approach also includes significant contemporary work and Pilates-based cross-training, leading to the development of dancers who are exceptionally versatile and prepared to enter the world’s leading companies. MEN’S TECHNIQUE – The focus of this class is the vocabulary of the male dancer, including turns, jumps, and line. In order to develop the skills required of men in ballet, this class addresses the dynamics necessary for improvement in coordination, speed, and elevation, with particular attention to big jumps. Musicality, anatomical placement, and strength will be emphasized as men develop confidence in men’s variations. Thursdays: 7:15 pm – 9:00 pm PARTNERING – Pas de Deux class is essential in the development of a professional dancer. In this class, dancers will learn partnering skills such as balances, lifts, pirouettes, and selected repertoire. Special care is taken as to the development and and safety of each dancer. Women attend this class by invitation only. Saturdays: 2:30 pm – 4:30 pm Zherlin Ndudi was born in St. Petersburg, Russia. He began his ballet training at age 7 at the State school in Donetsk, Ukraine. At age 9 he continued his training at Choreographic school of Vadim Pisarev and graduated in 2003. Zherlin began his professional career as a soloist at Donbass Opera (Theater of Opera and Ballet) and afterwards continued his studies at Hochschule fur Music and theater Munchen. In 2006, Zherlin joined Aalto-Ballett-Theatre in Essen, Germany and in 2007 joined Miami City Ballet as a soloist. Most recently, Zherlin worked as a principal dancer with the Phoenix Ballet and Ballet Arizona and Master Ballet Academy. He has perfumed on many prestigious stages around the world including Poland, Japan, Norway, Arabic Emirates, Germany, Holland, Korea, China, Switzerland, Moldova, Latvia, Bulgaria, Kazakhstan, Russia and the United states. International Achievements: 1st prize – Young Dancers Competition – Kiev, Ukraine 1st prize – Eurovision Competition – Amsterdam 2004 1st prize – Serge Lifar – Kiev, Ukraine, 2004 1st prize – Arabesque – Perm, Russia 2004 Grand Prix – Tanzolymp – Berlin, Germany 2005 2nd prize – Prix de Lausanne 2005 2nd prize – X International Ballet Competition – Moscow 2005 2nd prize – I Korean International Ballet Competition, Seoul, Korea 2007 Jury award – USA International Ballet Competition – Jackson, Mississippi 2006 Serge Lifar Prize – Awarded to Mr. Zherlin Ndudi in 2005 for Serge Lifar 100th anniversary.
6847	dbpedia	3	74	https://search.proquest.com/openview/252e0890ba237582a0be01427d38a476/1%3Fpq-origsite%3Dgscholar%26cbl%3D18750	en	Feast in the time of terror: Stalinist temporal paradox and the 1937 Pushkin Jubilee	https://search.proquest.…roQuest_logo.gif	https://search.proquest.…roQuest_logo.gif	[ "https://search.proquest.com/assets/ctx/51be0a5b/images/icons/blank.gif" ]	[]	[]	[ "" ]	null	[]	null	Explore millions of resources from scholarly journals, books, newspapers, videos and more, on the ProQuest Platform.	en	/apple-icon-57x57.png		null	Database copyright ProQuest LLC; ProQuest does not claim copyright in the individual underlying works. Your library or institution may also provide you access to related full text documents in ProQuest.
6847	dbpedia	1	82	https://hellorayo.co.uk/greatest-hits/york-north-yorkshire/news/swan-lake-ekaterina-floria-ukraine-ballet-dancer-york/	en	Ukrainian ballet dancer to perform in York	https://cdn.apollo.audio…1361&resize=crop	https://cdn.apollo.audio…1361&resize=crop	[ "https://hellorayo.co.uk/tesla/static/icons/premium-crown.svg", "https://media.bauerradio.com/image/upload/c_crop,g_custom/v1598023272/brand_manager/stations/ql05zvuwqqhi7syz9ji1.svg", "https://hellorayo.co.uk/tesla/static/images/rayo-logo-with-name-white.svg", "https://media.bauerradio.com/image/upload/c_crop,g_custom/v1598023272/brand_manager/stations/ql05zvuwqqhi7syz9ji1.svg" ]	[]	[]	[ "" ]	null	[ "Karen Liu" ]	2022-10-23T05:00:04.637000+00:00	Swan Lake is coming to York today and it features a ballet dancer from Ukraine.	en	/tesla/static/favicons/rayo/favicon.svg	Greatest Hits Radio (York and North Yorkshire)	https://hellorayo.co.uk/greatest-hits/york-north-yorkshire/news/swan-lake-ekaterina-floria-ukraine-ballet-dancer-york/	Ekaterina Floria is taking part in Swan Lake Swan Lake is coming to York today and it features a ballet dancer from Ukraine. Ekaterina Floria has been talking about the challenges she has been facing in the last six months. She was born in Mariupol. After successfully graduating from the Vadim Pisarev's Ballet Academy in 2003, she was accepted right away to the Donbass Ballet Theatre. Thanks to her great dedication and talent, she danced her way up to and became the principal ballerina at the theatre which gave her the opportunity to tour the whole world. She continued to show success on stage and this was rewarded when she was invited to join the Mariinsky Theatre in 2016 as a soloist where she stayed until recently. Ekaterina had to leave Mariupol to study ballet at the age of 12. She said: "Of course, I am very sad that my hometown became so famous for the wrong reasons in the world. I am feeling very disappointed about all the bad things happening at the moment and very upset that I had to leave my theatre as it was a great place to work at. "I'm enjoying the UK alot. I'm enjoying being here and I like the public in theatres and how they react. I really love this country. "The situation is like a terrible dream and I think in this situation, our art and our favourite job is the only thing that can bring us to another road and when we're dancing on stage, we can forget about all these things. It's the only way to feel something good. "I hope they will like the way I'm dancing and I hope that people will like it. Just enjoy it. "We're dancing Swan Lake and as for me, I'm enjoying all the parts because when I was young I liked only the Black Swan but now I'm enjoying the White Swan much more. I hope the audience will enjoy everything." Ekaterina’s repertoire includes all major roles in ballet, not to mention: Aurora, Lilac Fairy – Sleeping Beauty, Giselle – Giselle, Sugar Plum Fairy – The Nutcracker, Odette, Odile – Swan Lake, and many more. Swan Lake For the first time in the UK, this ballet company is from Moldova with dancers from many different countries all over the world, including Ukraine. It is taking place at York Barbican today (Sunday 23rd October) at 2.30pm and 7.30pm. Find out more information on the venue's website. It is also coming to Harrogate on Tuesday 25th October at 8.30pm at Royal Hall. Hear all the latest news from across the UK on the hour, every hour, on Greatest Hits Radio on DAB, at greatesthitsradio.co.uk, and on the Greatest Hits Radio app.
6847	dbpedia	3	35	https://www.timesherald.com/2014/12/14/the-donetsk-ballet-of-ukraine-to-perform-the-nutcracker/	en	The Donetsk Ballet of Ukraine to perform ‘The Nutcracker’	https://www.timesherald.…sheraldfall.jpeg	https://www.timesherald.…sheraldfall.jpeg	[ "https://www.timesherald.com/wp-content/uploads/2021/09/TimesHerald-logo.png", "https://secure.gravatar.com/avatar/?s=85&d=mm&r=g", "https://www.timesherald.com/wp-content/uploads/2024/08/RBR-L-summerleague-0817-03.jpg?w=456", "https://www.timesherald.com/wp-content/uploads/2024/08/RBR-L-communitylife-0810-02.jpg?w=460", "https://www.timesherald.com/wp-content/uploads/2024/08/RBR-L-falcons-0810-12.jpg?w=460", "https://www.timesherald.com/wp-content/uploads/2024/08/RBR-L-nightout-0810-09.jpg?w=417", "https://www.timesherald.com/wp-content/uploads/2021/09/TimesHerald-logo.png" ]	[]	[]	[ "" ]	null	[ "Montgomery Media News" ]	2014-12-14T00:00:00	Peter Tchaikovsky’s famous, fairy-tale ballet, The Nutcracker, is coming to a local venue. The performances, sponsored by the Philadelphia-based International Ballet Exchange (IBE), are scheduled for December 20 and 21, 2014 at Plymouth/Whitemarsh High School, by the much acclaimed dance company, the Donetsk Ballet of Ukraine. The company is on tour in the USA despite […]	en	https://www.timesherald.…iteicon.png?w=16	The Times Herald	https://www.timesherald.com/2014/12/14/the-donetsk-ballet-of-ukraine-to-perform-the-nutcracker/	Peter Tchaikovsky’s famous, fairy-tale ballet, The Nutcracker, is coming to a local venue. The performances, sponsored by the Philadelphia-based International Ballet Exchange (IBE), are scheduled for December 20 and 21, 2014 at Plymouth/Whitemarsh High School, by the much acclaimed dance company, the Donetsk Ballet of Ukraine. The company is on tour in the USA despite a raging civil war in their city and country. Since 1989, the Donetsk Ballet has been touring the world: Italy, Spain, Norway, France, China, Japan, and cities throughout the United States. In 2012, the company spent three months touring France with their production of Swan Lake. In 2013 they toured Western Europe with their production of Romeo and Juliet. Everywhere they have been recognized for their technique and artistry. The power of the male dancers and the delicacy of the ballerinas in splendidly choreographed staging leave audiences exhilarated. Eighteen members of the company touring the USA, led by artistic director Vadim Pisarev, brings that expertise to such roles as the Sugar Plum Fairy, the Mouse King and, of course, the Nutcracker. Internationally renowned principal dancer, Irina Komarenko will be dancing the lead role for the company as well as Yeltsaveta Barkalova, an up and coming star. Irina Komarenko was a finalist in the 1998 USA International Ballet Competition in Jackson and in 2000 she received an award for being the best non-competing partner at Varna’s International Ballet Competition in Bulgaria. Taking the parts as the children in the production are 50 local ballet students, two of whom have won the coveted roles of Clara and Fritz, the children in the story whose lives are touched by a magical nutcracker. Tchaikovsky’s music, the delightful story, and the talent of the dancers come together for an unforgettable experience for young and old. The two performances, 6:30 pm on Saturday, December 20, and 2 pm on Sunday December 21, will be presented at Plymouth/Whitemarsh High School, located at 201 East Germantown Pike, Plymouth Meeting, PA 19462. Ticket prices are $18 for students and seniors and $28 for adults. For online ticket sales go to http://ibexchange.ticketleap.com. Tickets can also be purchased at the door. For information, call 215-849-7950 or 1-800-849-4919. Group rates are available. The performances are sponsored by the International Ballet Exchange (IBE). IBE is a non-profit organization dedicated to providing high-quality ballet education, performance opportunities, and cross-cultural exposure to young aspiring ballet dancers. IBE will also present The Nutcracker at reduced rates for school children throughout the city at George Washington High School Thursday, December 18, at 10:15 am. This project is supported by the Philadelphia Cultural Fund and the Pennsylvania Council on the Arts, a state agency, through its regional arts funding partnership, Pennsylvania Partners in the Arts (PPA). State government funding comes through an annual appropriation by Pennsylvania’s General Assembly and from the National Endowment for the Arts, a federal agency. PPA is administered locally by the Greater Philadelphia Cultural Alliance.
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Operabase to view upcoming and past performances, repertoire, Photos and video gallery, book tickets.	en	/apple-touch-icon.png	Operabase	https://www.operabase.com/vadim-pisarev-a2113764/en

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