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1936 from the souvenir of Col. W. De Basil's Ballets Russes at Covent Garden 3rd season June to Sept.
Scenery by E. Lourie for "Choreartium"and scenery by Leon Bakst for "Scheherazade"
Scenery by Nathalie Gontcharova for "Noces" and Costumes by Nathalie Gontcharova for "Noces"
Chout (pronounced “shoot”) was Prokofiev's first completed ballet score for Sergei Diaghilev, written in two versions between 1915 and 1921. It is sometimes known as “The Tale of the Buffoon,” or simply “The Buffoon.” The story is based on a folk tale recorded by Alexander Afanasyev and is somewhat ridiculous and brutal. It involves seven buffoons who all murder their wives after being told by an eighth buffoon that he has killed his own wife and brought her back to life with a magic whip, and promises to do the same for them. When he fails to deliver on his promise, the other buffoons seek revenge. The principal buffoon is forced to disguise himself as a woman, and is chosen for marriage by a wealthy merchant. He escapes after swindling the merchant out of 300 roubles.
The first performance of the ballet by the Ballets Russes was on May 17, 1921, at the Théâtre Municipal de la Gaîté, Paris, with choreography by Fyodor Slavinsky and artistic supervision by Mikhail Larionov. The orchestra was conducted by the composer. It was fairly well received, however the London premiere on June 9 was bitterly attacked by audiences and critics alike. [Source: Wikipedia]
A small portion of the ballet with modern choreography by Alexey Miroshnichenko may be viewed on Youtube:
www.youtube.com/watch?v=seIwWv705j4
I love the costumes and the explosion of color, which is clearly influenced by the original avant-garde work of Mikhail Larionov. I wish the entire ballet was still available.
New Movement Collective: Collapse, A Period Drama
New Movement Collective (NMC) premieres their new work 'Collapse - a period drama' at the Royal Festival Hall, Southbank Centre. 30 July-6 August 2016.
Choreography, concept + performance: New Movement Collective
Sculpture, design + film: Scanlab Projects
Composer + cello: Oliver Coates
Lighting design: Zeynep Kepekli
Performers: Clemmie Sveaas, Patricia Okenwa, Alexander Whitley, Jonathan Goddard, Joe Walkling, Renaud Wiser
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
New Movement Collective: Collapse, A Period Drama
New Movement Collective (NMC) premieres their new work 'Collapse - a period drama' at the Royal Festival Hall, Southbank Centre. 30 July-6 August 2016.
Choreography, concept + performance: New Movement Collective
Sculpture, design + film: Scanlab Projects
Composer + cello: Oliver Coates
Lighting design: Zeynep Kepekli
Performers: Clemmie Sveaas, Patricia Okenwa, Alexander Whitley, Jonathan Goddard, Joe Walkling, Renaud Wiser
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
RB: Within the Golden Hour/Medusa/Flight Pattern
The Royal Ballet presents a new triple bill, featuring a world premiere by Sidi Larbi Cherkaoui and revivals of works by Christopher Wheeldon and Crystal Pite at The Royal Opera House, Covent Garden, 8-21 May 2019.
Within the Golden Hour
Choreography; Christopher Wheeldon
Music: Ezio Bosso and Antonio Vivaldi
Costume designer: Jasper Conran
Lighting designer: Peter Mumford
Dancers: Beatriz Stix-Brunell, Lauren Cuthbertson, Sarah Lamb, Vadim Muntagirov, Ryoichi Hirano, Alexander Campbell
Medusa
Choreography: Sidi Larbi Cherkaoui
Music: Henry Purcell
Electronic music: Olga Wojciechowska
Costume director: Olivia Pomp
Lighting designer: Adam Silverman
Set concept and design: Sidi Larbi Cherkaoui and ROH Production
Associate choreographer: Jason Kittelberger
Dancers:
Medusa: Natalia Osipova
Athena: Olivia Cowley
Perseus: Matthew Ball
Poseidon: Ryoichi Hirano
Flight Pattern
Choreography: Crystal Pite
Music: Henryk Mikołaj Górecki
Set designer: Jay Gower Taylor
Costume designer: Nancy Bryant
Lighting designer: Tom Visser
Dancers: Kristen McNally, Marcelino Sambé & Artists of The Royal Ballet
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
By kind permission of the Royal Opera House
RB: Within the Golden Hour/Medusa/Flight Pattern
The Royal Ballet presents a new triple bill, featuring a world premiere by Sidi Larbi Cherkaoui and revivals of works by Christopher Wheeldon and Crystal Pite at The Royal Opera House, Covent Garden, 8-21 May 2019.
Within the Golden Hour
Choreography; Christopher Wheeldon
Music: Ezio Bosso and Antonio Vivaldi
Costume designer: Jasper Conran
Lighting designer: Peter Mumford
Dancers: Beatriz Stix-Brunell, Lauren Cuthbertson, Sarah Lamb, Vadim Muntagirov, Ryoichi Hirano, Alexander Campbell
Medusa
Choreography: Sidi Larbi Cherkaoui
Music: Henry Purcell
Electronic music: Olga Wojciechowska
Costume director: Olivia Pomp
Lighting designer: Adam Silverman
Set concept and design: Sidi Larbi Cherkaoui and ROH Production
Associate choreographer: Jason Kittelberger
Dancers:
Medusa: Natalia Osipova
Athena: Olivia Cowley
Perseus: Matthew Ball
Poseidon: Ryoichi Hirano
Flight Pattern
Choreography: Crystal Pite
Music: Henryk Mikołaj Górecki
Set designer: Jay Gower Taylor
Costume designer: Nancy Bryant
Lighting designer: Tom Visser
Dancers: Kristen McNally, Marcelino Sambé & Artists of The Royal Ballet
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
By kind permission of the Royal Opera House
A leading feature in the appearance of Ballets Russes are the gorgeous color combinations of Leon Bakst, whose work was the sensation of art galleries and a dominant influence in the fashion world. He was the most distinguished artist in line and color that the theater had at the time. The beauty of Diaghilev's company springs from the costumes and scenery that Bakst designed for it. "Color should afford a joy for the eye." - Bakst
Ballets Russes’ production of Cleopatra premiered at the Theatre du Chatelet in Paris on June 2, 1909. The music was by several composers including Mussorgsky, Rimsky-Korsakov, Glinka and Tcherepnin. The libretto and choreography were by Michel Fokine.
“The ballet is set during the reign of Cleopatra (51–30 BCE), Queen of Egypt, when two young lovers, Ta-Hor and Amoun, meet on the grounds of a temple. Their tryst is interrupted by the high priest of the temple announcing the arrival of Cleopatra and her court. On seeing Cleopatra, Amoun immediately falls in love with her. Ta-Hor attempts to re-engage her lover’s affections but to no avail. Amoun sends Cleopatra a message to which she responds that he can spend the night with her but in return he must drink poison in the morning. He agrees to the bargain and Ta-Hor later returns to the temple grounds to find the body of her dead lover.
“Cleopatra was the most extraordinary production in the Ballets Russes’ 1909 season and signalled Léon Bakst’s mastery of sumptuous and exotic design. Against his powerful stage imagery of desert scenery and ancient Egyptian temple architecture and interior design, the dancers’ loose and abbreviated costumes glittered like jewels, animated by the physicality of their wearers. Bakst’s colour orchestration of gold, lapis blue, malachite green, pink, orange and violet was expressed in imagined Egyptian design motifs on the characters’ costumes, jewelry and weaponry. Dancer Ida Rubinstein’s dark, angular and unconventional beauty invested her role of Cleopatra with a mesmerising sensuality and, through Fokine’s choreographic innovations and Bakst’s revealing costumes, she and the other dancers showed that the whole body could be used for expressive effect. While the apparently bare sections of their bodies caused a sensation, the dancers were in fact wearing ‘fleshings’, flesh-toned silk or jersey inserts that simulated skin (and reduce the necessity and time for body make-up), a costumier’s technique used until 1912. These inserts seldom survive, nor are they evident in retouched contemporary stage photography.” [Synopsis by the National Gallery of Australia]
New Movement Collective: Collapse, A Period Drama
New Movement Collective (NMC) premieres their new work 'Collapse - a period drama' at the Royal Festival Hall, Southbank Centre. 30 July-6 August 2016.
Choreography, concept + performance: New Movement Collective
Sculpture, design + film: Scanlab Projects
Composer + cello: Oliver Coates
Lighting design: Zeynep Kepekli
Performers: Clemmie Sveaas, Patricia Okenwa, Alexander Whitley, Jonathan Goddard, Joe Walkling, Renaud Wiser
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
On May 19, 1908, Diaghilev premiered Mussorgsky’s Boris Godunov at the Paris Opera for the first time outside of Russia, featuring the legendary Russian bass Feodor Chaliapin, Dmitri Smirnov, conductor Felix Blumenfeldt and the chorus of the Imperial Theatre of Moscow. The music was composed by Mussorgsky, revised and orchestrated by Rimsky-Korsakov, and the sets and costumes were by Aleksandr Golovin and Alexandre Benois, among others. The libretto was based on a play by Alexander Pushkin about the struggle between Boris Godunov and a False Dmitry (usurper) during a troubled period in Russian history. Boris Godunov was Tsar from 1598-1605 and, from 1601-1603, Russia suffered a famine that killed one-third of the population, about two million. At the time, Russia was occupied by the Polish-Lithuanian Commonwealth and suffered civil uprisings, usurpers and imposters. It was a time of troubles for Russia that lasted from the end of the Rurik dynasty in 1598 to the establishment of the Romanov dynasty in 1613. This time has inspired many artists and playwrights in Russia and beyond.
The opera, in its original form, was first produced in 1874 in St. Petersburg and in Rimsky-Korsakov’s revised version in 1896. “Boris Godunov was Diaghilev’s first foray into the world of Parisian theatre. Financed in part by the tsar, the production was intended to reassure the French, who were underwriting an increasingly crippled Russia, that its eastern ally was indeed worthy of support.” [National Gallery of Art, Washington, D.C.]
RB: Within the Golden Hour/Medusa/Flight Pattern
The Royal Ballet presents a new triple bill, featuring a world premiere by Sidi Larbi Cherkaoui and revivals of works by Christopher Wheeldon and Crystal Pite at The Royal Opera House, Covent Garden, 8-21 May 2019.
Within the Golden Hour
Choreography; Christopher Wheeldon
Music: Ezio Bosso and Antonio Vivaldi
Costume designer: Jasper Conran
Lighting designer: Peter Mumford
Dancers: Beatriz Stix-Brunell, Lauren Cuthbertson, Sarah Lamb, Vadim Muntagirov, Ryoichi Hirano, Alexander Campbell
Medusa
Choreography: Sidi Larbi Cherkaoui
Music: Henry Purcell
Electronic music: Olga Wojciechowska
Costume director: Olivia Pomp
Lighting designer: Adam Silverman
Set concept and design: Sidi Larbi Cherkaoui and ROH Production
Associate choreographer: Jason Kittelberger
Dancers:
Medusa: Natalia Osipova
Athena: Olivia Cowley
Perseus: Matthew Ball
Poseidon: Ryoichi Hirano
Flight Pattern
Choreography: Crystal Pite
Music: Henryk Mikołaj Górecki
Set designer: Jay Gower Taylor
Costume designer: Nancy Bryant
Lighting designer: Tom Visser
Dancers: Kristen McNally, Marcelino Sambé & Artists of The Royal Ballet
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
By kind permission of the Royal Opera House
Mingle Media TV and Red Carpet Report host Cathy Kelley were invited to cover TheWrap.com's 5th Annual Pre-Oscar Event at Culina inside the Four Seasons Hotel in Beverly Hills. This event is hosted by CEO & Editor-in-Chief, Sharon Waxman who welcomes Oscar nominees and Hollywood notables to celebrate Awards Season and the Oscars.
Get the Story from the Red Carpet Report Team, follow us on Twitter and Facebook at:
www.facebook.com/RedCarpetReportTV
www.youtube.com/MingleMediaTVNetwork
ABOUT THEWRAP.COM
The Wrap News Inc., has established itself as the leading news organization covering the business of entertainment and media. The Wrap News Inc. is comprised of TheWrap,PowerGrid, PowerGrid Pro and TheGrill. The Wrap News, Inc. is backed by Maveron, a venture capital firm co-founded by Starbucks CEO Howard Schultz and Dan Levitan.
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
www.facebook.com/minglemediatvnetwork
www.flickr.com/MingleMediaTVNetwork
Follow our host Cathy Kelley on Twitter at twitter.com/CatherineKelley
#PortJefferson #PortJefferson First Annual #IceFestival # #LongIsland #NewYork 🍎 - February ❤️ 9th 2020 - #TerryRyanWolowski as #IceQueen of the Harbor - Alex as Sea #CaptainJack - @RyanReporting as #JeffFrost - #CostumeDesigner Colette Gilbert - #Mozart #TheMagicFlute #QueenOfTheNight #Berlin Germany - #JackFrost #☃️ Romeo Muller 1979 - #TheYearWithoutASantaClaus #🎅 #HeatMizer 1974 Phyllis McGinley - #IceCarving #IceSculptures #SnowPrincess ❄️ #Frozen #Elsa #LetItGo #IceSkating ⛸ - 58 Miles from NYC - #I❤️NY #StayIcy - Sponsored by Port Jefferson Business Improvement District #LongIslandNY #LINY - @portjefflibrary @portjeffny @portjeffchamber @portjeffretail @portjeffpulse @pjdickensfest @portjeffartscouncil
New Movement Collective: Collapse, A Period Drama
New Movement Collective (NMC) premieres their new work 'Collapse - a period drama' at the Royal Festival Hall, Southbank Centre. 30 July-6 August 2016.
Choreography, concept + performance: New Movement Collective
Sculpture, design + film: Scanlab Projects
Composer + cello: Oliver Coates
Lighting design: Zeynep Kepekli
Performers: Clemmie Sveaas, Patricia Okenwa, Alexander Whitley, Jonathan Goddard, Joe Walkling, Renaud Wiser
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
A leading feature in the appearance of Ballets Russes are the gorgeous color combinations of Leon Bakst, whose work was the sensation of art galleries and a dominant influence in the fashion world. He was the most distinguished artist in line and color that the theater had at the time. The beauty of Diaghilev's company springs from the costumes and scenery that Bakst designed for it. "Color should afford a joy for the eye." - Bakst
Ballets Russes produced this version of “Sleeping Beauty” and renamed it “The Sleeping Princess.” Leon Bakst designed the costumes and scenery and Marius Petipa and Bronislava Nijinska were responsible for the choreography. The music by Tchaikovsky was partly re-orchestrated by Igor Stravinsky for Ballets Russes. It was a lavish and costly production which premiered at London’s Alhambra Theatre on November 2, 1921, and it nearly bankrupted Diaghilev’s company. The National Gallery of Australia describes the ballet and the reasons for the ensuing financial disaster as follows:
“…At the birth of his daughter, King Florestan XXIV and his queen invite all the fairies of the land to be godmothers to the baby Princess Aurora at her christening at the palace. All the fairies arrive and bestow a magic wish on the young princess. However, the ceremony is interrupted by the wicked fairy Carabosse who, angry that she has been left off the invitation list, curses Aurora, promising that one day she will prick her finger and die. Although she cannot break the curse, the Lilac Fairy frustrates Carabosse by exchanging Aurora’s imminent death with a long slumber, from which Aurora can only be woken by the kiss of a prince. Aurora’s awakening by Florimund a hundred years later is followed by their spectacular marriage.
“This ballet had its genesis as Sleeping Beauty, presented in 1890 by Marius Petipa for the Mariinsky Theatre and celebrated for its lavish production quality and for the commissioning of Tchaikovsky for its musical score. The young Bakst, Benois and Diaghilev saw this production, and were enthralled by its fusion of historical art, design and contemporary music. The ballet was given a number of times outside Russia, including a version for Anna Pavlova’s company in New York in 1916, with costume designs by Bakst. While the Ballets Russes had reached the end of the decade as the acknowledged leader in modern ballet, Diaghilev’s decision to stage this ballet in 1921 was driven by the company’s weak financial position and the hope that such a classic might secure for the Ballets Russes a long-running season in the conservative, but lucrative, London theatre world. He reconciled with Bakst, offering him the design work, secure in the knowledge of Bakst’s previous experience with this production and his sketches prepared for the earlier Pavlova commission. Diaghilev secured the backing of Sir Oswald Stoll, the director of the Alhambra Theatre, to fund the production, renamed in English The Sleeping Princess, but soon ran over budget. The costs of Bakst’s costumes for a huge cast spiralled due to their lavish use of expensive materials and couture-like construction and detailing, with the final detail of every costume personally overseen and approved by Diaghilev. The National Gallery’s costume for a lady-in-waiting is an indication of the extravagance, as a costume provided for a relatively minor character. Bakst’s six elaborate sets, inspired by the Baroque work of the seventeenth-century theatre designer Ferdinando Galli Bibiena (1656–1743) and the eighteenth-century work of Bérain and Boquet (for the later period of Aurora’s awakening), also drained the budget.
“The demanding, lengthy performance of a single ballet did not appeal to audiences used to a more varied repertoire, and crucial audience numbers did not eventuate, forcing the production to close after 114 performances and leaving Diaghilev with crippling debt. As security, Stoll impounded the valuable costumes and properties at his Coliseum Theatre until Diaghilev was able to repay the debt, something he did not achieve until 1926. Having fled London before the production finished, without his properties and unable to return to Britain due to the risk of legal action and penalty, Diaghilev was again forced to change direction and focus. An unplanned future benefit of this episode was that the sturdily crafted costumes remained in relatively good condition, having been worn lightly and stored for a long period. By the time they were released, Diaghilev had moved on from such historical spectacles and the costumes, like Aurora, entered another long period of slumber and obscurity.” [National Gallery of Australia at www.nga.gov.au]
Based on the prologue to “The Thousand and One Nights,” the ballet Scheherazade premiered in Paris on June 10, 1910, at the Theatre National de l’Opera. Rimsky-Korsakov composed the music, Michel Fokine did the choreography and Leon Bakst was the stage and costume designer.
The story is about the Sultan of ancient Persia and his harem. Ida Rubinstein played the Sultan’s favorite wife Zobeide and Vaslav Nijinsky was the Golden Slave for the premiere. The Sultan suspects that Zobeide is unfaithful so he pretends to go on a hunting trip with his brother. Upon their departure, the concubines bribe the Chief Eunuch to free the slaves, which ignites an orgy. Zobeide chooses the Golden Slave with whom she falls into a passionate embrace. The Sultan returns unexpectedly and is enraged at the betrayal. He orders that all be killed. Zobeide begs the Sultan’s forgiveness but, when it seems futile, she stabs herself and falls to his feet.
Available on Youtube is a great performance of Scheherazade by the Kirov Ballet in 2007 with principal dancers Yulia Makhalina as Zobeide and Igor Kolb as the Golden Slave.
Part 1: www.youtube.com/watch?v=jUXSL81owSg
www.starnow.co.uk/christopherw33618
2020 Reel youtu.be/fXhm5se6H3c
2017 Reel www.starnow.com/media/778224
2016 Reel www.starnow.co.uk/media/623368
2015 Reel www.starnow.co.uk/media/500618
Crew CV crew.mandy.com/uk/crew/profile/chris-christopher-wilson
wartimeproductions.co.uk/index.html
NAZI MEGASTRUCTURES: RUSSIA’S WAR
This is the story of Hitler’s war on the Eastern Front – an attempt to liquidate the Russian people and gain living space for his superior Aryan race. It is a conquest that takes the Nazis all the way to the gates of Moscow and back to the heart of Berlin. A war of annihilation that culminates in the collapse of the Third Reich. The series reveals the cunning strategy, defensive megastructures and military technology deployed in this devastating war of brutality between giants.
After a humiliating defeat at Stalingrad, Nazi Germany rallies to turn the war back in their favour. The result is the greatest tank battle in history – Kursk.
Florent Schmitt composed the music for "La Tragedie de Salome," famous for its dance of the seven veils. Loie Fuller starred in the title role when the ballet was first performed in 1907. Schmitt revised his score and Nicholas Guerra did the choreography for Natasha Trouhanova in 1912. Ballets Russes staged a version of Salome in 1913, choreographed by Boris Romanov and starring Tamara Karsavina. Russian artist Serge Sudeikin designed the sets and costumes.
For a modern version of Salome, follow my link to Youtube where you may view a small portion of the ballet performed at the Marinsky Theater.
A leading feature in the appearance of Ballets Russes are the gorgeous color combinations of Leon Bakst, whose work was the sensation of art galleries and a dominant influence in the fashion world. He was the most distinguished artist in line and color that the theater had at the time. The beauty of Diaghilev's company springs from the costumes and scenery that Bakst designed for it. "Color should afford a joy for the eye." - Bakst
La Peri is a ballet by French composer Paul Dukas about a man’s search for immortality and his encounter with the mythological Peri which carries the flower of immortality.
“Paul Dukas wrote the music in 1911 as a dance poem in one scene… He was commissioned to write the music for the Ballets Russes with designs by Leon Bakst, with Natalia Trouhanova as the Peri and Vaslav Nijinsky as Iskender. However, because Serge Diaghilev did not feel that Trouhanova was enough a skilled dancer to be a partner to Nijinsky, the production was cancelled. Trouhanova eventually commissioned Ivan Clustine to choreograph the music, and the work premiered in Paris on April 22, 1912, with Bekefi as Iskender and designs by Rene Piot.” [Wikipedia]
Emily Parman has dressed me many times.
In August of 2013 she put me in a peasant dress and cloth hat to bid d'Artagnan a mother's goodbye at the top of The Three Musketeers, and then wrap-up sandals and a toga - which she pinned onto me in the middle of the park - when I went back on as a distracting Dionysus at the King's garden party. Then there was the snappy double-breasted suit in Julius Caesar, and the crude burlap shift in King John, and last summer's corset, petticoats, bustle, dress, wig and bodacious hat - with bird and fruit - for my Lady Bracknell in The Importance of Being Earnest.
This time out, in the recent Hudson Warehouse production of Shakespeare's Henry 4.1, I get to join her on stage in the tavern in Eastcheap, where Prince Hal, Falstaff, Bardolph, Peto, and my character, Ned Poins, hang out between pranks and mischiefs.
Emily plays Mistress Quickly, the owner of the naughty establishment. In our scene, in which Falstaff regales us with the (completely false) details of a foiled bit of highway robbery, we collapse in gales of laughter and uncontrollable giggles while the storytelling is going on; eventually the sheriff shows up to ruin the fun, as sheriffs always do.
Throughout this gallery of cast portraits, you are looking at Emily's design and costuming work, as well as the actors dressed in it.
A leading feature in the appearance of Ballets Russes are the gorgeous color combinations of Leon Bakst, whose work was the sensation of art galleries and a dominant influence in the fashion world. He was the most distinguished artist in line and color that the theater had at the time. The beauty of Diaghilev's company springs from the costumes and scenery that Bakst designed for it. "Color should afford a joy for the eye." - Bakst
The ballet “Narcisse” is based on the myth of Narcissus and is set in Boeotia at the shrine of Pomona, the goddess of fruitful abundance. The beautiful mountain nymph Echo is spurned and ridiculed by the young, self-indulgent Narcissus. In anger, Echo appeals to the goddess Pomona to make Narcissus fall in love in a way that can never be reciprocated. Under her spell, Narcissus falls in love with his own reflection in a glassy pool. The ballet premiered at the Theatre de Monte Carlo in Monaco on April 26, 1911. The costumes and scenery were designed by Leon Bakst, the choreography was by Michel Fokine and the music by Nikolai Tcherepnin.
Mingle Media TV and Red Carpet Report host Cathy Kelley were invited to cover TheWrap.com's 5th Annual Pre-Oscar Event at Culina inside the Four Seasons Hotel in Beverly Hills. This event is hosted by CEO & Editor-in-Chief, Sharon Waxman who welcomes Oscar nominees and Hollywood notables to celebrate Awards Season and the Oscars.
Get the Story from the Red Carpet Report Team, follow us on Twitter and Facebook at:
www.facebook.com/RedCarpetReportTV
www.youtube.com/MingleMediaTVNetwork
ABOUT THEWRAP.COM
The Wrap News Inc., has established itself as the leading news organization covering the business of entertainment and media. The Wrap News Inc. is comprised of TheWrap,PowerGrid, PowerGrid Pro and TheGrill. The Wrap News, Inc. is backed by Maveron, a venture capital firm co-founded by Starbucks CEO Howard Schultz and Dan Levitan.
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
www.facebook.com/minglemediatvnetwork
www.flickr.com/MingleMediaTVNetwork
Follow our host Cathy Kelley on Twitter at twitter.com/CatherineKelley
Based on the prologue to “The Thousand and One Nights,” the ballet Scheherazade premiered in Paris on June 10, 1910, at the Theatre National de l’Opera. Rimsky-Korsakov composed the music, Michel Fokine did the choreography and Leon Bakst was the stage and costume designer.
The story is about the Sultan of ancient Persia and his harem. Ida Rubinstein played the Sultan’s favorite wife Zobeide and Vaslav Nijinsky was the Golden Slave for the premiere. The Sultan suspects that Zobeide is unfaithful so he pretends to go on a hunting trip with his brother. Upon their departure, the concubines bribe the Chief Eunuch to free the slaves, which ignites an orgy. Zobeide chooses the Golden Slave with whom she falls into a passionate embrace. The Sultan returns unexpectedly and is enraged at the betrayal. He orders that all be killed. Zobeide begs the Sultan’s forgiveness but, when it seems futile, she stabs herself and falls to his feet.
Available on Youtube is a great performance of Scheherazade by the Kirov Ballet in 2007 with principal dancers Yulia Makhalina as Zobeide and Igor Kolb as the Golden Slave.
Part 1: www.youtube.com/watch?v=jUXSL81owSg
Based on the prologue to “The Thousand and One Nights,” the ballet Scheherazade premiered in Paris on June 10, 1910, at the Theatre National de l’Opera. Rimsky-Korsakov composed the music, Michel Fokine did the choreography and Leon Bakst was the stage and costume designer.
The story is about the Sultan of ancient Persia and his harem. Ida Rubinstein played the Sultan’s favorite wife Zobeide and Vaslav Nijinsky was the Golden Slave for the premiere. The Sultan suspects that Zobeide is unfaithful so he pretends to go on a hunting trip with his brother. Upon their departure, the concubines bribe the Chief Eunuch to free the slaves, which ignites an orgy. Zobeide chooses the Golden Slave with whom she falls into a passionate embrace. The Sultan returns unexpectedly and is enraged at the betrayal. He orders that all be killed. Zobeide begs the Sultan’s forgiveness but, when it seems futile, she stabs herself and falls to his feet.
Available on Youtube is a great performance of Scheherazade by the Kirov Ballet in 2007 with principal dancers Yulia Makhalina as Zobeide and Igor Kolb as the Golden Slave.
Part 1: www.youtube.com/watch?v=jUXSL81owSg
Mingle Media TV and Red Carpet Report host Cathy Kelley were invited to cover TheWrap.com's 5th Annual Pre-Oscar Event at Culina inside the Four Seasons Hotel in Beverly Hills. This event is hosted by CEO & Editor-in-Chief, Sharon Waxman who welcomes Oscar nominees and Hollywood notables to celebrate Awards Season and the Oscars.
Get the Story from the Red Carpet Report Team, follow us on Twitter and Facebook at:
www.facebook.com/RedCarpetReportTV
www.youtube.com/MingleMediaTVNetwork
ABOUT THEWRAP.COM
The Wrap News Inc., has established itself as the leading news organization covering the business of entertainment and media. The Wrap News Inc. is comprised of TheWrap,PowerGrid, PowerGrid Pro and TheGrill. The Wrap News, Inc. is backed by Maveron, a venture capital firm co-founded by Starbucks CEO Howard Schultz and Dan Levitan.
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
www.facebook.com/minglemediatvnetwork
www.flickr.com/MingleMediaTVNetwork
Follow our host Cathy Kelley on Twitter at twitter.com/CatherineKelley
New Movement Collective: Collapse, A Period Drama
New Movement Collective (NMC) premieres their new work 'Collapse - a period drama' at the Royal Festival Hall, Southbank Centre. 30 July-6 August 2016.
Choreography, concept + performance: New Movement Collective
Sculpture, design + film: Scanlab Projects
Composer + cello: Oliver Coates
Lighting design: Zeynep Kepekli
Performers: Clemmie Sveaas, Patricia Okenwa, Alexander Whitley, Jonathan Goddard, Joe Walkling, Renaud Wiser
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
Instagram - @SaiydMuhammed
Facebook - www.facebook.com/saiyd.muhammed
Tumblr - saiydmuhammed.tumblr.com/
Twitter - @MuhammedSaiyd
e-mail - Saiyd@ibnjeans.com
New Movement Collective: Collapse, A Period Drama
New Movement Collective (NMC) premieres their new work 'Collapse - a period drama' at the Royal Festival Hall, Southbank Centre. 30 July-6 August 2016.
Choreography, concept + performance: New Movement Collective
Sculpture, design + film: Scanlab Projects
Composer + cello: Oliver Coates
Lighting design: Zeynep Kepekli
Performers: Clemmie Sveaas, Patricia Okenwa, Alexander Whitley, Jonathan Goddard, Joe Walkling, Renaud Wiser
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Based on the prologue to “The Thousand and One Nights,” the ballet Scheherazade premiered in Paris on June 10, 1910, at the Theatre National de l’Opera. Rimsky-Korsakov composed the music, Michel Fokine did the choreography and Leon Bakst was the stage and costume designer.
The story is about the Sultan of ancient Persia and his harem. Ida Rubinstein played the Sultan’s favorite wife Zobeide and Vaslav Nijinsky was the Golden Slave for the premiere. The Sultan suspects that Zobeide is unfaithful so he pretends to go on a hunting trip with his brother. Upon their departure, the concubines bribe the Chief Eunuch to free the slaves, which ignites an orgy. Zobeide chooses the Golden Slave with whom she falls into a passionate embrace. The Sultan returns unexpectedly and is enraged at the betrayal. He orders that all be killed. Zobeide begs the Sultan’s forgiveness but, when it seems futile, she stabs herself and falls to his feet.
Available on Youtube is a great performance of Scheherazade by the Kirov Ballet in 2007 with principal dancers Yulia Makhalina as Zobeide and Igor Kolb as the Golden Slave.
Part 1: www.youtube.com/watch?v=jUXSL81owSg