I danced ballet as child, albeit with little success. Despite this, my passion for ballet and dance has carried into adulthood. I still love to watch ballet performances and would love to share my passion with you.
Most ballets are love affairs. Two dancers tell the love story with such commitment and passion that the audience feels as if their love is real. It feels like two human hearts beat in a single time. Ballet lovers are fascinated by long-term dance partnerships.
Margot Fonteyn and Rudolph Nureyev were certainly the most-loved ballet partnership of all time.
What makes a great dance couple today? It needs more than trust, empathy and respect to create extraordinary partnering. Please tell me your experience?
As always it is difficult to make a list of the TOP ballet couples without not mentioning all of them.
Svetlana Zakharova & David Hallberg
I
Iana Salenko & Steven McRae
I need to mention that Iana and her husband in real life Marian Walter are an awesome dance couple as well.
Nach der langen Sommerpause freue ich mich auf die kommende Ballettsaison. Jetzt bin ich dabei, die Highlights der nächsten Saison zu entdecken. Ab September gibt es wieder viele sehenswerte Ballettaufführungen.
Hier meine TOP 3 Vorschläge:
GISELLE von Akram Khan
Total neu erzählt und modern choreografiert von Akram Khan. 18. – 28. September 2019 Sadler’s Wells
Wiederaufnahme der sensationellen Interpretation von Verdi’s Totenmesse. Kooperation der Oper und Ballet Zürich. 22. November – 29. Dezember 2019 Opernhaus Zürich
Isn’t it amazing that ballerinas kick up their legs higher? The postures of ballerinas nowadays have become increasingly vertical. Comparing to the past it is obvious that the angle of a ballerina’s working leg increased to 180 degrees – in very modern pieces even more…..
What is Ballet like? When Ballet Lovers think of Ballet, they envision a beautiful ballerina with a white tutu dancing effortlessly in her pointe shoes. BUT this is only a small part of a ballerina’s life. The work they do behind the scenes to perform so effortlessly on stage is tremendous.
So how does a typical day play out?
Most dancers arrive at the dance studio at 9.30am to start a full day of dance and movement. Great performance demands stamina, strength, flexibility and coordination – and that only comes with incredibly long hours in the studio – day in day out.
Steven McRae Principal Dancer at the Royal Ballet) stretching
Most of the dancers arrive before the official class starts at 10am to warm up by themselves. Every ballet dancer has their own rituals to get all their muscles stretched and at that early stage of the day, they work alone. They focus on strengthening the weak parts of their body – all in front of the wall to wall mirrors where they can see every single movement.
The day begins with the morning training – a warm up for all ballet dancers – every single day, 6 days a week. The morning class is based on a series of classic moves – almost all ballet companies in the world do something very similar, including the contemporary dancers. Classic ballet is the key source for all dance movements – its really the ‘bible of dance.
Very intensive training is required to get a beautiful ballerina body – strong but slim but still looking fragile, with long muscles.
The Royal Ballet morning class in full – World Ballet Day 2018
The 75 – 90 minutes training has 2 parts:
First up is the warm up at the barre, exercise and stretch, doing plies, tendus, releves, etc strengthening all parts of the body to improve flexibility and coordination. The dancers are always working to improve their basic technique to make every movement perfect.
The second part of training is a full workout with balancing, turns and jumps.
After a 15 minute break the rehearsals start for the upcoming productions. This is to make sure that all dancers are all doing exactly the same thing at exactly the same time in exactly the same way. Depending on the cast of the next performance, every dancer has their own schedule to learn the new choreography or improve and fine tune already known ballets. The sessions are led by a ballet master and there is usually live piano accompaniment.
The Nutcracker in rehearsal 2016 (The Royal Ballet)
In between the sessions, dancers usually grab a snack – some nuts, a bar or half a sandwich. I’m told that a typical mornings work burns around 600 to 800 calories!!!
Rehearsal of the Birmingham Royal Ballet
Usually the rehearsals last until about 6pm. If a dancer isn’t scheduled to perform, they can enjoy a longer break where they can study a ballet or just sit, stretch and relax.
Depending on their stamina, they may also workout in the gym or do some yoga to get extra strength. As if what they are doing in class isn’t enough!!!
If the dancer has a performance that evening, there are rehearsals and a run through before the show which will finish at about 1.30 pm. The break is so that their muscles can relax before the performance starts. BUT the rest isn’t for too long. Because a 30 minutes warm up is also required 1 hour before the performance.
Photo on Top: The Royal Ballet Full Class – World Ballet Day 2014
„The new Cats movie famously features artists new to musical theater, from Royal Ballet principal Francesca Hayward to commercial dance sensations Les Twins to, you know, Taylor Swift.“ source dancemagazine.com.
Steven McRae, Principal Dancer of The Royal Ballet, has joined the cast of Universal Pictures in the role of Skimbleshanks.
Interview mit Martin Gebhardt, Lichtgestalter am Opernhaus Zürich
Seit Spielzeit 2012/13 ist Martin Gebhardt Leiter der Beleuchtung und verantwortlich für die Lichtgestaltung vieler Inszenierungen.
Wann kommt der Lichtgestalter bei einer Neuproduktion ins Spiel?
Das ist ein langer Prozess. In der Konzeptionsphase überlegt sich der Choreograf mit der Kostümbildnerin und dem Bühnenbildner das Gesamtkonzept für sein neues Werk und bespricht diese Ideen mit mir. Dabei werden grundlegende Fragen der Umsetzbarkeit und Machbarkeit geklärt. Grundsätzlich arbeiten wir sehr eng als Team zusammen. Nach nunmehr 7 Jahren Zusammenarbeit mit dem Ballettdirektor Christian Spuck besteht eine grosse Vertrautheit. Ich weiss, welche Erwartungen Christian an das Licht hat, wie er sich die Umsetzungen seiner Ideen vorstellt und welche Voraussetzungen erfüllt werden müssen.
Bei der Produktion WINTERREISE wurde das Konzept mit den installierten kalt- und warmweissen LED-Stangen ein Jahr vor der Premiere im Team diskutiert und planerisch festgelegt.
