Classique Ballet

[Enrique Fats]

I was lucky to take Larissa Ponomarenko's company class with Boston Ballet. Her effortless arm movements as she showed us the combinations were breathtaking to watch. Every step she made demonstrated a level of artistry and elegance I aspire to. After Larissa's class the fluidity of my arm movement improved significantly and I gained a better understanding of the artistry I can present on stage.

Am signed up and ready for IBC Masterclass Weekend and especially for Gennadi Saveliev's class, which I have experienced in NYC 2 years ago. Am going to focus on my jumps and looking forward to some helpful tips! Gennadi gives great individual attention, and thoughtful corrections, along with a contagiously uplifting attitude towards ballet.

I have had the privilege of working with Anna Liceica for my classical ballet training while in NYC, preparing for YAGP Finals. Anna provided me with exceptional technical training as well as beautiful artistic enhancement of my variation. A beautiful dancer with an impeccable ballet pedigree, Anna is so genuine and warm to all those around her. I admire her and am grateful for the time she spent with me.

As a 501 (c)(3) nonprofit organization, IBC is completely dependent on the local community for its financial survival through donations and sponsorships. We cordially invite private and public corporate organizations to support and invest in IBC.

Victor Gsovsky was a 20th century Russian dancer, teacher and choreographer. He was a rptiteur for numerous European ballet companies, including the Paris Opera, and his students include the acclaimed New York City Ballet ballerina Violette Verdy.

Paquita is a romantic ballet in three acts, with its original story written by Joseph Mazilier and Paul Foucher, music composed by Edouard Deldevez, and choreography by Joseph Mazilier. Marius Petipa first staged it for the Imperial Ballet in St. Petersburg in 1847. In 1881, Petipa created a revival of this ballet, adding new pieces composed by Ludwig Minkus. This production included the Paquita pas de trois for the first act and the Paquita grand pas classique and the Mazurka des enfants for the last act.

These additions survived long after the full-length ballet left the stage (although the full version was just recently revived by several ballet companies). Today, these pieces, particularly the Grand pas classique, are major cornerstones of the traditional classical ballet repertory and have been staged by ballet companies throughout the world.

Grand Pas Classique, a series of masterful variations, was originally performed as part of the wedding celebrations in the last act. But as the Grand Pas Classique took a life of its own outside of the original full-length ballet, its name became capitalized.

Thtre Classique is a new classical ballet company that aims to showcase the beauty and artistry of classical dance through innovative productions that combine traditional choreography with modern staging and technology. The company is dedicated to preserving the rich heritage of classical ballet while also pushing the boundaries of the art form and making it relevant to contemporary audiences.

Led by a team of experienced dancers, choreographers, and artistic directors, Thtre Classique is committed to excellence in every aspect of its productions. From the intricately designed costumes and sets to the precise execution of each dance movement, the company strives to create a truly immersive and unforgettable experience for its audience.

Thtre Classique is also committed to promoting diversity and inclusivity in its productions, with a focus on showcasing dancers and choreographers from a variety of cultural backgrounds. The company believes that classical ballet is a universal art form that can be appreciated and enjoyed by people from all walks of life, and seeks to make its productions accessible to a wide range of audiences.

Thtre Classique is a vibrant and exciting new addition to the world of classical ballet, offering a fresh perspective on this timeless art form and inspiring audiences with its passion and creativity.

The Official Connecticut Classic Ballet Scholarship Competition presents an enjoyable and educational experience for pre-professional ballet students giving the participants a stepping stone towards national and international competitions.

In recent Munich performance of Mariinsky's "Giselle" I saw their "pas de deux classique" for the first time. The girl's first variation was danced to music I have never heard before - is this originally Adam, or was this added later? And... is there any recording of that piece?

In 1847, Marius Petipa (Swan Lake, La Bayadre, etc.) re-staged Paquita with music by Ludwig Minkus, making it the first ballet ever staged by Petipa in Russia. Fast forward thirty-some years and Petipa would revisit the ballet once again in 1881. In his 1881 iteration, Petipa made amendments to the original ballet, including the addition of the Grand Pas Classique one of the most well-known parts of the ballet to this day. The Mariinsky would continue to perform the 1881 version until 1926.

The ballet has seen several restagings over the course of the 20th and 21st centuries. In 1964, Rudolf Nureyev restaged Grand Pas Classique for the Royal Academy of Dance, and in 1983, another restaging was set on the dancers of ABT by Natalia Makarova. In the early 2000s, a new production of Paquita was commissioned for the Paris Opera Ballet, and in 2014, Alexei Ratmansky created a new version for the Bayerisches Staatsballett in Munich, Germany. In 2017, Yuri Smekalov introduced yet another new version for the Mariinsky which you can learn more about here through The Kennedy Center.

Today, the variations of this ballet are commonly performed individually or as part of a series of variations combined with the Grand Pas Classique. Beckanne Sisk (formerly with Ballet West, soon to join Houston Ballet) shares her approach to these variations in a Pointe Magazine article here.

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This weekend at the Martha Cohen Theatre in Calgary the dancers of JCB present Coppelia, the story of Doctor Coppelius, a toymaker in a small village who creates a doll so lifelike that Franz falls madly in love with her, much to the dismay of his fiancee, Swanhilda. Desparate to find out more about Franz's new love, Swanhilda and her friends sneak into the mad Doctor's workshop to discover her secret.

Coppelia is a much loved comedic ballet that is ideal for families and yet sophistcated enough for the ballet aficionado. If you've never seen a ballet before, this is an ideal introduction. The story is easy to follow, the music is powerful and uplifting and the setting and costumes are colourful and fun. However, this is not a junior production or school recital, our dancers execute the challenging choreography with vigour and make it look effortless.

Jeunesse Classique is a not for profit and charitable, pre-professional youth ballet company. We exist to preserve, promote and present classical ballet to audiences across Alberta and have been doing it for nearly 30 years. Our dancers come to us through open audition each season from dance schools throughout Alberta. I have been involved with this company for 15 years and have been chair of the society for six years.

There is nothing more that energizes an artist's performance than playing to a full house. Our dancers have been working hard in rehearsals since January and we would love for them to benefit from a packed, appreciative audience. If you know me, you will know I speak very highly of this talented company. And if for no other reason, come and see me in the role of Doctor Coppelius.

If you are in Calgary this weekend, please consider attending one of our performances. We are at the Martha Cohen Theatre Friday June 2 at 7:30, Saturday June 3 at 2:30 and 7:30 and Sunday June 4 at 2:30. Tickets are avaialble on our website at jcbs.ca as well as the Arts Commons website (artscommons.ca). If you are not able to attend, please like or share this post with your own network of arts lovers.

Jeunesse Classique was formed in Calgary in 1987 by Umran Sumen, a classical ballet dancer and teacher who decided to bring professional training to young dancers in Calgary. With a group of volunteers, the ballet was built up over the years to provide training and live performance experience in full-scale productions.

We could sense there was a story somewhere, but it seemed to get lost when an assortment of dancers came on and for no apparent reason started lolloping around without any by-your-leave. Individually they could all clearly dance and that was, in some cases, the only justification they needed for doing their own thing.

The dances of the toys added much needed colour and interest. The liquid arms of the Eastern dancer (Zhanna Tevosyan) were mesmerizing and the dances of the other national dolls were little gems in themselves.

Of course people go the ballet for a number of reasons and in this case the music of Tchaikovsky is reason enough. The score of The Nutcracker is stuffed with memorable tunes which the un-credited and so presumably scratch orchestra performed with skill and feeling.

After the Romantic ballet era, the next major development in ballet occurred in Russia. Russia had a long folk-dance tradition and in the 18th century, landowners had maintained serf dance companies. Dancing was also regularly taught in the military academies.

The students at the Imperial Russian Ballet schools in St Petersburg and Moscow and the dancers of the Maryinsky (Kirov) Ballet and Bolshoi Ballet were highly privileged and regarded as members of the royal household.

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