The Cinderella Ballet by Aleksandra/Russian Translation,, Orchid Publishing, Incorporated, 2012,,..

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1 The Cinderella Ballet by Aleksandra/Russian Translation,, Orchid Publishing, Incorporated, 2012,,.. DOWNLOAD HERE,,,,.. Aleksandra Enterprises partnered with Rossotrudnichestvo the (Russian) Federal Agency for the Commonwealth of Independent States, Compatriots Living Abroad and International Humanitarian Cooperation which aims to promote the study of Russian language, read her Russian translated book "Cinderella Ballet by Aleksandra" to Russian speaking children. As the end celebration to Russia Day 2012, Aleksandra hosted a story time, book signing, and light reception for parents and children. Advanced copies of the books and toys were sold at the event. The complete line will be available in late July. To preorder, please contact cw@aleksandra.com or call ext 202. Inna Elterman brought her three children, ages 14, 7, and 2, to the event and said all three enjoyed the storytime. My 7-year-old son, Eli, was very proud to show off his knowledge of Russian letters in the alphabet activity after the book reading, and my 2-year-old daughter, Kate, did not want to leave until she has rearranged the stickers in the dress-up book in every possible sequence, Ms. Elterman said. Hosted by the Moscow Committee of Chicago Sister Cities International, chaired by Ms. Efimova and Prince Piotr Galitzen, the event was held in honor of Russia s national holiday, which is celebrated on June 12 and commemorates the day in 1990 when the Russian parliament formally declared sovereignty over Russia. The event was co-hosted by Rossotrudnichestvo the (Russian) Federal Agency for the Commonwealth of Independent States, Compatriots Living Abroad and International Humanitarian Cooperation which aims to promote the study of Russian language. Aleksandra Efimova is also the president of Growing Through Arts, a company that creates and markets educational books and toys for children. The company currently has six books available in English and two in Russian, The Cinderella Ballet by Aleksandra and The Peter and the Wolf Symphony by Aleksandra. Matching toys that illustrate the Russian alphabet will be available at the end of July. Both the books and matching toys can be purchased at the Russian Pointe Dance Boutique, as well as online at GrowingThroughArts.com. The Sleeping Beauty (Russian: Ð Ð Ñ Ñ Ð Ñ ÐºÑ Ð Ñ Ð Ð²Ð Ñ Ð / Spyashchaya krasavitsa) is a ballet in a prologue and three acts, first performed in The music was composed by Pyotr Ilyich Tchaikovsky (his opus 66). The score was completed in 1889, and is the second of his three ballets. The original scenario was conceived by Ivan Vsevolozhsky, and is based on Charles Perrault's La Belle au bois dormant. The choreographer of the original production was Marius

2 Petipa. Tchaikovsky was approached by the Director of the Imperial Theatres in St. Petersburg, Ivan Vsevolozhsky on 25 May 1888 about a possible ballet adaptation on the subject of the story of Undine. It was later decided that Charles Perrault's La Belle au bois dormant would be the story for which Tchaikovsky would compose the music for the ballet. Tchaikovsky did not hesitate to accept the commission, although he was aware that his only previous ballet, Swan Lake, met with little enthusiasm at that stage of his career. The ballet scenario that Tchaikovsky worked on was based on the Brothers Grimm's version of Perrault's work entitled 'DornrÃ schen'. In that version, the Princess's parents (the King and the Queen) survived the 100-year sleep to celebrate the Princess's wedding to the Prince. However, Vsevolozhsky incorporated Perrault's other characters from his stories into the ballet, such as Puss in Boots, Little Red Riding Hood, Cinderella, Bluebird, Ricky of the Tuft and Tom Thumb. Other french fairy tale characters to be featured are Beauty and the Beast, Pretty Goldilocks and The White Cat. Regardless, Tchaikovsky was happy to inform the Director of the Imperial Theatre that he had great pleasure studying the work and had come away with adequate inspiration to do it justice.[citation needed] The choreographer was Marius Petipa, ballet master of the Imperial Ballet, who wrote a very detailed list of instructions as to the musical requirements. Tchaikovsky worked quickly on the new work at Frolovskoye; he began initial sketches in the winter of 1888 and began orchestration on the work on 30 May The ballet's focus was undeniably on the two main conflicting forces of good (the Lilac Fairy) and evil (Carabosse); each has a leitmotif representing them, which run through the entire ballet, serving as an important thread to the underlying plot. Act III of the work, however, takes a complete break from the two motifs and instead places focus on the individual characters of the various court dances. 1946, London, Royal Opera House. Staged by Ninette de Valois, this production marked The Royal Ballet's debut at the Royal Opera House, where it has remained as the resident ballet company. A television adaptation of this production was presented in the U.S. by NBC in 1955 as part of their anthology series Producers' Showcase. A revival of this production, with somewhat revised scenery and costumes, was staged in 2006 and is available on DVD. 1992, Basel Theater Basel reworked by Youri VÃ mos with new narrative involving the life of Anna Anderson and her claim to be Grand Duchess Anastasia. The order of musical numbers has been slightly changed, some numbers omitted with other music by Tchaikovsky added and major set pieces of Petipa's choreography retained, but now placed in different narrative context - often performed as Anderson's "memories". This version has been performed by a number of central European ballet companies over the past two decades. The ballet's premiere received more favorable accolades than Swan Lake from the press but Tchaikovsky never had the luxury of being able to witness his work become an instant success in theatres outside of Russia. He died in By 1903, The Sleeping Beauty was the second most popular ballet in the repertory of the Imperial Ballet (the Petipa/Pugni The Pharaoh's Daughter was first), having been performed 200 times in only 10 years. A production mounted at the La Scala in Milan did not arouse much interest and it was not until 1921 that, in London, the ballet finally gained wide acclaim and eventually a permanent place in the classical repertoire. In 1999, the Mariinsky Ballet reconstructed the original 1899 production, including reproductions of the original sets and costumes. Although the 1951 Kirov production by Konstantin Sergeyev is available on DVD/Video, the 1999 "authentic" version is only available in short excerpts as of King Florestan the XXIVth and his Queen have welcomed their first child, Princess Aurora, and declare a grand christening ceremony to honor her. Six fairies are invited to the ceremony to bestow gifts on the child. Each fairy represents a virtue or positive trait, such as beauty, courage,

3 sweetness, musical talent, and mischief (the names of fairies and their gifts vary in productions). The most powerful fairy, the Lilac Fairy, arrives with her entourage, but before she can bestow her gift, the palace grows dark. With a clap of thunder, the evil fairy Carabosse arrives (typically played by a female character dancer, or a male dancer in drag) with her minions (generally several male dancers depicted as rats or insects). Carabosse furiously asks the King and Queen why she had not received an invitation to the christening. The blame falls to Catallabutte, the Master of Ceremonies who was in charge of the guest list. Carabosse gleefully tears his hair out and beats him with her cane, before placing a curse upon the baby princess as revenge: Aurora will indeed grow up to be a beautiful, virtuous and delightful young lady, but on her sixteenth birthday she will prick her finger on a spindle and die. The King and Queen are horrified and beg Carabosse for mercy, but she shows none. However, the Lilac Fairy intervenes. Though she does not have enough power to completely undo the curse, she alters it, allowing the spindle to cause a peaceful 100-year sleep for the princess, rather than death. At the end of those 100 years, she will be woken by the kiss of a handsome prince. Relieved that Aurora's life will ultimately be spared, the court is set at ease. It is the day of Princess Aurora's sixteenth birthday. Celebrations are underway, though the King is still unsettled by Carabosse's omen. Catallabutte discovers several peasant ladies knitting nearby (a forbidden activity, as it involves spindles potentially harmful to the princess) and alerts the King, who initially sentences the women to a harsh punishment. The Queen gently persuades him to spare the innocent citizens, and he agrees. The townsfolk perform an elaborate waltz with flower garlands, and Princess Aurora arrives afterwards. She is introduced to four suitors by her doting parents. Aurora and the suitors perform the famous Rose Adagio, one of the most notoriously difficult sequences in all of ballet. Presently, a cloaked stranger appears and offers a gift to the princess: a spindle. Having never seen one before, Aurora curiously examines the strange object as her parents desperately try to intervene. As predicted, she pricks her finger on the spindle (in some versions, the "gift" is a nonthreatening bouquet of flowers with the spindle hidden within). While initially appearing to recover quickly, she falls into a swoon and collapses. The cloaked stranger reveals herself to be Carabosse, who believes that her curse still stands and that the princess is dead. Once again, the Lilac Fairy quells the hubbub and reminds the King and Queen that Aurora is merely asleep. The princess is carried off to bed, and the Lilac Fairy casts a spell of slumber over the entire kingdom, which will only be broken when Aurora awakens. She then uses her magic to cover the castle in layers of vines and brambles. One hundred years later, Prince DÃ sirã is at a hunting party with his companions. He is in a mopey mood, unhappy with his bossy countess girlfriend. His friends try to cheer him up with a game of blind man's bluff and a series of dances. Still unhappy, he asks to be alone and the hunting party departs. Alone in the forest, he is met by the Lilac Fairy, who has chosen him to awaken Aurora. She shows him a vision of the beautiful princess, and the prince is immediately smitten. The Lilac Fairy explains the situation, and DÃ sirã begs to be taken to the princess. The Lilac Fairy takes him by boat to the castle, and has him cut away the layers of vines with his sword. Carabosse appears and attempts to deter him, but he and the Lilac Fairy finally manage to defeat her. Once inside the castle, DÃ sirã awakens Aurora with a kiss. The rest of the court wakes as well, and the King and Queen heartily approve when the prince proposes marriage and the princess accepts. The royal wedding is underway. Guests include the Jewels: Gold (male), Diamond, Sapphire, Ruby, and Silver (all female). Fairytale characters are in attendance, including Puss in Boots and the White Cat, Princess Florine and the Bluebird, Little Red Riding Hood and the Wolf, Cinderella and her Prince, Beauty and the Beast, and others. Aurora and DÃ sirã perform a grand Pas de Deux, and the entire ensemble dances a mazurka. The prince and princess are married, with the Lilac Fairy blessing the union. Titles of all of the numbers listed here come from Marius Petipa's original scenario, as well as the original libretto and programs of the first production of Major changes which were made to the score for Petipa's original production are mentioned, and help explain why the score is often heard in different versions in theatres today. In 1890, Alexander Siloti was approached to arrange the music for piano duet. He declined, but

4 suggested his then 17-year-old cousin Sergei Rachmaninoff would be more than competent. This offer was accepted, although Siloti supervised the arrangement.[4] Siloti himself arranged the entire score for piano solo. The Walt Disney Company currently has a trademark application pending with the US Patent and Trademark Office, filed March 13, 2007, for the name "Princess Aurora" that would cover all live and recorded movie, television, radio, stage, computer, Internet, news, and photographic entertainment uses, except literature works of fiction and nonfiction.[5] This has caused controversy because "Princess Aurora" is also the name of the lead character in Tchaikovsky's ballet version of the story, from which Disney acquired some of the music for its animated 1959 film Sleeping Beauty.[6] ^ Roger Fiske (1973): Eulenberg Edition, Foreword to the complete score of the ballet: "On 2 Feb 1939 Sadlerâ s Wells presented the ballet in London with Margot Fonteyn in the title role... This was the first successful production outside Russia, and it led to The Sleeping Beauty becoming extremely popular in all countries where classical ballet is cultivated... The way in which he developed his themes and the lavish originality with which he scored the music raised his ballets far above those his predecessors had composed." This a list of ballet dancers from the Russian Empire, Soviet Union, and Russian Federation, including both ethnic Russians and people of other ethnicities. This list includes as well those who were born in the these three states but later emigrated, and those who were born elsewhere but immigrated to the country and performed there for a significant portion of their careers. The original purpose of the ballet in Russia was to entertain the royal court. The first ballet company was the Imperial School of Ballet in St. Petersburg in the 1740s. The Ballets Russes was a ballet company founded in the 1909 by Sergey Diaghilev, an enormously important figure in the Russian ballet scene. Diaghilev and his Ballets Russesâ travels abroad profoundly influenced the development of dance worldwide.[1] The headquarters of his ballet company was located in Paris, France. A protã gã of Diaghilev, George Balanchine, founded the New York City Ballet Company. During the early 20th century, many Russian ballet dancers rose to fame. Soviet ballet preserved the perfected 19th century traditions,[2] and the Soviet Union's choreography schools produced one internationally famous star after another. The Bolshoi Ballet in Moscow and the Mariinsky in Saint Petersburg remain famous throughout the world.[3] She was one of the Baby Ballerinas of the Ballet Russe de Monte Carlo, discovered by George Balanchine in Paris in the 1930s. She created roles in LÃ onide Massine's Le Beau Danube (1924), Jeux d'enfants (1932), and Les PrÃ sages (1933); and in Bronislava Nijinska's Les Cent Baisers (1935). Between 1940 and 1951 Baronova appeared in several films, and worked as ballet mistress for the 1980 film Nijinsky. Trained in Paris by Preobrajenska, Toumanova was one of Balanchine's Baby Ballerinas and a close colleague of LÃ onide Massine. She made her debut in the children's ballet L'Ã ventail de Jeanne. Nicknamed The Black Pearl of the Russian Ballet, she performed in Balanchine's Le Bourgeois Gentilhomme and Le Palais de Cristal. She appeared in Hollywood films, including The Private Life of Sherlock Holmes, Tonight We Sing (playing Anna Pavlova), Deep in My Heart, Days of Glory, and Alfred Hitchcock's Torn Curtain. Trained under Agrippina Vaganova and her own mother, a ballerina of the Imperial Russian Ballet, Ulanova joined the Mariinsky Theatre in After 1944 she became a prima ballerina assoluta in Bolshoi Theatre. In 1945 she danced the title role in the world premiere of Prokofiev's Cinderella. On her first international tour in 1956 she achieved enormous success. Having retired from the stage in 1960, Ulanova coached many generations of the Russian dancers Vishneva is one of the 21st century's leading dancers; she is a prima ballerina at the Mariinsky Ballet since 1995 and performs as a guest in ABT since 2005, as well as on other world scenes. Her repertoire includes Don Quixote, Romeo and Juliet, La BayadÃ re, Sleeping Beauty, Swan Lake,

5 and Giselle. She also performs in George Balanchine's Jewels and Kenneth MacMillan's Manon. Although the original production was not a success, the twenty-minute suite that Tchaikovsky extracted from the ballet was. However, the complete Nutcracker has enjoyed enormous popularity since the late 1960s and is now performed by countless ballet companies, primarily during the Christmas season, especially in the U.S.[2] Major American ballet companies generate around 40 percent of their annual ticket revenues from performances of The Nutcracker.[3][4] After the success of The Sleeping Beauty in 1890, Ivan Vsevolozhsky, the director of the Imperial Theatres, commissioned Tchaikovsky to compose a double-bill program featuring both an opera and a ballet. The opera would be Iolanta. For the ballet, Tchaikovsky would again join forces with Marius Petipa, with whom he had collaborated on The Sleeping Beauty. The material Petipa chose was an adaptation of E.T.A. Hoffmann's story The Nutcracker and the Mouse King by Alexandre Dumas pã re called The Tale of the Nutcracker.[1] The plot of Hoffmann's story (and Dumas' adaptation) was greatly simplified for the two-act ballet. Hoffmann's tale contains a long flashback story within its main plot entitled The Tale of the Hard Nut, which explains how the Prince was turned into the Nutcracker. This had to be excised for the ballet.[6]

presents The Nutcracker

presents The Nutcracker December 2015 HOW TO BE A GOOD AUDIENCE A good audience: After watching The Bristol Bal- let s performance of The Nutcracker and using the work- book, please take a moment to fill