David H. Koch Theater Vidéos
Commémorations 2024 (Inauguration: David H. Koch Theater (Upper West Side))
- Upper West Side
- États-Unis
Dernière mise à jour
2024-05-02
Actualiser
Lincoln Center Peter Tchaikovsky Alexeev
For tickets go to: (http•••) Boris Eifman, Artistic Director ANNA KARENINA Russia's most innovative ballet company, Eifman Ballet of St. Petersburg, returns to New York to celebrate the 20th Anniversary of its first New York engagement. To celebrate the occasion, the company will make its Lincoln Center debut with four performances at the David H. Koch Theater, where it will present Eifman’s wildly acclaimed Anna Karenina, based on Leo Tolstoy's classic novel. The New York City Ballet Orchestra will play the ballet’s Tchaikovsky score conducted by Nikolay Alexeev. A Ballet by Boris Eifman Based on the novel by Leo Tolstoy Music by Peter Tchaikovsky Sets by Zinovy Margolin Costumes by Vyacheslav Okunev Lighting by Gleb Filshtinsky “Ballet is a very specific realm where psychological drama is reenacted and fulfilled; it is a chance to get an insight into the subconscious. Every new production is a search for the unknown. The Anna Karenina novel by Tolstoy has always been the object of my keen interest. While reading Tolstoy, one can see how fully and intimately the author understands the inner world and psychology of his heroes, how keenly and precisely describes he the life in Russia. In the novel one will find a plunge into the psychological world of the chief character and also a psycho-erotic interpretation of her personality. Even in our contemporary literature we won’t find similar passions, metamorphoses and phantasmagoria. All this has become the gist and essence of my choreographic reflections upon the book. The measured, regular life of the Karenin family – the husband’s public service, the strict high society conventions – produced an illusion that harmony and peace reign there. Anna’s passionate love for Vronsky destroyed the «matter of course» in their existence. Sincerity of the lovers’ feelings was doubted and rejected, their frankness was afraid of. Karenin’s hypocrisy was acceptable to everyone but Anna. She preferred the all-absorbing love for Vronsky to mother’s duties regarding her son. And thus she doomed herself to lead the life of an outcast. She saw no pleasure in traveling or in habitual high society entertainments. There was a feeling that a woman is tragically constrained by sensual relationships with a man. This sort of dependence – as any other one – brings pain and suffering. Anna committed suicide to set herself free, to end her dreadful and agonizing life. For me Anna was sort of a ‘shape shifter’ because two persons lived within her: externally she was a high society lady known to her husband Karenin, to her son and to everyone around. The other one was a woman immersed into the world of passions. What is a more important goal in life: to maintain the conventional illusion of existing harmony between duty and feelings, or surrender to a sincere passion?.. Do we have a right to destroy our family, to deprive a child of his mother’s care just for the sake of what our flesh lusts for?... All these questions haunted Tolstoy in his times, and we can’t avoid thinking them over again and again today. But answers are still far-off! What remains there is only our thirst for being understood both in our life and death…” (Boris Eifman)
Lincoln Center Goto Peter Tchaikovsky Alexeev 2018
For tickets goto: (http•••) Boris Eifman, Artistic Director ANNA KARENINA Russia's most innovative ballet company, Eifman Ballet of St. Petersburg, returns to New York to celebrate the 20th Anniversary of its first New York engagement. To celebrate the occasion, the company will make its Lincoln Center debut with four performances at the David H. Koch Theater, where it will present Eifman’s wildly acclaimed Anna Karenina, based on Leo Tolstoy's classic novel. The New York City Ballet Orchestra will play the ballet’s Tchaikovsky score conducted by Nikolay Alexeev. A Ballet by Boris Eifman Based on the novel by Leo Tolstoy Music by Peter Tchaikovsky Sets by Zinovy Margolin Costumes by Vyacheslav Okunev Lighting by Gleb Filshtinsky “Ballet is a very specific realm where psychological drama is reenacted and fulfilled; it is a chance to get an insight into the subconscious. Every new production is a search for the unknown. The Anna Karenina novel by Tolstoy has always been the object of my keen interest. While reading Tolstoy, one can see how fully and intimately the author understands the inner world and psychology of his heroes, how keenly and precisely describes he the life in Russia. In the novel one will find a plunge into the psychological world of the chief character and also a psycho-erotic interpretation of her personality. Even in our contemporary literature we won’t find similar passions, metamorphoses and phantasmagoria. All this has become the gist and essence of my choreographic reflections upon the book. The measured, regular life of the Karenin family – the husband’s public service, the strict high society conventions – produced an illusion that harmony and peace reign there. Anna’s passionate love for Vronsky destroyed the «matter of course» in their existence. Sincerity of the lovers’ feelings was doubted and rejected, their frankness was afraid of. Karenin’s hypocrisy was acceptable to everyone but Anna. She preferred the all-absorbing love for Vronsky to mother’s duties regarding her son. And thus she doomed herself to lead the life of an outcast. She saw no pleasure in traveling or in habitual high society entertainments. There was a feeling that a woman is tragically constrained by sensual relationships with a man. This sort of dependence – as any other one – brings pain and suffering. Anna committed suicide to set herself free, to end her dreadful and agonizing life. For me Anna was sort of a ‘shape shifter’ because two persons lived within her: externally she was a high society lady known to her husband Karenin, to her son and to everyone around. The other one was a woman immersed into the world of passions. What is a more important goal in life: to maintain the conventional illusion of existing harmony between duty and feelings, or surrender to a sincere passion?.. Do we have a right to destroy our family, to deprive a child of his mother’s care just for the sake of what our flesh lusts for?... All these questions haunted Tolstoy in his times, and we can’t avoid thinking them over again and again today. But answers are still far-off! What remains there is only our thirst for being understood both in our life and death…” (Boris Eifman)
Johann Sebastian Bach Gian Carlo Menotti Claude Debussy Aram Khachaturian Abt Hutchinson Robert Schumann Rasch Beethoven Alberto Ginastera Sergei Rachmaninoff Chopin Philadelphia Orchestra Lincoln Center
Program Toccata and Fugue in D Minor, BWV 565 Johann Sebastian Bach KU Alumni Geert Ruelens, organ Videographer: Alan Sylvestre Steal me, Sweet Thief from “The Old Maid and The Thief” Gian Carlo Menotti C’est l’extase from “Ariettes oubliees” Claude Debussy KU Alumni Mary McCormick, soprano Geert Ruelens, piano Classidanza Medley Colin Shecktor KU Alumnus Colin Shecktor, piano The Sabre Dance Aram Khachaturian KU Alumnus Michael Scales, piano Members of ABT’s Orchestra Daniel Haskins, percussion Tom Hutchinson, trombone Single Petal of a Rose Duke Ellington/Alex Reyes (Played on an electric grand) KU Alumnus Alex Reyes, piano Kreisleriana op.16 Robert Schumann 1. Äußerst bewegt 2. Sehr innig und nicht zu rasch KU Alumna Georgia Lazaridou, piano Overture to Coriolan (1804) Ludwig van Beethoven KU Alumnus Tyler Readinger, conductor BIOGRAPHIES Belgian pianist Geert Ruelens, graduated in May of 2017 from Temple University with a Master’s Degree in Piano Performance and Pedagogy. At Temple University, he was a student of Dr. Charles Abramovic. Geert graduated in 2014 with a B.A. in Music from Kutztown University of Pennsylvania, where he was under the tutelage of Dr. Maria Asteriadou (piano) and Dr. Ina Grapenthin (organ). Geert is the organist and choir director of both Nativity and St. Paul’s Lutheran churches in Reading, PA. Throughout his graduate studies, Geert was the director of a concert series which featured Temple University music students. Geert maintains a very active teaching schedule in the Mainline of Philadelphia as well as at home in Reading (currently online only). He is also the accompanist of Opus One: Berks Chamber Choir, and is frequently featured in performances, sometimes as a soloist, but more often in the supporting role of accompanist. Mary McCormick has performed extensively in the Berks County and Philadelphia area in a wide variety of genres. She has appeared as a soloist with the Reading Symphony Orchestra, Reading Pops Orchestra, Opus One Chamber Choir, Kutztown University Choir, and Exeter High School Orchestra. She is also an active member of the Philadelphia Orchestra’s Symphonic Choir, where she has performed works such as Amahl and the Night Visitors and Candide. Mary performs regularly with the Berks Opera Company. In addition, Mary is active in the musical theatre community and has performed with Genesius Theatre, Reading Civic Theatre, the Conrad Weiser 76’ers, and Fleetwood Community Theatre. Mary McCormick also sings jazz and swing music with the Let’s Dance Orchestra. In addition, Mary has served as an adjunct voice professor at Temple University for the last four years and currently maintains a private voice studio. She completed her M.M. in Vocal Performance at Temple University and B.A. in Music at Kutztown University. Praised by London Contemporary School of Piano as “A Classical pianist with a jazz spirit”, Colin Shecktor has improvised in concerts and short films as well as short stories, in both solo and collaborative performances. He has premiered original pieces and compositions which include theatrical moments and a performance piece for 12 pianists. He has performed in various genres of music including classical, jazz, pop, experimental, progressive, musicals, etc in countries such as the United States, United Kingdom, and Greece. Having received a BA in Music Performance from KU and a Masters in Music Performance with distinction from the London College of Music, Colin is currently embarking on a PhD on the subject of adult musicians and whether classical music improvisation improves their concentration. He is customizing his own teaching methodologies in ways that prepare the learning pianist to apply every fundamental they learn in addition to learning their repertoire. The work featured tonight: Classidanza Medley features excerpts from the following pieces: Alberto Ginastera: Danzas Argentinas (Danza del Gaucho Matrero), Sergei Rachmaninoff: Prelude in C Sharp Minor Op.3 No. 2 and Frederik Chopin: Waltz in A Minor B 150 op. Posth Michael Scales is a musician for dance in New York City, where he serves as company pianist for American Ballet Theatre, music director and pianist for New York Theatre Ballet, and class pianist for New York City Ballet and the School of American Ballet. Outside of NYC, Michael is the music director and pianist for Kaatsbaan International Dance Center’s Summer Ballet Intensive, as well as their newly formed Pro-Studio/Stella Abrera. Michael has performed at numerous venues around New York City including the David H. Koch Theater at Lincoln Center and the 92nd Street Y, and in halls across the country and internationally. Michael holds a Bachelor of Arts degree from Kutztown University of Pennsylvania, where he studied with Dr. Maria Asteriadou, and a Masters of Music degree from James Madison University, where he studied with Dr. Lori Piitz.
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