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Journal articles on the topic 'Opera and Ballet'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Maximova, Alexandra E. "The Beauties and the Beasts: The Storylines of André Grétry’s Operas in Russian Ballet." Contemporary Musicology 8, no. 2 (2024): 10–27. http://dx.doi.org/10.56620/2587-9731-2024-2-010-027.

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In Russia the music of André Ernest Modeste Grétry acquired its fame during the times of Empress Catherine the Great and Emperor Paul. His theatrical works were performed with great success by the artists of the French Court Troupe, the Free Russian Theater, the serfs’ theater of the Sheremetev’s, and the female wards of the Smolny Institute. Rare editions and manuscript copies of Grétry’s copies are preserved in numerous Russian libraries. Most of them contain the ballets (among them, Les marriages samnites [The Samnite Marriages], Le comte d’Albert [Count d’Albert], Panurge dans l’île des la

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Churpita, Tetiana. "Balletmaster Activity of Mykola Trehubov in the Odessa Academic Opera and Ballet Theatre (1958-1970)." Dance Studies 3, no. 1 (2020): 36–44. https://doi.org/10.31866/2616-7646.3.1.2020.203931.

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The purpose of the article is to analyze the choreography of Mykola Trehubov at the Odessa Academic Opera and Ballet Theater. Methodology. The historical, historiographic and analytical approaches are applied. Scientific novelty. The article is the first to analyze in detail the choreographies of M. Trehubov at the Odessa Academic Opera and Ballet Theater in 1958–1970. Conclusions. The period of the chief choreographer M. Trehubov’s work at the Odessa Opera is characterized by a significant increase in ballet performances in the theater playbill, but they were n

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3

Kovalenko, Yeva. "The Premiere of the Ballet «Dante» on the National Opera of Ukraine` Stage." Folk art and ethnology, no. 3 (September 30, 2023): 84–93. http://dx.doi.org/10.15407/nte2023.03.084.

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The article describes the premiere of the ballet «Dante», which was performed at the National Opera of Ukraine in June 2021. The director of the ballet, dedicated to the 700th anniversary of the death of the outstanding Italian Renaissance humanist poet Dante Alighieri, was Yaroslav Ivanenko, a graduate of the Kyiv State Choreographic School who began his dancing career at the National Opera and has worked abroad since 1996, including as a soloist with the Hamburg Ballet under the direction of John Neumayer in 1998-2010. Yaroslav Ivanenko has extensive experience in ballet mastery, his choreog

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4

Grutcynova, Anna Petrovna. "Ballet scenes in the operas of M. I. Glinka in the reviews of his contemporaries." Manuscript 17, no. 2 (2024): 124–29. http://dx.doi.org/10.30853/mns20240018.

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The article discusses the problem of ballet scenes in the operas of M. I. Glinka, "A Life for the Tsar," and "Ruslan and Lyudmila," in the context of choreographic art of the 19th century. The author documents the composer's growing interest in dance and ballet theater, the place and significance of ballet scenes in opera productions of that time. The critical responses that emerged in the press after the premieres of Glinka's operas, containing judgments on the staging of the ballet scenes, are analyzed in the paper. As a result of the analysis, the author concludes that critics who highly ap

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Ulanova, Adina. "Opera and ballet art in the post-Soviet period of Kyrgyzstan’s development." Vestnik of Saint Petersburg State University of Culture, no. 4 (61) (2024): 134–40. https://doi.org/10.30725/2619-0303-2024-4-134-140.

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The article analyzes the post-Soviet period of development and problems of opera and ballet art in the Kyrgyz Republic. After the collapse of the Soviet Union, like all former Soviet republics, Kyrgyzstan faced many problems: socio-economic crisis, rising unemployment, disbandment of the system of centralized provision of cultural institutions, a large outflow of professional artists. Some national operas and ballet productions gradually disappeared from the theater repertoire and one of the problems of the theater repertoire is the lack of practice of introducing state orders for the creation

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Petryk, Oleh. "Ballet Company of Lviv Opera Theatre in the late 30's - early 40's of the Twentieth Century." Dance Studies 3, no. 2 (2020): 104–13. https://doi.org/10.31866/2616-7646.3.2.2020.220527.

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The purpose of the article is to reveal the peculiarities of the formation and the personal composition of the Lviv Opera Theatre ballet company in the late 30s – early 40s of the 20th century. Methodology. Analytical, historical-chronological, biographical approaches were used to reveal the topic, which made it possible to conduct scientific and objective research. Scientific novelty. For the first time, a special study regarding the creative work of the ballet company of the Lviv Opera and Ballet Theatre in the late 30s – early 40s of the 20th century was

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7

Gasnikova, O. V. "TRANSFORMATION OF AN OPERA PERFORMANCE INTO A BALLET (BY RUSSIAN AND WEST EUROPEAN CHOREOGRAPHERS)." Arts education and science 1, no. 1 (2020): 103–13. http://dx.doi.org/10.36871/hon.202001013.

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The article describes the appearance of such a phenomenon as the transformation of an opera performance into a ballet. The author pays particular attention to the most outstanding performances of this direction. The characteristic of the musical and choreographic basis of the mentioned performances is given. Particular emphasis was placed on the operas The Magic Flute by W. A. Mozart and Carmen by G. Bizet. The appeal to the opera performance makes it possible to replenish and to enrich the ballet repertoire. Meanwhile many ballet masters use to adopt the musical text of the opera for their pe

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8

Gutsche-Miller, Sarah. "Ballet Fit for a National Theater? Carré, the Critics, and Le Cygne at the Opéra-Comique." Journal of Musicology 38, no. 2 (2021): 183–208. http://dx.doi.org/10.1525/jm.2021.38.2.183.

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When Albert Carré became the director of the Paris Opéra-Comique in 1898, he did so with the goal of rejuvenating French lyric theater. He also took possession of a national institution in a state of flux. The Opéra-Comique had a new hall and a new mandate, and it had recently become the focus of debates in the press about what role the city’s second national lyric theater should play in French culture. Although debates initially revolved around opera, Carré’s plans for renewal included ballet, not seen at the Opéra-Comique for over a century. This article discusses the role ballet played in p

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9

Kupets, Lyubov A. "“New Ballet Criticism” (1993–2003) About “Soviet” Ballet: Forms of Cultural Recycling." Problemy muzykal'noi nauki / Music Scholarship, no. 4 (December 2023): 22–34. http://dx.doi.org/10.56620/2782-3598.2023.4.022-034.

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In post-Soviet Russia ballet criticism, similar to opera criticism, has an almost 30-year-old history, but the period perceived as the brightest and most significant is the first period, spanning the 1990s and the early part of the first decade of the 21st century. For this New Ballet Criticism (as it has been labelled by Vadim Gaevsky), as a part of New Russian Music Criticism (as defined by Olga Manulkina and Pavel Gershenzon), a number of features have become normative: provocative styles and titles, a demythologization of works and of choreographers, the use of comparisons with mass cultur

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Khotsianovska, Liudmyla, and Hanna Perova. "Interpretation of Opera Works on the Ukrainian Ballet Stage." Dance Studies 4, no. 2 (2021): 144–51. https://doi.org/10.31866/2616-7646.4.2.2021.249293.

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The purpose of the article is to reveal the peculiarities of choreographed interpretations of opera performances on the Ukrainian ballet stage. Research methodology. A set of general (analysis and synthesis, induction and deduction, comparison) and special (art analysis) scientific methods was used to conduct the research. Scientific novelty. Ballet interpretations of opera performances in Ukraine were analyzed for the first time. Conclusions. When interpreting operas on the ballet stage, there is a shift of meaningful accents depending on the choreographer’

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11

Petryk, Oleh. "Interpretations of Classic Heritage Ballets on the Stage of the Lviv Opera and Ballet Theater in the Middle 20th – the Beginning of the 21st Century." Dance Studies 3, no. 1 (2020): 46–57. https://doi.org/10.31866/2616-7646.3.1.2020.203938.

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The purpose of the article is to analyze the ballets of the classical heritage in the repertoire of the Lviv Opera and Ballet Theater of the mid-twentieth – early 21st century. Methodology. Based on the analysis of theatrical reviews, scientific articles and monographs, using the historical and chronological principle, the panorama of the classical heritage ballets on the stage of the Lviv Opera and Ballet Theater is reproduced. The scientific novelty lies in the introducing into the scientific circulation of new materials that significantly complement the picture of

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12

Jing, Chen. "The Role of Ballet Scenes in the Magic Opera “Ilya Bogatyr” by C. A. Cavos and I. A. Krylov." Университетский научный журнал, no. 75 (August 25, 2023): 140–48. http://dx.doi.org/10.25807/22225064_2023_75_140.

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. The article is devoted to the opera “Ilya Bogatyr” created by composer C. A. Cavos and playwright I. A. Krylov in line with Pre-Romantic trends characteristic of the Russian art of the early 19th century. The performance refl ected the authors’ desire to create a national sample of the magic opera genre. The undoubted advantage of the opera “Ilya Bogatyr” was a variety of dance scenes: a comic ballet of heroes; light dances of nymphs and geniuses focused on ancient images; character dances in the Russian folk style; fairy-tale dances of evil spirits and oriental maidens. All ballet scenes ar

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13

Sargsyan, Nazenik. "Manifestation of Trends in Musical and Choreographic Arts of the 20th and Early 21st Centuries in the Works Based on Hovhannes Tumanyan's Poems." Dance Studies 3, no. 1 (2020): 58–70. https://doi.org/10.31866/2616-7646.3.1.2020.203950.

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The purpose of the study is to analyze the ballets and the dance fragment of the opera created on the basis of Hovhannes Tumanyan’s poems in the context of the trends in musical and choreographic art of the 20th and beginning of the 21st centuries; to identify the artistic means by which it is possible to embody the images and situations of a literary work in opera and ballet art. Methodology. The operas “Almast” by A. Spendiarov and “Salome” by R. Strauss were analyzed using the method of comparative musicology. An art history analysis of the ballets&rs

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14

Tani, A. "THE NATIONAL NATURE OF THE IMAGES OF THE BALLET «THE CALL OF THE STEPPE»." ARTS ACADEMY 4, no. 4 (2022): 15–26. http://dx.doi.org/10.56032/2523-4684.2022.4.4.15.

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The article considers the ballet "The Call of the Steppe" as an actual phenomenon of the national ballet. The author introduces it into the context of other ballet productions of the State Opera and Ballet Theater "Astana Opera", and also identifies characteristic trends in the development of ballet in Kazakhstan over the last decade of the XXI century, in particular, the drama of the "patchwork format".

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15

Rubanova, Larisa G. "Soul of the dance. To the anniversary of Olga Tarasova." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2022): 209–19. http://dx.doi.org/10.35852/2588-0144-2022-4-209-219.

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The article is devoted to the creative biography of the outstanding choreographer, ballet dancer and professor of GITIS Olga Tarasova, who celebrated her 95th birthday in 2022.Olga Georgievna graduated from the Moscow Choreography School (nowadays – Moscow State Choreography Academy) in 1946. Then she began her professional career in the ballet troupe of the Bolshoi Theatre, and in 1957 received second education at GITIS as a choreographer. During twenty years at the Bolshoi Theatre, Olga Tarasova gained a reliable experience as a dancer and ballet soloist in numerous classical productions Ray

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16

Kornilov, A. V. "FORMATION OF THE BALLET TROUPE OF THE STATE OPERA AND BALLET THEATER «ASTANA OPERA»." ARTS ACADEMY 1, no. 1 (2022): 5–14. http://dx.doi.org/10.56032/2523-4684.2022.1.1.5.

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The scientific article is devoted to the history of the creation of the K. Bayseitova National Opera and Ballet Theater as the creative basis of the future Astana Opera Theater. The author emphasizes the importance of the activities of the NTOB of this period, describes the process of forming a ballet troupe, the repertory policy of the theater. The appearance of the Astana Opera Theater becomes a logically justified continuation of the creative evolution of the national ballet art. The article will be of interest to professional figures and ballet lovers.

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17

Chepalov, Oleksandr. "Ballet Libretto as a Subject of Conceptual Analysis of a Choreographic Work (on the Material of Ukrainian Composers' Works)." Dance Studies 4, no. 1 (2021): 10–19. https://doi.org/10.31866/2616-7646.4.1.2021.236212.

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The purpose of the article is to find out the regularities and means of practical creation of a ballet performance script from the standpoint of dramatic and musical-choreographic construction. The methodology is to combine the empirical method based on the practice of professional experience in creating ballet librettos with general scientific approaches, including analogy and modelling, abstraction and concretization, arising from the conceptual foundations of the principles of a figurative-artistic embodiment of stage work. Scientific novelty. In comparison with ope

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18

Ostroukhova, Nataliia. "Giacomo Puccini in Odessa Opera: history and modernity." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 142 (March 13, 2025): 63–75. https://doi.org/10.31318/2522-4190.2025.142.327880.

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Relevance of the study. The role and place of the operas by Giacomo Puccini in the repertoire of the Odessa Opera are examined. The concept of verism as the new opera direction in the end of XIX century is revealed. The performances of ten operas by G. Puccini that were performed on Odessa stage during 1898-2024 are studied. The retrospective of the change of the art generations on Odessa scene is analyzed. Main objective(s) of the study. The topic of this publication is demonstration of the role and meaning of operas by G. Puccini in the context of the development of the genre and style speci

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Hodgson, Amanda. "Beyond the Opera House: Some Victorian Ballet Burlesques." Dance Research 38, no. 1 (2020): 7–24. http://dx.doi.org/10.3366/drs.2020.0288.

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Histories of ballet have tended to pay little attention to Victorian theatre dance that was not performed in the opera house or the music hall. A great deal of dance was embedded in such popular theatrical genres as melodrama, extravaganza and burlesque, and is therefore best understood in the context of the wider theatrical culture of the period. This essay examines two ballet burlesques performed at the Adelphi Theatre in the 1840s: The Phantom Dancers (a version of Giselle) and Taming a Tartar (based on Le Diable à quatre). When located in relation to the generic qualities of other theatric

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20

Nurgayanova, N. Kh. "The bright light of talent (on the 110<sup>th</sup> anniversary of the outstanding Tatar singer, director and teacher Niyaz Dautov)." Tatarica 20, no. 2 (2023): 169–78. http://dx.doi.org/10.26907/2311-2042-2023-21-2-169-178.

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Niyaz Kuramshevich Dautov (1913–1986) was a singer (lyric tenor), opera director, teacher, People’s Artist of the RSFSR (1957) and professor (1986). He was born in Kazan in 1913. In 1938, he graduated from the Tatar Opera Studio at the Moscow Conservatory. From 1939– 1943, he studied at the Moscow Conservatory. In 1953, he graduated from the Ural Conservatory. In 1943–1956 and 1960–1964, heworked as a soloist and director of the Sverdlovsk Opera and Ballet Theater. In 1965–1975, Dautov N. was the chief director of the Chelyabinsk Opera and Ballet Theater. In 1956–1960 and from 1975 to 1986, he

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21

Romashchuk, Inna M. "DANCE IN THE OPERAS OF M. M. IPPOLITOV-IVANOV: THE TEXT AND ITS INTERPRETATION." Arts education and science 1, no. 34 (2023): 89–95. http://dx.doi.org/10.36871/hon.202301089.

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The phenomenon of the "lifeworld" (E. Husserl) in its national branches and cultural realities is revealed in the operas of M. M. Ippolitov-Ivanov largely due to the extended mass scenes. A special place here is occupied by dance episodes and scenes in which characteristic elements of different folk traditions, both those previously experienced in Russian music (oriental, Spanish themes) and those introduced by Ippolitov-Ivanov in accordance with the conditions of plot realities (Norwegian theme), are presented in a sharp and expressive way. It has always been important for the composer to emp

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Xinheng, Chen. "THE HISTORY OF THE CREATION OF THE BALLET "THE WHITE-HAIRED GIRL"." Arts education and science 1, no. 4 (2021): 85–91. http://dx.doi.org/10.36871/hon.202104011.

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The article is devoted to the history of the creation of the ballet "The White-Haired Girl", which was included among the "exemplary productions" during the Chinese Cultural Revolution. The plot of the ballet, based on class contradictions between landowners and peasants, has folklore origins: first it appeared in the novel, then the first national Chinese opera was created, later adapted for cinema and became the basis for the ballet. The ballet "The White-Haired Girl" was commissioned by Chinese leadership. It includes the historical facts of the class struggle and shows the formation of a p

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23

Sporton, Gregory. "Dancing Dutch, Het Nationale Ballet, Nationale Opera & Ballet, Amsterdam, 11 April 2024." Scene 12, no. 1 (2024): 122–24. https://doi.org/10.1386/scene_00068_5.

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Kyseliova, Tetiana. "Genre synthesis in D. Auber’s opera “La Muette de Portici”." Aspects of Historical Musicology 35, no. 35 (2024): 181–97. http://dx.doi.org/10.34064/khnum2-35.10.

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Statement of the problem. Objectives, methods, and novelty of the research. The genre of grand opera is associated with the work by D. Auber. The first work in this genre was the opera ‘La Muette de Portici’, which was produced by D. Auber in collaboration with the librettist in 1828. When creating the libretto, the artists relied on historical events of the Neapolitan rebellion against the Spaniards in 1647 led by the fisherman Mazaniello. For the first time, a mute heroine appeared on the opera stage as the main character, whose image was embodied by a ballet dancer. Thus, D. Auber and E. Sc

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25

Kendall, Elizabeth. "Opera, Ballet, and Political Power." Kritika: Explorations in Russian and Eurasian History 15, no. 2 (2014): 441–50. http://dx.doi.org/10.1353/kri.2014.0018.

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Andries, Annelies. "Opera & Ballet Primary Sources." Nineteenth-Century Music Review 15, no. 2 (2018): 309–21. http://dx.doi.org/10.1017/s1479409818000071.

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Sadler, G. "French opera, ballet and cantata." Early Music 38, no. 4 (2010): 622–24. http://dx.doi.org/10.1093/em/caq092.

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Ammon, Richard. "Stories from Opera and Ballet." Soundings (Reston, VA) 6, no. 1 (1992): 36–37. http://dx.doi.org/10.1177/104837139200600111.

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Liu, Ting. "The interpretative function of singing in the “score” of a modern ballet performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 62, no. 62 (2022): 79–92. http://dx.doi.org/10.34064/khnum1-62.05.

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Statement of the problem. Under consideration is a specific form of art synthesis – singing in modern ballet. The synthesis of arts is attributive to the poetics of European opera, where a choreographic plan is used, however, singing in ballet is a rather rare phenomenon against the background of the dominance of singing in the operas of the 18th and 19th centuries. Nonetheless, there are eloquent examples of the return of singing in a ballet as a characteristic feature of the innovative choreographic theatre (“Pulcinella” by I. Stravinsky). The relevance of the topic is explained by the lack

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Petrova, Luisa R. "Author’s ballet on stage of M.Jalil Tatar Academic State Opera and Ballet Theatre in Soviet and post-Soviet periods." Historical Ethnology 9, no. 2 (2024): 303–13. http://dx.doi.org/10.22378/he.2024-9-2.303-313.

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The article is devoted to the analysis of the activities of the ballet troupe of M.Jalil Tatar Academic State Opera and Ballet Theater in the Soviet and post-Soviet periods. It shows that after the premiere of the first ballet “Vain Precaution” by P.Hertel in 1939, the troupe continued to master the performances of the classical heritage “Giselle” by A.Adam (1945) and “Swan Lake” by P.Tchaikovsky (1947). At the same time, the troupe was working on creating a national ballet performance. Turning to the historical past and folklore, the authors of the libretto and choreographers immersed the vie

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Günal, Ahmet Murat, Ece Başarık, Gamze Çelebioğlu, et al. "Beyond the Stage: Investigating Body Appreciation, Eating Attitudes, and Expectancies for Thinness in Opera and Ballet Artists." Journal of Innovative Healthcare Practices 6, no. 1 (2025): 30–43. https://doi.org/10.58770/joinihp.1647745.

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This study examines the relationships between eating attitudes, body appreciation, and interpersonal outcome expectations of thinness among opera and ballet artists. Given the aesthetic and physical demands of these performing arts, the research aims to contribute to healthier self-perceptions and the well-being of performers. A cross-sectional study was conducted among 40 opera and 32 ballet artists affiliated with the Istanbul State Opera and Ballet Directorate. Data were collected using the Eating Attitudes Test Short Form (EAT-26), the Interpersonal Outcome Expectancies for Thinness Scale

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Bilash, Olha. "The Kalchenko Dynasty's Contribution to the Development of Ukrainian Ballet Performance and Choreographic Pedagogy." Dance Studies 5, no. 1 (2022): 52–59. https://doi.org/10.31866/2616-7646.5.1.2022.261610.

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The purpose of the article is to conduct a comprehensive analysis of the creative work of the Kalchenko dynasty’s dancers in the field of domestic stage performance and ballet pedagogy. Research methodology. The following methods were used to conduct the study: dialectical (to study different stages of ballet dancers), typological (to systematize scientific literature and research sources), general history (to summarize the historical processes that took place in the domestic ballet theatre during the second half of the twentieth and early twenty-first centuries), comparat

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Rant, Tjaša. "Russian artists in Slovenia after the October revolution." Russian-Slovenian relations in the twentieth century, no. IV (2018): 276–91. http://dx.doi.org/10.31168/2618-8562.2018.4.3.5.

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This article presents selected Russian artists in theater, opera and ballet, which have been working in Ljubljana Theater since 1920. In the article are presented Russian actors, dancers, singers, choreographers and teachers who brought to the Slovenian land two hundred years old traditions of Russian culture and contributed to the success of Slovenian theater, opera and ballet.

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Churpita, Tetiana. "Mykola Trehhubov's Ballet Master Activity in Donetsk State Opera and Ballet Theatre." Dance Studies 3, no. 2 (2020): 114–23. https://doi.org/10.31866/2616-7646.3.2.2020.220529.

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The purpose of the article is to consider the choreographic activity of Mykola Trehubov at the Donetsk State Opera and Ballet Theatre based on the materials from periodicals and specialized publications. Methodology. The author has prepared an article using historical, historiographical, and analytical approaches. Scientific novelty. The article is the first attempt to analyze the main choreographic works by M. Trehubov at the Donetsk Opera House, new materials are introduced that expand the peculiarities’ understanding of the ballet master’s creative activ

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Churpita, Tetiana. "Ballet Master's Works by Mykola Trehubov in the Touring Repertoire of the Lviv Opera and Ballet Theater in 1953." Dance Studies 6, no. 2 (2023): 155–62. https://doi.org/10.31866/2616-7646.6.2.2023.295179.

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<strong>The purpose of the article </strong>is to analyse M. Trehubov’s choreographic work in the context of the Lviv Opera and Ballet Theatre’s tour to Kyiv in 1953. <strong>Research Methodology. </strong>Historical (consideration of events in chronological sequence, taking into account historical and cultural circumstances), historiographical (consideration of the existing base of scientific works on the subject of the article) and analytical (analysis of the source base, events, facts, etc.) approaches are applied. <strong>Scientific novelty. </strong>Th

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Ujvári, Hedvig. "A Nemzeti Színház balettbemutatói a Magyar Királyi Operaház megnyitása előtti utolsó években." Theatron 18, no. 1 (2024): 192–209. http://dx.doi.org/10.55502/the.2024.1.192.

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Before the opening of the Hungarian Royal Opera House, the National Theatre served as the home for various theatrical genres alongside prose, including opera and ballet. Although the opening of the new opera house in 1884 brought numerous advantages and conveniences, it did not solve the fundamental content-ideological problem for ballet, namely the delayed emergence of national dance. This study aims to outline the situation, role, and evolution of stage dance in the cultural and institutional context of the 1880s, focusing on three lesser-explored ballet productions (Rococo, Satanella, Renai

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Verhovenko, Olha. "The Importance of Robert Vizyrenko-Kliavin and Dmitro Kliavin's Work for the Development of the Ballet Art of Ukraine in the Second Half of the Twentieth and the Beginning of the Twenty-First Century." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 4, no. 2 (2021): 123–31. https://doi.org/10.31866/2616-759X.4.2.2021.243239.

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The purpose of the article is to study the stage achievements of Robert Vizyrenko-Kliavin and Dmytro Kliavin in the context of their artistic, teaching and choreography work. The research methodology includes the use of the following research methods: general historical (to study the historical processes that took place in the ballet environment in Ukraine in the second half of the 20th and early 21st century), historical and cultural (to study choreography culture for the performing and choreography of that period), analytical (to study the scientific and cultural, art and thea

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Pashkov, Konstantin A. "Fabulus of the concert for the 100th anniversary of Yevdokimov Moscow State University of Medicine and Dentistry." Terapevticheskii arkhiv 94, no. 8 (2022): 1036–41. http://dx.doi.org/10.26442/00403660.2022.08.201779.

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On the basis of critical analysis of sources the author reveals the role of doctors in opera productions, ballet and art in general. Looking through opera librettos and director's productions the author makes conclusions about characteristic human health problems, treatment methods used and the social status of doctors. About 10 percent of the four hundred opera and ballet productions performed today include doctor characters. These characters differ significantly from each other, depending on the time of creation of the work or the era reflected in the plot.

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Vyshotravka, Liudmyla. "Ukrainian and World Experience of Iryna Dvorovenko Work on the Ballet Stage." Dance Studies 5, no. 1 (2022): 60–66. https://doi.org/10.31866/2616-7646.5.1.2022.261611.

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The purpose of the article is to study the stage experience of Iryna Dvorovenko, gained in Ukraine and abroad while working with the most famous ballet troupes in the world. Research methodology. The methodology contains the following methods: dialectical (for the analysis of personal creativity), systemic (to organize professional literature and scientific sources), general history (for knowledge of historical and artistic processes that have taken place in the domestic ballet theatre in recent decades), comparative historical (to compare the content and significance of cultura

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Khisamov, Denis N. "The Features of Vyacheslav Samodurov’s Staging Style." Observatory of Culture 21, no. 1 (2024): 76–85. http://dx.doi.org/10.25281/2072-3156-2024-21-1-76-85.

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Vyacheslav Vladimirovich Samodurov is one of the brightest choreographer-directors in contemporary Russian ballet. Despite the fact that at present V.V. Samodurov is a free artist who has entered a new stage of his creative biography an important milestone on the way of the master is his staging activity, carried out in 2011—2023, the period of his work at the Yekaterinburg State Academic Opera and Ballet Theatre (“Ural Opera Ballet”). The productions of the Yekaterinburg period allow us to draw a conclusion about the features of V.V. Samodurov’s style, which determine the creative image of th

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Ilina, Halyna. "Conductor Borys Chystiakov and Ballets of Ukrainian National Theme from 1944–1963." Dance Studies 5, no. 1 (2022): 86–92. https://doi.org/10.31866/2616-7646.5.1.2022.261616.

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The purpose of the article is to analyze the musical work of conductor Borys Chystiakov, associated with the creation of ballets based on literary works of Ukrainian writers on Ukrainian national themes on the stage of the Kyiv State Academic Opera and Ballet Theatre named after Taras Shevchenko. Research methodology. The study uses analytical and comparative methods, as well as historical-chronological methods to present the panorama of Borys Chystiakov’s activities in chronological order; art history methods to clarify the artistic specificities of the ballets. Scie

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Sasportes, José. "Grand Opera and the Decline of Ballet in the later Nineteenth Century: A Discursive Essay." Dance Research 33, no. 2 (2015): 258–68. http://dx.doi.org/10.3366/drs.2015.0140.

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Up to the end of the nineteenth century, the history of ballet and the history of opera were closely entwined in a war for supremacy, with opera often in the dominant role; this was particularly the case during the second half of the nineteenth century, when ballet was widely perceived as being in decline. Some historical background is necessary to provide a brief outline of the long process that led to this outcome.

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Nunn, Tessa Ashlin. "The Paris Opera Ballet Dancing Offstage." French Politics, Culture & Society 40, no. 2 (2022): 90–115. http://dx.doi.org/10.3167/fpcs.2022.400206.

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The spaces in which amateur and professional dancers practiced their art greatly changed during the Covid-19 pandemic due to the closures of theaters and dance studios, yet dance continued to bring people together online. This article studies the media presence of the Paris Opera Ballet (POB) between March 2020 and May 2021 to analyze how the aesthetic and moral concept of grace has evolved. During this difficult year, dance took on a therapeutic role as POB dancers offered free online classes and performed in video work, in addition to taking on a political role as discussions about racism in

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Asatryan, Anna. "THE MUSIC AND PSYCHOLOGICAL IMAGES IN THE BALLET PHANTASY “DREAM” BY DOCTOR OF MEDICINE EDUARD HAMBARTSOUMIAN." Medicine and Art 1, no. 2 (2023): 19–31. http://dx.doi.org/10.60042/2949-2165-2023-1-2-19-31.

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The paper examines the one-act ballet phantasy “Yeraz [Dream]” by the renowned gynecologist, specialist in the field of reproductive medicine, director and founder of the “Center of Reproductive Medicine” in Yerevan, President of the Armenian Society of Reproductive Medicine, Doctor of Medicine Eduard Hambartsoumian. Since 2015, the ballet has established itself in the repertoire of the A. Spendiaryan Yerevan National Academic Theater of Opera and Ballet. The libretto is written by the prima ballerina of the Yerevan Opera and Ballet Theater, Merited Actress of Armenia Jacqueline Sarkhosh

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Giménez-Rodríguez, Francisco J. "De Falla's Hungarian Success: A háromszögletű kalap (1928)." Studia Musicologica 59, no. 3-4 (2018): 309–21. http://dx.doi.org/10.1556/6.2018.59.3-4.4.

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Abstract In this study, I examine a hitherto completely unknown subject: the Hungarian reception of Manuel de Falla's ballet pantomime, El sombrero de tres picos (The three-cornered hat). As I point out, the story of the piece began well before Falla composed his music: Alarcón's novel was published in a Hungarian translation just two decades after the Spanish original. In the first decades of the twentieth century, the Budapest Opera House (Magyar Állami Operaház) and Municipal Theatre (Városi Színház) developed intensive opera, theatre, and ballet seasons, in association with the main Europe

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Noltze, Holger. "DOPPELT GESEHEN." Opernwelt 64, no. 5 (2023): 46–47. http://dx.doi.org/10.5771/0030-3690-2023-5-046.

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Huiyu, Zhang. "Genre Metamorphoses of Modern Chinese Ballet." Университетский научный журнал, no. 75 (August 25, 2023): 67–72. http://dx.doi.org/10.25807/22225064_2023_75_67.

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The article discusses genre metamorphoses of modern Chinese ballet. The author notes that the genre of Chinese ballet has undergone signifi cant changes in its relatively short history. Currently, there is a tendency to rethink classical works of opera and cinema in the choreographic aspect. One of the brightest examples of the new ballet genre was the ballet “Raise the Red Lantern”, which is the focus of this study.

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Huiyu, Zhang. "Genre Metamorphoses of Modern Chinese Ballet." Университетский научный журнал, no. 75 (August 25, 2023): 67–72. http://dx.doi.org/10.25807/10.25807/22225064_2023_75_67.

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The article discusses genre metamorphoses of modern Chinese ballet. The author notes that the genre of Chinese ballet has undergone signifi cant changes in its relatively short history. Currently, there is a tendency to rethink classical works of opera and cinema in the choreographic aspect. One of the brightest examples of the new ballet genre was the ballet “Raise the Red Lantern”, which is the focus of this study.

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Delattre-Destemberg, Emmanuelle. "S’approprier la mémoire de Marius Petipa : revendication politique et identité des Écoles de danse française et russe." Slavica Occitania 43, no. 1 (2016): 299–310. https://doi.org/10.3406/slaoc.2016.1090.

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Appropriating the Memory of Marius Petipa. Political Demands and the Identity of the French and Russian Ballet Schools When Marius Petipa, choreographer and Russian ballet master of French descent, died in 1910, he became the centre of a bitter dispute between the Russian Imperial Ballet School and that of the Paris Opera, with each battling to appropriate both the man and his work. The Russians sought to underscore Petipa’s quintessential Russian character, as part of the dissemination programme of Russian culture abroad. In the days of the Ballets Russes and white emigration, the Russificati

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Lange, Joachim. "HINTER SCHLEIERN." Opernwelt 64, no. 5 (2023): 50–51. http://dx.doi.org/10.5771/0030-3690-2023-5-050.

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