Dream Theater - Live At S.P. Yubileyny, St. Petersburg, Russia, 26.02.2014 [Full Concert / Show]
Dream Theater - The Dance Of Eternity In St. Petersburg
Live At Yubileyny Sports Palace, St. Petersburg, Russia
26.02.2014
Track-List:
01. False Awakening Suite
02. The Enemy Inside
03. The Shattered Fortress
04. On The Backs Of Angels
05. The Looking Glass
06. Trial Of Tears
07. Enigma Machine
08. Along For The Ride
09. Breaking All Illusions
10. The Mirror
11. Lie
12. Lifting Shadows Off A Dream
13. Scarred
14. Space-Dye Vest
15. Illumination Theory
16. Overture 1928
17. Strange Deja Vu
18. The Dance Of Eternity
19. Finally Free
Filmed By Pumpkin Priest
Lev Klementiev - Di tu se fedele (1909)
Lev Klementiev was one of Russia’s foremost tenors at the turn of the 20th Century. Born on April 1, 1868 in St. Petersburg, Klementiev made his debut at the tender age of 18 as Barinkay in Strauss’ Gypsy Baron. Realizing he needed further studies, the budding tenor began a period of intense vocal training with K. I. Krzhizhanovsky while touring with a small operetta company. His debut on the formal opera stage came in 1892 as Herman in Tchaikovsky’s Queen of Spades at the Bolshoi in Moscow. Klementiev remained at the Bolshoi for the next decade, performing the principal tenor roles in such works as Yevgeny Onegin, Rusalka, Lakmé, Faust, Iolanthe, The Demon, Carmen, Aïda, Un Ballo in Maschera, Die Walküre, Tannhäuser and Les Huguenots and sang in the world premieres of Rimsky-Korsakov’s The Snow Maiden, Rachmaninov’s Aleko and Cui’s Angelo. After leaving the Bolshoi in 1902, Klementiev sang with The Mariinsky theatre and a few of the smaller houses in St. Petersburg and Moscow (The People’s Opera of St. Petersburg, The Arcadia, The Letni Buff Theatre, The Society of Private Opera, , etc…) and occupied his time with touring companies. He continued to add roles to his repertoire, including Canio in Pagliacci, Turiddu in Cavalleria Rusticana and what is considered his greatest role, the title role in Rubenstein’s Néron. Unfortunately, years of touring adversely affected the tenor’s health. During a concert in Tiflis on October 7, 1910, Klementiev collapsed and fell into a coma. He died six days later, without having regained consciousness. He was only 42 years old.
Klementiev left behind a handful of gramophone records, made between 1902 and 1909. This 1909 recording, one of Klementiev's last, showcases the tenor in Riccardo's barcarole, Di tu se fedele from Verdi's Un Ballo in Maschera.
confused in syracuse by OPS Theatre
Astounding silent comedy sketches, inspired by Greek mythology, peformed by St Petersburg's leading 'new generation' physical theatre company. Russian clowing, circus and physical comedy in an extraordinarily visual and completely silent show! 'Reminiscent of French Cirque Nouveau - bringing together drama, theatre and traditional circus' Petersburg Theatre Magazine. 'Incredibly funny' Kommersant. OPS Theatre are a new generation Russian clown theatre company, You don't need to speak Greek or Russian to enjoy this uplifting show.
St Petersburg Symphony Orchestra: Passion's Peak
Music by kind permission of Naxos Records.
A Russian orchestra in Russian music is something of a Hall speciality, so as Tchaikovsky tangles with Shakespeare, and Rachmaninov spends two decades fine-tuning his concerto farewell, sparks will fly.
Mussorgsky Night on the Bare Mountain
Prokofiev Classical Symphony
Rachmaninov Piano Concerto No.4
Tchaikovsky Fantasy Overture Romeo & Juliet
Conductor Alexander Dmitriev
Piano Peter Donohoe
St Petersburg Symphony Orchestra: Passion's Peak
Thu 19 Oct 2017
£1.00 to £36.00 incl. booking fee
TICKETS:
„Dorogoy dlinnoyu” – Yurij Morfessi on Polish Parlophon !
The song „Dorogoy dlinnoyu” (Дорогой длинною) – is very well known at present in the Russian original as well as in the English language version, published in late 1960’s by Gene Raskins who put – most probably not knowing what was the factual origin of the piece – his name on the song as its creator and in this way - a tremandous hit of Mary Hopkin “Those Were the Days” was borne.
Various names as authors of the song adhered in the meantime to the Russian original and they all may be found also on internet. None of these sources mention, however, the name that appears on the Polish Parlophon record of 1930, which says explicitly: Kruczynin (Kruchinin – in Russian transliteration).
- - - - - - - - - - - - - - - - - - - - - - - -
Yurij Morfessi was born in Athens in the family of a lawyer. In 1889 the family moved to Odessa . In the following year on a swimming yacht his father died.
Yuri entered the Greek Commercial School in Odessa, while singing in the church choir. As a young man he was admitted to the Odessa Opera House, despite the lack of musical education. In 1903 Morfessi joined in Kiev the opera troupe Chateau de Fleur.
Financial difficulties did not allow him for a serious musical education and at the end of the next season, Morfessi signed a contract for work in the operetta theater Buff in Kiev (1904) and in Rostov-on-Don (1905-1906).
He moved next to St. Petersburg, acting in the operetta, as well as in the Theater of gypsy songs. Since 1912 he was entirely engaged in the operetta performances. The same year Morfessi starts recording for gramophone companies Zonophone and A Writing Cupid.
In June 1915 Morfessi sings in front of the Imperial family on their yacht Polar Star. In 1915 Morfessi opens elitist theater Corner for the talented and fans”. In the fall of 1917, during a tour of the Far East, Morfessi learned about what happened then in Petrograd, returned to St. Petersburg, but after hearing a rumor about the shooting of the royal family, he went to Odessa. In the Autumn of 1918 he was engaged by the Odessa House of Artists , where she performed with Nadezhda Plevitskaya, Isa Kremer, Alexander Vertinsky, Leonid Utesov.
Since 1920 the artist is on exile. In Paris, Morfessi sings first in the Troika, then in the Caucasus , finally in the Hermitage. The tour Morfessi ends in 1929 in Riga theater Alhambra. After receiving the annual engagement in Yugoslavia, he went to Belgrade. In April 1931 he returned to Paris. In 1935 Morfessi decided to stay in Yugoslavia. In 1937 Morfessi works in the night bar Kazbek, Belgrade, where he met Konstantin Sokolsky, they started to act together, then the singer left for Zagreb.
During the Second World War, Yurij Morfessi joined the artistic team of Russian corps, created by Russian emigrants in Yugoslavia. In 1943 he was making records in Berlin. In 1944 he gave a concert in Prague for participants of Russian liberation movement.
He died of a heart attack in July 1949 in Paris. Grave of the singer did not survive.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
FEVER 333 - ONE OF US (SPEECH BEFORE) (LIVE IN SAINT PETERSBURG)
#FEVER333 28.11.19 RUSSIA
TCHAIKOVSKY The Nutcracker Part 2 HD
Please click LIKE button if you enjoy this Ballet.
SUBSCRIBE:
MORE TUTORIALS:
THE NUTCRACKER:
TCHAIKOVSKY - THE NUTCRACKER
From THE MARIINSKY THEATRE – St. Petersburg
SYNOPSIS:
This version performed by the Kirov, to the choreography of Vasily Vainonen, differs in some details from the usual scenario, most significantly in the absence of the Sugar Plum Fairy and in the increased role of Drosselmeyer, intensifying the psychological aspects of the ballet.
ACT 1
It is Christmas Eve. Snow falls outside the house of President Stahlbaum of the Town Council as guests – including Masha’s Godfather Drosselmeyer – arrive bringing presents, and children play snowballs. The action moves inside: the room has been decorated with a Christmas tree under which are presents. But one toy, a nutcracker in the shape of a toy soldier, has been left on the floor. Drosselmeyer rescues it and places it on a piano for safe keeping. The children enter, and join a dance round the tree. They play at soldiers, and there is a game of blind-man’s buff. More parents enter, and a general dance follows.
Drosselmeyer reappears, dressed like a wizard. The children are initially a little alarmed at his appearance, but he wins them over with puppet show of a princess rescued from the wicked King of Mice by a prince, then gives them life-like puppets which proceed to dance – a Harlequin, a doll and a black boy.
Discarding his wizard’s outfit, Drosselmeyer tries to give away the Nutcraker Doll, but of the children only Masha shows interest. Together with Drosselmeyer, she dances with the Nutcracker (with the rattle in the orchestra suggesting the cracking of nuts). Her brother Franz jealously struggles over it, the Nutcracker breaks, but is mended by Drosselmeyer, and Masha again fondly dances with the doll, despite occasional boisterous interruptions from her brother. The scene ends with the “Grandfather Dance” for the older generation. Ten o’clock strikes, the guests begin to disperse, and the children go to bed. Masha cradles the Nutcracker in her arms, takes it to her bedroom and lays it on her pillow.
Downstairs, the atmosphere begins to change: mice emerge from the wainscot and steal nuts from the tree, midnight strikes, but the Nutcracker, grown to a life-size toy soldiers come out to do battle with the mice, but they are driven back, led by the Nutcracker. Masha throws her slipper at the King of Mice, who is distracted and defeated by the Nutcracker.
The battle is over, and the figure of Drosselmeyer is seen watching over Masha and the Nutcracker, who is now transformed into a handsome Prince. He invites Masha to accompany him to his kingdom. The room is transformed into a pine forest. Snow falls as Masha and the Prince are guided on their way, and the snowflakes dance a swirling waltz around them.
ACT 2
The wizard-like figure of Drosselmeyer is seen presiding over Masha and the Prince, who now take a dreamlike river journey. They arrive in a glade of crystallized pine trees, and the Prince invites Masha ashore. They are surrounded by butterfies, then attacked by bats, which the Prince drives off. The island becomes a beartiful garden. Celebrations follow: a Spanish Dance, Chinese Dance, Russian Trepak, Dance of the mirlitons (reed-pipes) and Waltz of the flowers. The Prince and Masha then dance a Pas de deux before the entire court joins in a final tribute to Masha. But suddenly we are back in Masha’s bedroom: the characters from the enchanted realm disperse, and Masha wakes to find the Nutcracker doll still where she left it on her pillow.
Should Gerard D.... remain Russian by the French theatre workshop
This is purely a piece of dramatisation, not to be taken as real events.
The French drama group is run by Audrey, French teacher at Alliance Française de Bristol. Students going to her French workshops have great fun as well as improving their French.
Lev Klementiev - Néron (1903)
Lev Klementiev was one of Russia’s foremost tenors at the turn of the 20th Century. Born on April 1, 1868 in St. Petersburg, Klementiev made his debut at the tender age of 18 as Barinkay in Strauss’ Der Zigeunerbaron. Realizing he needed further studies, the budding tenor began a period of intense vocal training with K. I. Krzhizhanovsky while touring with a small operetta company. His debut on the formal opera stage came in 1892 as Herman in Tchaikovsky’s Queen of Spades at the Bolshoi in Moscow. Klementiev remained at the Bolshoi for the next decade, performing the principal tenor roles in such works as Yevgeny Onegin, Rusalka, Lakmé, Faust, Iolanthe, The Demon, Carmen, Aïda, Un Ballo in Maschera, Die Walküre, Tannhäuser and Les Huguenots and sang in the world premieres of Rimsky-Korsakov’s The Snow Maiden, Rachmaninov’s Aleko and Cui’s Angelo. After leaving the Bolshoi in 1902, Klementiev sang with The Mariinsky Theatre as well as a few smaller houses in St. Petersburg and Moscow (The People’s Opera of St. Petersburg, The Arcadia, The Letni Buff Theatre, The Society of Private Opera, , etc…) and occupied his time with touring companies. He continued to add roles to his repertoire, including Canio in Pagliacci, Turiddu in Cavalleria Rusticana and what is considered his greatest role, the title role in Rubenstein’s Néron. Unfortunately, years of touring adversely affected the tenor’s health. During a concert in Tiflis on October 7, 1910, Klementiev collapsed and fell into a coma. He died six days later, without having regained consciousness. He was only 42 years old.
Klementiev left behind a handful of gramophone records, made between 1902 and 1909. Here, Klementiev sings the principal aria, Ah! Lumière du jour, from his greatest role, Néron. This recording was made for the Gramophone and Typewriter Company in 1903.
Lev Klementiev - Queen of Spades (1903)
Lev Klementiev was one of Russia’s foremost tenors at the turn of the 20th Century. Born on April 1, 1868 in St. Petersburg, Klementiev made his debut at the tender age of 18 as Barinkay in Strauss’ Gypsy Baron. Realizing he needed further studies, the budding tenor began a period of intense vocal training with K. I. Krzhizhanovsky while touring with a small operetta company. His debut on the formal opera stage came in 1892 as Hermann in Tchaikovsky’s Queen of Spades at the Bolshoi in Moscow. Klementiev remained at the Bolshoi for the next decade, performing the principal tenor roles in such works as Yevgeny Onegin, Rusalka, Lakmé, Faust, Iolanthe, The Demon, Carmen, Aïda, Un Ballo in Maschera, Die Walküre, Tannhäuser and Les Huguenots and sang in the world premieres of Rimsky-Korsakov’s The Snow Maiden, Rachmaninov’s Aleko and Cui’s Angelo. After leaving the Bolshoi in 1902, Klementiev sang with Te Mariinsky Theatre as well as a few of the smaller houses in St. Petersburg and Moscow (The People’s Opera of St. Petersburg, The Arcadia, The Letni Buff Theatre, The Society of Private Opera, , etc…) and occupied his time with touring companies. He continued to add roles to his repertoire, including Canio in Pagliacci, Turiddu in Cavalleria Rusticana and what is considered his greatest role, the title role in Rubenstein’s Néron. Unfortunately, years of touring adversely affected the tenor’s health. During a concert in Tiflis on October 7, 1910, Klementiev collapsed and fell into a coma. He died six days later, without having regained consciousness. He was only 42 years old.
Klementiev left behind a handful of gramophone records, made between 1902 and 1909. In this recording, made for G&T in 1903, Klementiev sings Hermann's Arioso from Tchaikovsky's The Queen of Spades.
full act Bolshoi Circus Moscow 2011
This was casualy filmed with a single camera during a live performance of the Zolotoy Buff 2, the jubilee show at the famed Bolshoi Circus on Vernadskyj avenue in Moscow, Russia. The finale trick is my trademark quardpuple spin (1440), between trowing and catching the cigar box perfectly in the standard position.
Lev Klementiev - Prince Igor (1903)
Lev Klementiev was one of Russia’s foremost tenors at the turn of the 20th Century. Born on April 1, 1868 in St. Petersburg, Klementiev made his debut at the tender age of 18 as Barinkay in Strauss’ Der Zigeunerbaron. Realizing he needed further studies, the budding tenor began a period of intense vocal training with K. I. Krzhizhanovsky while touring with a small operetta company. His debut on the formal opera stage came in 1892 as Herman in Tchaikovsky’s Queen of Spades at the Bolshoi in Moscow. Klementiev remained at the Bolshoi for the next decade, performing the principal tenor roles in such works as Yevgeny Onegin, Rusalka, Lakmé, Faust, Iolanthe, The Demon, Carmen, Aïda, Un Ballo in Maschera, Die Walküre, Tannhäuser and Les Huguenots and sang in the world premieres of Rimsky-Korsakov’s The Snow Maiden, Rachmaninov’s Aleko and Cui’s Angelo. After leaving the Bolshoi in 1902, Klementiev sang with The Mariinsky Theatre as well as a few of the smaller houses in St. Petersburg and Moscow (The People’s Opera of St. Petersburg, The Arcadia, The Letni Buff Theatre, The Society of Private Opera, , etc…) and occupied his time with touring companies. He continued to add roles to his repertoire, including Canio in Pagliacci, Turiddu in Cavalleria Rusticana and what is considered his greatest role, the title role in Rubenstein’s Néron. Unfortunately, years of touring adversely affected the tenor’s health. During a concert in Tiflis on October 7, 1910, Klementiev collapsed and fell into a coma. He died six days later, without having regained consciousness. He was only 42 years old.
Klementiev left behind a handful of gramophone records, made between 1902 and 1909. In this recording, the tenor sings Vladimir's cavatina from Borodin's opera Prince Igor. this aria was recorded for the Gramophone and Typewriter Company in 1903.
Lev Klementiev - Flower Song (1902)
Lev Klementiev was one of Russia’s foremost tenors at the turn of the 20th Century. Born on April 1, 1868 in St. Petersburg, Klementiev made his debut at the tender age of 18 as Barinkay in Strauss’ Zigeunerbaron. Realizing he needed further studies, the budding tenor began a period of intense vocal training with K. I. Krzhizhanovsky while touring with a small operetta company. His debut on the formal opera stage came in 1892 as Herman in Tchaikovsky’s Queen of Spades at the Bolshoi in Moscow. Klementiev remained at the Bolshoi for the next decade, performing the principal tenor roles in such works as Yevgeny Onegin, Rusalka, Lakmé, Faust, Iolanthe, The Demon, Carmen, Aïda, Un Ballo in Maschera, Die Walküre, Tannhäuser and Les Huguenots and sang in the world premieres of Rimsky-Korsakov’s The Snow Maiden, Rachmaninov’s Aleko and Cui’s Angelo. After leaving the Bolshoi in 1902, Klementiev sang with The Mariinsky Theatre and a few of the smaller houses in St. Petersburg and Moscow (The People’s Opera of St. Petersburg, The Arcadia, The Letni Buff Theatre, The Society of Private Opera, , etc…) and occupied his time with touring companies. He continued to add roles to his repertoire, including Canio in Pagliacci, Turiddu in Cavalleria Rusticana and what is considered his greatest role, the title role in Rubenstein’s Néron. Unfortunately, years of touring adversely affected the tenor’s health. During a concert in Tiflis on October 7, 1910, Klementiev collapsed and fell into a coma. He died six days later, without having regained consciousness. He was only 42 years old.
Klementiev left behind a handful of gramophone records, made between 1902 and 1909. This performance of Don Jose's Flower Song from Carmen represents one of Klementiev's earliest recordings. This was made for G&T in St. Petersburg in 1902.
TCHAIKOVSKY The Nutcracker Part 1 HD
Please click LIKE button if you enjoy this Ballet.
SUBSCRIBE:
Tutorial Playlist:
The Nutcracker Playlist:
TCHAIKOVSKY - THE NUTCRACKER
From THE MARIINSKY THEATRE – St. Petersburg
I just want to share this TCHAIKOVSKY's breathtaking and famous ballet suite The Nutcracker to all of you. Read the synopsis below before you watch it !
SYNOPSIS
This version performed by the Kirov, to the choreography of Vasily Vainonen, differs in some details from the usual scenario, most significantly in the absence of the Sugar Plum Fairy and in the increased role of Drosselmeyer, intensifying the psychological aspects of the ballet.
ACT 1
It is Christmas Eve. Snow falls outside the house of President Stahlbaum of the Town Council as guests – including Masha’s Godfather Drosselmeyer – arrive bringing presents, and children play snowballs. The action moves inside: the room has been decorated with a Christmas tree under which are presents. But one toy, a nutcracker in the shape of a toy soldier, has been left on the floor. Drosselmeyer rescues it and places it on a piano for safe keeping. The children enter, and join a dance round the tree. They play at soldiers, and there is a game of blind-man’s buff. More parents enter, and a general dance follows.
Drosselmeyer reappears, dressed like a wizard. The children are initially a little alarmed at his appearance, but he wins them over with puppet show of a princess rescued from the wicked King of Mice by a prince, then gives them life-like puppets which proceed to dance – a Harlequin, a doll and a black boy.
Discarding his wizard’s outfit, Drosselmeyer tries to give away the Nutcraker Doll, but of the children only Masha shows interest. Together with Drosselmeyer, she dances with the Nutcracker (with the rattle in the orchestra suggesting the cracking of nuts). Her brother Franz jealously struggles over it, the Nutcracker breaks, but is mended by Drosselmeyer, and Masha again fondly dances with the doll, despite occasional boisterous interruptions from her brother. The scene ends with the “Grandfather Dance” for the older generation. Ten o’clock strikes, the guests begin to disperse, and the children go to bed. Masha cradles the Nutcracker in her arms, takes it to her bedroom and lays it on her pillow.
Downstairs, the atmosphere begins to change: mice emerge from the wainscot and steal nuts from the tree, midnight strikes, but the Nutcracker, grown to a life-size toy soldiers come out to do battle with the mice, but they are driven back, led by the Nutcracker. Masha throws her slipper at the King of Mice, who is distracted and defeated by the Nutcracker.
The battle is over, and the figure of Drosselmeyer is seen watching over Masha and the Nutcracker, who is now transformed into a handsome Prince. He invites Masha to accompany him to his kingdom. The room is transformed into a pine forest. Snow falls as Masha and the Prince are guided on their way, and the snowflakes dance a swirling waltz around them.
ACT 2
The wizard-like figure of Drosselmeyer is seen presiding over Masha and the Prince, who now take a dreamlike river journey. They arrive in a glade of crystallized pine trees, and the Prince invites Masha ashore. They are surrounded by butterfies, then attacked by bats, which the Prince drives off. The island becomes a beartiful garden. Celebrations follow: a Spanish Dance, Chinese Dance, Russian Trepak, Dance of the mirlitons (reed-pipes) and Waltz of the flowers. The Prince and Masha then dance a Pas de deux before the entire court joins in a final tribute to Masha. But suddenly we are back in Masha’s bedroom: the characters from the enchanted realm disperse, and Masha wakes to find the Nutcracker doll still where she left it on her pillow.
TCHAIKOVSKY The Nutcracker Part 7 HD
Please click LIKE button if you enjoy this Ballet.
SUBSCRIBE:
Tutorial Playlist:
The Nutcracker Playlist:
TCHAIKOVSKY - THE NUTCRACKER
From THE MARIINSKY THEATRE – St. Petersburg
SYNOPSIS
This version performed by the Kirov, to the choreography of Vasily Vainonen, differs in some details from the usual scenario, most significantly in the absence of the Sugar Plum Fairy and in the increased role of Drosselmeyer, intensifying the psychological aspects of the ballet.
ACT 1
It is Christmas Eve. Snow falls outside the house of President Stahlbaum of the Town Council as guests – including Masha’s Godfather Drosselmeyer – arrive bringing presents, and children play snowballs. The action moves inside: the room has been decorated with a Christmas tree under which are presents. But one toy, a nutcracker in the shape of a toy soldier, has been left on the floor. Drosselmeyer rescues it and places it on a piano for safe keeping. The children enter, and join a dance round the tree. They play at soldiers, and there is a game of blind-man’s buff. More parents enter, and a general dance follows.
Drosselmeyer reappears, dressed like a wizard. The children are initially a little alarmed at his appearance, but he wins them over with puppet show of a princess rescued from the wicked King of Mice by a prince, then gives them life-like puppets which proceed to dance – a Harlequin, a doll and a black boy.
Discarding his wizard’s outfit, Drosselmeyer tries to give away the Nutcraker Doll, but of the children only Masha shows interest. Together with Drosselmeyer, she dances with the Nutcracker (with the rattle in the orchestra suggesting the cracking of nuts). Her brother Franz jealously struggles over it, the Nutcracker breaks, but is mended by Drosselmeyer, and Masha again fondly dances with the doll, despite occasional boisterous interruptions from her brother. The scene ends with the “Grandfather Dance” for the older generation. Ten o’clock strikes, the guests begin to disperse, and the children go to bed. Masha cradles the Nutcracker in her arms, takes it to her bedroom and lays it on her pillow.
Downstairs, the atmosphere begins to change: mice emerge from the wainscot and steal nuts from the tree, midnight strikes, but the Nutcracker, grown to a life-size toy soldiers come out to do battle with the mice, but they are driven back, led by the Nutcracker. Masha throws her slipper at the King of Mice, who is distracted and defeated by the Nutcracker.
The battle is over, and the figure of Drosselmeyer is seen watching over Masha and the Nutcracker, who is now transformed into a handsome Prince. He invites Masha to accompany him to his kingdom. The room is transformed into a pine forest. Snow falls as Masha and the Prince are guided on their way, and the snowflakes dance a swirling waltz around them.
ACT 2
The wizard-like figure of Drosselmeyer is seen presiding over Masha and the Prince, who now take a dreamlike river journey. They arrive in a glade of crystallized pine trees, and the Prince invites Masha ashore. They are surrounded by butterfies, then attacked by bats, which the Prince drives off. The island becomes a beartiful garden. Celebrations follow: a Spanish Dance, Chinese Dance, Russian Trepak, Dance of the mirlitons (reed-pipes) and Waltz of the flowers. The Prince and Masha then dance a Pas de deux before the entire court joins in a final tribute to Masha. But suddenly we are back in Masha’s bedroom: the characters from the enchanted realm disperse, and Masha wakes to find the Nutcracker doll still where she left it on her pillow.
Ensiferum Live - One Man Army. Joensuu, Kerubi 20.10.2017
Lev Klementiev - Plus blanche (1909)
Lev Klementiev was one of Russia’s foremost tenors at the turn of the 20th Century. Born on April 1, 1868 in St. Petersburg, Klementiev made his debut at the tender age of 18 as Barinkay in Strauss’ Der Zigeunerbaron. Realizing he needed further studies, the budding tenor began a period of intense vocal training with K. I. Krzhizhanovsky while touring with a small operetta company. His debut on the formal opera stage came in 1892 as Herman in Tchaikovsky’s Queen of Spades at the Bolshoi in Moscow. Klementiev remained at the Bolshoi for the next decade, performing the principal tenor roles in such works as Yevgeny Onegin, Rusalka, Lakmé, Faust, Iolanthe, The Demon, Carmen, Aïda, Un Ballo in Maschera, Die Walküre, Tannhäuser and Les Huguenots and sang in the world premieres of Rimsky-Korsakov’s The Snow Maiden, Rachmaninov’s Aleko and Cui’s Angelo. After leaving the Bolshoi in 1902, Klementiev sang with The Mariinsky Theatre as well as a few of the smaller houses in St. Petersburg and Moscow (The People’s Opera of St. Petersburg, The Arcadia, The Letni Buff Theatre, The Society of Private Opera, , etc…) and occupied his time with touring companies. He continued to add roles to his repertoire, including Canio in Pagliacci, Turiddu in Cavalleria Rusticana and what is considered his greatest role, the title role in Rubenstein’s Néron. Unfortunately, years of touring adversely affected the tenor’s health. During a concert in Tiflis on October 7, 1910, Klementiev collapsed and fell into a coma. He died six days later, without having regained consciousness. He was only 42 years old.
Klementiev left behind a handful of gramophone records, made between 1902 and 1909. This recording represents Klementiev at his finest, singing the aria Plus blanche from Meyerbeer's opera Les Huguenots. This was recorded for the Gramophone Company in 1909.
ice bucket challenge
Simpatico Tours et Ovet sont heureux de vous présenter notre #icebucketchallenge
TCHAIKOVSKY The Nutcracker Part 5 HD
Please click LIKE button if you enjoy this Ballet.
SUBSCRIBE:
Tutorial Playlist:
The Nutcracker Playlist:
TCHAIKOVSKY - THE NUTCRACKER
From THE MARIINSKY THEATRE – St. Petersburg
SYNOPSIS
This version performed by the Kirov, to the choreography of Vasily Vainonen, differs in some details from the usual scenario, most significantly in the absence of the Sugar Plum Fairy and in the increased role of Drosselmeyer, intensifying the psychological aspects of the ballet.
ACT 1
It is Christmas Eve. Snow falls outside the house of President Stahlbaum of the Town Council as guests – including Masha’s Godfather Drosselmeyer – arrive bringing presents, and children play snowballs. The action moves inside: the room has been decorated with a Christmas tree under which are presents. But one toy, a nutcracker in the shape of a toy soldier, has been left on the floor. Drosselmeyer rescues it and places it on a piano for safe keeping. The children enter, and join a dance round the tree. They play at soldiers, and there is a game of blind-man’s buff. More parents enter, and a general dance follows.
Drosselmeyer reappears, dressed like a wizard. The children are initially a little alarmed at his appearance, but he wins them over with puppet show of a princess rescued from the wicked King of Mice by a prince, then gives them life-like puppets which proceed to dance – a Harlequin, a doll and a black boy.
Discarding his wizard’s outfit, Drosselmeyer tries to give away the Nutcraker Doll, but of the children only Masha shows interest. Together with Drosselmeyer, she dances with the Nutcracker (with the rattle in the orchestra suggesting the cracking of nuts). Her brother Franz jealously struggles over it, the Nutcracker breaks, but is mended by Drosselmeyer, and Masha again fondly dances with the doll, despite occasional boisterous interruptions from her brother. The scene ends with the “Grandfather Dance” for the older generation. Ten o’clock strikes, the guests begin to disperse, and the children go to bed. Masha cradles the Nutcracker in her arms, takes it to her bedroom and lays it on her pillow.
Downstairs, the atmosphere begins to change: mice emerge from the wainscot and steal nuts from the tree, midnight strikes, but the Nutcracker, grown to a life-size toy soldiers come out to do battle with the mice, but they are driven back, led by the Nutcracker. Masha throws her slipper at the King of Mice, who is distracted and defeated by the Nutcracker.
The battle is over, and the figure of Drosselmeyer is seen watching over Masha and the Nutcracker, who is now transformed into a handsome Prince. He invites Masha to accompany him to his kingdom. The room is transformed into a pine forest. Snow falls as Masha and the Prince are guided on their way, and the snowflakes dance a swirling waltz around them.
ACT 2
The wizard-like figure of Drosselmeyer is seen presiding over Masha and the Prince, who now take a dreamlike river journey. They arrive in a glade of crystallized pine trees, and the Prince invites Masha ashore. They are surrounded by butterfies, then attacked by bats, which the Prince drives off. The island becomes a beartiful garden. Celebrations follow: a Spanish Dance, Chinese Dance, Russian Trepak, Dance of the mirlitons (reed-pipes) and Waltz of the flowers. The Prince and Masha then dance a Pas de deux before the entire court joins in a final tribute to Masha. But suddenly we are back in Masha’s bedroom: the characters from the enchanted realm disperse, and Masha wakes to find the Nutcracker doll still where she left it on her pillow.
234 V. Nikolaev. Worker and Kolkhoz Woman. Vladimir Miller. 2019
234. Vladimir Nikolaev. Worker and Kolkhoz Woman. Opera Buff. World premiere. Conductor Philip Chizhevsky. St. Petersburg. June 6, 2019. Produced by Pavel Kaplevich. Vladimir Miller. 2019