User:Robertgreer/sandbox/M

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Sébastien Marcovici[edit]

  • promoted to principal [1]

Born and raised in Paris, France, Sébastien Marcovici began his ballet training at age eight with local teachers, and at age 12 he enrolled at the School of the Paris Opéra Ballet. During the summer of 1993, while studying with Jean-Pierre Bonnefoux and Patricia McBride at the Chautauqua School of Dance, Mr. Marcovici was invited by Ballet Master in Chief Peter Martins to take Company class with New York City Ballet at Saratoga Springs. In November of 1993, he was invited to join New York City Ballet's corps de ballet. Mr. Marcovici was promoted to the rank of soloist in 1998 and to principal dancer in May 2002.

Other performances

In 2002, Mr. Marcovici appeared in the nationally televised Live From Lincoln Center broadcast of "New York City Ballet's Diamond Project: Ten Years of New Choreography" on PBS, dancing in Ancient Airs and Dances.

Featured Roles Since Joining NYCB

George Balanchine Agon Allegro Brillante Brahms-Schoenberg Quartet Chaconne Divertimento No. 15 "Emeralds" from Jewels Episodes The Four Temperaments (Melancholic) George Balanchine's The Nutcracker™ (Cavalier) Liebeslieder Walzer A Midsummer Night's Dream (Divertissement) Movements for Piano and Orchestra Orpheus Robert Schumann's "Davidsbündlertänze" Serenade La Sonnambula Square Dance Stravinsky Violin Concerto Symphony in Three Movements Swan Lake Tschaikovsky Suite No. 3 La Valse Vienna Waltzes

Sean Lavery Romeo and Juliet

Miriam Mahdaviani Appalachia Waltz

Peter Martins Concerto for Two Solo Pianos Fearful Symmetries Hallelujah Junction Harmonielehre Morgen Naïve and Sentimental Music Reliquary Sinfonia Songs of the Auvergne Swan Lake (Siegfried, Benno, Pas De Quatre, Russian) Symphonic Dances Tala Gaisma

David Parsons Touch

Jerome Robbins Afternoon of a Faun Brandenburg The Cage Dances at a Gathering The Four Seasons (Winter, Summer) Glass Pieces The Goldberg Variations I'm Old Fashioned In the Night Moves Piano Pieces

Richard Tanner Ancient Airs And Dances Sonatas and Interludes

Lynne Taylor-Corbett Chiaroscuro

Christopher Wheeldon After the Rain Polyphonia

Originated roles in Stephen Baynes: Twilight Courante Mauro Bigonzetti: Vespro Jean-Pierre Bonnefoux: Two Birds with the Wings of One Albert Evans: Haiku Robert La Fosse: Land of Nod Miriam Mahdaviani: In the Mi(d)st Peter Martins: Bal de Couture, Guide to Strange Places, Quartet for Strings, The Red Violin, River of Light, Swan Lake (Spanish), Them Twos Benjamin Millepied: Plainspoken, Quasi Una Fantasia Angelin Preljocaj: La Stravaganza Jerome Robbins: Brandenburg, West Side Story Suite Twyla Tharp: The Beethoven Seventh Christopher Wheeldon: Klavier

Morphoses[edit]

Monotones II (ballet)[edit]
Commedia (ballet)[edit]
Six Fold Illuminate (ballet)[edit]
One (ballet)[edit]
Shutters Shut (ballet)[edit]
Fools’ Paradise (ballet)[edit]

Softly, as I Leave You (ballet)[edit]

Bolero (Ratmansky)[edit]
Continuum (ballet)[edit]

history of BalletMet[edit]

1974[edit]

Ballet Metropolitan was founded in September of 1974 by a group of dancers' parents interested in providing training and performance opportunities for talented area

dancers. A student company comprised of 26 10-to-13-year-olds and 25 students over the age of 14 presented two performances of The Nutcracker at the Ohio

Theatre in December 1974 to about 4,000 people. Numerous appearances in schools and shopping centers helped bring audiences to the theater. Following The

Nutcracker, Ballet Metropolitan continued the well-received appearances in area schools, for a total of about 10 lecture demonstrations the first season. The budget for

this first season was $11,000

guest artists[edit]

footnotes for 1974[edit]

  1. ^ North Carolina School of the Arts
  2. ^ School of American Ballet

1976[edit]

1976 saw the advent of the Ballet Metropolitan Ensemble - six advanced dancers receiving a monthly stipend of $50. The Ensemble was very busy during its premiere

season, performing 20 lecture demonstrations as part of the Greater Columbus Arts Council's Artists-in-Schools Program and many other public programs.

1977[edit]

In January 1977 the stipend of the Ensemble was raised to $100 monthly, and the performance schedule was enlarged. During 1977, Ballet Metropolitan dancers

performed in more than 60 area schools, appeared publicly at shopping malls, festivals and numerous organizational functions in Columbus and surrounding areas as

well as out of state.

1978[edit]

From January to August, 1978, Ballet Metropolitan made many appearances in schools and shopping centers. The Ensemble also was invited to dance at the Northeast

Regional Ballet Association festival in Dover, Delaware in May. The budget had now increased to $100,000.

1978–79[edit]

Kinderszenen by Wayne Soulant to Schumann's Kinderszenen, Op 15, played by pianist Bela Szilagyi

Dance Rites by Fernando Schaffenburg to Rachmaninoff's Symphonic Dances

Black Swan pas de deux and Home to You, especially choreographed by Wayne Soulant to the music of John Denver, played by local band Souvenir.

Grand Tarantella / Zachary Ward

Holberg Suite / Arthur Mitchell

Pas de Dix / Eugene Tanner after Petipa

Rags `n Things / Mark Schneider

View from the Gallows / Wayne Soulant

Women / Domy Reiter-Soffer The Nutcracker / Wayne Soulant and Kathleen Smith.

History[edit]

pre-history[edit]

Daryl Kamer[edit]

Before there was a Ballet Metropolitan there was Daryl Kamer. Daryl's involvement with ballet in Columbus has been uninterrupted and solidly supportive.

Having received extensive training in New York, Daryl returned to Columbus and began to teach, as she does to this day.

Always a force in the promotion of dance in Columbus, some of the positions Daryl has dedicated herself to are ballet mistress of The Columbus Civic Ballet, assistant to the director of the Columbus Ballet, and then ballet mistress, assistant artistic director, acting artistic director, assistant to the producing director, director of education, artistic associate of the Dance Academy, academy associate director and academy director of BalletMet.

In 1974 Daryl began presenting lecture-demonstrations and movement workshops in area schools and was one of the original participants in the "Artists in Schools" program that began in 1976.

In 1991 Daryl received the statewide Ohio Dance Award for distinguished lifetime contributions to dance education.

Daryl's husband Jack also involved himself in supporting ballet in Columbus. For several years he filled the varying posts of general manager, stage manager, lighting designer, photographer and publicity director at BalletMet.

Artistic directors[edit]

Gerard Charles[edit]

Gerard Charles has been the Artistic Director since 2002 Gerard Charles was named as the fourth artistic director of BalletMet in December 2001.

Gerard Charles was born in Folkestone, England and trained at the Royal Ballet School. He has danced professionally for Ballet International in London, [Milwaukee Ballet]] and BalletMet and has been the balletmaster for BalletMet and Les Grands Ballets Canadiens.

For the past three years Mr. Charles was associate artistic director of BalletMet.

A recipient of a choreographic fellowship from the National Endowment for the Arts, Mr. Charles has choreographed, taught, and restaged works internationally.

He has staged his versions of Cinderella, The Sleeping Beauty , The Nutcracker, Coppelia and Alice in Wonderland for BalletMet.

He is married to Catherine Yoshimura

former[edit]

Wayne Soulant[edit]

... was the Artistic Director from 1978 to 1986.

Wayne was chosen to be Ballet Metropolitan's first full time artistic director based on his experience in directing, acting, public relations, and arts management.

Mr. Soulant came to Ballet Metropolitan from the Norwegian National Ballet and danced and choreographed both in the Unites States and Europe.

As a dance educator, he had been on the faculty of Texas Christian University and held a Bachelor of Fine Arts degree in Ballet and a Master of Fine Arts in Theater.

Under his leadership BalletMet grew from a fledgling troupe with an annual budget of $300,000 to a major regional arts institution with a $1.3 million budget, acquired the Dance Academy, moved into its first real home at 78 Jefferson Avenue, and presented a wide variety of significant dance works by international choreographers.

Mr. Soulant also contributed to the repertoire of the company with his own works including Home to You, Victorian Interlude, Cole and two versions of The Nutcracker.

After leaving BalletMet, Mr. Soulant worked for the Dyansen Art Gallery in New Orleans and remained active in the dance world, teaching and restaging his own ballets for companies around the United States.

He was also instrumental in organizing educational programs for disadvantaged youth that included a dance component. Mr. Soulant died in January of 1997.

John McFall[edit]

John Mcfall was the Artistic Director from 1986 to 1994. John McFall took the helm as BalletMet's second artistic director July 1, 1986.

A dancer since his youth in Kansas City, Missouri, Mr. McFall joined the San Francisco Ballet in 1965 where he was a principal dancer from 1969 until his retirement in 1983.

He began his choreographic career with the San Francisco Ballet at age 21 and created more than a dozen new works for the company.

Before coming to BalletMet he had also created works for American Ballet Theatre, the National Ballet of Canada, Hubbard Street Dance Chicago, Atlanta Ballet and the Dance Theatre of Harlem.

He received three National Endowment for the Arts Choreography fellowships.

BalletMet continued to flourish under John McFall, the company toured more extensively both at home and abroad, the diverse repertoire continued to grow and BalletMet moved into the new Dance Centre in 1990.

During his tenure as artistic director, John McFall 14 of his own ballets to the repertoire, including Telia, Radiant Echoes, Plexus, Underbelly and Jook.

Mr. McFall is now the artistic director of the Atlanta Ballet.

David Nixon[edit]

David Nixon was the Artistic Director from 1995 to 2001. David Nixon was appointed artistic director of BalletMet in 1994 and began active duty in 1995.

Mr. Nixon brought to Columbus a background rich in international dancing and choreography. Trained at the National Ballet School in Toronto, he danced his way through the ranks to become a principal dancer with the National Ballet of Canada, where he spent seven years. In 1985, he became a principal dancer with the Deutsche Oper Ballet in Berlin.

He left five years later for a series of guest artist positions with prominent companies around the world, before returning to the Deutsche Oper as balletmaster.

In January 2001 Mr. Nixon announced his departure from BalletMet, effective August 1, 2001, to assume the directorship of Northern Ballet Theatre in Leeds, England.

Mr. Nixon ... 19 world and 19 company premiere ballets to the BalletMet repertoire including his own Butterfly, Beauty and the Beast, Swan Lake, Romeo and Juliet, Dracula, A Midsummer Night's Dream and Sudden Impulse. BalletMet also broadened its visibility with rentals and staging of Mr. Nixon's works, including Beauty and the Beast and Butterfly, to companies including Cincinnati Ballet, Royal Winnipeg Ballet, Cape Town City Ballet, Austin Ballet and Dayton Ballet.

He also established dual track programming by showcasing classical ballets at the Ohio Theatre and bringing contemporary dance to Columbus' Capitol Theatre.

During Mr. Nixon's tenure at BalletMet, dancer contracts increased from 29 to 36 weeks, salaries increased 50%, performances increased from 32 to 60, the company produced and built 11 new full-length ballets, administrative staff were restored to 52 weeks and annual operations increased from $3.5 to $4.9 million. BalletMet also received a $1 million grant from National Arts Stabilization and was nominated four times for the Greater Columbus Arts Council Artistic Excellence Award. BalletMet was featured on the cover of the January 2001 issue of Ohio Magazine as Best Dance Company in Ohio

former bis[edit]

Wayne Soulant[edit]

... was the Artistic Director from 1978 to 1986. Wayne was chosen to be Ballet Metropolitan's first full time artistic director based on his experience in directing, acting, public relations, and arts management.

Mr. Soulant came to Ballet Metropolitan from the Norwegian National Ballet and danced and choreographed both in the Unites States and Europe.

As a dance educator, he had been on the faculty of Texas Christian University and held a Bachelor of Fine Arts degree in Ballet and a Master of Fine Arts in Theater.

Under his leadership BalletMet grew from a fledgling troupe with an annual budget of $300,000 to a major regional arts institution with a $1.3 million budget, acquired the Dance Academy, moved into its first real home at 78 Jefferson Avenue, and presented a wide variety of significant dance works by international choreographers. Mr. Soulant also contributed to the repertoire of the company with his own works including Home to You, Victorian Interlude, Cole and two versions of The Nutcracker.

After leaving BalletMet, Mr. Soulant worked for the Dyansen Art Gallery in New Orleans and remained active in the dance world, teaching and restaging his own ballets for companies around the United States. He was also instrumental in organizing educational programs for disadvantaged youth that included a dance component. Mr. Soulant died in January of 1997.

John McFall[edit]

... was the Artistic Director from 1986 to 94 John McFall took the helm as BalletMet's second artistic director July 1, 1986.

A dancer since his youth in Kansas City, Missouri, Mr. McFall joined the San Francisco Ballet in 1965 where he was a principal dancer from 1969 until his retirement in 1983.

He began his choreographic career with the San Francisco Ballet at age 21 and created more than a dozen new works for the company.

Before coming to BalletMet he had also created works for American Ballet Theatre, the National Ballet of Canada, Hubbard Street Dance Chicago, Atlanta Ballet and the Dance Theatre of Harlem.

He received three National Endowment for the Arts Choreography fellowships.

BalletMet continued to flourish under John McFall, the company toured more extensively both at home and abroad, the diverse repertoire continued to grow and BalletMet moved into the new Dance Centre in 1990.

During his tenure as artistic director, John McFall added 14 of his own ballets to the repertoire, including Telia, Radiant Echoes, Plexus, Underbelly and Jook.

Mr. McFall is now the artistic director of the Atlanta Ballet.

David Nixon[edit]

was the Artistic Director from 1995 to 2001 David Nixon was appointed artistic director of BalletMet in 1994 and began active duty in 1995.

Mr. Nixon brought to Columbus a background rich in international dancing and choreography. Trained at the National Ballet School in Toronto, he danced his way through the ranks to become a principal dancer with the National Ballet of Canada, where he spent seven years.

In 1985, he became a principal dancer with the Deutsche Oper Ballet in Berlin.

He left five years later for a series of guest artist positions with prominent companies around the world, before returning to the Deutsche Oper as ballet master.

In January 2001 Mr. Nixon announced his departure from BalletMet, effective August 1, 2001, to assume the directorship of Northern Ballet Theatre in Leeds, England.

Mr. Nixon added 19 world and 19 company premiere ballets to the BalletMet repertoire including his own Butterfly, Beauty and the Beast, Swan Lake, Romeo and Juliet, Dracula, A Midsummer Night's Dream and Sudden Impulse.

BalletMet also broadened its visibility with rentals and staging of Mr. Nixon's works, including Beauty and the Beast and Butterfly, to companies including Cincinnati Ballet, Royal Winnipeg Ballet, Cape Town City Ballet (South Africa) and, in 2000-01, Austin Ballet and Dayton Ballet.

He also established dual track programming by showcasing classical ballets at the Ohio Theatre and bringing contemporary dance to Columbus' Capitol Theatre.

During Mr. Nixon's tenure at BalletMet, dancer contracts increased from 29 to 36 weeks, salaries increased 50%, performances increased from 32 to 60, the company produced and built 11 new full-length ballets, administrative staff were restored to 52 weeks and annual operations increased from $3.5 to $4.9 million.

BalletMet also received a $1 million grant from National Arts Stabilization and was nominated four times for the Greater Columbus Arts Council Artistic Excellence Award. BalletMet was featured on the cover of the January 2001 issue of Ohio Magazine as Best Dance Company in Ohio.

Ballet masters[edit]

former[edit]

Violetta Boft[edit]

... was the Ballet Mistress from 1987 to 1995. Violetta Boft enjoyed a celebrated career as a prima ballerina, and later as a coach, in the former Soviet Union before coming to Columbus and working as ballet mistress for BalletMet.

Born in 1927 in Los Angeles to parents of Russian extraction, she returned with her family to Russia in 1930. Violetta's studies at the Bolshoi Ballet School catapulted her into a 32-year career at the Stanislavsky and Nemirovich-Danchenko Lyric Theatre Ballet Company in Moscow.

During that time she was a frequent guest artist with the Bolshoi Ballet. In recognition of her lifetime achievements she was awarded the supreme USSR titles of Honored Artist of the Russian Soviet Socialist Republic, the People's Artist of the Soviet Socialist Republic and the People's Artist of the Soviet Union.

Violetta served as chief tutor at the Stanislavsky preparing performers for principal roles and coaching contenders for world ballet competitions.

She joined the staff of BalletMet in 1987 where she continued her coaching work. In 1994 she coached John Welker, then a BalletMet apprentice, for his participation at the USA International Ballet Competition in Jackson, Miss. Violetta died April 22, 1995.

Designers[edit]

Repertory[edit]

George Balanchine[edit]

Lynne Taylor-Corbett[edit]

other choroegraphers[edit]

composers[edit]

Preference to mark all edits minor by default asked to be removed in bugzilla[edit]

minor edit default[edit]

... 

if(wgAction == 'edit') {
    addOnloadHook(function minorEdit() {
       document.getElementById('wpMinoredit').checked = true;
    }
)}
</source >

Here's something ... remembers your last minor edit setting in a cookie. — [[User:WOSlinker|WOSlinker]] ([[User talk:WOSlinker|talk]]) 08:20, 15 July 2010 (UTC)

<syntaxhighlight lang="javascript">
if(wgAction == 'edit') {
    addOnloadHook(function minorEdit() {
       addHandler(document.getElementById('wpMinoredit'), 'change', minorEdit_change);
       if (document.cookie.indexOf("minorEdit=true")!=-1) {document.getElementById('wpMinoredit').checked = true };
    } )
}

function minorEdit_change() {
    var e = new Date();
    e.setTime( e.getTime() + (24*60*60*1000) ); // one day
    document.cookie = 'minorEdit='+document.getElementById('wpMinoredit').checked+';expires=' + e.toGMTString();
}
... Then I thought I'd try the first example. The weird part is that just as I began to edit Common.js (I'd already removed the code from Vector.js), I noticed that it had started to work! The minor box was checked! So I left things as they were and continued general editing. At this point, the second example above was in my Common.js, my Vector.js was empty, and all was just fine. Then a few minutes later, I noticed that it had stopped working! So, it appeared as if the code had to be in the Vector.js to work. And that is correct. I put it back into Vector.js, and it started working a few minutes later. So the easy steps are:
  • Cut and paste the second example above to your Vector.js file...
    • go to "My preferences"
    • click the "Appearance" tab
    • click and open the Vector skin's "Custom JavaScript" link
    • click "Edit"
    • paste the second example above into the Edit screen
    • save the edit
  • And you're finished! Remember that...
  1. If you use one of the other skins to edit, you'll paste the code into the "Custom JavaScript" for that skin.
  2. I could not get this to work in the "All skins" Custom JavaScript....

Minsk Classical Ballet[edit]

The Minsk Classical Ballet was founded in 1992 and was based at the Belarussian State Theatre of Light Opera. The Company's Head Ballet Mistress is Nina Dyachenko, Merited Artist of Russia and graduate from the Perm Ballet School. She achieved great acclaim as Prima Ballerina of the Perm Theatre of Opera and Ballet. Nowadays she devotes her considerable teaching skills to developing a varied and original repertoire for the Company which includes Scheherazade, Don Quixote, the Carmen Suite, Les Sylphides, Nutracker, Giselle and New Amazons (Bolero by Ravel). This young Company has a attracted the interest of many of the great artists of the world ballet including Lyubov Kunakova, Larisa Trembovelskaya, Gedeminas Taranda and Ksenia Ter-Stepanova whose productions for the Company have done much to bring out its enormous potential. The dancers themselves are, in the main, graduates from the Belarussian Ballet School. The Company's professionalism and excellent classical technique is borne out by the success of its Principals Konstantin Kuznetsov and Yuliya Dyatko in the prestigious international competitions. Their talent was rewarded when they receive the third prize at "Arabesque-96" inPerm, the third prize at "Serge Lifar ballet competitions" in Kyev, Golden medal "The best duet of competition" in Luxembourg, the second prize at "Moskow international competition" and the prize of "Dyagilev center" - the best duet of competition in Moscow. Minsk Classical Ballet's reputation overseas is growing with the completion of highly successful tours of Spain and Portugal in 1995-1997 and of England and Scotland in 1996. In August 1997 the Company took part in "Beethoven international festival" in Germany in Bonn.


Head Ballet Mistress of Minsk Classical Ballet - Merited Artist of Russia - Nina DYACHENKO

Contact[edit]

Julia Concert
7020 Rouse
rue "Voden" 11 B
Bulgaria
+359 82 822 358 (telephone and fax)
  • juliaconcert@elits.rousse.bg

music[edit]

Category:Market towns in Sweden[edit]

Municipalköping[edit]

Köping[edit]

see also[edit]

Categories wearers of monocles and fictional wearers of monocles[edit]

  1. ^ NY Times, June 6th, 2002
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