User:Robertgreer/sandbox/P
ping
[edit]{{ping|Robertgreer}}
Stabat Mater, Columbia Classics video, followed by Lent Today
- "If you spend a weekend in New York you'll konw the Devil exists." Fr. Benedict Groeschel
Matthew Neff directed, choreographed and designed/constructed costumes for his own contemporary version of Petrouchka in the 2010 New York Musical Theatre Festival (NYMF). Featuring an original score by Michelangelo Sosnowitz, Petrouchka told the story of a homeless man that conjures a fantasy world where he becomes a carnival barker. All eyes are on The Barker as he presents a trio of dolls: The Soldier, The Ballerina and the jester, Petrouchka. As he commands their tale of love and jealousy to unfold, reality and make-believe blur tragically in this dramatic dance musical. Matthew Neff was awarded Excellence in Choreography for his work in Petrouchka at NYMF's 2010 Gala.
Ballet dancer widely celebrated for her beauty and humanity
Georgina Parkinson, who has died of complications from cancer at the age of 71, was a principal dancer of the Royal Ballet, and muse to Kenneth MacMillan and Frederick Ashton, before spending 30 years as cherished ballet mistress to American Ballet Theatre. She was also a woman of exceptional beauty and kindness of heart. She created much choreography, and many roles of warm humanity, was a selfless coach to dancers both European and American, and was a good Samaritan to fellow artists in times of their distress, above all to MacMillan and Lynn Seymour.
Born in Brighton, Parkinson won a scholarship to the Sadler's Wells Ballet School in London, on the recommendation of the school's founder, Ninette de Valois, in 1957. She joined the company on graduation, danced Odette in Swan Lake in the Covent Garden performance of 1960, became a soloist and by 1962 had been promoted to be a principal by Ashton. Her friend and contemporary, Seymour, described her as "a stately dancer with jet-black hair, blue eyes framed by silky lashes, and a flawless complexion".
She became one of the close group of young people who shared and contributed to the early ballets of MacMillan, known among themselves as the Diners Club, who gave each other nicknames and to whom Parkinson became "the beautiful Georgina" or simply "the BGP". With them, she danced in MacMillan's pure dance work Symphony, designed by Yolanda Sonnabend (1963). The following year, Ashton introduced her to Bronislava Nijinska, whom he had invited to stage her masterpiece of chic 1920s society, Les Biches, for the Royal Ballet. Nijinska cast her for the enigmatic, sophisticated, even daring character, in the famous Marie Laurencin blue tunic, La Garconne (Georgina refused to label it girl or boy).
In 1966, Nijinska used her again as a soloist in the even more impressive revival of Les Noces at Covent Garden. Ashton cast her as one of the Muses when he acquired another Diaghilev jewel, George Balanchine's Apollo, in 1966 and himself created for her roles in Monotones I and that of Winifred Norbury in Enigma Variations. That appealed to her, because she was recapturing a real person. She recalled in an interview in the Dancing Times, "I had a marvellous night when a little card was sent backstage from a relation of hers who was in the audience and who said how much I reminded her of Winifred – how thrilling it was to see her again."
She was the first to dance MacMillan's Juliet in the Royal Swedish Ballet's production of his Romeo and Juliet in 1969 and she coached many dancers in the ballet (she had created the role of beauteous Rosaline). Her admiration of MacMillan was total; when asked by the ballet critic James Monahan how to explain his gift, she replied simply: "He is a genius."
Of all the roles she created for MacMillan, perhaps the most memorable, and her last created, was that of the Empress Elisabeth of Austria in his 1978 epic Mayerling. The failure of the mother to make any emotional contact with her son, Rudolf, is a crucial element of the tragedy but the other essential attribute for anyone playing Elisabeth, still an icon in Vienna, is to be a beauty; Parkinson found the character and added the beauty.
It was to teach Mikhail Baryshnikov the role of Romeo for the film The Turning Point (1977) that Parkinson went with MacMillan to the US in the 1970s and was invited to stay, as ballet mistress to American Ballet Theatre from 1978. With her family – her husband, the photographer Roy Round, and son Tobias – she moved to New York and stayed there for 30 years, continuing to play mature character roles in the ABT repertory and for other choreographers.
She had been seriously ill for some time, but her loss at this age is nonetheless poignant. She is survived by her husband and by Tobias, who is married to the Royal Ballet ballerina Leanne Benjamin, appropriately herself an exceptionally eloquent exponent of MacMillan choreography.
• Georgina Parkinson, dancer, born 20 August 1938; died 18 December 2009
Additions
[edit]The Emperor of the Middle Kingdom has two rival daughters, one good and one evil.
Princess Rose, the good one, is banished and forced to undergo a journey through air, fire and water.
In the Kingdom of the Pagodas she meets a Green Salamander who turns into a handsome prince.
He then helps her and her father to regain the kingdom, which has fallen into the hands of her evil sister, Princess Epine.
The music, by Benjamin Britten, was the first full-length ballet score by a British composer in the 20th century.
Cranko revived it for Milan (1957) and Stuttgart (1960).
Vinogradov staged a new version for the Kirov as The Enchanted Prince (1972).
In 1989 Kenneth MacMillan choreographed a new version for the Royal Ballet using the Britten score.
The ballet, which featured designs by Nicholas Georgiadis, was premiered on 7 Dec. 1989 with Darcy Bussell, Cope, Dowell and Fiona Chadwick.
Cast
[edit]
|
former dancers
[edit]|
|
- REDIRECT Proto-Norse language
- From a short name: This is a redirect from a title that is a shortened form of a more complete page title, such as a person's full name or the unbroken title of a written work.
- Use this rcat (not {{R from initialism}} nor {{R from abbreviation}}) to tag redirects that are the initials of a person's name.
- REDIRECT Proto-Norse language#Phonology
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Proto-Norse language#Accent
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Proto-Norse language#Vowels
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Proto-Norse language#Consonants
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
Sources attesting Proto-Norse Sources attesting Proto-Norse language
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
Proto-Norse runic inscriptions
- REDIRECT Proto-Norse language#Loan words
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Phonology
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Vowels
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Consonants
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Orthography
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Accent
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
Proto-Norse phonology
Proto-Norse vowels
Proto-Norse consonants
Proto-Norse orthography
Proto-Norse accent
- REDIRECT Old Norse#Phonological processes
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Ablaut
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Umlaut
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
Proto-Norse phonological processes Proto-Norse ablaut Proto-Norse umlaut
- REDIRECT Old Norse#U-umlaut
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
Proto-Norse U-umlaut
- REDIRECT Old Norse#Breaking
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
Proto-Norse breaking
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
Proto-Norse assimilation or elision of inflectional r
- REDIRECT Old Norse#Elision of inflectional r
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
Proto-Norse elision of inflectional r Proto-Norse assimilation of inflectional r
- REDIRECT Old Norse#Phonotactics
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Blocking of ii, uu
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Epenthesis
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
Proto-Norse phonotactics Proto-Norse blocking of ii, uu Proto-Norse epenthesis
- REDIRECT Old Norse#Syntax
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Grammar
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Gender
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Hierarchy
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
Proto-Norse syntax Proto-Norse grammar Proto-Norse gender Proto-Norse hierarchy
- REDIRECT Old Norse#Morphology
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Texts
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Dialects
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
Proto-Norse morphology Proto-Norse texts Proto-Norse dialects
- REDIRECT Old Norse#Old West Norse
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Old Icelandic
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Old Norwegian
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
- REDIRECT Old Norse#Greenlandic Norse
- To a section: This is a redirect from a topic that does not have its own page to a section of a page on the subject. For redirects to embedded anchors on a page, use {{R to anchor}} instead.
Old West Norse Old Icelandic Old Norwegian Greenlandic Norse
Morphophonology 1.1 During Proto-Germanic
1.2 Before Old Norse
2 Verbs 2.1 Strong verbs 2.1.1 Verbs in -ra
2.2 Weak verbs
2.3 Present-preterite verbs 2.4 Suffixes and clitics
3 Nouns 3.1 Strong nouns
3.2 Weak nouns
4 Pronouns and adjectives 4.1 Pronouns 4.1.1 Personal and possessive
4.2 Adjectives 4.2.1 Hit
4.3 Strong declension
4.4 Weak declension and weak inflection of active participles 4.5 Indeclinable 4.6 Numbers
Protocanonical books
[edit]- Genesis
- Exodus
- Leviticus
- Numbers
- Deuteronomy
- Joshua
- Judges
- Ruth
- 1–2 Samuel
- 1–2 Kings
- 1–2 Chronicles
- Ezra
- Nehemiah
- Esther
- Job
- Psalms
- Proverbs
- Ecclesiastes
- Song of Solomon
- Isaiah
- Jeremiah
- Lamentations
- Ezekiel
- Daniel
- Hosea
- Joel
- Amos
- Obadiah
- Jonah
- Micah
- Nahum
- Habakkuk
- Zephaniah
- Haggai
- Zechariah
- Malachi
Five pillars of Wikipedia
[edit]Rules and laws governing content a.k.a. the Five pillars of Wikipedia
principal dancers
[edit]Miranda Weese is from San Bernardino, California. She trained at Laguna Dance Theatre and the School of American Ballet. She became an apprentice with New York City Ballet in 1991 and a member of the corps de ballet in 1993. She was promoted to soloist in 1994 and principal in 1996. In 2007 she left New York City Ballet and performed as a guest artist with Pacific Northwest Ballet. She joined Pacific Northwest Ballet as a Principal dancer in July 2007.
At PNB Ms. Weese has performed leading roles in George Balanchine's Agon, Ballet Imperial, Concerto Barocco, A Midsummer Night's Dream (Hermia, Divertissement pas de deux), Rubies, and La Sonnambula; Edwaard Liang's Für Alina; Jerome Robbins' The Concert, Fancy Free, and In the Night; Kent Stowell's Nutcracker (Clara, Flora); Richard Tanner's Ancient Airs and Dances; Twyla Tharp's In the Upper Room; and Christopher Wheeldon's Polyphonia. She originated a leading role in Susan Stroman's TAKE … FIVE More or Less. She has also been featured in Trisha Brown’s Spanish Dance.
At New York City Ballet, Ms. Weese danced leading roles in Balanchine's Apollo, ... Divertimento No. 15, Emeralds, The Four Temperaments, ... Stravinsky Violin Concerto, Symphony in C, Symphony in Three Movements, Tchaikovsky Pas de Deux, Theme and Variations, and La Valse; Peter Martins's The Sleeping Beauty (Aurora) and Swan Lake (Odette/Odile); Jerome Robbins's ... Dances at a Gathering and The Four Seasons.... Ms. Weese originated a principal role in Twyla Tharp's The Beethoven Seventh.
Ms. Weese danced the role of Odette/Odile on the nationally televised broadcast of Peter Martins's Swan Lake on PBS's Live from Lincoln Center. She also appeared in the May 2004 Live From Lincoln Center broadcast of "Lincoln Center Celebrates Balanchine 100," dancing in Balanchine's Liebeslieder Walzer. In 2007 she performed in the worldwide company debut performance of Morphoses/The Wheeldon Company. She was the recipient of the Princess Grace Foundation — USA Dance Fellowship for 1995–1996.
Carla Körbes was born in Porto Alegre, Brazil, and began her ballet training at age five with local teachers. At age eleven, she began studying at Ballet Vera Bublitz. In 1996, Peter Boal danced with her as a guest artist of the school and encouraged her to come to New York to study at the School of American Ballet. For academic year 1997–1998, her tuition was paid by Alexandra Danilova so that she could continue studying at the School of American Ballet. In 1999, she was the Mae. L. Wien Award recipient and was made an apprentice with New York City Ballet. She joined the company as a member of the corps de ballet in 2000 and was the Janice Levin Dancer honoree for 2001–2002. She was promoted to soloist in 2005 and later that year joined Pacific Northwest Ballet as a soloist. Ms. Körbes was promoted to principal dancer in 2006.
Ms. Körbes has danced leading roles in George Balanchine's Agon, Concerto Barocco, Diamonds, Emeralds, La Sonnambula, Prodigal Son, Slaughter on Tenth Avenue, La Sonnambula, Symphony in Three Movements, and La Valse, Val Caniparoli's The Bridge, Merce Cunningham's Inlets 2, Nacho Duato's Jardí Tancat and Rassemblement, Sonia Dawkins's Ripple Mechanics(ballet), William Forsythe's Artifact II(ballet) and In the middle, Ronald Hynd's The Sleeping Beauty(ballet) (Lilac Fairy, Gold and Silver pas de trois); Mark Morris's A Garden(ballet) and Pacific(ballet), Jerome Robbins' Fancy Free(ballet), In the Night(ballet) and West Side Story Suite (Anita); Kent Stowell's Carmina Burana(ballet), Hail to the Conquering Hero(ballet), Nutcracker (Clara, Flora, Peacock) and Swan Lake (Odette/Odile); Susan Stroman's TAKE FIVE … More or Less(ballet), Richard Tanner's Ancient Airs and Dances(ballet), Twyla Tharp's Nine Sinatra Songs(ballet) and Waterbaby Bagatelles(ballet) and Christopher Wheeldon's Carousel (A Dance)]]' and' Polyphonia(ballet). She originated leading roles in Paul Gibson's Sense of Doubt(ballet), Benjamin Millepied's 3 Movements(ballet) and Twyla Tharp's Opus 111
At New York City Ballet, Ms. Körbes danced leading and featured roles in Balanchine's Divertimento No. 15, Episodes, A Midsummer Night’s Dream (Titania, Helena), and Serenade; Peter Martins's Concerto for Two Solo Pianos, Sinfonia, The Sleeping Beauty, and Swan Lake; and Robbins’s Antique Epigraphs, Fanfare, The Four Seasons, I’m Old Fashioned, and Interplay. She originated leading roles in Albert Evans’s Haiku, Martins’s Chichester Psalms, Stroman’s Double Feature, Tanner’s Soiree, and Wheeldon’s An American in Paris and Shambards.
In 2002, Ms. Körbes performed Richard Tanner's Ancient Airs and Dances for the nationally televised PBS Live from Lincoln Center broadcast, "New York City Ballet's Diamond Project: Ten Years of New Choreography."
In addition to her performances with New York City Ballet and Pacific Northwest Ballet, Ms. Körbes has performed with Peter Boal and Company. In 2007 she performed in the worldwide company debut performance of Morphoses/The Wheeldon Company. She also performed as a guest artist on the Vail International Dance Festival's "International Evenings of Dance" galas.
New York City Ballet Announces Eight Promotions
[edit]... Seth Orza ... Promoted to Soloist
New York City Ballet has announced eight promotions, effective immediately. Sterling Hyltin, Jonathan Stafford, Daniel Ulbricht, and Andrew Veyette have all been promoted to the rank of principal dancer, and Robert Fairchild, Craig Hall, Seth Orza, and Sean Suozzi have all been promoted to soloist.
Peter Martins, NYCB’s Ballet Master in Chief, announced these promotions during the Company’s two-week presentation of Romeo + Juliet, the highlight of the 2007 spring season. All eight dancers are performing featured roles in Romeo + Juliet, which runs through Sunday, May 13.
New Soloists
[edit]Seth Orza was born in San Francisco. In 1994, he began studying at the Summer Program of the School of American Ballet as a scholarship student, and he entered SAB as a full time student in the fall of 1997. He joined New York City Ballet’s corps de ballet in June 2000. Mr. Orza danced the role of Romeo in Peter Martins’ Romeo + Juliet. He has also danced featured roles in George Balanchine’s Agon, Coppélia (“War & Discord”), The Four Temperaments, George Balanchine’s The NutcrackerTM (Cavalier, Hot Chocolate, Mouse King, Dr. Stahlbaum), Emeralds from Jewels, A Midsummer Night’s Dream (Bottom and Lysander), Slaughter onTenth Avenue, Symphony in C (Third Movement), and Tschaikovsky Piano Concerto No. 2; Jerome Robbins’ 2 & 3 Part Inventions, Fancy Free, Fanfare (Clarinets), In Memory of…, Interplay, and Piano Pieces; Mr. Martins’ Reliquary, The Sleeping Beauty (Gold, Puss in Boots, and America), Songs of the Auvergne, and Swan Lake (Benno); Christopher Wheeldon’s Carousel (A Dance), Evenfall, and Polyphonia; David Allan’s Reunions; and Angelin Preljocaj’s La Stravaganza. He originated featured roles in Albert Evans’ Haiku, Susan Stroman’s Double Feature (Edward Meekin), and Richard Tanner’s Soirée, and the NYCB premiere of Robbins’ N.Y. Export: Opus Jazz.
New York City Ballet’s 2007 spring season runs through Sunday, June 24. All performances are at the New York State Theater at Lincoln Center, on Columbus Ave. at 63rd St. For more information or to purchase tickets, please call 212-870-5570 or visit www.nycballet.com.
Klarna Pinska
[edit]- NYPL Klarna Pinska papers 1919-1986
- Playbill Vault
- IBDB
- Burns Mantle Yearbook The Best Plays of 1938-39 vol. 20, p. 483
- Somewhere: The Life of Jerome Robbins by Amanda Vaill, p 35