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Ballet: Don Quixote & Giselle. This Week! Buy Ticket!
Published on: 2018-09-18
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010Ballet: Don Quixote by Teatro alla Scala Ballet Company

Date: 20th & 21st, September
Time: 19:30
Discount Price: 280/420/550/680/880/980RMB
Venue: Opera House, Tianjin Grand Theatre
No.58 Pingjiang Rd, Hexi District

天津市政府补贴高端演出项目
意大利斯卡拉歌剧院芭蕾舞剧《堂·吉诃德》

演出时间:
2018年9月20/21日 周四/五 19:30
演出地点:天津大剧院 歌剧厅
演出时长:约160分钟(含中场休息40分钟)

政府补贴价:
280/420/550/680/880/980元
 

编舞:鲁道夫·纽瑞耶夫
舞蹈指导:弗洛伦斯·克莱克
音乐:路德维希·明库斯
音乐改编:约翰·兰奇贝里
 

演出团体:
意大利米兰斯卡拉歌剧院芭蕾舞团
总监:费雷德里克·奥利维耶里
指挥:大卫·科尔曼
交响乐团:中国电影乐团

011Ballet: Giselle by Teatro alla Scala Ballet Company

Date: 22nd & 23rd, September
Time: 19:30 (Sep 22nd); 14:30 (Sep 23rd)
Discount Price: 280/420/550/680/880/980RMB
Venue: Opera House, Tianjin Grand Theatre
No.58 Pingjiang Rd, Hexi District
 

天津市政府补贴高端演出项目
意大利斯卡拉歌剧院芭蕾舞剧《吉赛尔
 

演出时间:
2018年9月22日 周六 19:30
2018年9月23日 周日 14:30
演出地点:天津大剧院 歌剧厅
演出时长:约120分钟(含中场休息20分钟)
 

政府补贴价:
280/420/550/680/880/980元
 

编舞:简·科拉里、朱尔·佩罗
复排:伊维特·肖维雷
音乐:阿道夫·亚当


演出团体:
意大利米兰斯卡拉歌剧院芭蕾舞团
总监:费雷德里克·奥利维耶里
指挥:大卫·科尔曼
交响乐团:中国电影乐团
 

*天津市政府补贴高端演出项目
*1.2m以下儿童谢绝入场

012Two steps to buy tickets:

1. Scan below QR Code to buy ticket! 扫下面二维码买票!

0132. Scan below QR code and send to us your contact information:

扫下面二维码发给我们您的信息:

014- Type of tickets 票档位
- Number of Tickets 张数:
- Your name 您的姓名:
- Phone number 联系电话:
- Address 邮寄地址:
 

We will send to you the tickets (extra charge), or you can pick up tickets 1 hour before show at the entrance of the Theater.
我们将会将演出票快递给您, 您也可以演出前1个小时到剧院入口处取票.
 

Ballet: Don Quixote

015Three Acts
ActⅠ- 55 minute
Intermission - 20 minute
ActⅡ- 35 minute
Intermission - 20 minute
ActⅢ- 30 minute
 

三幕芭蕾
第一幕 55分钟
中场休息20分钟
第二幕 35分钟
中场休息20分钟
第三幕30分钟
 

Synopsis
剧情介绍

Prologue
Don Quixote, an eccentric country gentleman, considers himself to be the le-gitimate successor of the medieval knights-errant, about whom he has read a great deal, perhaps too much. He is dreaming of the noble lady Dulcinea, for whose sake he will perform feats of arms. His dreams are brutally inter-rupted by the entrance of his neighbour Sancho Panza, who is fleeing from a group of servants after stealing a chicken. Don Quixote immediately ap-points him as his squire and the two take off for knightly adventures of love and war.
 

序曲
堂吉诃德是一位乡绅,幻想着自己是中世纪骑士的合法继承人,受到贵族小姐杜西内亚的幻像所驱使,唐吉诃德和他忠心的待从桑丘•潘沙开始了他爱和历险的旅程
 

Act Ⅰ
Kitri, daughter of the innkeeper Lorenzo, is looking for her lover, the barber Basilio, whom she meets in the village square. Their joyful dance is brought to a halt by the arrival of Kitri’s father, who wants her to marry the rich and noble Gamache. Kitri absolutely refuses to do so. In the meantime, Don Quixote and Sancho Panza arrive and Lorenzo offers them rooms in his inn. The village folk continue to dance happily and begin to make fun of Sancho until his master comes to his rescue. Don Quixote admires Kitri and sees in her his beloved Dulcinea. He gallantly offers her his arm to dance a minuet. The furious Gamache is forced to join in the dance. In the confusion, Kitri and Basilio escape.
 

第一幕
小酒馆老板罗伦佐的女儿姬特莉和理发师巴西利奥在村庄的广场市集约会。但罗伦佐希望女儿下嫁给富人加玛斯,唐吉诃德与侍从桑丘赶到这个热闹的市集,来到酒馆喝酒休息。唐吉诃德看见了美丽的姬特莉,竟相信她便是他梦中的爱人杜西内亚,但是,姬特莉却跟巴西里欧私奔了。罗伦佐、加玛斯和唐吉诃德开始寻找姬特莉。
 

Act Ⅱ
Kitri and Basilio take shelter in a windmill, where they are set upon by gyp-sies, who soon understand that the youngsters do not have anything worth stealing; they then turn their attention to Lorenzo and Gamache, who have arrived, looking for the fugitives, and who appear to offer better pickings. When the two lovers see Don Quixote, who has also arrived, they make a pact with the gypsies to rouse Don Quixote’s anger against Lorenzo and Gamache. The gypsies set up a marionette theatre, and perform the story of the lovers Kitri and Basilio, thwarted by her father and Gamache. Don Quixote is quick to come to the rescue of the oppressed and destroys the theatre. However, Don Quixote suddenly notices the windmill, which his imagination converts into a giant enemy to be fought. The sails of the wind-mill knock him to the ground. He is also frightened by the gypsies, who ap-pear dressed up as monsters. Once again Kitri and Basilio flee. In a state of semiconsciousness induced by his injuries, Don Quixote dreams that he has been transported into an enchanted garden, as a reward for the courage and loyalty he has demonstrated. The queen of the Dryads leads him to Dul-cinea, to whom he declares his love. But the vision suddenly vanishes.
 

第二幕
姬特莉跟巴西里欧逃到风车底下躲避,但被一群吉普赛人算计一通,吉普赛人想要拿这对情侣同前来要人的罗伦佐、加玛斯要挟一笔赎金,他们把这对情侣的故事搬到木偶剧院讥讽表演,这激怒了堂吉诃德,他摧毁了剧院,把风车当成了一个假想敌,吉普赛人也变成了怪兽与它战斗,惨败的他因太疲倦而失去了意识。唐吉诃德做了一个神秘的梦,梦里的森林女王将他引向杜西内亚,但幻象突然消失了。
 

Act Ⅲ
Kitri and Basilio have taken refuge in a tavern, where they have encountered friends and are making merry. Lorenzo, Gamache, Don Quixote and Sancho Panza come in. Lorenzo is more than ever determined that his daughter mar-ry Gamache. Basilio is desperate and tries to save the situation by pretending to kill himself, while Kitri begs Don Quixote to help them. He forces Lorenzo to bless the two lovers before Basilio’s death separates them forever. As soon as the blessing has been given, Basilio jumps up more lively than ever. Gamache is outraged and challenges Don Quixote to a duel, because he helds him responsible for the events. He is defeated. During the rejoicing and the grand finale, Don Quixote and his squire depart for further adventures.
 

第三幕
姬特莉和巴西里欧逃到了一家小酒馆,罗伦佐、加玛斯、堂吉诃德和桑丘㛑随之赶来。巴西里欧无比绝望并试图通过假装自杀来拯救情况,姬特莉乞求唐吉诃德来帮助他们。他强迫罗伦佐在巴西里奥的死亡将他们永远分开之前祝福两个恋人。这招一得逞巴西里奥立马复活了。 加玛斯愤怒地和唐吉诃德进行决斗,他要堂吉诃德对整个事负责,最终他被打败了。众人一起庆祝姬特莉和巴西里欧的婚礼。唐吉诃德祝贺了他们,然后和桑丘一起踏上了他那无尽的历险旅程。
 

Ballet: GISELLE

017Two Acts
ActⅠ- 55 minute
Intermission - 20 minute
ActⅡ- 45 minute
 

两幕芭蕾
第一幕 55分钟
中场休息20分钟
第二幕45分钟
 

Synopsis

Alberto Bentoglio
 

ACT I
The peasants of a Rhineland village are celebrating the vintage festival. A young nobleman, prince Albrecht, disguised under the name of Loys, pays court to a girl named Giselle, who accepts. But the gamekeeper Hilarion, who suspects Loys’ true identity and is jealous of him, awaits the propitious moment to get his revenge. Giselle is happy and pays no heed to the advice and warnings of her mother, who puts her on her guard by telling her the story of the Willi, the maidens who died before marriage and who, transformed into spirits, lure the men whom they encounter by night and compel them to dance to death. Meanwhile a procession of nobles who have been hunting arrives at the village, in attendance upon the duke of Courland and his daughter Bathilde, who is engaged to Albrecht. Giselle confides to the young lady that she has fallen in love. She receives a wedding present, but Hilarion chooses this moment to appear, revealing that Albrecht and Loys are the same person. The prince cannot deny it. Giselle, who feels betrayed in her most cherished and pure sentiment, goes out of her mind. In a wild dance, she tries to kill herself with Albrecht’s sword, then she goes mad and dies of a broken heart.
 

剧情介绍

第一幕
果农们在葡萄园里,庆祝着葡萄收获的季节。年轻、 高贵的阿尔布雷希特伯爵,扮成农民模样,化名洛伊斯向吉赛尔求爱,并获得了她的芳心。但山林守门人希拉里昂怀疑洛伊斯的真实身份,心生嫉妒的他,准备伺机报复。此时,母亲警告支儿,并跟她讲述了 “维丽” 的故事:维丽们都是因爱情破灭而死的女人,她们死后化成精灵在夜晚出没,引诱所遇到的每个男人,并驱使他们跳舞直至力竭而死。可是吉赛尔沉侵在快乐的爱河里,根本听不进母亲的劝告。这时,王公贵族的精猎队伍来到了村庄,领队的是库特兰公爵,同行的还有他的女儿巴季尔达。巴季尔达正是阿尔布雷希特伯爵的未婚妻。吉窦尔向巴季尔达分享爱情的甜蜜,巴季尔达也赠送给吉赛尔 一份结婚礼物。这时希拉里昂突然出现,并告诉众人,农们洛伊斯和阿尔贝特伯爵就是同一人。阿尔布雷希特伯爵无法否认事实,吉赛尔顿时觉得他最珍贵、 最纯洁的情感受到背叛,疯一样的跑开。在狂放的舞蹈中,她本想用阿尔布雷希特的佩剑自杀,但最终她失去理智,在伤心绝望中离开人世。
 

ACT II
Some time has passed, and Albrecht, seized with remorse, returns to the village. Here the magic spell is cast by the Willi maidens, who, led by their imperious queen Myrtha, come out of their tombs by night. Albrecht finds Giselle again, but is condemned to dance until he dies, as is the gamekeeper Hilarion. In vain the prince begs Myrtha to forgive him: the law of the Willi maidens is inflexible. Giselle herself, however, saves him by helping him to resist and dancing with him until the sun rises.When the spell comes to an end, Albrecht finds himself in the village, alone with his remorse.
 

第二幕
一段时间以后,阿尔布雷希特带着深深悔意,回到村庄。夜晚时分,女魔王米尔达召集维丽们从坟墓中飘出,向他施展魔咒。阿尔布雷希特发现,吉赛尔的身影也在其中,但他被维丽们引诱着一直跳舞,就像希拉里昂的最终结局一样,跳到最后死去。阿尔布雷希特乞求维丽们放过他,但无济于事,维丽的律法是不能改变的。 吉赛尔决定保护阿尔贝特,她挺身而出,并陪着他跳舞,直到清晨东方露出阳光,魔咒失去效力。最后,阿尔布雷希特发现,自己孤身一人在村庄里,后悔而内疚……
 

意大利米兰斯卡拉歌剧院芭蕾舞团

018The present day Ballet Company of Teatro alla Scala can boast a glorious past whose roots go back centuries to the 1778 inauguration of the world’s most celebrated musical theatre. Illustrious choreographers, such as Jean-Georges Noverre, Gasparo Angiolini, Salvatore Viganò, were to exert great influence on dance in Europe, even before the founding in 1813 of the Imperial Dance Academy of La Scala. From here Carlo Blasis, the illustrious dancer, teacher and theorist brought Ballet into the romantic period, contributing to the technical innovation of its style. In Russia, Enrico Cecchetti, propagated the teaching of the Italian academic technique and by way of Serge Diaghilev’s Ballets Russes, which he had joined, elevated its status in this new era.
 

Dance at La Scala entered the twentieth century also with renowned choreographers linked to the Ballets Russes, like Mikhail Fokin and Leonide Massine. From the free and expressionist dance of Middle-Europe of the thirties and forties, came, above all, Aurel Milloss. Arturo Toscanini gave him the task of reuniting the lost threads of the Scala company after the Second World War. For his repertoire, he not only chose great musicians, renowned set designers and painters, but also illustrious guests such as George Balanchine.
 

In the fifties and sixties, La Scala became a stage open to the best names of the then artistic panorama. Roland Petit made his début in 1963, Maurice Béjart in the seventies, and many guest stars were added like Rudolf Nureyev, beginning in 1965 a very close collaboration with the Milanese theatre.
 

Recent years have seen the La Scala Ballet expand its visibility at home and abroad, with debut performances at the Paris Opera, Moscow’s Bolshoi Theatre, the Mariinsky (Kirov) Theatre, and in the USA, Germany, Turkey, Brazil, Spain, Mexico and China, to name just a few. Thanks to the unfailing expressive, technical and interpretative appeal of La Scala’s étoiles Svetlana Zakharova, Roberto Bolle, Massimo Murru, guest artists, principals, newly appointed soloists, and the many Corps de Ballet members frequently selected for major roles, Makhar Vaziev’s direction (from 2009 since end of 2015) resolutely embraces a set of precise artistic standards. The aim is to reinvigorate the twentieth century’s most refreshing and influential ballet repertoire as a “tradition of the new” in the ballet world, reviving the necessary classics, providing young choreographers with creative opportunities, and drawing celebrated musical directors to the ballet rostrum, both as an element of added appeal and also as an unmistakable sign of the musical excellence that befits La Scala, not only in its operatic performances but also in its dance productions. Under his direction, the Ballet Company's chain of command has grown in every respect. Today's principals include Nicoletta Manni, Claudio Coviello, Virna Toppi, Martina Arduino and Timofej Andrijashenko and soloists include Massimo Garon, Marco Agostino, Vittoria Valerio, Federico Fresi, Alessandra Vassallo, Christian Fagetti Nicola Del Freo and Maria Celeste Losa and very young dancers trained at the Ballet School are emerging from the ranks of the Ballet Company: among them, and many new dancers who have debuted in main roles, fulfilling the Company's brief to recognise and cast burgeoning talent.
 

The successor of Makhar Vaziev, Mauro Bigonzetti, had to withdraw the ballet direction due to a health problem; from October 2016 the direction of the Ballet Company has been entrusted to Frédéric Olivieri.
 

当今的拉斯卡拉歌剧院芭蕾舞团绝对有资本为他们辉煌的过去而骄傲,这座历经了两个世纪沧桑的歌剧院落成于1778年,是最举世闻名的音乐厅之一。一代代颇具影响力的欧洲编舞家,如法国芭蕾大师让•乔治•诺维尔、意大利编舞家加斯帕罗•安吉奥利尼和萨尔瓦多•维加诺等,从舞团的前身斯卡拉皇家舞蹈协会,到1813年斯卡拉歌剧院芭蕾舞团正式成立,都曾为舞团享誉世界做出过杰出的贡献。
 

自意大利舞蹈理论权威、著名舞者、编舞家卡罗•布拉西斯将芭蕾舞带入浪漫主义时期起,他的个人风格和对芭蕾技术的创新贡献,对日后全世界芭蕾舞的发展都产生了深远影响。在俄罗斯,恩里科•切凯蒂就因推行了意大利芭蕾舞的学术体系,使得塞尔吉•贾吉列夫领导下的俄罗斯芭蕾舞团提升到了一个全新的发展时期。20世纪三、四十年代,中欧盛行着自由形式和表现主义舞蹈,欧瑞•米洛斯受当时接手斯卡拉歌剧院的指挥大师阿尔图罗•托斯卡尼尼所托,在第二次世界大战后重建散落的芭蕾舞团。得益于他的声望,他不仅集合了众多优秀的音乐家、知名的舞美师,而且请来了包括乔治•巴兰钦在内的大师担任客座表演。到了五、六十年代,斯卡拉大剧院成为了全世界舞者梦寐以求的舞台,1963年,罗兰•佩蒂的首次亮相就在这里,七十年代的莫里斯•贝嘉,以及鲁道夫•努里耶夫等众多芭蕾明星先后献舞于此。总而言之,自1965年起,斯卡拉大剧院逐渐成为名符其实的“米兰的荣耀”。

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