thegoodfellas/blogset-br huggingface dataset:
A talk with Igor Zapravdin: April 5th, 2017Astrologically speaking, what you make of yourself is a 10th house matter. The 10th house describes your career, your public reputation, your worldly status. It suggests your optimum contribution to society, the qualities for which you'd like to be admired and respected. People who have their sun in the 10th house are blessed with so much awareness that when they enter a room every single person turns in their direction. This has to be the case with Igor Zapravdin.At the precise moment when he entered the Cafe, in which our interview was going to take place, he became the center of attention, in an almost ferocious but natural, uncomplicated way at the same time. After shaking hands and exchanging a warm embrace, we sat down to talk. Oh, I do love talking to genius. I do love talking to people with broad experience and deep knowledge of their metier. It has been a long time since I realized that in order to go further, one has to ask questions. Many questions. Even if you feel that may be silly. When I think back at all people I have met, I sometimes think: why didn't I ask more? Why didn't I ask them to dinner so we could talk more? It is really a long time since I stopped being shy about asking too much. And I am glad about that! As Jane Fonda once said It is so much better to be interested than interesting... .Igor Zapravdin was born in Sevastopol (Crimea) and started his musical studies at the early age of 6. When I asked him if he had ever also been to ballet classes he answered immediately Of course, during my times in music school I also went to ballet classes... for about 6 years!That made it all clear to me this unique understanding of ballet and of the needs of the ballet teacher. This unique feeling for tempo. There must be a total feeling for the person you are working with. Class is a holly place. Respect and understanding are required. Albert (Mirzoyan) knows what he needs. I give it to him But this understanding comes with time... We have been working together for so many years!.Mr. Zapravdin has been working since 1992 at the Vienna State Opera.I am a ballet pianist you see, a ballet pianist can be a concert pianist but a concert pianist is not a ballet pianist! he continued, There are three extremely important things: the ballet repertoire even of unimportant pieces, capacity of improvisation and the knowledge of ballet technique itself! Without these three vital things, you cannot be a ballet pianist!Talking to him and concentrating on writing down every single important information is not an easy thing. He is quick, pin-pointed to the last details about his work and his soul overflows with excitement while he is talking. Talking about the things he loves most!Mr. Zapravdin, you have done a great work with the musical arrangements of Le Corsaire... I started to say. Yes, that had
to be done... You see, the score from Le Corsaire has not the musical quality of a Giselle. There were so many pieces that were added to it through the years. Music from eleven composers! I have reduced them to 5!Which is your favourite com... ? Before I could finish my sentence he answered Riccardo Drigo, his eyes shining with delight a the very mention of his favourite composer. A man of great stamina, Mr. Zapravdin has been working on extra projects that include a Gala in Luxembourg on May 20th & 21st (with Vladimir Malakhov, Lucia Lacarra, Marlon Dino, Eno Peci & Natascha Kusch among others), which unfortunately I will not be able to attend and his own 25 year Jubilee at the State Opera which will take place on October 29th at the Volkstheater, which I will surely attend to. But that is the thing about Mr. Zapravdin his total dedication and love to a profession that found him. Yes, I do believe that artists do not look for their profession. They are chosen by it! And this the fascinating thing. I could still be sitting there, listening to the wisdom of this learned gentlemen! I am looking forward to learning more from him and from his infinite cultural baggage!Many thanks!Some facts about Mr. Zapravdin:After attending music and Ballet school, Mr. Zapravdin continued his studies and graduated for composition and classical piano from the Academic Music College under the Moscow State Tchaikovsky Conservatory and Moscow State Pedagogical University. In Moscow he worked as a repetiteur in many different theatres such as Stanislavskiy, Nemirovich Danchenko Musical Theatre, The Musical Theatre for children (Natalija Sac) and the Russian State Ballet Theatre under the direction of V.Gordeev.Since 1992 he has been working at the Vienna State Opera as a Soloist and Ballet pianist. He has been in many productions as a Concert Pianist for Ballet productions, accompanying the Vienna State Opera on tournees to Luxembourg, Tokyo and Monte Carlo. Zapravdin has played in Russia, Austria, Paris, Varna, Budapest, Tokyo, South Korea, Luxembourg and Brazil. He is the music director of the Nureyev-Gala in Kazan (Russia) and of the Fanny Elssler gala which takes him to play at the Bolshoi Theatre in Moscow. He also collaborated with the cellist and Orchestra Conductor Mstislav Rostropovich.He has edited the musical arrangements of La Bayadere, The Ice Queen and from the pas de six from Laurencia. He has also published music CDs for Ballet lessons focused on the least known classical repertoire.
Caros amigos,Obrigado pelos anos acompanhando meu trabalho mas...... as "Tertulias" chegaram ao final... o formato ficou antiqado, passee... E como tudo na vida, uma mudanca e necessitada!Acompanhem-me no futuro na plataforma internacional www.attitude-devant.comTenho muitas estorias para contar para voce sobre ballet!Ricardo________________________________________________________________________Dear Friends,many Thanks for all the years following my work but...... the "Tertulias" are going to be finished... the format is outdated, passee...And everything in life, a change is needed!Follow me in the future on the international platformwww.attitude-devant.comI have many stories to tell you about Ballet!Ricardo In your easter bonnet, with all the frills upon it,You'll be the grandest fellow in the easter parade.I'll be all in clover and when they look us over,We'll be the proudest couple in the easter parade.On the avenue, fifth avenue, the photographers will snap us,And you'll find that you're in the rotogravure.Oh, I could write a sonnet about your easter bonnet,And of the guy I'm taking to the easter parade. The new Ballet platform... Bayerisches Staatsballet, 2017, March 10th: SpartacusTo be very honest I was sort of skeptical about visiting a performance of Spartacus(a ballet 100% associated with the Russian culture and a very peculiar feeling for aesthetics ) at the Bayerische Oper in Munich... but I could not have been more delighted after watching it!I arrived a bit earlier than I wanted and had the time to visit the Opera. Such a difference from Vienna: 95% Germans in comparison to the many tourists that visit the Opera in Vienna. I liked that! I had a lovely seat on the 10th row and then remembered that there is no central aisle (I had not been there for a long time) a fact of which I am not fond of... you see, I suffer a bit from claustrophobia and to know that I can get out from anywhere quite quickly is ALWAYS important for me. The performance started.With the exception of the schmaltzy pas de deux in the second act, which was used on Britains TV series The Onedin line in the 70s and became a no go for me, I love Khachaturians music! It was masterly conducted by Karen Durgaryan (like Khachaturian also an Armenian) and the first notes drove me back to Vienna 1982, the last time I had seen this work with Vasiliev and Bessmertnova, while I recalled that this was just 35 years ago.Copyright: W.Hosl / Bayerisches StaatsballetThe girls in the corps-de-ballet impressed me in a certain way. Not very homogenous in looks, height and style but very strong technically and with lots of stage presence.Unfortunately I cannot say the same for the boys. Somehow I had the feeling that they were still in need of more rehearsal and more vitamin injections to play these roles more strongly: heads, arms, legs elevations and even musicality... all a bit uncoordinated, and definitely not exact. But there is potential there, within this group of young men. One dancer impressed me, a very gifted young Italian man called Stefano Maggiolo. I would like to see more of him on stage in the future.Copyright: W.Hosl / Bayerisches
StaatsballetVladimir Shklyavov was a great Spartacus. Of course one cannot make comparisons to both Vasilievs in this role which requires unbelievable precision, stamina and, pardon me the expression, the strength of a horse. Mr. Shklyarov, a strong dancer, had the audience all the time under control. A very sensible dancer and an actor.Copyright: W.Hosl / Bayerisches StaatsballetHis wife, Maria Shirinkina, played the role of Phrygia, a role that is, quite honestly, dramatically and choreographically much inferior to Aeginas. But she was in control of it. Correct. I like when, nowadays, dancers do not use any kind of over extension as Miss Shirinkina, a dancer with a beautiful, clean technique, never does. Unfortunately the hairdo of Phrygia (and the other slave girls) is something that should have been changed since decades... I have been saying this for years! It still reminds me of Bond Street in the "swinging sixties" which may have been surely considered very daring in 1968's Russia and in Grigorovichs choreopgraphy....Copyright: Charles Tandy / Bayerisches StaatsballetErik Murzagaliev gave us a great, strong Crassus: a wonderful and very sensual dancer in full control of the role (and with a very clever hairdo that made me think of British actor Nicholas Clay in The Martyrdom of St. Sebastian) he played this half part of the couple that opposes Spartacus and Phrygia, with a certainness that is very rare on stage, especially on dancers that are so young. But I must say that his stamina left him a bit during the third act. I found out lately that Mr. Murzagaliev took the role of Crassus a while ago his picture is not even printed in the program. I think that Mr. Murzagaliev is a dancer from whom we might hear a lot of in the near future.Copyright: Charles Tandy / Bayerisches StaatsballetThe Star of the night was Prisca Zeisel. And the audience also thought so (Well, Miss Shirinkina had the first bow, Miss Zeisel the second... that showed the audience how much more important her performance was...). She gave us a wonderful portrait of Aegina. All the very direct ways and reasons of this quite complicated (not only emotionally but also technically) character were given to us on a silver plate. Miss Zeisel and her eyes that tell us much more than she wants to reveal (like Bette Davis) was turned into a mad courtesan, possessed by power, lust and the flesh. This is for me the most difficult role of the show emotionally and technically... I won't go into pirouettes, jumps, details... she has it all... just the tool for her arstistry...Prisca Zeisel has turned into another persona on stage - and that is the important point about this very young lady dominating it, in full command of a beautiful technique and chemistry, being in full charge of her role and controlling the audience. Giving us just what she wanted to give us "right now", playing with artistry, nearly flirting with us. Just that. Just simple as that.That "simple thing" that Jane Fonda once reffered to as "to make love to the
audience".But you have to be a talent to do just that!Her eye contact with the public has much to do with it. Enchanting.By the way, Miss Zeisel was promoted to the rank of first soloists. This is what I call a very well-deserved promotion!Yes, I was very skeptical about this performance. But it was wonderful!For me a production that is highly recommended!
For me Onegin is and always will be one the most sensitive works ever made for ballet. It may sound ridiculous due to the fact that it is based on Pushkins lyrical work but it is pure poetry... Poetry perfectly translated into ballet by John Cranko, for me until today one of the great genius of last centurys ballet his work will live forever: I always begin, all over again, to admire immensely his pas de deux solutions and group scenes, as if I had never seen them before. And his personal way of building the characters into dance and into the story-telling... more to that a little bit later.Maria Yakovleva/Roman Lazik: Copyright Wiener Staatsoper/ Ashley TaylorI was very pleased with the Corps-de-Ballet. Last time I had seen this production I thought that a lot of the precision Cranko put in his work was missing and lots of work should be done: directions, heads and mostly arms... that single precision that this South-African brought to life... But yesterdays performance showed that the company has been working very hard on style & precision. And that made me glad! Very glad indeed! So many new faces in the company, which I am not able to distinguish from each other or, better put it this way, faces to which I cannot yet add a name to. I have to write about the ones nobody ever writes about I have space enough, here on this online platform and I do not have to reduce my reviews to a few sentences... Wonderful work by Elena Bottaro (always a joy to look at!), Suzan Opperman, Celine Janou Weder (both such pros) and Alaia Rogers (who gave us a beautiful and precise mirror reflection of Tatjana showing through her face all the thoughts, doubts and feelings of the main character! No an easy task). But we all agree that we would love to have a mirror reflection just like Miss Roger's face! The same applies to the boys growing very strongly as a group, in complete unison with each other. I have the feeling that between male dancers there are not so many new faces and Id like to mention the names on which an audience can always rely on (and put their feet up and relax because of the good work): Marat Davletshin, Marcin Demp, Alexis Forabosco (that will dance Gremin soon... I guess Ill have to return to the Opera sooner than I thought!), Igor Milos, Tristan Ridel, James Stephens, Dumitru Taran, Zsolt Torok, Jaimy van Overeem and Geraud Wielick. Dancers you can really rely on. I do not remember in all years I have been in Vienna, well... decades in fact, following Ballet here in Vienna to have witnessed a moment in which the male dancers from the Corps-de-Ballet (many half soloists within the names I have mentioned) were so strong together. I like that! Awesome!Nikisha Fogo, giving her debut as Olga, gave a good performance even though she must have been a bit nervous. But just as the curtain opened I felt that she had
the role under control: in the scene in which she is doing some embroidery with her mother and foster mother, she was not doing affected movements as a dancer but really putting her strength in the fun of the movement without pretending. Sawing... She really was doing her embroidery. Her pas de deux with Lenski was the first catchy moment of the evening. Still, there is still some work to be done on this couple's "chemistry". But I am sure they will find it! Nikisha Fogo/Davide Dato: copyright Wiener Staatsoper/Ashley Taylor.Davide Dato who hasnt stopped to delight his audiences since 6 years (I just found a review that I wrote 5 years ago, in which I said I am sure that we will be hearing from Mr. Dato very much in the future I could not have been more right!) is at top form. But I always say this and he always gives performances that are a notch above the last one. Always surpassing the last performance. A gifted dancer and a very good actor. His Lenski is complete down to the last details!Davide Dato/Roman Lazik. Copyright: Wiener Staatsoper/Ashley Taylor.For me the biggest gift of the evening was Alexandru (Sascha) Tcacenco as Gremin. I had never seen a Gremin that possessed such firmness and determination like this portrayal of the role. Dogmatic. Strong. After decades of watching Onegin I, at last, understood why Tatjana was so determined, in the last scene, in her way of sending Onegin away from her chambers. At last I understood the bridge that Cranko has thought of... the country girl that became the wife of an aristocrat learned also to command because of his army-like behaviour... That is what I meant aat the beginning of this review. The line of story-telling and the way Cranko built his characters. But this was only possible because of Mr. Tcacencos performance. A dancer not only with a great stage presence but also with a great insight about the characters hes playing, understanding them completely.Alexandru Tcacenco/Maria Yakovleva: Copyright Wiener Staatsoper/Ashley TaylorMaria Yakovleva and Roman Lazik were on their element.Miss Yakovleva, looking beautifully frail, perhaps in the best role I have ever seen her in, gave us a sensitive portrayal of haunted Tatjana down to the last details. Average audiences will not pay much attention to that because THESE are no moments of bravura (and circus) onstage but, for example, her first soliloquy (bedroom scene) was a moment of pure art. The way she lies and moves in bed and then pretends to sleep while her foster mother enters the room, just to stand up a bit later to write on her desk... her thoughts and doubts and wishes symbolized by the mirror and the entrance of Onegin himself, in her dream. Miss Yakovleva delighted the audience made us sometimes laugh, wonder and then cry... Her interpretation reminded me a lot of the character study that Marcia Haydee (the original Tatjana) did for her work. Insight. As a dancer and actress... In fact, technique is not all, and those moments, in which
the audience is simply hypnotized by such a touching performance are more worth than a trunk filled with diamonds and pearls - think about Cunegonde in "Candide".Maria Yakovleva/Roman Lazik: Copyright Wiener Staatsoper/Ashley TaylorMr. Lazik in the role of his life... that was my impression. And what else could I add to that? Not much. He knows all the dark sides of this character but also, like he showed in the first act, his dandy, bored side. In a very well mastered interpretation, he turned Onegin, who in Russian literature would influence so many other Russian literary characters, into a real person. Flesh and blood. Onegin is a ballet that is not only perfect for him as a character but that also emphasizes his technique and his physique long legs and very special arms.A pure joy for Balletomanes although sad, very sad: think about this quote that Pushkin wrote about Onegin's character: ..depression still kept guard on him, and chased after him like a shadow - or like a faithful wife. Onegin is a very round piece a form I simply love precise and compact. There are no wasted moments. Thank you, John Cranko!
Ola! Tenho certeza que se voce chegou ate aqui e porque esta em duvida como montar seu cardapio. O que eu tenho a dizer, e que com a Dieta Dukan voce nao precisara de um cardapio, voce precisa entender o metodo e entao estara segura para suas escolhas. No entanto, sei que isso e um processo longo e requer muita leitura e aprimoramento, tentando ajudar e simplificar vou sugerir algumas opcoes, espero que ajude a seguir essa dieta, que pra mim, e a melhor e mais facil. Lembrando que, talvez, nao seja necessario fazer os 7 dias muitas vezes, 3 ou 4 dias sao suficientes. Por isso, recomendo fazer o calculo personalizado do seu programa de emagrecimento no site oficial. (www.dietadukan.com.br) DIA 1Cafe da manha1 panqueca dukan + 1 copo de leite desnatado com cafe e adocante..Como preparar a panqueca dukan:Ingredientes: 1 e 12 colher de sopa de farelo de aveia, 1 ovo, 3 colheres de sopa de iogurte desnatado, adocante.Modo de preparo: levar a mistura a frigideira. Em seguida, pulverizar canela sobre a panqueca.Lanche1 xicara de cha de hortela + 2 fatias de presunto de peru.AlmocoBolo de Carne Como preparar o bolo de carne dukan:Ingredientes: 200 g de carne moida, 12 cebola, salsinha, sal,1 fatia de ricota light, 2 fatias de peito de peru.Modo de preparo: tempere a carne e modele na forma de bola. Abra o alimento e coloque dentro dele o recheio de ricota e peito de peru fatiado. Leve ao forno ate dourar.Lanche1 iogurte natural desnatado com adocante.JantarArrumadinho de frangoComo preparar o arrumadinho de frango dukan:Ingredientes: 1 xicara de frango refogado e triturado, 12 xicara de queijo minas light, 1 clara de ovo, 1 colher de sopa de requeijao zero, 2 colheres de sopa de leite desnatado liquido, 12 cebola, tempero a gosto, 4 fatias de presunto de peru light.Modo de preparo: misture os 7 primeiros ingredientes. Em uma tigela, coloque 14 da massa e uma fatia de presunto. Continue intercalando a massa e o presunto ate terminar. Leve ao micro-ondas por 2,5 minutos ou ate cozinhar a gosto.LancheCha de camomila + 3 biscoitos.Como preparar os biscoitos dukan:Ingredientes: 6 colheres de sopa de leite em po desnatado, 1 ovo, 1 colher de sopa de sobremesa de essencia de baunilha, 2 colheres de sopa de adocante em po, 1 colher de cha de canela para salpicar.Modo de preparo: misture todos os ingredientes e modele 6 biscoitinhos. Salpique a canela e deixe assar de 10 a 12 minutos ou ate dourar. DIA 2Cafe da manhaMingau de aveia. Como preparar o mingau dukan:Ingredientes: 250 ml de leite desnatado, 1 12 colher de sopa de farelo de aveia, adocante.Modo de preparo: misture tudo e leve ao fogo ate engrossar. Salpique com canela.Lanche1 porcao de gelatina misturada com 3 colheres de sopa de iogurte desnatado naturalAlmocoOmelete dukan. Como preparar o omelete dukan:Ingredientes: 2 ovos, 2 fatias de peito de peru cortadas em quadradinhos, 1 fatia de queijo minas light cortada em quadradinhos, 1 pitada de sal.Modo de preparo: coloque o peito de peru e o queijo em um prato fundo e adicione o