Be wise, taste wines and adjusts your boundless hope to the cup of life, which is small. Even as we speak cruel time flees jealous. Harvest the present day, the morrow is uncertain. Seize the day. Carpe Diem Quam Minimum Credula Postero. (Quintus Horatius Flaccus 65–8 b.C.)
Irina Ablitsova Ирина Аблицова as “Medora”, “Le Jardin Animé” scene (“Lively Garden”), “Le Corsaire”, libretto by Jules Henri Vernoy de Saint-Georges and Joseph Mazilier, based on “The Corsaire” (1814) by Lord Byron, choreography by Yuri Grigorovich Юрий Григорович, music by Adolphe Adam, Cesare Pugni, Léo Delibes, Riccardo Drigo and Pyotr Oldenburg Петр Ольденбургский, Kremlin Ballet Кремлевский балет, The Great Hall of the State Kremlin Palace Большой зал Государственного Кремлёвского Дворца, Moscow, Russia.
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Riho Sakamoto as “Clémence” (Raymonda’s Friend), “Raymonda”, music by Alexander Glazunov Александр Глазунов, libretto by Countess Lydia Pashkova Графиня Лидия Пашкова based on legends of medieval knights, choreography by Marius Petipa, production, concept and additional choreography by Rachel Beaujean, costume and set design by Jérôme Kaplan, Het Nationale Ballet Dutch National Ballet, Het Muziektheater, Amsterdam, The Netherlands. (April 3 to 23).
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WanTing Zhao as “Mercedes”, “Don Quixote”, music by Ludwig Minkus, choreography by Alexander Gorsky Александр Горский, Marius Petipa, Helgi Tomasson and Yuri Possokhov Юрий Посохов, libretto by Marius Petipa based on the novel “El Ingenioso Hidalgo Don Quijote de la Mancha” (“The Ingenious Nobleman Sir Quixote of La Mancha”) by Miguel de Cervantes Saavedra (1547-1616), scenic and costume design by Martin Pakledinaz, San Francisco Ballet, War Memorial Opera House, San Francisco, California, US. (February 26 to March 6).
I’m grateful to Susan R. Lin for the help received to complete the description of this post. Thanks Susan!
Note: Original quality of photographs might be affected by compression algorithm of the websites where they are hosted.