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The Ensemble Concierto Iberico performs de Cabezon, Scheidt, Cabanilles, Sanz, Valiente and more in Essen - Schedule 05/3/2026 - www.worldconcerthall.com The Ensemble Concierto Ibérico performs: Antonio DE CABEZÓN: Pavana con su glosa.Samuel SCHEIDT: Galliarda “Spagnoletta“.Santiago DE MURCIA: Tarantelas.Juan CABANILLES: VI Pasacalles II de primer tono...

Right now, the Ensemble Concierto Ibérico performs de Cabezón #Scheidt #Cabanilles #Sanz #Valiente and more in #Essen www.worldconcerthall.com/en/schedule/... #wch

The Ensemble Concierto Iberico performs de Cabezon, Scheidt, Cabanilles, Sanz, Valiente and more in Essen - Schedule 05/3/2026 - www.worldconcerthall.com The Ensemble Concierto Ibérico performs: Antonio DE CABEZÓN: Pavana con su glosa.Samuel SCHEIDT: Galliarda “Spagnoletta“.Santiago DE MURCIA: Tarantelas.Juan CABANILLES: VI Pasacalles II de primer…

In 20 minutes, the Ensemble Concierto Ibérico performs de Cabezón #Scheidt #Cabanilles #Sanz #Valiente and more in #Essen www.worldconcerthall.com/en/schedule/... #wch

The Ensemble Concierto Iberico performs de Cabezon, Scheidt, Cabanilles, Sanz, Valiente and more in Essen - Schedule 05/3/2026 - www.worldconcerthall.com The Ensemble Concierto Ibérico performs: Antonio DE CABEZÓN: Pavana con su glosa.Samuel SCHEIDT: Galliarda “Spagnoletta“.Santiago DE MURCIA: Tarantelas.Juan CABANILLES: VI Pasacalles II de primer…

Today, the Ensemble Concierto Ibérico performs de Cabezón #Scheidt #Cabanilles #Sanz #Valiente and more in #Essen www.worldconcerthall.com/en/schedule/... #wch

The aéPiot Semantic Ecosystem: How 30+ Language Search Transforms Into a Global Neural Network. A Comprehensive Analysis of Multilingual Semantic Architecture and Cross-Cultural Knowledge Discovery. The aéPiot Semantic Ecosystem: How 30+ Language Search Transforms Into a Global Neural Network A Comprehensive Analysis of Multilingual S...

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#FEROZ #FILM
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Quiero verte,escucharte...pero no puedo apartar la vista de ese estilismo!!! Pordio!!!
#sanz #larevuelta

The Sete L�grimas ensemble performs Sanz, de Murcia, Tavares and more in Prague - Schedule // - www.worldconcerthall.com Summer Festival of Early Music. The Sete Lágrimas ensemble performs 'Música da vida'- the cycle of life on the Iberian Peninsula and in the Portuguese diaspora: Anon.: San Giuseppe e la Madonna/…

In 15 minutes, the Sete Lágrimas ensemble performs #Sanz, de Murcia #Tavares and more in #Prague www.worldconcerthall.com/en/schedule/... #wch

The Sete L�grimas ensemble performs Sanz, de Murcia, Tavares and more in Prague - Schedule // - www.worldconcerthall.com Summer Festival of Early Music. The Sete Lágrimas ensemble performs 'Música da vida'- the cycle of life on the Iberian Peninsula and in the Portuguese diaspora: Anon.: San Giuseppe e la Madonna/…

Today, the Sete Lágrimas ensemble performs #Sanz, de Murcia #Tavares and more in #Prague www.worldconcerthall.com/en/schedule/... #wch

www.elmundo.es/loc/famosos/2025/05/29/6...

#Alejandro #Sanz #shakira #Gerard #Piqué

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🦴✖️オリジナル
#undertale #sanz #au

Today we remember the birthday of composer Gaspar Sanz (baptized 4 April 1640 – 1710)! youtu.be/scVnkI5bXZ0 #Sanz #birthday #cello #cellist #GeorgMertens #EllaJamieson #cellomuseum #classicalmusic #musiclover

“Cuando un tonto coge una linde, la linde se acaba, pero el tonto sigue” refrán muy sabio dedicado a #Sanz.

Las ratas 🐀 se adueñan de #Sevilla mientras el Alcalde #Sanz y su Ayuntamiento miran hacia otro lado.
Es hora de actuar y proteger a los niños de nuestra ciudad.
#SevillaSinRatas
#SevillaSinAlcalde

#cieloazul #música #sanz

#cieloazul #música #sanz

#buentiempo #cieloazul #música #sanz

Unity Saves the Day _Leigh Donlan reviewed the March 1st Saturday matinee of Swan Lake at the Koch Theater_ Having to stare at length at Per Kirkeby’s abstract set design during a gorgeous Tchaikovsky overture wasn’t the best way to start Peter Martins’ _Swan Lake_. The wearying brown and gray tones offered no indication that we might soon be transported into a magical world of tragic love, where the beautiful Odette is a swan by day and a cursed maiden by night. There was no sense of mystery or intrigue, save the music. Unity Phelan and Joseph Gordon in New York City Ballet’s production of Peter Martins’ _Swan Lake_. (Photo: Erin Baiano) Moving on to Act 1, our Saturday matinee court jester was one of City Ballet’s most celebrated and talented – Daniel Ulbricht – whose natural exuberance brightened the Koch Theater. But the staging relied too heavily upon him, and upon Tchaikovsky to evoke the celebratory mood of a 21st birthday party for Prince Siegfried (Joseph Gordon), because it certainly wasn’t in the choreography – rudimentary movements resembling recycled combinations from ballet classes. One sparkling element of this act was the queen’s gown, an Elizabethan design in gold and teal, with a ruff collar. As Act 1 progressed, we became cripplingly dependent on the jester to bring the production to life, with Siegfried and Benno fading like distant memories. It felt like we were just waiting for Odette to arrive and save us. Thankfully she did, and the ever-lovely Unity Phelan did not disappoint. Saturday was only Phelan’s third performance in the role but you would have never guessed that. The role is a natural fit for her luxurious _port de bras_ , soft elegance, impeccable technique and musicality. Unity Phelan in Peter Martins’ _Swan Lake_ (Photo: Erin Baiano) But soon enough we were distracted from Phelan’s loveliness by Von Rotbart (Aarón Sanz) standing on a rock, flapping a metallic-orange cape. He presented more like a wind-up Halloween figurine than a sorcerer. Thankfully the swans swooped in to protect Odette. Martins’ repetitive use of vertical lines worked well here for the _corps de ballet’s_ synchronizations. By Act 2, the ballet was collapsing under the weak narrative. It fell to Odile to keep us interested. There were some charming phrases from the six princesses bidding for Siegfried’s love and an impassioned Russian Dance from Emma Von Enck and Jovani Furlan, but at that point we were just waiting for Odile’s 32 fouettes, which she nailed without a flinch. Her partnering with Gordon strengthened as the pace and drama picked up, and the hesitation that we saw in the Act 1 pas de deux disappeared. Unity Phelan and Joseph Gordon in Peter Martins’ _Swan Lake_ (Photo: Erin Baiano) We barely grasped a sense of the story outside of musical dictates; scene changes blurred and the finale was inconclusive. There are various production endings, but typically Odette and Siegfried’s love for each other breaks Von Rotbart’s spell, he dies, and Odette and Siegfried live happily ever after. Here, we watch Odette fade away with her flock, leaving Siegfried heartbroken. Was the spell not broken? Does evil triumph? The lackluster choreography, staging, costumes and sets are reason enough to wonder why this production is still in rotation. We could not “see” the music. But it was the lack of imaginative work for the company’s stellar principals and soloists, apart from the role of Odette/Odile, that was most dismaying.

Unity Saves the Day Leigh Donlan reviewed the March 1st Saturday matinee of Swan Lake at the Koch...

ballettothepeople.com/2025/03/03/unity-saves-t...

#blog #Aaron #Sanz #classic #story #ballet #classical #ballet #cursed #swan #princess

Event Attributes

José Luis Sanz niega irregularidades en la financiación del PP de Sevilla y Andalucía El alcalde de Sevilla, José Luis Sanz, ha negado rotundamente que el Partido Popular (PP) haya incurrido en el pago de sobresueldos o en cualquier otra irregularidad en la gestión de los fondos…

José Luis Sanz niega irregularidades en la financiación del PP de Sevilla y Andalucía killbait.com/es/jose-luis... #política #pp #financiación #sanz

20 meses después, #Sanz saca del cajón el proyecto de la 2• fase del parque de Contadores y que lo guardó para decir ahora que es suyo.
El día que se le acaben los proyectos heredados, solo le quedará el haber eliminado un mural coeducativo y abandonar el parque Plz Santa Teresa
#LasMentirasdeSanz

Lo último en esta saga de desproposito con dinero público es 👇

El #PP de José Luis Sanz gastó 35.000 euros de fondos públicos en autobuses para un mitin en Fibes

¿Sabéis si ha dimitido #Sanz por malversación de Fondos Públicos?

New Paquita, Mixed Results <div class="fcbkbttn_buttons_block" id="fcbkbttn_left"><div class="fcbkbttn_like"><fb:like action="like" colorscheme="light" href="https://ballettothepeople.com/2025/02/12/new-paquita-mixed-results/" layout="standard" size="small" width="225px"></fb:like></div></div> <p><em>Leigh Donlan reviewed the Sun Feb 9th, 2025, performance at the Koch Theater in New York City</em></p> <p>Alexei Ratmansky premiered an invigorated <em>Paquita</em> for New York City Ballet <em>–</em> a fresh but fragmented take on the pedigreed classic. This program opened with Balanchine’s 1951 restaging of the first act Pas de Trois followed by Ratmansky’s interpretation of the third act Grand Pas Classique.</p> <div class="wp-block-image"> <figure class="aligncenter size-large"><img alt="" class="wp-image-7409" decoding="async" fetchpriority="high" height="640" sizes="(max-width: 1024px) 100vw, 1024px" src="https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MearnsChanPaquita-1024x640.jpg" srcset="https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MearnsChanPaquita-1024x640.jpg 1024w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MearnsChanPaquita-300x188.jpg 300w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MearnsChanPaquita-768x480.jpg 768w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MearnsChanPaquita-1536x960.jpg 1536w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MearnsChanPaquita-800x500.jpg 800w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MearnsChanPaquita-1320x825.jpg 1320w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MearnsChanPaquita.jpg 1680w" width="1024"/><figcaption class="wp-element-caption">Sara Mearns and Chun Wai Chan, far right, and New York City Ballet in the world premiere of Alexei Ratmansky’s Paquita. Photo: Erin Baiano</figcaption></figure></div> <p>Balanchine’s signature style was still everywhere, just amplified in the reconstructed Grand Pas – a daring, technicolor feat from the dancers<em> </em>(and orchestra, gorgeously conducted by Andrew Litton.) But a glorious sense of boundlessness was only intermittently explored by the dancers. There were glimpses, but it was mostly City Ballet doing Balanchine more intensely. Ratmansky’s Pas<em> did</em> feel more spatially ‘grand’ but most of the dancers were still acclimating to their newfound freedom, leaving noticeable gaps in the large space. </p> <div class="wp-block-image"> <figure class="aligncenter size-large"><img alt="" class="wp-image-7410" decoding="async" height="791" sizes="(max-width: 1024px) 100vw, 1024px" src="https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/3-250207-62Paquita-1024x791.jpg" srcset="https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/3-250207-62Paquita-1024x791.jpg 1024w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/3-250207-62Paquita-300x232.jpg 300w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/3-250207-62Paquita-768x593.jpg 768w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/3-250207-62Paquita-1536x1187.jpg 1536w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/3-250207-62Paquita-647x500.jpg 647w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/3-250207-62Paquita-1320x1020.jpg 1320w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/3-250207-62Paquita.jpg 1553w" width="1024"/><figcaption class="wp-element-caption">KJ Takahashi in George Balanchine’s Minkus Pas de Trois from Alexei Ratmansky’s Paquita. Photo: Erin Baiano</figcaption></figure></div> <p>Sunday’s soloists in the Minkus Pas de Trois were the bold and bright Allegra Inch, KJ Takahashi and Rommie Tomasini. The challenging series of duets and solos showcased each dancer’s strengths. Takahashi’s triple-pirouettes from fifth, repeatedly alternating right and left, were just one of his many impressive feats. The choreography for Inch and Tomasini was a mix of sweet and savory, Inch with the more syrupy gestures and Tomasini executing the more arduous and showy tricks. I preferred the sugar. And the Jérôme Kaplan costumes were vibrant and whimsical, with tiered fuchsias petaled into the flounced tutus.</p> <p>In the highly anticipated Grand Pas, the six soloist variations blended Balanchinean style, athleticism, steely grace and attack. The corps maintained a dazzling high-voltage energy despite some inconsistent visual details – like the height of arabesques – decked in regal black, gold and white neoclassical tutus, also by Kaplan. Linear stage formations created striking grand diagonals with horizontal and vertical brushstrokes. There was an overall straightforward, often blunt sensibility throughout the corps and soloist sections. Consequently in the tender <em>pas de deux</em> between Sara Mearns and Chun Wai Chan, her languid archings of the back and artistic sensitivity felt overpowered by the force of the corps<em> </em>and soloists. For whatever reason, she looked ill at ease. The contrasting moods and energies weren’t cohesive.</p> <div class="wp-block-image"> <figure class="aligncenter size-large"><img alt="" class="wp-image-7411" decoding="async" height="791" sizes="(max-width: 1024px) 100vw, 1024px" src="https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MearnsPaquita-1024x791.jpg" srcset="https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MearnsPaquita-1024x791.jpg 1024w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MearnsPaquita-300x232.jpg 300w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MearnsPaquita-768x593.jpg 768w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MearnsPaquita-1536x1187.jpg 1536w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MearnsPaquita-647x500.jpg 647w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MearnsPaquita-1320x1020.jpg 1320w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MearnsPaquita.jpg 1553w" width="1024"/><figcaption class="wp-element-caption">Sara Mearns in Alexei Ratmansky’s Paquita. Photo: Erin Baiano</figcaption></figure></div> <p>The paint is still drying on this promising piece as the dancers continue to navigate it for themselves. </p> <p>Jerome Robbins’ <em>In the Night </em>was a tranquil contrast to <em>Paquita</em>’s excitement. Chopin’s four nocturnes – luminously played by Elaine Chelton – lulled us while three couples depicted phases of love beneath a starry sky. Indiana Woodward was a swirling lilac vision, Ashley Hod embodied resistance and surrender, and Mira Nadon’s passion was tempered by vulnerability in her partnership with Gildert Bolden III. </p> <div class="wp-block-image"> <figure class="aligncenter size-large"><img alt="" class="wp-image-7412" decoding="async" height="791" loading="lazy" sizes="auto, (max-width: 1024px) 100vw, 1024px" src="https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/HodSanzInNight-1024x791.jpg" srcset="https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/HodSanzInNight-1024x791.jpg 1024w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/HodSanzInNight-300x232.jpg 300w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/HodSanzInNight-768x593.jpg 768w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/HodSanzInNight-1536x1187.jpg 1536w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/HodSanzInNight-647x500.jpg 647w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/HodSanzInNight-1320x1020.jpg 1320w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/HodSanzInNight.jpg 1553w" width="1024"/><figcaption class="wp-element-caption">Ashley Hod and Aarón Sanz in Jerome Robbins’ In The Night. Photo: Erin Baiano</figcaption></figure></div> <p>From the raised orchestra pit platform, in a popular segment known as <em>See the Music, </em>conductor Andrew Litton presented an engaging exploration and demonstration of Igor Stravinsky’s <em>Symphony in Three Movements –</em> highlighting the music’s complexity of counts and rhythmic intensity, the difficulty of the music and the challenges it presents to most orchestras. The New York City Ballet Orchestra played it for their 349th time on Sunday and it was glorious. </p> <p>As was Balanchine’s 1972 “leotard” masterpiece, which was indeed “seeing the music,” a marvel of textures, shapes, strangeness and endless detail. Balanchine knew how to use space brilliantly. He covered it all in <em>Symphony in Three Movements </em>– circles, lines, angles, diagonals. The third act, with its full cast of cyclonic spinning wheels within wheels, was spectacular. </p> <div class="wp-block-image"> <figure class="aligncenter size-large"><img alt="" class="wp-image-7413" decoding="async" height="791" loading="lazy" sizes="auto, (max-width: 1024px) 100vw, 1024px" src="https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MacKinnonMabieSymThree-1024x791.jpg" srcset="https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MacKinnonMabieSymThree-1024x791.jpg 1024w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MacKinnonMabieSymThree-300x232.jpg 300w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MacKinnonMabieSymThree-768x593.jpg 768w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MacKinnonMabieSymThree-1536x1187.jpg 1536w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MacKinnonMabieSymThree-647x500.jpg 647w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MacKinnonMabieSymThree-1320x1020.jpg 1320w, https://ballettothepeople.com/wp2/wp-content/uploads/2025/02/MacKinnonMabieSymThree.jpg 1553w" width="1024"/><figcaption class="wp-element-caption">Olivia MacKinnon and Jules Mabie in George Balanchine’s Symphony in Three Movements. Photo: Erin Baiano</figcaption></figure></div> <p>Balanchine built momentum and intensity without losing, rather enhancing, the integrity of the dance’s other elements: the music, choreography and performance artistry. Ratmansky’s new <em>Paquita</em>, in its present incarnation, relied heavily on virtuosic choreography and, at times, underutilized the other elements. Both Balanchine and Robbins tinkered frequently with their pieces. Perhaps Ratmansky will do the same. Or was it just a rousing experiment? </p>

New Paquita, Mixed Results Leigh Donlan reviewed the Sun Feb 9th, 2025, performance at the Koch T...

ballettothepeople.com/2025/02/12/new-paquita-m...

#blog #Aaron #Sanz #Alexei #Ratmansky #Allegra #Inch #American #ballet #Andrew #Litton

Event Attributes

PsoeSur (@psoesur) on Threads Desde las salas expositivas de San Luis de los Franceses, antoniomunozsev nos trae SevillaEn2Minutos ❌ El #Fitur25 de #Sanz y "La Ruta del Altramuz"😳 📣 Protestas: #ElCerro y #SanJerónimo #NoAlAlb...

En las salas expositivas de San Luis de los Franceses, @antoniomunozsev nos trae #SevillaEn2Minutos

❌El FITUR de #Sanz y "La Ruta del Altramuz" 😳
📣Protestas:
#ElCerro y #SanJerónimo
#NoAlAlbergue🪧
🖤🏳️‍🌈#StopHomofobia
🗳️#Sanz qué opina sobre los NOES SOCIALES de su partido?
En 7 días, Más!👋🏼

Sanz propone nombrar a Carlos Herrera como Hijo Adoptivo de Sevilla El alcalde de Sevilla confiesa que «concederle el título» a Carlos Herrera «es un gesto de justicia» por su vinculación con la ciudad.

🔴 #Sanz, alcalde d #Sevilla ( #PP ) propone nombrar a #CarlosHerrera como #HijoAdoptivo de la ciudad

Confiesa que «concederle el título» a #Herrera «es un gesto de #Justicia»

#TachaAlFacha🤮🇪🇸
#StopFascismo⛔️
#NoPasarán🤚🏼

www.sevillaactualidad.com/sevilla/5650...

Sanz (1640-1710)

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#artwork #ballpointpen #ballpointpenart #myart #illustration #inspiring #creative #caricature #characterdesign #fineart #fun #art #artist #sanz #gaspersanz #composer #classicalmusic #history #historical #masters

SANZ live at Columbia Theater Berlin, November 1 2024, concert slideshow here:
youtu.be/VX7Voh55uAc?...

#sanz #rock #darkrock #moderndarkrock #elecztrorock #goth #gothic #columbiatheater #berlin #nocut