The Ballet Manila Archives is the repository of documents, print, photographic, audio and video materials and memorabilia relating to the history of Ballet Manila and the life and career of its founder, prima ballerina Lisa Macuja-Elizalde. This site is powered by Ms. Elizalde and Project Art, Inc.
All tagged Brian Ramos Sevilla
The only way to make sense out of change is to plunge into it, move with it, and join the dance.
Unable to come together, the dancers of Ballet Manila have devised their own workout plans to stay in shape despite the lockdown.
Dance when you’re broken open. Dance if you’ve torn the bandage off. Dance in the middle of the fighting. Dance in your blood. Dance when you’re perfectly free.
The eternal battle of good versus evil set to the dramatic music of Carl Orff is at the heart of Rudy De Dios’ Carmina Burana.
After her successful Princess Trilogies, Ballet Manila artistic director Lisa Macuja-Elizalde shifts her focus from fairytales to tragedy.
Tackling the piece and giving Ballet Manila its own version of Carmina Burana is a dream come true for the young choreographer who has been praying for this opportunity since he first heard the music decades ago.
The phrase “pas de trois” in classical ballet translates to “Dance for three.”
“It was very fulfilling because it showed off Ballet Manila and the teaching we can offer.”
A fish dive is a partnered lift where the male dancer supports the female dancer in a retiré position with her upper body held low to the ground.
The Ballet Manila group is led by co-artistic director Osias Barroso who first conducted a workshop for the school in 2018.
Tuloy ang Saya-wan marked a successful collaboration between Ballet Manila and Academy One to raise funds for ballet scholarships.
Bravura is a term used to describe a showy style or a daring performance in a ballet.
The show aims to raise funds that will help the two groups sustain their respective ballet scholarship programs.
In his welcome remarks, Ambassador Haneda congratulated Ballet Manila on the success of its recently concluded 23rd season, saying how fortunate he was to have watched the final show, Deux, and to have seen the five Japanese dancers perform in it.
Eight Ballet Manila dancers are moving up the ranks including two to principal position.
Deux is a toast to the company’s twin forte in both the classics and the contemporary.
