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Laurent Garnier (Composer)

Laurent Garnier (born February 1, 1966) is a French techno music producer and DJ. Laurent Garnier began DJ-ing in Manchester during the late 1980s. By the following decade, he had a broad stylistic range, able to span classic deep house and Detroit techno, the harder side of acid/trance and jazzy tracks as well. He added production work to his schedule in the early 1990s and recorded several LPs.

Early influences
During the late 1970s Laurent Garnier discovered clubbing with his brother in Paris, where his family lived. He loved disco but also listened to all other contemporary musical genres including reggae, funk, and punk. At the age of 16 Laurent was already interested in clubs and DJs and had started recording and mixing music on basic tape recorders.

In 1984, Laurent started working as a waiter for the French Embassy in London. He stayed there for a year and a half before moving to Manchester in 1986. Living in England was a revelation for him, as he discovered the booming UK house scene and started DJing.

Career
In 1987 he discovered the Haзienda club in Manchester and met Mike Pickering the resident DJ. Chicago House and Detroit Techno became very popular, and Garnier started mixing at the Haзienda club under the name of DJ Pedro. Garnier becomes one of the first continental Europeans to begin mixing American house music in Britain[citation needed], Garnier was one of the prime cogs in the late-1980s Madchester scene.[citation needed] His DJing at Manchester's Haзienda club provided an inspiration for The Stone Roses and Happy Mondays to begin adding house rhythms to rock music.[citation needed]

In 1988 he went back to France to fulfill his military obligations. He also spent some time in New York where he met Frankie Knuckles. Garnier shifted his attention back to France in the early 1990s, running the Wake Up parties at the Rex Club in Paris for three years, also mixing in clubs like le Palace or le Boy, DJing in rave parties and gradually moving into recording as well. For the FNAC label, Garnier released "French Connection" and the Bout de Souffle EP; after the label went under, though, he formed the F Communications label with Eric Morand (a friend who had also worked for FNAC). He often also DJed at "Open all hours" at London's Ministry of Sound on Friday nights, in the early and mid 1990s, (one such set had a music press journalist enthusing 'Laurent Garnier is the best DJ in the world!') and was a resident at The End before its closure in January 2009.

His first LP, Shot in the Dark, came in 1995. His second, 30, appeared in 1997 and included one of Garnier's best selling singles, "Crispy Bacon". 30 was followed by the retrospective Early Works. After trotting the globe with multiple DJ appearances during the late 1990s, Garnier returned to the production realm with Unreasonable Behaviour, released in early 2000, which features one of Garnier's best known songs, "The Man with the Red Face". Garnier released an EP in 2002 and his latest full length album, The Cloud Making Machine, in 2005. His most recent album is Retrospective, a best-of which collects both his original work and remixes, including some vinyl-only or previously-unreleased tracks.

from wikipedia.org



Premiere performances of "Balanchine / Taylor / Garnier / Ekman" Stanislavsky Ballet and Opera theatre
 
About This Video
01:33
Premiere performances of "Balanchine / Taylor / Garnier / Ekman" coming on November 25, 26 and 27.

Four new ballets are being added to the theatre's repertory, three of which will be shown in Russia for the first time.

This night is opened by Serenade, which was made to the divine Tchaikovsky’s music. And George Balanchine, who liked to say that "music should be seen, while the dance should be heard", would surely endorse such interpretation of this masterpiece of his.

Aureole is an underlying production of the modern American dance. The unique style of Paul Taylor combined with Handel’s Baroque music turn this ballet into a song of joy.

Aunis is the name of old French province, whose folk dances inspired Jacques Garnier. By merging the tradition and modern dance language this ballet for three dancers relates to us, somewhat nostalgically, the memories of happy and carefree youth.

The program is concluded by Alexander Ekman’s Tyll. The choreographer suggests a new view of the classical ballet, full of humor, but sympathetic. Theatrical ingenuity and boundless imagination make Ekman one of the most outstanding choreographers of his generation.

These ballets reflect the view of the dance of today and yesterday, and I trust the dancers of Stanislavsky and Nemirovich-Danchenko Music Theatre will share the joy of discovery of this choreography with the audience.

Laurent Hilaire


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