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  1. p.s. it is odd about translating Pashkova's identification of the King into English. Balanchine's entry in GREAT STORIES says "Andrew II"; Wiley's translation of the full libretto, etc. in A CENTURY OF RUSSIAN BALLET says "Andrei II". looking back at the photos that are linked at the top of this thread i see that they are likely NOT Georgiadis's work for the 3-act Raymonda but remakes of Kay's designs for Nureyev's stand alone RAYMONDA ACT III. as they were not captioned i ended up making assumptions that i now see are off the mark. the wire-kokoshnik-styled headpiece seems to be a version of Kay's scheme not Geogiadis's which as the later photos posted here show is rather different from Kay's.
  2. it would seem accurate that with each revised staging by Nureyev of RAYMONDA the designs got altered. Kay's point, quite possibly, of a Slavic vs. French look, could be understood as his hewing to the theme of the ballet's Pas Classique Hongrois, the center piece of RAYMONDA III, which is the act Nureyev first staged once he left the USSR. this is not to say that these were the first stagings of the ballet outside Russia in the 20th c., Nureyev's Royal Ballet effort was his first. Anatole Oboukov presented a version staged for the Lithuanian Ballet in London in the 1930s, and of course Balanchine did his complete version for Ballet Russe de Monte Carlo, with designs by Benois, in 1946. grouping the photos from the links at the top of this thread with those added later attest to the variants Georgiadis seems to have worked for the ballet over the years. If this random selection of several photos of Raymonda III costuming tells us anything it's that Geordiadis tweaked his designs a good deal.
  3. attached here is a photo that documents the Barry Kay designs for the first of Nureyev's various RAYMONDA stagings in the West, i.e. the one indicated in the preceding post's credits. it would seem safe to say that the detailing in Kay's designs influenced the subsequent ones by Georgiadis. Royal Ballet watchers from this time will notice among the dancers framing Fonteyn and Nureyev at the center, Desmond Doyle?, Jonathan Kelly?, and Deanne Bergsma, seen in fur toques and Monica Mason, (perhaps Anne Jenner) and Laura Connor, wearing wire, kokoshnik-like headpieces. Fonteyn's headwear is a bit more elaborate than those of the other women. the undated photo has credit to Luis Perez.
  4. with regard to BRIGHT STREAM - English language recordings often market it as LIMPID STREAM...
  5. a person close to NYCB at the time of ROBERT SCHUMANN'S 'DAVIDSBUNDLERTANZ' reportedly questioned Balanchine about titling his new ballet in this way, to which it is said Balanchine replied: If people can't pronounce the title they shouldn't buy tickets...
  6. somewhere in my files i have photo or two of Nureyev's first staging of RAYMONDA in the West, the one noted below, which of course is only Act III, the Grand Pas Hongrois, which was first given at the Royal Ballet with designs by Barry Kay, all in white and gold: Raymonda: Chor: Rudolf Nureyev after Marius Petipa; mus: Aleksandr Glazunov; scen & cos: Barry Kay. First perf: London, Royal Opera House, July 16, 1966, Royal Ballet.//First U.S. perf: New York, Metropolitan Opera House, May 22, 1969, Royal Ballet. It's possible that Nureyev was so happy with Kay's effort that he directed Georgiadis to work in a similar vein. if mem. serves Fonteyn's headpiece in this '69 staging of the RAYMONDA's final, "Hungarian" scene, was very like that Georgiadis did for the full production once he designed Nureyev's version for Zurich in '72. if i locate my photo i can post a scan, tho' it's a black and white print, i did see this version and can attest to its being a white and gold scheme.
  7. Doug may well chime in here, as he knows this ballet's history thoroughly and has published about it variously. Pashkova's libretto has been criticized from the start for its lack depth and logic. to be sure the intended setting of the narrative is Provence. The Hungarian angle comes is when King Andrei of Hungary returns from the Crusades with Jean de Brienne, where he's then feted at Raymonda's castle with a fete that includes Hungarian music and dances. as the data encapsulated below indicates Nureyev, whose production the linked photos all seem to indicate, revised his staging and thoughts on RAYMONDA over time. the designer indicated by these photos is Georgiadis, who entered Nureyev's RAYMONDA picture in '72 and has more or less remained in place wherever Nureyev's staging was given thereafter. the saracen was likely Pashkova's indication of the "other" side of the Crusades. as for the headpiece, part diadem, part kokoshnik, my hunch is that it represents Georgiadis's riff on Slavic/Hungarian dress. Raymonda : Chor: Rudolf Nureyev after Marius Petipa; mus: Aleksandr Glazunov; lib: Rudolf Nureyev after Marius Petipa and Lidiia Pashkova; scen & cos: Beni Montresor. First perf: Italy: Spoleto, Teatro Nuovo, Festival of Two Worlds, July 11, 1964, Royal Ballet, touring section.//First perf by the Australian Ballet: England: Birmingham, Birmingham Theatre, Nov 6, 1965; scen: Ralph Koltai; cos: Nadine Baylis.//First London perf: New Victoria Theatre, Dec 14, 1965, Australian Ballet.//Revised: Switzerland, Zürich, Stadttheater, Jan 22, 1972, Zürich Opera Ballet; lib: new version by Rudolf Nureyev after Marius Petipa and Lidiia Pashkova; scen & cos: Nicholas Georgiadis.//First American Ballet Theatre perf: Houston, Texas, Jones Hall, June 26, 1975; scen & cos: Nicholas Georgiadis; lighting: Nicholas Cernovitch.//First New York perf. by American Ballet Theatre: New York State Theatre, July 1, 1975.
  8. Kent was brought to Germany for the filming because the intended dancer, Gelsey Kirkland, was indisposed, so perhaps Kent wasn't at her most desirable 'fighting weight' (not to be taken literally, o'course) when she was flown in late in the game, more or less.
  9. with regard to full casting for these performances, the following .pdf spells out the casts, with the following correction: (There is a typo in the second movement demi-soloist: Sarah Villwock’s first name should include an ‘h’.) NYCB Paris Tour 071616_Casting Pages.pdf
  10. a review in the Financial Times of this POB bill notes: <<Young new étoile Amandine Albisson contributed a bright first movement alongside the elegant Mathieu Ganio>> At its 1947 Paris premiere, the first movement of LE PALAIS DE CRISTAL was designated "Les Rubis" and led by Lycette Darsonva (with Alexandre Kalioujny), the second, "Les diamants noirs" was led by Toumanova (with Roger Ritz).
  11. the following has now been released as a update for this event, not sure how much it differs from what's above but for now what follows here stands as the current program: DANCING THE COLD WAR An International Symposium 16-18 February 2017 Sponsored by the Harriman Institute and the Barnard College Department of Dance The Cold War was fought on many fronts, with dance as a powerful weapon in its arsenal. The ballet wars of the 1950s and 1960s, including high-profile defections, captured international headlines, but numerous forms of dance from folk dance and modern dance to rock and roll were drawn into an ideological struggle that pitted capitalist freedom again communist oppression. Dancing the Cold War, a three-day international symposium sponsored by the Harriman Institute and curated by Lynn Garafola, brings together scholars, artists, critics, and others to explore the multiple dance encounters that took place during the Cold War between the Soviet Union and the United States as well as the allies, clients, and surrogates of those countries in different parts of the world. It will consider the impact of touring and the mass media in challenging ideological certainties and the changes that transformed the Russian dance community in the immediate post- Soviet period. Thursday, 16 February, 1501 SIA 4:45 Dancing the Cold War: Images from the Collection of Robert Greskovic 5:00 Opening Event Welcome: Alexander Cooley, Director, Harriman Institute 1) Kimberly Marten (Harriman Institute): “The Cold War in a Global Context” 2) Lynn Garafola (Barnard College): “Maya Plisetskaya and Plisetskaya Dances” 3) Screening: Plisetskaya Dances (1964) Reception Friday, 17 February, 1512 SIA 8:45 Dancing the Cold War: Images from the Collection of Robert Greskovic 9:00 Dance as an Ideological Weapon Moderator: Naima Prevots (independent scholar, Washington, D.C.) 1) Eva Shan Chou (Baruch): “Soviet Ballet in Chinese Cultural Policy, 1950s” 2) Jens Richard Giersdorf (Marymount Manhattan): “East German Folk Dance as Affirmation and Resistance” 3)) Stacey Prickett (Roehampton University, London): “Dancing National Ideologies: The Athens Festival During the Cold War” 4) Victoria Hallinan (Boston Architectural College): “Soviet Folk Dance for an American Audience: The 1958 Tour of the Moiseyev Dance Company” 10:45 short break 11:15 Ballet: Battlegrounds and Encounters Moderator: Anna Kisselgoff (former Chief Dance Critic, The New York Times) 1) Stephanie Gonçalves (Université Libre de Bruxelles): “Dien-Bien-Phu, Ballet, and the Cold War: The First Soviet Ballet Tour in Paris, May 1954" 2) Harlow Robinson (Northeastern University, Boston): “Sol Hurok and Gosconcert” 3) Janice Ross (Stanford): “Outcast as Patriot: Leonid Yakobson’s Spartacus and the Bolshoi’s 1962 American Tour” 4) Tim Scholl (Oberlin): “Traces of the Past: Cold-War Encounters and Their Impacts on Soviet Ballet” Discussant: Simon Morrison (Princeton) 1:15 lunch 2:15 Global and Media Battlegrounds (I) Moderator: Lynn Matluck Brooks (Franklin and Marshall College) 1) Julia Foulkes (New School): “West and East Side Stories: A Musical in the Cold War” 2) Victoria Phillips (Columbia): “Dancing Behind the Iron Curtain: Martha Graham on Tour, 1962-1987” 3) Joanna Dee Das (Washington University, St. Louis): “Dance and Decolonization: African American Choreographers in Africa During the Cold War” 3:15 break 3:45 Global and Media Battlegrounds (II) 4) Elizabeth Schwall (Northwestern): “A Spectacular Embrace: Cuba-Soviet Dance Dialogues, 1957-1973" 5) Sergei Zhuk (Ball State University): “‘The Disco Effect’ in Cold-War Ukraine” 6) Marsha Siefert (European University, Budapest): "Anna Pavlova: The 1983 Biopic and Cold War Ballet Films" Discussant: Julie Malnig (Gallatin School, New York University) 5: 30 Cinematic Coda Excerpts from Romeo and Juliet (1954), The Sleeping Beauty (1964), Katia et Volodia (1989), and Spartacus (1970). 6:00 Friday program ends Saturday, 18 February, 1512 SIA Battlegrounds and Encounters: Dancers on the Front Lines of the Cold War 9:00 Introduction: Lynn Garafola (Barnard) Screening: Balanchine’s Western Symphony (1956) 9:45 Dancers’ Round Table Kay Mazzo (NYCB/Ballets USA), Suki Schorer (NYCB/SFB), Gretchen Schumacher (ABT), Suzanne Hammons (Joffrey/SFB), Trinette Singleton (Joffrey), Sylvia Waters (Ailey), Linda Hodes (Graham), Carla Maxwell (Limón), Carolyn Adams (Taylor), Rob Kahn (Taylor), Karen Brown (DTH), and Charles Reinhart (ADF) in conversation with Lynn Garafola (Barnard) and Elizabeth Kendall (Lang). 11:00 break 11:30 Dance Theatre Harlem in Russia A conversation between Karen Brown and Elizabeth Kendall. Russians on the American Stage: excerpts from Giselle (Natalia Makarova/Mikhail Baryshnikov), Vestris (Baryshnikov), The Nutcracker (Baryshnikov/Gelsey Kirkland/Alexander Minz), Prodigal Son (Baryshnikov, with Balanchine), Push Comes to Shove (Baryshnikov) 12:30 lunch 2:00 The End of the Cold War and Historical Memory Moderator: Daria Khitrova (Harvard) 1) Irina Klyagin (Harvard Theatre Collection): “Through a Glass: Researching Dance History at the End of the Cold War” 2) Maria Ratanova (Harriman): "In Search of Lost Time: Restoring Memory, Reviving Connections" 3) 2) Elena Kunikova (Master teacher/New York), in conversation with Lynn Garafola, “Dancing Russia Abroad” 4) Charles Reinhart (Director Emeritus, American Dance Festival), in conversation with Lynn Garafola, “New Directions in Contemporary Dance” Discussant: Simon Morrison (Princeton) 4:00 break 4:30 Alexei Ratmansky on his Recreations of Soviet-Era Works A conversation with critic Marina Harss. 5:30 Final Remarks Dancing the Cold War takes place in Columbia's International Affairs Building (420 West 118th Street), the Thursday and Saturday sessions in Room 1501, the Friday sessions in Room 1512. Like all Harriman events, Dancing the Cold War is free and open to the public.
  12. In advance of its upcoming season at NYC's Joyce Theater, the Martha Graham Dance Company held a little 86th anniversary celebration of Graham's 1931 dance, PRIMITIVE MYSTERIES, last night, Feb. 2, at it's Martha Graham Studio Theater. The 2-hour or so event was part of the Graham Studio Series's presentations called GRAHAM/DECONSTRUCTED. The attached photo shows the 'birthday' cake iced with a facsimile of Ed Moeller's 1931 photo of Graham in the dance's central role. Primitive Mysteries was first shown on Feb. 2 of '31 at NYC's Craig Theatre. A scan of the program pages from that date is now part of the Primitive Mysteries entry on the Martha Graham app along with an number of historic photos and video clips related to the dance's beginnings and history over the past 86 years. Also part of this theme on the app is a posting of 7 page essay by Neil Baldwin, "Primitive Mysteries, Reviving a Modern Masterpiece." Baldwin is working on a new biographical study of Graham, entitled: MARTHA GRAHAM: WHEN DANCE BECAME MODERN (under contract with Alfred A. Knopf). Part of the presentation was a "trimmed" version of a 2008 play written by one-time Graham dancer Jean Colonomos: "The Third From the Left." In the reading of Colonomos's work, by 5 current MGDC dancers, among other anecdotes related about Primitive Mysteries as it was being revived in 1964 was the nickname sometimes bandied about calling the iconic Graham work Primitive Miseries. It seems that a similar presentation to that via the Martha Graham app can be found via this link: marthagraham.org/googlearts
  13. yes the 1976 telecast of R&J from the Bolshoi Th. in Moscow was led by Bessmertnova and Mikhail Lavrovsky.
  14. the fish dives in SB III are not considered canonic Petipa in Soviet/Russian ballet circles. they were added for Diaghilev's SLEEPING PRINCESS in '23 by Nijinska, acc'd to reports.