rg

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  1. Catherine Hurlin danced "Mademoiselle Marianne Chartreuse" at the NYC opening of WHIPPED CREAM
  2. from ABT's press office: Please note that there is a cast change for Whipped Cream tomorrow evening, Tuesday, May 23: Herman Cornejo is injured and unable to perform. JEFFREY CIRIO will dance in his place.
  3. Holly Brubach was recently awarded a Guggeneheim Fellowship, presumably for this biography.
  4. perhaps your questions will be answered here: https://www.nypl.org/node/370718
  5. i'm not sure anyone has recalled the ROMEO AND JULIET Joffrey brought in for his co before getting the Cranko staging, it featured 3 different women in the role of Juliet: Romeo and Juliet : Chor: Oscar Araiz; mus: Sergei Prokof'ev; cos: Renata Schussheim. First perf: Buenos Aires, Sept 15, 1970, Ballet del Teatro San Martin. // First perf. by The Joffrey Ballet: New York, City Center Fifty-Fifth Street Dance Theater, Oct 12, 1977; lighting: Jennifer Tipton.
  6. Tudor's R&J was famously designed by Eugene Berman, see credits below: Romeo and Juliet : Narrative ballet in one act, based on Shakespeare's play. Chor: Antony Tudor; mus: Frederick Delius (A walk to paradise garden from A village Romeo and Juliet, Eventyr, Over the hills and far away, Brigg fair, arr. by Antal Dorati); scen & cos: Eugene Berman. First perf: (incomplete): New York, Metropolitan Opera, Apr 6, 1943, Ballet Theatre. First perf (complete): Apr 10, 1943.//Revival: Stockholm, Royal Opera House, Dec 30, 1962, Royal Swedish Ballet.//Revival: New York, New York State Theatre, July 22, 1971, American Ballet Theatre; scen & cos: Eugene Berman; lighting: Nananne Porcher. ABT revived an excerpt in 2008, billed as ROMEO AND JULIET (Romeo's Farewell). (Xiomara Reyes and Gennadi Saveliev were the first cast offered that season.)
  7. regarding applause there was a time at NYCB, during the 1970s at least, when there was a slip in the program for DIVERTIMENTO NO. 15 that said the company "respectfully asks the audience to hold its applause until the final curtain." a similar slip was included in the program when Jerome Robbins's GOLDBERG VARIATIONS was given. it hasn't been done in many years however, including at the end of Balanchine's and Robbins's lifetimes. it didn't always work but it did help a bit in this direction. Balanchine told an interviewer, Anna Kisselgoff perhaps, that people who applaud while the music was playing should be put in jail for stealing those notes.
  8. it's possible, one supposes, that the Kay designs are still around, on paper, or that restagings of Nureyev's RAYMONDA III are done with help from the Nureyev Foundation and its photo records of the Kay designs. it seems that once Kay died it became unduly complicated for some of this designs to be used. i think his work for Macmillan's 1967 SLEEPING BEAUTY (in Stuttgart), close on the heels of his work for ANASTASIA (for the Royal Ballet) were considered when Macmillan staged BEAUTY for ABT but the task was deemed undoable.
  9. another photo of Barry Kay's costuming for Nureyev's RAYMONDA ACT III with the Royal Ballet, with Fonteyn and Nureyev in the foreground: Photo credit to Louis Perez - undated but circa 1969? Fonteyn's headpiece is more distinct in this photo.
  10. you've understood the gist of this usage here; another way to define "reimagine" is to understand the effort to put the ballet back on stage as more an educated guess than a carefully researched reconstruction using notations, films, and the memories and efforts of dancers who knew the ballet first-hand..
  11. 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.
  12. 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.
  13. 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.
  14. with regard to BRIGHT STREAM - English language recordings often market it as LIMPID STREAM...
  15. 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...