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today's Eifman Ballet presentation (its last this run) is TCHAIKVOSKY; RED GISELLE began the run but TCHAIKOVSKY is closing it.

casting update from ABT: Veronika Part and Gillian Murphy are injured and will not perform in Le Corsaire this week. Please note the following cast changes. Tuesday EVE, June 6 - Medora will be danced by HEE SEO Wednesday MAT, June 7 - Medora will be danced by CHRISTINE SHEVCHENKO* Friday EVE, June 9 - Medora will be dance by CHRISTINE SHEVCHENKO Saturday EVE, June 10 - Medora will be dance by CHRISTINE SHEVCHENKO June 7 will be Shevchenko’s debut in the role.

odd, it would seem to 'the full picture,' that the decor used for Workshop performances isn't credited at SAB, that is, no credit this year to Ian Falconer for SCENES DE BALLET and none to Karin von Aroldingen for SCOTCH SYMPHONY which replaced Horace Armistead's backcloth from Balanchine's era.

the short answer here is that you'd have to be on NYPL/JRDD premises to view any of its moving picture items. there's no option for viewing by way of outside access, and most certainly there is no option for individually saving, as a duplicate copy, any of the items in its vast catalog. the one somewhat recent change regarding viewing policies on the premises is that some items have digitized, so that watching them is more direct and simple than the longstanding need to write a call slip for a cassette or disc and to watch it on a player in the research room once the item has been retrieved from the shelves by a library worker.

as was pointed out at the time, Barnes called the Stuttgart Ballet on or following a trip to see the company at home in Stuttgart,"Germany's ballet miracle," Hurok Presents' promotion for the Stuttgart's initial season under Cranko in NYC hailed the troupe as "a ballet miracle," if mem. serves.

Catherine Hurlin danced "Mademoiselle Marianne Chartreuse" at the NYC opening of WHIPPED CREAM

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.

Holly Brubach was recently awarded a Guggeneheim Fellowship, presumably for this biography.

perhaps your questions will be answered here: https://www.nypl.org/node/370718

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.

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.)

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.

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.

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.

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..

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.

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.

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.

with regard to BRIGHT STREAM - English language recordings often market it as LIMPID STREAM...

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...

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.

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.

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.

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

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).