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glebb

Les Noces

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Originally posted by Leigh Witchel

It's difficult to complain about this, but amazingly enough, is Les Noces becoming part of the repertory of the National Ballet of Everywhere?

This year it's being done by the Joffrey and the Kirov, among other companies.  Next year the Royal and Paris.

I can only say I'm glad the work is getting the exposure it deserves as a touchstone of modernism.

What distinguishes Les Noces from NBE rep is that it's a classic. Joffrey and Paris, as well as the Royal, of course, have had it in rep before, so Kirov is the only New Kid in this round of Les Noces.

I do wonder, sometimes, though, when a piece enters repertories en masse after a brief absence, if it has something to do with availability of a stager -- maybe it's more efficient to set four productions in a year than merely one. There was an explosion of "Rodeos" and "Billy the Kids" a few years ago. There are "Four Ts" all over the place -- as is "Slaugher." It could be coincidence, everyone having the same good idea, but I've often wondered if there's some giant, underground bazaar we don't know about, but They do :D. Company directors roam its streets, while ballet choreographers and stagers dart out from the shadows saying, "Psst. Can I interest you in a nice 'Les Biches?'"

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I'm curious about Howard Sayette being granted "exclusive rights to the original choreographic score by the Nijinskaya Trust".

Surely the 'original choreographic score' and the one with most claim to authority is that created by Christopher Newton, Liz Cunliffe (and completed by Harriet Castor) for the Royal Ballet, and based very directly on Bronislava Nijinska's production for the Royal Ballet?

As I understand it, all subsequent productions derive from the Royal Ballet's Benesh score and the Royal Opera House's own archive film of Nijinska's 1966 production.

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