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#16 cargill


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Posted 27 May 2003 - 01:51 PM

Actually, I don't think it was uncommon for choreographers to work on scores chosen by directors--certainly Balanchine didn't choose Apollo or Prodigal Son, and Ashton was given the score, the sets, and the libretto for Devil's Holiday, as was, of course Petipa for Sleeping Beauty, just to name some great ballets. And Fokine's Firebird, and Nijinska's Les Noces were done to scores that Diaghilev chose. But of course Diaghilev chose by and large great choreographers, which I'm afraid McKenzie didn't. I was wondering if there could possibly be a subliminal message to Stanton Welch in the titles of his works ABT is doing this season--"It is CLEAR that HEREAFTER we can do WITHOUT YOU." But I suspect not.

#17 grace


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Posted 27 May 2003 - 05:47 PM


and i DO mean "ow!"

it was the idea of putting 2 different composer's pieces together, and then casting around for choreographic responses - which would go together - that struck me as odd.

farrell fan - thank you for that fascinating additional info, which helps explain a lot.

'Devil's Holiday'? sheesh - never heard of THAT before. (NOT meaning to change the subject ;) )

#18 Alexandra


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Posted 27 May 2003 - 05:55 PM

Cargilll, you should write crossword puzzles :)

#19 grace


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Posted 09 June 2003 - 06:27 AM

just heard from an acquaintance who has returned to australia after seeing this work. apparently, for the last performance, they swapped the order of the two choreographer's contributions, resulting in a better effect all-round. interesting that what was suggested here, up above in this thread, was actually tried out - and DID work better!

maybe you have more influence than you know! ;)

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