Posted 06 June 2003 - 12:20 PM
In particular, I would very much like to see the other variations that are in the score (I heard it online on www.christopherseminars.com), which do not appear in either of these 2 videos.
Posted 10 June 2003 - 06:19 AM
Posted 10 June 2003 - 12:14 PM
Posted 21 June 2003 - 04:59 AM
Posted 14 August 2003 - 02:18 PM
Posted 15 August 2003 - 08:03 AM
I don't know from which other ballets are the variation against.
In all the complete version of Paquita Grand pas you have the Cupid variation, it seems that is the case in ABT version but in POB, you have it too it's sure that we had also Vinogradov's version :rolleyes: !!!!.
Posted 16 August 2003 - 03:50 AM
Anyway, the Bolchoï production is quite different : there are some other variations, and there is an orchestral arrangement of the music score.
About the reconstruction by Lacotte for Paris Opera Ballet, the Grand Pas is danced without all the variations, because they were added for a special gala occasion and not during a whole Paquita's performance (birthday of Catherine II if I remember correctly). Only the two soloists dance their variation.
Edited by Jean-Luc, 16 August 2003 - 04:01 AM.
Posted 16 August 2003 - 05:32 AM
Posted 16 August 2003 - 08:41 AM
Posted 16 August 2003 - 11:51 AM
i know that current kirov/maryinsky tradition includes a variation which asylmuratova may do on one of these tapes - i don't have my cassettes handy to check - in any case it's often danced there in an emerald-green-trimmed tutu - and was taught to asylmuratova by her teacher e.evteyeva, in any case the dance is by fokine, the music by tcherepnine, and the variation comes from 'pavillon d'armide' (and to confirm its provenance this same variation was staged by alexandra danilova when she staged a version of the 'pavillon' pas de trois for school of american ballet in i-forget-just-when.)
when i spoke w/ nikita dolgushin, whose version of the grand pas for the maly theater was telecast in britain in the late '70s, he noted that the variants in his staging, which is simililar at times and different at others from the kirov staging - which i believe long had credit to natalia dudinskaya - came to him in good measure from moscow, specifically from advice given him by elizaveta gerdt (pavel's daughter and a favorite dancer in her day of georgi balanchivadze).
all you balletalerters w/ keen ears and finer musical memories than mine will be able to discuss all these variants for tempo, type, etc.
i'd not heard of one of the variations being famously taken from 'humpbacked horse' tho' why not? as i say, alastair macaulay pointed out that m.f.kschessinska noted somewhere, likely in her memoirs, how she invited her ballerina friends to dance in her grand pas classique from paquita and to do so bybringing with them their favorite variations. the tradition seems to have held and evolved ever since.
yes, the vari. we think of today as cupid's from DonQuixote is regularly in this suite. when the kirov did their version of 'paquita grand pas' here in the 1980s when the leading ballerinas alternated performances, they would change their tutu colors - white for the main ballerina - but not their variations, which they were known to dance when they were in a cast led by another ballerina. i recall, for example, that lubov kunakova would do the lead and then one of the soloist ballerinas: when she danced her variation as the lead she'd be in the white tutu, when she was not the lead she wore whatever color was relegated to her role, but in both cases she'd dance HER variation.
i hope i'm making a little bit of sense here: i've just come from 24hrs. sans electricityand 48 sans DSL. so i'm discombobulated more than usual.
Posted 16 August 2003 - 01:07 PM
Posted 16 August 2003 - 02:58 PM
Posted 16 August 2003 - 03:07 PM
BOLSHOI KASSICHESKOIE PA IZ BALETA ‘PAKHITA’ (2000)
14 Variations and pas de trois
*Variation 1 (3/4) – Riccardo Drigo
*Variation 2 (2/4) – Aleksei Papkov
*Variation 3 (2/4) – Riccardo Drigo [the note here says, as stated earlier on this thread that this music is from the ballet ‘SYLFIDA’ (1892) – when yes, indeed Petipa staged the ballet to Schneitzhoeffer with additional music by Drigo – the variation is further defined as that composed for V. Nikitina, Petipa’s first-cast sylph]
*Variation 4 (4/4) – Edouard Tsabel
*Variation 5 (3/4) – Aloishus Ludwig Minkus [a note says this variation is from another 1892 ballet: NAIAD AND FISHERMAN and that the variation was composed for A. Johansson]
*Variation 6 (4/4) - Riccardo Drigo
*Variation 7 (6/8) - Aloishus Ludwig Minkus
*Variation 8 (3/4) - Aloishus Ludwig Minkus [a note indicates that this variation dates from 1881 and was composed and choreographed especially for Ekaterina Vazem]
*Variation 9 (3/4) - Riccardo Drigo
*Variation 10 (3/4) – Yuli Gerber
*Variation 11 (3/4) - Aloishus Ludwig Minkus
*Variation 12 (3/4) [with a note of a change(?) to 4/4] - Riccardo Drigo
[there would seem at this point in the book to be an alternate(?) variation, making 13, but to the same(?) music as 12]
[there is also some music here for a 14th variation, specially noted as being by Drigo and from ‘Paquita’ tho’ I think there is no specified choreographic text to go with it]
Pas de Trois – has musical credit to both Minkus and Edouard Marie Ernest Delvedez: NB in the music portion of the book Delvedez’s name is attached to both female variations along w/ Minkus’s, as I read it)
*Woman’s variation No. 1 (4/4) - Aloishus Ludwig Minkus
*Woman’s variations No. 2 (6/8) - Aloishus Ludwig Minkus
*Man’s Variation (4/4) – Adolf Charl Adan[sic] – from, if I’m getting the gist correctly: DIABLE A QUATRE
the individual illustrations include, in addition to a headshot of the editor(?)/author - German Prib'lov, pictures of: Minkus, Petipa, Vazem, Kshessinskaya, children from the 'polonaise and mazurka,' Karsavina,Vaganova, E.Gerdt, E.Vil' and P.Vladimirov (in the Pas de Trois), N. Legat, S. Legat, M. Fokine, Nijinsky, Adan[sic], Pugni and Drigo.
the kind courier who brought me mycopy said it wasn't published in 2000 as scheduled because of a shortage of paper; i believe it finally came out in 2001.
Posted 16 August 2003 - 03:19 PM
And yes, "Le Diable à Quatre" was a very popular ballet by Adam. Petipa staged a revival of it in St. Petersburg, (he retitled it "The Wilful Wife") and used it to make the debut of the character Mother Ginger for the Russian audience.
Posted 17 August 2003 - 03:08 AM
Mel, a big thank you too for the fascinating info on R&L and Diable a 4. Where do the two of you get all your material? I'm still stuck with Roslavleva!
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases: