I was making that suggestion with my tongue only partially in my cheek. Let me get all Ecclesiastesical, and observe that there is a time for analysis and a time for enjoyment. And sometimes they run together - for some, and I'm one, the analysis is part of the enjoyment, and this thread has been very intellectually useful and enjoyable at the same time. Sherlock Holmes could have analyzed the bejeezus out of his violin music, but he chose to enjoy it. So, whatever floats your boat.
Are you serious, Mel?!
Posted 18 August 2003 - 03:32 AM
Posted 18 August 2003 - 04:38 AM
Posted 18 August 2003 - 06:52 AM
Now I would like to identify the variation as danced by Yulia Makhalina in the Kirov video version. Who is the author of the music? This same variation is danced by Cyntia Gregory in the ABT video version (staging by Makarova, in the eighties)
Posted 18 August 2003 - 08:10 AM
i suspect that given the musical and choreograhic acumen of others on this site, there might be some feedback for your query regarding these variations on tape.
i suppose that RSE has found it, but if not keep looking, as the same press kit that offered the credits for vasiliev's DonQ offered a little bio of a.simon from grove.
(this same composer is connected to gorsky's version of 'esmeralda' called 'gudule's daughter' or as follows:
Esmeralda Original title: Doch' Guduly. Chor: Aleksandr Gorski; mus: Anton Simon; lib: Gorski after Victor Hugo; scen & cos: Konstantin Korovin. First perf: Moscow, Bolshoi Theater, Nov 24, 1902 (O.S.)
if mem. serves, the bolshoi brought a Paquita to new york state theater in 1990 i THINK i wrote about that season but can't rem. where at the moment. if i find i've got any cogent notes on the season and any paquita perf. i'll let you know.
i've never heard of any anatole(?) oboukhov credit for some staging in the west, tho' i'm not saying i shouldn't have so heard, but what vari. is credited to him?
as for the acts of DonQ they are one of russian/soviet ballets many variables. note how/where the tavern scene is placed in this or that staging of DonQ: sometimes before the dream scene sometimes after...
ah yes, RSE, the 'wonders' of divining dance history hither and yon...
Posted 18 August 2003 - 09:42 AM
RG, so far as I know, Obokov (forgive my transliteration, but I have decided to take Lopokova as my template, and be as crude and simple as I can when it comes to Russian names) was the first to stage the DQ pas de deux in the west, and since nobody seems to know where Kitri's var, often called "the fan," with a famous concluding diagonale of pas de cheval sur les pointes, I assumed he had choreographed it. But Mel sayd he has seen the Kirov do this as an alternative to the waltz with the turned forward assembles that Kitri executes in my Kirov tape--so I am beginning to wonder if it isn't perhaps a Gorsky offering. Does your tape of variations in practice clothes confirm this, and what accreditation does it give for the music?
And, finally--I'm not sure if I should post this here or start a new thread, but Hans's remarks about entrechats have set me thinking. Are there any loci classici in the C19 rep in which multiple entrechats are required of a danseuse? I can't think of any, whereas for male dancers l'oiseau bleu and Albrecht's Totentanz at once spring to mind. And why is it inconceivable that a female dancer should do entrechats huit? I started ballet at the age of 22 when my hips had developed an incorrigible anti-fifthiness, so I beat my feeble entrechats quatre from the knees rather than the thighs. But why shouldn't a danseuse with a perfect fifth and good elevation not be able to beat even an entrechat dix? Is it a question of stamina? And if Balanchine asked his ballerinas to do doubles sauts de basque, did he ever make equally exacting demands when it came to female batterie? As far as C20 rep goes, I have a mental image of a pas de trois from Andre Prokovsky's Vespri (two men, one woman) in which all three beat entrechats huit in canon to the valse brillante from La primavera. But, having miscounted Makhalina's beats, I am beginning to wonder if they weren't sixes after all. I would be very interested if readers could cite the examples of demanding female batterie that they've encountered in the rep--esp. in the C19 rep, because I keep drawing a blank there.
Posted 18 August 2003 - 11:12 AM
oh well, some day.
i'll have to dig out my 33 variations tape and try to divine some of the things you mention.
re: the 'fan solo,' do you know the toumanova variant on this solo in 'that's dancing'?
it's worth a look. unless o'course i misunderstand what's meant by the 'fan' variation - and i've been known to misunderstand easier things than this...
re: ANATOLE OBOUKHOFF (acc'd to IED) i have a number of russian postcards of this seemingly memorable dancer. do you know, & i hope you do, david vaughan's heavenly memoir of his beloved teacher at school of american ballet? it's called 'beautifully dance' which one learns from reading d.v. is how the mild-mannered teacher would 'ask' his dance students to dance...
the a.simon info. re: gorsky's 'esmeralda' btw was gained by me at prodding from john-michael - one of balletalert's most devoted and knowledgeable 19-ballet-music members - and which i then found in elizabeth souritz's SOVIET CHOREOGRAPHERS IN THE 1920S; her likely even more specific vol. on gorsky has not alas been translated into english, but i have a copy in russian which i look at longingly and pick thru only haltingly.
in case you don't have d.v's article on a.o. here's the info about it:
Vaughan, David, "Beautifully dance" : Anatole Obukhov.
Ballet review. v. 24, no. 4 (winter 1996), p. 16-32. ill.
Posted 18 August 2003 - 11:57 AM
You are spot on, RG with regard to the "fan" variation which I did see in That's Dancing, but which I had forgotten about. I seem to remember a cobalt blue backcloth and Toumanova very sleek in red and black and brilliantined hair. It went all too fast, and I couldn't very well ask the projectionist to rewind! Arnold Haskell used to call TT the black pearl of the Ballets russes, and she certainly lived up to the name in that footage.
I have seen two interesting posts by John-Michael concerning Giselle's vampiricity and stage shots of the imperial ballet, but nothing in the music threads. Perhaps I can track those down in the archives.
I don't know the DV article (those initials are OK because they sound like deo volente--I didn't dare do the same for Viviana Durante!), but will try to track it down. And since you seem to insist, I will change my transliteration to Obukov, but from henceforth no Hs in my Russian spellings, unless to render the second letter of Tchaikovsky's name. There's just no consistency--some spellings like Oboukov reflecting Fr pr, others, like Tschaikowski, reflecting German. I am just going strike out crudely on my own!
Posted 19 August 2003 - 11:57 AM
I would very much like to know if the tape you quote "Classical heritage: Thirty variations from ballets by Russian choreographers" (at the NY PUBLIC LIBRARY) is somewhere available commercially.
1990. 60 min. : sd. color
Co-produced by Soyuzteatr and Sintez. Chief producer: A. Murtazin. Producer/writer: F. Slidovker. Camera: A. Tafel. In Russian with English subtitles.
Issued in conjunction with the Russian-language publication by Soyuzteatr entitled Klassicheskoe nasledie: variatzii iz baletov Russkikh khoreografov (see: *MGTM 90-9614)
SUMMARY: Compilation of variations performed in the studio to piano accompaniment, in practice clothes, as a choreographic record.
CONTENTS: Swan lake: Act II, Odette's variation. Chor: Ivanov. Danced by Tatyana Chernobrovkina. -- Swan lake: Act III, Odile's variation. Chor: Grigorovich. Danced by Galina Shlapina. -- Swan lake: Act III, Odile's variation. Chor: Petipa. Danced by Chernobrovkina. -- Swan lake: Act III, Siegfried's variation. Chor: K. Sergeyev. Danced by Vladimir Malakhov. -- Swan lake: Act III, Siegfried's variation. Chor: Grigorovich. Danced by Malakhov. -- Swan lake: Act I, Pas de trois, male variation. Chor: K. Sergeyev. Danced by Malakhov. -- The sleeping beauty: Act I, Aurora's variation. Chor: Petipa. Danced by Shlapina. -- The sleeping beauty: Prologue, Lilac Fairy's variation. Chor: F. Lopukhov. Danced by Tatyana Yatsenko. -- The sleeping beauty: Act III, Désiré's variation. Chor: Sergeyev. Danced by Malakhov. -- The sleeping beauty: Act III, Bluebird's variation. Chor: Petipa. Danced by Malakhov. -- The nutcracker: Act II, Princess Masha's variation. Chor: Vasily Vainonen. Danced by Ludmila Vasilyeva. -- The nutcracker: Act II, Prince's variation. Chor: Vainonen. Danced by Malakhov. -- The nutcracker: Act II, Marie's variation. Chor: Grigorovich. Danced by Tatyana Paliey. -- The nutcracker: Act II, Prince's variation. Chor: Grigorovich. Danced by Stanislav Isayev. -- Raymonda: Act I, Raymonda's variation with a scarf. Chor: Petipa. Danced by Shlapina. -- Raymonda: Act III, Raymonda's variation. Chor: Petipa. Danced by Susanna Avetisova. -- Chopiniana: Prelude. Chor: Fokin. Danced by Svetlana Tsoy. -- Chopiniana: [Woman's] mazurka. Chor: Fokin. Danced by Olga Ivanova. -- Chopiniana: Waltz. Chor: Fokin. Danced by Ivanova. -- Chopiniana: [Man's] mazurka. Chor: Fokin. Danced by Dmitry Zababurin. -- Don Quixote: Act IV, Kitri's variation. Chor: Petipa. Danced by Paliey. -- Don Quixote: Act IV, Basil's variation. Chor: A. Ermolaev, V. Vasilyev. Danced by Vadim Bondar. -- Don Quixote: Dream scene, Kitri's variation. Chor: A. Gorsky. Danced by Chernobrovkina. -- Don Quixote: Act IV, female variation. Chor: Gorsky. Danced by Liliy Musovarova. -- Coppélia: Act III, Swanilda's variation. Chor: Gorsky. Danced by Vasilyeva. -- La fille mal gardée: Act II, Lise's variation. Chor: Gorsky. Danced by Paliey. -- La fille mal gardée: [act unspecified], Colin's variation. Chor: Gorsky. Danced by Malakhov. -- Le corsaire: Act II, Slave's variation. Chor: V. Chabukiani. Danced by Ilgis Galimullin. -- La bayadère: Act II, Gamzatti's variation. Chor: Chabukiani. Danced by Vasilyeva. -- La bayadère: Act IV, Kingdom of the shades, Solor's variation. Chor: Chabukiani. Danced by Bondar.
Posted 19 August 2003 - 07:06 PM
i have not seen it around anywhere since i first saw it for sale in the old 'ballet shop' on broadway in n.y.c. subsequent to seeing it there i was able to purchase the booklets from our also now defunct russian-language bookstore - the late lamented (at least by me and a few russophile friends) kamkin on lower broadway. i do believe however, and our washington/virginia readers could say more for certain, that those who ran kamkin still run a major russian-language book etc. mart somewhere in virginia. the 'ballet shop' mentioned above went out of business and was replaced by a 'lite' version of itself called the 'ballet company' but that too has gone out of business. the location where the one followed the other is now a T-Mobile cellular telephone store. sigh.
maybe some of our russian readers know of sources for the tape. as i say i haven't seen it around since 1990, when it was released.
sorry to say.
Posted 19 August 2003 - 10:22 PM
Karsavina tells how cecchetti taught her to do entrechat-huit: "Just do entrechat quatre and do another entrechat quatre before you come down" -- she said it worked for her.
And Gloria Govrin told me herself that she used to do entrechat-dixe. (Rodney, she was a VERY tall student at the School of American Ballet swhom Balanchine took into the company - "Big Glo," as they called her, was the first Hippolyta in Balanchine's Midsummer Night's Dream, she had a sensational role in the Arabhian dance in his Nutcracker --is now director of the SFBallet school).
Posted 20 August 2003 - 02:06 AM
Did you get the K info from Theatre Street? I must reread it. Her English is nothing short of superb, though she has a weakness for some charming archaisms like "tarry." My close friend Heather was an English teacher before she went back to varsity to qualify as a landscape architect, and, in her former avatar, she set a portion of TS as a comprehension test in a Grade 9 exam--the bit about Nijinsky tarrying in the air. Some of the answers the children supplied were bizarre to say the least. I wish I could remember them. By the way, all balletomanes should read Richard Wilbur's remarkable poem entitled "Grace." I teach it to my Honours students every year, and they always think that Nijinsky's "out of the window leap" is a reference to suicide. It all falls into place when I tell them about Le Spectre de la rose!
I know GG well, for she is the H in my MSND. I like her a lot, especially the fullness of her legs and the confident way she fouettes out the mist to Die Schoene Melusine, or is it Ruy Blas? [Note to RSE: It's time you watched MSND again!] I had never heard of her before I got my tape, and assumed that B had marginalized her for not being a Farrell--but that is a canard, as you, Ari and others have pointed out.
Please try to find out from GG how many consecutive entrechats dix she could do, and to what music. It will make a very pleasant balletic daydream. When I was a little boy, I often tried to count 32 fouettes to the Black Swan coda, long before I had seen them in anything but still photographs. Since I always started at bar 1 (not realizing that Siegfried was in the picture), I would get hopelessly lost! In the same way, I tried to fit the whole of the Nutcracker story into the Nutcracker Suite, not realizing that there was a complete ballet. It made a pocket ballet, so to speak!
Posted 20 August 2003 - 02:21 AM
Posted 24 August 2003 - 03:29 PM
Posted 24 August 2003 - 07:49 PM
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