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Petipa's Talisman

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#31 Mikhail


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Posted 30 July 2003 - 12:16 PM

Dear RSE, I don't know about the production mentioned. Marian Smith writes in her book, that the wili fugue was used also by Heinz Spoerli (Basel Stadttheater Ballet), Pierre Lacotte (Ballet de l’Opéra du Rhin), Kirk Peterson (Hartford Ballet).

#32 rg


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Posted 30 July 2003 - 04:25 PM

i do believe that skeaping's GISELLE made use of the wili fugue, so did the one the Trocks put on some time back, w/ if mem. serves e.gorey's decor; the most recent use of the fugue that i know of is the one peterson did in hartford. NYPLibrary for Perf. Arts ref. as follows:

Giselle : Chor.: Kirk Peterson; mus.: Adolphe Adam; scen.: Gianni Quaranta, borrowed from American Ballet Theatre; cos.: Anna Anni, borrowed from American Ballet Theatre. First(?) perf.: Hartford, Conn,. May(?) 1997; Hartford Ballet.

#33 R S Edgecombe

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Posted 02 August 2003 - 03:23 AM

Back to The Talisman pas de deux. After a long delay, I eventually got round to consulting Beaumont this morning. Am I to infer that the surviving pas de deux comes from the prologue, where Niriti encounters the god of the wind for the first time? If so, I find the format a little puzzling. Some details fit the context, but others suggest rather a celebratory divertissement-type pas de deux for Niriti and Noureddin. Surely Petipa reserves that intrada, adagio, var 1, var 2, coda formula for moments of static resolution, and tends not to use them in pas d'action. Desire, for example, does nothing but porteur in Act II of Beauty. I wonder, therefore, if the Talisman text that the now Kirov presents is a composite of bits and pieces from different parts of the ballet.

#34 Mel Johnson

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Posted 02 August 2003 - 05:03 AM

That sort of thing has happened in quite a few cases, Rodney. The "Diana and Acteon" pas de deux was cobbled together from bits and pieces from Esmeralda, and who-knows-what-else. I've only heard one ballet score where the big pas de deux was in the first scene, and that's Sir Arthur Sullivan's "Victoria and Merrie England". It sets the leitmotiv for "Britannia" who keeps popping in and out of the following scenes. But Sullivan was composing to a different formula, and the choreographer was Carlo Coppi - far from Petipa!

#35 R S Edgecombe

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Posted 02 August 2003 - 06:18 AM

Thanks, Mel, for confirming that this sort of tessellation is not unknown in Russia. I am rather reminded of a practice in the UK, where, as you know, the Roundheads smashed just about every stained glass window outside York, Canterbury and King's College, Cambridge. People have dug about in the earth outside some old churches, and found fragments of genuine medieval glass (often in quite ravishing colours). They have then assembled these into abstract patterns and put them back into the windows. That, it seems, can also be done with fragments of ballets culled first from the memory of this dancer, and then from the memory of the next.

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