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"Lost" Balanchine BalletsWhich ones would you like to be "found"


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#61 rg

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Posted 29 April 2008 - 07:23 AM

i don't think the BALANCHINE TRUST allows any stagings of Balanchine's choreography w/o it's approval - except in the case of the works owned and held outside the trust, any work w/ balanchine's name attached must legally be approved by trust, or so it would seem.
if someone thought WALTZ ACADEMY could be restaged, i assume the trust would study the basis on which the restaging was to be made and then approve or not, as it saw fit.

#62 cubanmiamiboy

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Posted 29 April 2008 - 08:26 AM

i don't think the BALANCHINE TRUST allows any stagings of Balanchine's choreography w/o it's approval - except in the case of the works owned and held outside the trust, any work w/ balanchine's name attached must legally be approved by trust, or so it would seem.
if someone thought WALTZ ACADEMY could be restaged, i assume the trust would study the basis on which the restaging was to be made and then approve or not, as it saw fit.

.
...got it.

#63 Paul Parish

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Posted 29 April 2008 - 09:33 AM

atm711 must be right about Marie-Jeanne in that Baiser photo (and my GOd, look at Franklin's elevation!)
That sure looks like Marie-Jeanne's chin to me, and her eyes. It's very characteristic of her, to have her eyelids almost closed like that.

#64 Natalia

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Posted 29 April 2008 - 10:20 AM

Balanchine's Le Bal was recently recontructed by the Hodson/Archer team for the Rome Opera Ballet. Any first-hand reports...or links to reviews?

http://operaroma.it/...rgio_de_chirico

Hodson/Archer also recontructed Balanchine's La Chatte for the Rome troupe, five or six years ago. There may have been others.

It's a shame that these recontructions cannot be presented in New York.

#65 bart

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Posted 29 April 2008 - 10:22 AM

I'm with atm711 and Paul on the Marie-Jeanne identification. Her prominent chin -- so massive when photographed from the front -- is actually rather pretty in profile. Also, in profile you don't see how very thick and solid her neck was, as visible in this photo from her NY Times obituary. http://www.nytimes.c...rie-jeanne.html

:helpsmilie: Re Franklin's elevation. How can it be possible? And how could a camera of that period catch him in the air so precisely without many different attempts? Was Franklin noted for his elevation?

#66 Natalia

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Posted 29 April 2008 - 10:26 AM

Rome will be reviving their reconstruction of La Chatte later this year (Nov. '08).

http://operaroma.it/...skij_balanchine

#67 atm711

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Posted 29 April 2008 - 10:54 AM

I guess I am one of the very few people here who saw 'Waltz Academy' at Ballet Theatre. It did not make a very great impression on me; the best part was seeing one's favorite dancers in one of the roles. Compared to what we saw of Balanchine during the same period with the Ballet Russe (Danses Concertantes, Le Bourgeoise Gentilhomme, Night Shadow, Concerto Barocco, Ballet Imperial...and on....); Waltz Academy was Balanchine minor league. Forget about resurrecting Waltz Academy and give us Danses Concertantes as he originally did it with the wonderful witty costumes by Berman.

#68 rg

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Posted 29 April 2008 - 11:20 AM

perhaps the 'leash' on such project's by the BALANCHINE TRUST is shorter than i imagine. hodson and archer's re-stagings usually come w/ a 'by millicent hodson and kenneth archer' with an 'after' or 'based on' - balanchine or nijinsky - so maybe on they can do whatever they please w/o the trust's approval, ostensibly b/c they have choreographic credit and balanchine has 'source'(?) credit.
the CHATTE was first done by les grands ballets canadien in '91? and has since been done elsewhere? i think, but never to my knowledge shown in nyc.
so i suppose if this team became interested in WALTZ ACADEMY they might be able to proceed w/o the trust's approval, so long, o'course as they didn't say 'choreography by george balanchine'.

#69 carbro

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Posted 29 April 2008 - 01:24 PM

Not all of Balanchine's ballets are administered/licensed/nursed by the Trust. The Trust was established by the legatees to pool resources, and not all of them joined. For example, John Taras, who inherited the rights to Symphony in C, kept that ballet out of the trust and did his own stagings. This may have been the case with La Chatte and Le Bal. Whoever inherited those rights may have kept them to him/herself. Or is it even possible that, having long been out of any active repertoire, they were forgotten and omitted from the will?

#70 bart

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Posted 09 May 2008 - 07:00 PM

I don't think anyone has mentioned Trumpet Concerto (to Haydn). I confess I had never heard of it before coming across a brief discussion in John Percival's biography of Cranko. The tempting part of Percival's comment is here:

[W]ith hindight it is possible to see it's light-hearted, semi-military manoeuvres, for a cast dressed in a stage adaptation of uniforms, as containing the seed that blossomed in two notably popular ballets he made years later, Stars and Stripes and Union Jack.


The ballet was first danced by the Sadler's Wells Theatre Ballet in September 1950. Balanchine apparently had reservations, Percival says, "as he never revived it for his own company." Balanchine had a hard time establishing himself with British audiences. You also have to wonder how well the Theatre Ballet, Sadler's Wells second company, a kind of nursery for developing younger dancers and choreographers, could have handled the demands of Balancine's choreograph at that time..

I'm no big fan of ballets which come across as colorfully costumed, nostalgic military romps -- but it would be interesting to have the chance to see this if only as a precursor of the 2 major ballets that came later.

#71 Natalia

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Posted 10 May 2008 - 04:06 AM

....hodson and archer's re-stagings usually come w/ a 'by millicent hodson and kenneth archer' with an 'after' or 'based on' - balanchine ....


Oh, rg....apparently not in the Roman restagings of old Balanchine ballets. Exhibit A, from the Rome Ballet's website:

La Chatte
Musica di Henri Sauguet
Coreografia da George Balanchine
Ricostruzione di Millicent Hodson
Scene e costumi da Naum Gabo
Ricostruzione di Kenneth Archer


If my small knowledge of Italian is correct, I believe that the above states "Choreography of George Balanchine. Reconstruction of Millicent Hodson." How do you like them apples? As you suggested above, it's probably because these very-early Balanchines escaped the grip of the Trust.

#72 rg

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Posted 10 May 2008 - 04:49 AM

i guess my sense of these credits was mostly second-hand. thanks for the first hand report.
i guess the same applies to the hodson/archer staging of LE CHANT DU ROSSIGNOL.
LA CHATTE seems to date from around '91, so the Trust was obviously consulted by then and must have given approval to the 'choregraphy by george balanchine' credit line.
interestingly the NYPL has no listing for CHATTE or ROSSIGNOL like this below for COTILLION:

Cotillon : Chor: George Balanchine; mus: Emmanuel Chabrier, orchestrated by Chabrier & Vittorio Rieti; lib: Boris Kochno; scen & cos: Christian Bérard. First perf: Monte Carlo, Théâtre de Monte Carlo, Apr 12, 1932; Ballet Russes de Monte Carlo.//Revival: New York, City Center Theater, Oct 26, 1988; Joffrey Ballet; reconstructed & staged by Millicent Hodson; reconstruction and design consultant for scenery and costumes: Kenneth Archer; cos: John David Ridge after Bérard; lighting: Thomas Skelton.

#73 rg

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Posted 10 May 2008 - 06:16 AM

TRUMPET CONCERTO
--------------------------------------------------------------------------------
Music: By Franz Joseph Haydn (Trumpet Concerto in E-flat major, 1796).
Choreography: By George Balanchine.
Production: Scenery and costumes by Vivienne Kernot. Scenery painted by Alick Johnstone; costumes executed under the direction of Eileen Anderson.
Premiere: September 14, 1950, Sadler's Wells Theatre Ballet, Opera House, Manchester. (First London performance, Sadler's Wells, September 19. Trumpet: Harry Wild.)
Cast: Svetlana Beriosova, David Blair; Elaine Fifield, Maryon Lane; David Poole, Pirmin Trecu; 8 women.
Note: Trumpet Concerto was choreographed at the request of Ninette de Valois, founder and director of the Sadler's Wells (later Royal) Ballet. It was never seen in the United States.

i'm not sure how soon Patricia Miller entered the cast of TRUMPET CONCERTO - i think i learned something about this casting from clive barnes a while back when i sent him a scan of the photocard, but my recent loss of back emails prevents me from checking.
in any case i've attached this postcard which is, for me, a rare glimpse of this 'lost' balanchine ballet.

Attached Files



#74 Jane Simpson

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Posted 10 May 2008 - 06:42 AM

T

i'm not sure how soon Patricia Miller entered the cast of TRUMPET CONCERTO - i think i learned something about this casting from clive barnes a while back when i sent him a scan of the photocard, but my recent loss of back emails prevents me from checking.


rg, Trumpet Concerto opened on 19 September 1950 and Patricia Miller danced the leading role (created by Beriosova) for the first time on Sept. 30th, according to Dance & Dancers. Peter Williams thought she looked better in the role than Beriosova (who he thought was too tall and too lyrical) but thought it would have suited Elaine Fifield better than either of them. (Beriosova was still a few days short of her 18th birthday at the premiere and I gather that was her first London appearance with the SW Theatre Ballet.)

#75 bart

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Posted 10 May 2008 - 07:17 AM

Thanks for the photos. The costume details are especially interesting. Percival's book contains performance photos of Fifeld, Beriosova and Miller. Though the ballets and costumes are different, the solidity of the body (even stockiness? or is that the position) in rg's photo looks like Fifeld, thought the mouth and chin look like Miller. Any ideas of who this dancer is?


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