Posted 25 December 2008 - 07:58 PM
i don't have the name of the release in front of me now but if someone else doesn't post it before i locate my copy i'll do so.
i'm not positive it's still 'in print'.
Posted 26 December 2008 - 02:26 PM
Posted 27 December 2008 - 10:04 PM
Text and Labanotation by Ann Hutchinson Guest
Language of Dance Series, No. 6
"In 1968, as a wedding anniversary gift, my husband, Ivor Guest gave me a rare copy of Arthur Saint-Leon's 'Stenochoregraphie', a gift to which a gentle string was attached......Of all companies in the United States and Britain, that of Robert Joffrey was the best qualified to tackle this first reconstruction. Joffrey himself was always aware of and interested in ballet history - witness his re-interpretation of the 'Pas des Deesses' and his invitation to my husband to talk informally about the Romantic ballet to his principal dancers when his company was in London....My experience in working with the Joffrey II dancers, directed by Sally Bliss and Maria Grandy, was in every sense a joy. Ellen Troy and Ursual Burke who shared the Cerrito role were each very different, but delightful. Among the boys it was difficult to cast the Saint-Leon role as they all turned exceptionally well. In the end we selected Mark Goldweber and Larry Harper to partner our Cerritos."
"A visitor to the Joffrey II rehearsals was Pierre Lacotte who had starting working on Saint-Leon's score a few months before. Excited at the thought of having Paris as the setting for the first performance in over 100 years, he pushed ahead to achieve a September 1976 premier..... As Jean Pastori mentions in his book 'Tradition Pierre Lacotte', Lacotte uses his research as a basis and inspiration to which he adds his own creative understanding and imagination. Pastori quotes Lacotte: "There are two methods of reconstructing. The archaeologist's who leaves the traces he has exhumed in their original state, and that which consists in breathing fresh life into the finds. I have chosen the second."
"The pas de six had thus been taking shape on paper for some years before Robert Joffrey invited Ann Hutchinson Guest to produce it for his second company, Joffrey II, in 1976. Seeing it in rehearsal, however made him realize its importance, and he decided it should be performed by his main company, by which it was given its first performance at Ravinia Festival, Chicago, on 18th August 1977 with Ann Marie De Angelo and Kevin McKenzie in the principal roles."
Those who saw Joffrey Ballerina Francesca Corkle in the role of Fanny Cerrito might argue that her batterie was unsurpassable.
Posted 27 January 2009 - 03:37 PM
The Kirov version (as far as I can tell from Labanotation) is more "truer" to the original version; even though it was still modified during the variously "revival" periods.
Also in the movie, during the rehearals, they were practicing Variation 2, and the one where Suzanne (Prisco) snapped her tendon (in her achilles heel?) is Fanny's Solo Variation 3.
Variation 2 starts at M.22
Julianne Kepley originally started the rehearsal piece and ended up performing it.
(from the same book)
Third Variation - Fanny's Solo
Fanny Cerrito performs the Third Vairation. It requires a good ballon, an easy rebounding quality. With the proliferation of sissonnes battus she needs to use charm and some variation in emphasis to provide interest. The 6/8 meter is counted as 2 beats to the measure in phrases of 8 counts (4 measures). In the second introductory measure (2) 'dancer's counts' are introduced as an aid in learning the irregular sissonne patterns. These counts are small.
(Study and Performance Notes, p. 36).
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