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"Giselle" 1884 Petipa/Minkus Act I PDD


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#16 leonid17

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Posted 24 March 2009 - 01:46 PM

I found this very interesting clip. Bailarina is Lorena Feijoo


Fascinating variation and charmingly performed. Whose music? Do any of our contributors know? Drigo perhaps?

#17 Alymer

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Posted 24 March 2009 - 02:54 PM

I found this very interesting clip. Bailarina is Lorena Feijoo


Fascinating variation and charmingly performed. Whose music? Do any of our contributors know? Drigo perhaps?


Don't know the composer, but Mary Sleaping used that music in her production for Festival/English National Ballet.

#18 cubanmiamiboy

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Posted 24 March 2009 - 06:06 PM

I had seen this clip before getting my hands on the Zuraitis, and so I though that it could be part of the Minkus PDD. Then when I finally got to listen the recording, I realized that Feijoo's variation music didn't belong there. So now it seems to be ever more "lost" music going on from Giselle.

#19 leonid17

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Posted 29 March 2009 - 04:23 AM



Don't know the composer, but Mary Sleaping used that music in her production for Festival/English National Ballet.


What a memory, I failed to recognise the music. Well done. I do remember both Eva Evdokimova and Galina Samsova's extraordinary performances in this production.

#20 rg

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Posted 29 March 2009 - 04:34 AM

the video listed below includes Skeaping's "Pas des vendanges" - which may or may not include the solo in question here; i haven't located my copy of this video to do any cross-checking.

NYPL cat. entry:
Giselle [videorecording] / produced by Magnetic Video Corporation/Twentieth Century Fox ; directed by Stanley Dorfman and Rudolf Nureyev ; produced by Stanley Dorfman ; choreography by Peter Wright after Coralli and Perrot ; music by Adolphe Adam. 1979. (76 min.) : sd., col.
Choreography for Pas des vendanges, Mary Skeaping ; costumes, Peter Farmer.
Performed by the Bavarian State Opera Ballet
Rudolf Nureyev (Albrecht), Lynn Seymour (Giselle), Monica Mason (Queen of the Wilis), Youri Vamos (Hilarion), and Gerd Larsen (Berthe).
Music performed by the New World Philharmonic Orchestra, conducted by David Coleman.

#21 Paul Parish

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Posted 29 March 2009 - 06:56 PM

That is an exquisite performance. it's Helgi Tomasson's choreography, The production is San Francisco Ballet's, I've seen it many times now.: this is from a second pdd for Giselle and Albrecht. I believe this music is some more Burgmuller, whose music is used for the "usual' Peasant pdd.


I found this very interesting clip. Bailarina is Lorena Feijoo



#22 Mireille

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Posted 30 March 2009 - 08:31 AM

Mel had an interesting answer to this question, which I asked last year:

http://ballettalk.in...showtopic=27605

#23 Mel Johnson

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Posted 30 March 2009 - 05:57 PM

I finally watched that clip from a machine where I can hear the sound. The steps to the "Minkus" pas de deux are very similar, but this one has different music. I wonder if somebody "shoehorned" one variation into another. Music could be Drigo. He seemed fond of the harp.

#24 Paul Parish

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Posted 01 April 2009 - 07:51 AM

I finally watched that clip from a machine where I can hear the sound. The steps to the "Minkus" pas de deux are very similar, but this one has different music. I wonder if somebody "shoehorned" one variation into another. Music could be Drigo. He seemed fond of the harp.


Mel which clip are you referring to?

Re the clip of the variation danced by Lorena Feijoo, which is choreographed by Helgi Tomasson and is a fine example of Tomasson's craftsmanship (which Christian posted), SFB supplies thefollowing productions credits about the music for San Francisco Ballet's Giselle:

Production Credits: All music and orchestrations are by Adolphe Adam (unless otherwise noted). Adam wrote the music to Giselle between April 11 and June 8, 1841. Most of the music used in this new production is published and available for purchase by Kalmus Music Publishers (however, there is no published score that includes all of the music traditionally used in modern performances of Giselle). A copy of an 1854 manuscript score in the Paris Opera archives was used as a reference in preparation of the orchestral materials, which included several details missing from the published edition. Additional orchestrated and arranged music was printed for these performances: ACT I -- Peasant Pas de Cinq: traditional interpolation of music by Freidrich [sic] Burgmüller; Ladies Variation: "Shepherd's Return" from 18 Etudes de Genre for piano solo, orchestrated by Emil de Cou; Giselle’s Variation: traditional music attributed to Ludwig Minkus; ACT II -- Finale - allegro con moto -- ,arranged and orchestrated by Emil de Cou. Cathedral bells courtesy of San Francisco Opera.



#25 Mel Johnson

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Posted 04 April 2009 - 05:46 PM

All I can tell you is that the Feijoo starts the same way as a variation that was being taught at SAB in 1964, but with different music. That variations get "telescoped" into one another is hardly unusual in ballet repertoire.

#26 Amy

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Posted 12 September 2014 - 10:08 AM

This Act 1 Pas de deux was created for the prima ballerina, Maria Gorshenkova when Petipa first revived Giselle in 1884 and Mlle. Gorshenkova danced the title role. The music is by Minkus, who was the ballet composer for the St Petersburg Imperial Theatres at the time, which meant that when Petipa staged a new production and added new pieces, Minkus was the one who composed the music - this is also how the Paquita Grand Pas Classique was born - Minkus composed the music for that.

 

However, unlike the Paquita Grand Pas Classique, this Giselle pas deux never found a permanent place in the Imperial Ballet repertoire because back then, when a ballerina had a new piece created for her, that piece literally became her legal property and no one else was allowed to dance it, unless she gave someone else her permission to dance it. So the original Petipa choreography for this pas de deux was never notated and as far as I know, Mlle. Gorshenkova was the only ballerina who ever danced it back in Imperial Russia.

 

Also as far as I know, no production in the world today uses this music as an Act 1 pas de deux for Albrecht and Giselle, although I would really like to see someone using it for that very purpose one of these days. I think it would be a really lovely way to show the love between Albrecht and Giselle blossoming.

 

The Dutch National Ballet utilized some of the music for the Peasant pas de deux in their current production.



#27 rg

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Posted 12 September 2014 - 10:57 AM

if mem. serves the GISELLE video w/ Nureyev and Seymour, w/ the following credits, includes some of this Minkus pas de deux music, w/choreography by Mary Skeaping, if i read the credits correctly:

 

  • Giselle / produced by Magnetic Video Corporation/Twentieth Century Fox ; directed by Stanley Dorfman and Rudolf Nureyev ; produced by Stanley Dorfman ; choreography by Peter Wright after Coralli and Perrot ; music by Adolphe Adam. 1979. (76 min.) 
  • Notes : Choreography for Pas des vendanges, Mary Skeaping ; costumes, Peter Farmer.
  • Performed by the Bavarian State Opera Ballet
  • Rudolf Nureyev (Albrecht), Lynn Seymour (Giselle), Monica Mason (Queen of the Wilis), Youri Vamos (Hilarion), and Gerd Larsen (Berthe).
  • Music performed by the New World Philharmonic Orchestra, conducted by David Coleman.


#28 leonid17

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Posted 13 September 2014 - 12:20 AM

Petipa's definitive revival of Giselle of 1884 followed versions by Coralli and Perrot and was established by Maria Gorzhenkova in the title role.

 

Petipa having seemingly arranged his definitive revival of Giselle in 1884 for the Ballerina Maria Gorzhenkova, however, he made ​​his final touches to the work, to debut Anna Pavlova in 1903 having the confidence in her following her triumphant performance as Nikiya in 1902.

 

It is clear that Petipa amended in parts the choreography for Pavlova's Giselle which is confirmed in the Stepanov notation held in the Sergeyev collection.

 

The notation can be dated to1903, based on Anna Pavlova’s performance history in Giselle because her name is included in the notations of both acts.

 

See also:

 

http://www.pnb.org/AboutPNB/Repertory/Giselle.aspx



#29 doug

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Posted 13 September 2014 - 06:06 PM

To further clarify: I date the Stepanov notation of Act I of Giselle circa 1903, because Pavlova is named as Giselle in the notation of that act. The notation of Act II, however, uses the name "Giselle" for the title role, rather than Pavlova, who is listed in the notation dancing the role of Zulme, which she first danced in 1899. So it is possible that (at least parts of) Act II was notated as early as 1899.



#30 leonid17

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Posted 14 September 2014 - 12:19 AM

To further clarify: I date the Stepanov notation of Act I of Giselle circa 1903, because Pavlova is named as Giselle in the notation of that act. The notation of Act II, however, uses the name "Giselle" for the title role, rather than Pavlova, who is listed in the notation dancing the role of Zulme, which she first danced in 1899. So it is possible that (at least parts of) Act II was notated as early as 1899.

 

During her final year at the Imperial Ballet School, Pavlova performed many small roles with the Mariinsky Ballet.

 

The mention of 1899, is I suggest merely a notated reference to Pavlova's official graduation debut in “The Imaginary Dryad's” as one would find in an official record.

 

Whilst Alexander Gorsky had perfected the Stepanov notation and moved to Moscow, Nicholas Grigorovich Sergeyev was appointed regisseur of the Imperial Ballet in 1903 he assigned Alexander Chekrygin and the following year Victor Rakhmanov and later Nikolai Kremnev and S.Ponomaryev who undertook the majority of the notation of the repertoire.




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