Cotillon: scherzo-valse: Baronova, Lichine and Morosova
Cotillon: menuet pompeux: Baronova and Morosova
"Cotillon" was designed by Christian Bérard, who also suggested some of its scenes, in which “the ballet’s props--satin swags, paper hats, fans, tambourines and guitars -- seem to have become instruments of magic,” according to Boris Kochno, who wrote the storyline of the ballet--which he based on “illustrations from etiquette manuals, parlor games and drawing room dances of the late 19c."
“One such inspiration [of Bérard’s] had Toumanova, a dancer, reveal in the middle of a waltz that she was really a fortune teller then had her read the palms of the guests at the ball all of whom were wearing gloves. She conjured up images of their futures, including a young girl turning into a chimera with bat’s wings and a lovers’ meeting that ended in a duel.”
Karinska executed the "Cotillon" costumes for Bérard and later designed those of "La Valse." Bérard mentored Christian Dior and may be the spiritual father of Dior’s New Look that in turn (re)informed "La Valse." He also designed the costumes and sets for the first "Mozartiana."
Bérard was the son of the architect of the city of Paris, attended the top knotch Lycee Janson de Sailly (at the same time as Julien Green and Michel Leiris) and lived his life in a sort of squalorous reverse luxury. According to Cecil Beaton,
With his fine beak-like nose, his untidy red bard and lank wisps of silken hair...he would walk down the Quais in his dirty, cigarette-ash covered shirt, his soiled coat and unbuttoned trousers, with his dirty little dog Jacinthe hooked underneath his arm, the quintessence of French taste and elegance...
Picture by Cartier Bresson of Bérard Theatre Arts, 1949:
http://www.flickr.co...N00/3821925682/ C B by C-B
Christian Bérard, France’s great scenic artist, fell dead last February 12 on the stage of a Paris theatre. Painter, decorator, enigma, romantic, he was inspirational source of such diverse arts as Cocteau’s film fantasies, Dior’s couture, Fokine’s ballet, his sets for “The Madwoman of Chaillot” are a delight of this New York season. Many saw an ironic fitness in the dramatic coincidence of Christian Bérard’s death during the rehearsal of a Moliere play--for in 1673 Moliere, too, died on the stage of a Paris theartre.
There are also tantalizing clips of both ballets on the Balanchine bio DVD. "Cotillon" appears to have be photographed on lovely old Kodachrome.
Claudia Roth Pierpont in Ballet Review, Summer 1990 discusses the glove ballets, "Liebeslieder" being "the richest of 'Cotillon’s' successors" where Balanchine "becomes his own Kochno, his own Bérard" and suffuses all the props and the tricks into the surface of the ballet itself.