Tallchief Eglevsky Raymonda Pas de Dix
Posted 31 October 2011 - 12:34 PM
It's amazng though how B.,after so many years post his last Raymonda viewing as a young man, was able to "transplant" it to new soil. Entire sequences-(particularly Raymonda's piano variation)-are strikingly the same as in the original choreography.
Eglevsky's muscular, compact body looks as if having a life of its own, being able to be as weightless and airy as if he was as thin as Jose Martinez from the POB.
Posted 31 October 2011 - 03:08 PM
It does seem as though major movement ideas and steps come from Petipa, so I'm curious Petipa is not acknowledged. Was there concern that people wouldn't properly credit Balanchine's overall genius? Did they assume in the 1950s that nobody seeing this clip on American TV (or in the American theater) would have seen the Russian Raymonda? Or perhaps they thought Balanchine had modified so much that Petipa no longer deserved any credit?
I see that for Balanchine's Swan Lake (1951), they give credit to "after Ivanov," although I don't know if that's how it was always credited when it premiered.
Posted 31 October 2011 - 03:28 PM
Posted 31 October 2011 - 04:01 PM
Posted 31 October 2011 - 04:18 PM
For NYCB, Balanchine did three ballets using music from Raymonda, but none appears to have been full length. Along with Pas de dix:
Cortege Hongrois (1973): http://www.nycballet...rep.html?rep=53
The text on this notes that it is a "tribute" to Petipa.
Raymonda Variations (1961): http://www.nycballet...ep.html?rep=151
The text for this one says:
Was this performed in the United States? With Europe in ruins, I'm guessing it was, but don't know.
After leaving Russia, Balanchine and the ballerina Alexandra Danilova mounted the full-length Raymonda for the Ballet Russe de Monte Carlo in 1946.
Posted 31 October 2011 - 09:31 PM
I find "Pas de Dix" to be something akin to a piano reduction of an orchestra score, stripped down in a modernist style. It's also broader and more of a burlesque than the original, especially in some of Eglevsky's moves, such as the in-turned knees.
"Choreography" also mentions that for San Francisco Ballet's 1960 "Variations de Ballet" parts of "Pas de Dix" were combined with Lew Christensen's choreography to Glazounov's suite "Scenes de Ballet," Op. 52 (revised 1981). Also that Balanchine had staged the Petipa choreography for Diaghilev in 1925.
The 1955 cast included Barbara Tallis, Constance Garfield (solos), Jane Mason, Barbara Walczak, Shaun O'Brien, Roy Tobias, Roland Vazquez, Johnathan Watts. There was also "foursome for the boys" (Martin) that is not in the Canadian film/video.
Alternate casts included Erik Bruhn with Maria Tallchief and Patricia Wilde with Eglevsky. In one of Frank O'Hara's books a 1961 menu dejeuner for Bill Berkson features a dish called "Poisson Pas de Dix au style Patricia [Wilde]."
Posted 01 November 2011 - 04:41 AM
Posted 01 November 2011 - 06:38 AM
Pas de dix (ca. 17 min.) / originally telecast on November 5, 1957; choreography, George Balanchine; music, Alexandre Glazounov; danced by Maria Tallchief, André Eglevsky, and members of New York City Ballet [including Barbara Fallis and Barbara Walczak in the female variations, and Richard Thomas, Jonathan Watts, and Shaun O'Brien].
Posted 01 November 2011 - 12:08 PM
I had picked-out Barbara Walczak as one of the two demi-soloists in the female duet. What a sparkling, exotic-looking dancer. She would have been an stand-out in any era!
Also the second soloist, is it Constance Garfield?, is delightful.
The New York Times December 4, 1955 review notes that Maria Tallchief was returning to the company after a year away and required a new role, that "there is never enought money to make a full-scale ballet with score and production," so Balanchine "went back to one of the ballets of his youth for inspriation."
The variation for Miss Tallchief ... fits Miss Tallchief like a glove. Andre Eglevsky has fared only slightly less well at the choreographer's hands. He is a difficult man to choreograph for after a succession of seasons, for he confines himself assiduously to a handful of technical devices that he executes well and apparently declines to branch out in any direction. ... The wonder is that [Balanchine] has thought up still further combinations [for him], tricky, demanding and essentially rewarding."
As much as I love to watch Eglevsky, he does seem to have strange expressions of skepticism on his face from time to time. John Martins' comment on his limitations is interesting.
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