Jump to content


Gelsey Kirkland, in Balanchine's FIREBIRD, 1970uncredited publicity photo


  • Please log in to reply
20 replies to this topic

#16 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,068 posts

Posted 28 January 2013 - 11:09 AM

You're right, lmspear, I remember d'Amboise saying something to that effect.

#17 rg

rg

    Emeralds Circle

  • Editorial Advisor
  • PipPipPipPipPipPipPip
  • 3,437 posts

Posted 28 January 2013 - 11:31 AM

Kirkland may well have been channeling Pavlova who also disliked the music, etc. of FIREBIRD thus leading Fokine to switch casting and choose Karsavina for the 1910 premiere.
to add to some confusion over time, Karsavina danced what was called a 'bird of fire (or light)' in the 1909 divertissement called "L'oiseau de feu" for LE FESTIN, but as we know this was to Tchaikovsky and was in fact his Blue Bird duet from THE SLEEPING BEAUTY.
attached scans show Karsavina in the FESTIN 'l'oiseau' and as Stravinsky's 'bird' (with arms outstretched). (both of these snapped from Andrew Foster's excellent book, TAMARA KARSAVINA, DIAGHILEV'S BALLERINA)
the Bakst sketches both show versions of the Stravinsky ballet.

Attached Files



#18 rg

rg

    Emeralds Circle

  • Editorial Advisor
  • PipPipPipPipPipPipPip
  • 3,437 posts

Posted 28 January 2013 - 01:07 PM

additional (final?) FIREBIRD footnotes:
a snap of Chagall's sketch for his Firebird costume and a color photo promoting Capehart television in 1950? - the date on my copy of this loose leaf from a magazine, perhaps LIFE, has the year written in pencil, which may be accurate or may be a guess - documenting, by way of what was then called an "action photo," a moment from a performance of Ballet Theatre's 1945 staging of THE FIREBIRD by Adolf Bolm, with Alicia Markova identified and perhaps with Anton Dolin (unidentified), probably in the Danse Infernale.

p.s. in answer to the query above about a photo of Kirkland as the Nightingale in John Taras's SONG OF THE NIGHTINGALE, no, i don't have any, but i fairly recall this Ter-Arutunian-designed costume with its basic unitard-light base arranged with various lengths and curlicues of semi-transparent tubing, meant, it would seem, to indicate spare plummage.

Attached Files



#19 lmspear

lmspear

    Senior Member

  • Senior Member
  • PipPipPip
  • 164 posts

Posted 28 January 2013 - 01:20 PM

You're right, lmspear, I remember d'Amboise saying something to that effect.


Thanks for the confirmation, dirac!

#20 Andfos

Andfos

    New Member

  • New Member
  • Pip
  • 2 posts

Posted 05 March 2013 - 11:27 AM

The French historian Philippe de Lustrac has demonstrated that the Firebird costume that Bakst designed for Karsavina in 1910 (as shown in the 2nd photo above, with a modified headdress) was influenced by Siamese rather than Russian folklore. In particular, the 2 golden braids are taken from images of the fantastical Siamese Garuda bird, which always holds 2 golden snakes in exactly the same way. Interestingly, when Karsavina came back to the role in 1919 and reverted to an earlier Bakst costume (the one she wore for the 1909 Bluebird pas de deux with Nijinsky), she insisted on adding the 2 braids.
To confuse matters even more, the first Karsavina photo above, although technically "L'oiseau de feu", is not Firebird. It is the Bluebird pas de deux photographed in the mid 1920s - Karsavina always loved the original 1909 Bakst costume.

#21 rg

rg

    Emeralds Circle

  • Editorial Advisor
  • PipPipPipPipPipPipPip
  • 3,437 posts

Posted 02 August 2013 - 05:36 AM

another NYCB publicity photo from the 1970 revision of Balanchine's FIREBIRD, showing Kirkland w/ d'Amboise, who seems to be the reason this newsphoto archive filed this print.

Attached Files




0 user(s) are reading this topic

0 members, 0 guests, 0 anonymous users


Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):