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What have we seen live onstage?-(XIX Cent. Ballet Poll)

Which of this ballets have we seen live?   43 members have voted

  1. 1. What have we seen live...?

    • Giselle
    • La Sylphide-(Bournonville)
    • La Sylphide-(Taglioni/Lacotte's recreation)
    • Grand Pas de Quatre-(Dolin's recreation)
    • La Fille Mal Gardee-(Nijinska/Balachova or any "after Gorsky/Petipa")
    • La Fille Mal Gardee-(Ashton's recreation)
    • Le Conservatoire-(Bournonville)
    • Nappoli-(Bournonville)
    • A Folk Tale-(Bournonville)
    • The Awakening of Flora-(Vikharev's recreation)
  2. 2. What have we seen live...?

    • Don Quixote
    • La Bayadere
    • Raymonda
    • Coppelia
    • Le Corsaire
    • Sylvia-(Ashton's recreation)
    • The Nutcracker
    • Sleeping Beauty
    • Swan Lake-(Full Lenght)
    • Paquita-(Lacotte's Full Lenght recreation)
  3. 3. What have we seen live...?

    • La Esmeralda-(Burlaka's or any other full lenght recreation)
    • Le Talisman-(Paul Chalmer's recreation)
    • The Pharaoh's daughter-(Lacotte's recreation)
    • Ondine-(Lacotte's recreation)
    • La Source-(Bart's recreation)
    • La Peri-(Malakhov's recreation)
    • The Magic Flute-(Peter Martins or Alonso's recreation)
    • La Kermesse in Bruges(Bournonville)
    • Les Millions d'Arlequin-(Alonso's/Lopukhov's/Balanchine's recreations)
    • None of these

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56 posts in this topic

I had more ballets in my pre-list ar first, but then I though about norrowing it to put only those that have been staged for professional companies. which is why I almost did not include Martin's the Magic Flute, because I was reading that he had staged it just for the SAB, only later realizing that he had also presented it by the main company. Was The Seasons danced by the professional company at any moment, Natasha..?

I also though about Cavalry's Halt, and even Armide and Chopiniana at one point...but then i thought I was getting to close to Diaguilev, which is a huge, revered field of its own.

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It's not Russian, French or Danish...but Italy's Excelsior is definitely a window into the 19th-C. It's also in my Pantheon of Great 19-C Works that live on today.

Natasha...I added a spin off of the thread with some of your suggestions. Check'em out! flowers.gif

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Thanks - looks great! Cristian, you asked about the K. Sergeyev Seasons, to Glazunov's full 45-minute score. As far as I know, it was not staged in the pro company, although I know that some BA lurkers with connections to the late-great couple (Sergeyev & Dudinskaya), might have a definitive answer. For now, I only know that The Seasons was presented only by the Vaganova Academy, only in June 1974. Zaklinsky, one of that year's grads, was the male lead & the lovely Chistiakova (who still had a year to go in the school) was a female lead. Among the junior students in the corps of snowflakes was Zaklinsky's future wife - Altinai Assylmuratova. The choreography was 100% Sergeyev but it was very much in the Petipa manner; the sets & costumes were absolutely gorgeous, in the pure-classical style. It's incredible that this gem of a ballet has not been revived by the Vaganova Acad or anyone else. (Instead, Nacho Duato is all the rage at graduation.)

p.s. - No, I did not see it live. I saw a b&w film of the full work at some time when I was living in Russia, many years later (rerun on Kultura TV).

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Cristian, you asked about the K. Sergeyev Seasons, to Glazunov's full 45-minute score.

Tangentially, Val Caniparoli made a very interesting ballet to this score for Pacific Northwest Ballet a few years ago (was also stage in Nashville, I think). He kept several elements from the original scenario, and the overall structure was very much in a classical vein. I remember thinking at the time how much of that structure seemed to be built into the score -- I would be very interested in seeing the Sergeyev version you describe.

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Ondine by Ashton doesn't count?

No. It is the XIX century heritage what I'm mostly counting here.

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Is the RDB's Whims of Cupid and the ballet Master 18th or 19th century?

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Is the RDB's Whims of Cupid and the ballet Master 18th or 19th century?

1786, and I thought about including it, but..I wanted to stick to the XIX Century. Still...a very attractive option, IMO.

Has anybody seen it...?

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Saw it years ago, but it isn't er.... 'politically correct' - think contentious make-up in Bayadere.

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Saw it years ago, but it isn't er.... 'politically correct' - think contentious make-up in Bayadere.

Yes - just like some of the characters in Far From Denmark! This sort of thing is not so offensive if the viewer realizes that it was in no way intended as an offense 100+ years ago.

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Wow...Giselle just got surpassed by Swan Lake by one vote...I suspected that was going to happen at one point.

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Wow...Giselle just got surpassed by Swan Lake by one vote...I suspected that was going to happen at one point.

This doesn't surprise me at all -- I don't know about a census, but I have the sense that Swan Lake is in many more repertories than Giselle at this point.

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Not only that, every small Russian touring company brings "Swan Lake," if it's not "Nutcracker" season, and the Mariinsky tours with it often. (I can't remember if the Bolshoi does as well.)

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Not only that, every small Russian touring company brings "Swan Lake," if it's not "Nutcracker" season, and the Mariinsky tours with it often. (I can't remember if the Bolshoi does as well.)

True -- I've seen a number of road show Swans, but not too many touring Giselle's.

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I'm trying to cast my vote and because I can't vote for any ballets in category 1, I get an oops!something went wrong - but in category 1 there is no way to vote if you've not seen any of the ballets live. Please advise. Thank you.

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I

I'm trying to cast my vote and because I can't vote for any ballets in category 1, I get an oops!something went wrong - but in category 1 there is no way to vote if you've not seen any of the ballets live. Please advise. Thank you.

I know...that's why I put that "none of them" option in the last group, because the system forces you to cast a vote in each of the groups. Thing is, I would had been forced to eliminate one ballet from the first group, and now it is too late, because it would delete all the votes from that particular ballet. Perhaps I wrongly assumed that "Giselle" was the secure choice for everybody.

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ok, I voted but had to fudge the first category by selecting a ballet (see post above), although I haven't actually seen any ballets in cat 1 live. I chose Giselle because I WILL see it live this summer, thankfully, at SPAC when Natl Ballet of Canada visits. Also, have seen Giselle on YouTube and DVD. All the others I voted I have seen them live. FYI, my Coppellia is Balanchine's. And, I'm happy to report, I'll see SB again next week at Koch Theatre!

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. And, I'm happy to report, I'll see SB again next week at Koch Theatre!

Formerly known by a better name- oops another grumpy Sunday moment -

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. And, I'm happy to report, I'll see SB again next week at Koch Theatre!

Formerly known by a better name- oops another grumpy Sunday moment -

Oh, how I agree. Privately, I still call it the better name! IMO, a truly cultured philanthropist would have insisted on no name change.

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ok, I voted but had to fudge the first category by selecting a ballet (see post above), although I haven't actually seen any ballets in cat 1 live. I chose Giselle because I WILL see it live this summer...

Aawww..your first Giselle..! flowers.gif ("If I could turn back time..." Cher)

BTW...happy to report that Giselle, Swan Lake and Nutcracker have been thightly even in votes for a while now. Sleeping Beauty always falls one vote less than the rest.

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Oh, how I agree. Privately, I still call it the better name! IMO, a truly cultured philanthropist would have insisted on no name change.

I know this is a tangent, so I'll be brief. We've discussed the use of power by philanthropists in other threads, but I just wanted to raise a hand here -- I understand the desire for recognition, and don't really mind it when new projects are named for the donors that fund them, but it is hard when a well-known title is discarded after years of use for a new name that reflects a substantial gift. Here in Seattle we've had an ironical experience in the last few years. Our opera house, which was opened using public money in the first half of the 20th c as the Civic Auditorium, and was translated into the Opera House in the 1960s, was remodeled extensively in the 90s and renamed in honor of the main donors' mother (it is officially Marion Oliver McCaw Hall -- I was lobbying for the familiar name to be Mom Hall, but it's McCaw Hall in all our listings). At around the same time a group of local donors helped to fund a new project for the local art museum -- an outdoor sculpture park. They insisted that it be named after the mountain range you see from the part, so it is the Olympic Sculpture Park. One of the donors, who was the most insistent on not using donor names, died recently -- Mary Shirley was a major participant in the local art world, gave money thoughtfully and generously, and whenever I see the park mentioned in the press, I'm always grateful for the relative anonymity of the gift.

Not so brief after all, and I apologize, but I wanted to say something about her in public and this seemed like the appropriate place.

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Perhaps I wrongly assumed that "Giselle" was the secure choice for everybody.

At one point in our history I think this would have been a safe bet, but repertories have shifted and the Romantic works (both originals and their descendents) are performed far less often than in the past. Although my local company did add Giselle to their rep a couple years ago (they've done Swan Lake and Sleeping Beauty for several years now) it has been ages since I've seen Les Sylphides performed by a fully-professional company, either in a home season or on tour. I think there are a multitude of reasons for this, not the least of them the development of neoclassical ballet. You may want this to spin out to a separate thread, but I'll ask here since I'm already here -- is the distinction between classical and romantic ballet a viable one today (not just as a divider between chunks of the historical rep)? Do people think of Giselle differently than they do the Petipa classics (never mind that most of the material we know of Giselle was restaged and revamped by Petipa...) or do they just think of it all as generically old?

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At one point in our history I think this would have been a safe bet, but repertories have shifted and the Romantic works (both originals and their descendents) are performed far less often than in the past. Although my local company did add Giselle to their rep a couple years ago (they've done Swan Lake and Sleeping Beauty for several years now) it has been ages since I've seen Les Sylphides performed by a fully-professional company, either in a home season or on tour. I think there are a multitude of reasons for this, not the least of them the development of neoclassical ballet. You may want this to spin out to a separate thread, but I'll ask here since I'm already here -- is the distinction between classical and romantic ballet a viable one today (not just as a divider between chunks of the historical rep)? Do people think of Giselle differently than they do the Petipa classics (never mind that most of the material we know of Giselle was restaged and revamped by Petipa...) or do they just think of it all as generically old?

An interesting question, which definitely deserves its own thread. I'll start one , in the AESTHETIC ISSUES forum, unless others would prefer to it to be in Everything Else Ballet.

Here is its:

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Oh, how I agree. Privately, I still call it the better name! IMO, a truly cultured philanthropist would have insisted on no name change.

I know this is a tangent, so I'll be brief. We've discussed the use of power by philanthropists in other threads, but I just wanted to raise a hand here -- I understand the desire for recognition, and don't really mind it when new projects are named for the donors that fund them, but it is hard when a well-known title is discarded after years of use for a new name that reflects a substantial gift. Here in Seattle we've had an ironical experience in the last few years. Our opera house, which was opened using public money in the first half of the 20th c as the Civic Auditorium, and was translated into the Opera House in the 1960s, was remodeled extensively in the 90s and renamed in honor of the main donors' mother (it is officially Marion Oliver McCaw Hall -- I was lobbying for the familiar name to be Mom Hall, but it's McCaw Hall in all our listings). At around the same time a group of local donors helped to fund a new project for the local art museum -- an outdoor sculpture park. They insisted that it be named after the mountain range you see from the part, so it is the Olympic Sculpture Park. One of the donors, who was the most insistent on not using donor names, died recently -- Mary Shirley was a major participant in the local art world, gave money thoughtfully and generously, and whenever I see the park mentioned in the press, I'm always grateful for the relative anonymity of the gift.

Not so brief after all, and I apologize, but I wanted to say something about her in public and this seemed like the appropriate place.

Sandik, thank you for your post and responding. I agree and and it infuriates me that this particular theater and the spirit in which it was built, had to be renamed.

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