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Pieces by Maliphant, Limón and Massine at the Bavarian State Ballet


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#1 Ilona

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Posted 07 February 2014 - 03:55 PM

Russell Maliphant's "Broken Fall", José Limón's "The Moor's Pavane" and "Choreartium" by Léonide Massine at the Bavarian State Ballet, Munich:

http://danceviewtime...ilona_landgraf/



#2 sandik

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Posted 08 February 2014 - 12:08 PM

Thanks so much for the link here -- I'm always pleased to see companies present Massine.  It seems to me that we're in danger of losing this part of the repertory unless someone starts to advocate more consistently for it.  (of course, Tudor is another that comes to mind)

 

I have very mixed feelings about ballet companies presenting Moor's Pavane -- it's easy to achieve a superficial competence with the parts, but much harder to get to the original sense of gravity (both metaphorical and actual!) that the work needs.  I've yammered on about this before, so won't repeat, but still, I'm glad it's there, and often times wish it were done better.  If the Bavarians managed to get to the heart of the work, so much the better for us all!



#3 cubanmiamiboy

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Posted 09 February 2014 - 07:01 AM

I wonder who the repetiteurs of Massine's choreos are...(or at least of "Choreartium"...)



#4 Ilona

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Posted 09 February 2014 - 09:44 AM

Lorca Massine assisted by Anna Krzyskow



#5 sandik

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Posted 09 February 2014 - 11:27 AM

I dug around online and found this in an old version of the Joffrey website.

 

 

In 1988, after The Joffrey's reconstruction of Cotillon, Gerald Arpino began making plans for the recreation of Les Présages. However, he gave permission to Rudolf Nureyev for the Paris Opera Ballet to produce the ballet first, in 1989. Mme. Leskova stages the French production, and the first Joffrey production. Revivals are overseen by Cameron Basden who is now the only person in the world to hold the rights from the Massine foundation to stage Les Présages.

 

I'm sure Basden does an excellent job, and I'm pleased that someone of her caliber is involved with this, but I do wish there were even more people working on saving and staging the historic repertory.  Judith Mackerell's recent column about putting some of the more frequently produced 19th c works on hiatus in favor of a broader repertory raises some interesting points about this issue.




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