volcanohunter

Palais de Cristal / Daphnis & Chloe

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But that plot twist is completely ignored in the second half of the work, which I found a little boring, except for an invigorating solo by Fabien Revillion, who portrayed one of the pirates.

In my opinion the pirate solo is the best part of this piece.

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On camera, the corps costumes looked to be black woven with whatever based color the soloists wore.

In the theater, they just looked (to me) like beautiful dark colors. Looking back now at the culturebox video, I see that the red and blue do have some black in them. (To my eye, it appears that the tutus have some sort of black netted overlay on top of a colored skirt and that the bodices have black trim.) In any event, I thought they looked great. They looked very striking on the setless, light-colored stage.

But that plot twist is completely ignored in the second half of the work, which I found a little boring, except for an invigorating solo by Fabien Revillion, who portrayed one of the pirates.

In my opinion the pirate solo is the best part of this piece.

No arguments here! I also liked one of Daphnis's solos in the first half of the work.

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Three of us made the trip northward to Montreal to see the film on Sunday. I cannot find anywhere a credit that mentions who staged Palais de Cristal? Does anyone know?

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Three of us made the trip northward to Montreal to see the film on Sunday. I cannot find anywhere a credit that mentions who staged Palais de Cristal? Does anyone know?

I don't know who, but it's likely in-house.

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Three of us made the trip northward to Montreal to see the film on Sunday. I cannot find anywhere a credit that mentions who staged Palais de Cristal? Does anyone know?

I don't know who, but it's likely in-house.

I agree. I imagine POB has rights and the trust would have nothing to do with this. I'm so curious about how much of this film is faithful to the original Palais.

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I worked around the geo-block that has since gone up on Culturebox to take a look at the credits. The Balanchine Trust has never held the rights to Symphony in C or, presumably, Palais. They currently belong to the School of American Ballet, and the copyright is attributed to it. However, the usual note about the Balanchine Trust signing off on technique and style is also included. The repetiteurs are identified as Colleen Neary and Laurent Hilaire.

Good for you, rkoretzky, for making the trip. I would have loved to see it on a movie screen.

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I worked around the geo-block that has since gone up on Culturebox to take a look at the credits. The Balanchine Trust has never held the rights to Symphony in C or, presumably, Palais. They currently belong to the School of American Ballet, and the copyright is attributed to it. However, the usual note about the Balanchine Trust signing off on technique and style is also included. The repetiteurs are identified as Colleen Neary and Laurent Hilaire.

Good for you, rkoretzky, for making the trip. I would have loved to see it on a movie screen.

Thanks for the response! I knew someone would have delved into the question.

I saw the Culturebox version as well, which I thought would satisfy my curiosity. But what a difference on a big screen. It was fascinating to compare with symphony in c as danced by NYCB and other companies.

In fact in 2004 I scheduled a (planned) trip to Paris to include an announced performance of palais on the centenary of Balanchine's birth. Much to my dismay, symphony in C was substituted. Ever since I've made it a mission to see Palais.

I didn't care for POB's symphony in c but I loved Palais, perhaps because it is THEIRS. I was fascinated by the choreographic changes from one ballet to the other, hence my curiousity about the faithfulness to the original.

I wouldn't say it was a different work to the same music, they are definitely siblings. Palais is softer, more rounded, in keeping with the softer style of POB. In the finale the corps form a semi circle behind the principals, with the colors interweaving it looks like a shifting kaleidoscope.

About the colors : except for a jarring difference in the red between the principal and corps first movement costumes, I loved it, loved it. Give me those costumes any day over NYCB's hideous new ones which almost, but not quite, ruin the ballet for me.

A great experience and an important piece of ballet history. I'm equidistant to Montreal, New York and Boston--a nice place to be.

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Give me those costumes any day over NYCB's hideous new ones which almost, but not quite, ruin the ballet for me.

You mean you don't like the look of ballerinas in plunging necklines decorated with dark blue crystals that simulate the appearance of chest hair?

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Give me those costumes any day over NYCB's hideous new ones which almost, but not quite, ruin the ballet for me.

You mean you don't like the look of ballerinas in plunging necklines decorated with dark blue crystals that simulate the appearance of chest hair?

Uh, nope. Nor do I like the, shall I say cut, of the trunks. Oh how I long for Karinska's fussy bows!

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