Puzzled about Paris Opera's Bayadere
Posted 18 November 2002 - 11:02 PM
Maybe this thread should go in the music section......but I figured since its more stuff to talk about as far as the history of Bayadere goes I should put it in here.
Posted 19 November 2002 - 03:38 AM
Posted 19 November 2002 - 04:22 AM
Posted 19 November 2002 - 06:55 PM
one friend described the flourishes lanchbery has added to the bayakerka scarf duet as sounding like 'tea dance' music.
clement crisp once described the 'tweakings' by lanchbery in his 19th century scorework as 'gratuitous burblings'
Posted 19 November 2002 - 10:37 PM
Posted 24 November 2002 - 12:15 AM
Posted 24 November 2002 - 05:52 AM
Posted 29 April 2003 - 09:27 AM
And this is one great thing, we can see Russian soloist with POB when La Bayadère is performed in France, because the variations are quite the same (for season 2001-2002, Nicolas Tsiskaridze, as well as Svetlana Zakharova)
About the Makharova production, Nureev was considering it as a betrayal to the Kirov version because she changed lots of parts (golden idol variation was replaced by another one, she used some music arrangements, no fast part in the snake variation....)
Posted 29 April 2003 - 09:39 AM
but regarding the bronze idol in the choreography nikolai zubkovsky created in 1948(?) makarova didn't really change it or its music, she simply moved it from the betrothal scene to the final wedding scene that she put together to conclude her production. (in fact this non-petipa dance was initially included in the kirov's 'reconstructed' 1900 production and then dropped again as it was from a much later era.)
as i say there may be a way to go back and read much of what was said on balletalert about the most recent kirov reconstruction after some historical documents in archives both inside and outside russia.
Posted 28 June 2005 - 05:36 PM
Posted 28 June 2005 - 07:14 PM
Posted 28 June 2005 - 10:16 PM
Thats what I meant - that's all that's left of the "originals".
Those two parts you're talking about are called "lead sheets", and are frequently the only things people have to reconstruct certain scores from. Try early Cole Porter sometimes, if you want an arranging challenge.
Posted 28 June 2005 - 10:27 PM
Lanchbery's arrangement of Don Q has been referred to as "Kitri goes salsa-regaae."
Posted 15 October 2008 - 07:41 PM
which seems to answer a lot of the questions in this old thread. Of course, I have no idea how accurate this article may be - wikis, like the web in general, are very caveat emptor places. I can't find an author (don't know wikipedia very well); for all I know doug may have written and/or contributed to it!
Posted 15 October 2008 - 11:10 PM
TONIGHT, I've just seen the Kirov do Shades in Berkeley without a ramp (the stage is shallow), and each new dancer ENTERS in a pose croisee derriere with both arms en couronne and then steps forward into arabesque a terre. I've never seen this before, and though I liked the idea that it suggested that Nikiya had forgiven Solor, on the whole I did NOT like it -- the whole obsessive sequence should be that snippet of her dance with the basket of flowers, and it needs to have the eyes downcast to begin, somehow, it feels emotionally VERY wrong to start with the hopeful glance, the feeling tone seems wong -- I realize this is arguing connoisseur-style, and that's very suspect -- does anyone -- DOUG, do you know? -- know where the phrase should begin?
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