Russian Nights Question
Posted 24 November 2002 - 08:11 PM
Posted 24 November 2002 - 08:27 PM
Posted 25 November 2002 - 12:08 PM
to be sure the russian's consider the pas de six (for la esmeralda, gringoire and four tambourine playing women) to be 'pure petipa' and 'diana and acteon' by vaganova's hand.
the problem w/ attributing the music to current soviet/russian stagings is that the version that lived into the 20th century from the 19th c. 'original' had choreographic reworkings by gorski and musical reworkings by asafiev, etc.
until all those russian/soviet records are opened and made available to western scholars, even if only to those who read russian, we may remain in the dark making assumptions all over the place,
there is a sense of the ways in which ESMERALDA got restaged in soviet times in elizabeth souritz's invaluable 'soviet choreographers of the 1920s.'
Posted 25 November 2002 - 01:52 PM
Posted 26 November 2002 - 08:46 AM
Posted 26 November 2002 - 09:15 AM
so while there may be 'ESMERALDA' Pas de Deux around attributed to Perrot, these at best would seem to come down to us via the revised petipa production.
in any case it seems no longer on the international circuit, the way the pas de six and the 'diana and acteon' dances are.
w/the exception of ben stevenson's pastiche of this pas de deux, most recently given in the states by ABT, there haven't been any presentations of the pas de deux performed lately.
if mem. serves in the 70s ABT (and others) were doing this pas more frequently, and those stagings may well have had 'after perrot' credits.
p.s. here are the credits for a version by john gilpin and included in the video called 'the romantic era'
Esmeralda.Pas de deux (Choreographic work : Gilpin after Perrot)
Chor: John Gilpin after Jules Perrot; mus: Cesare Pugni. Perf: Mexico, Guanajuato, Teatro Juarez, Cervantes International Festival, May 16-18, 1980; Eva Evdokimova & Peter Schaufuss.
Posted 26 November 2002 - 09:26 AM
Posted 05 February 2003 - 08:56 AM
There was an interesting review in the Seattle press -- Ari posted it on Links yesterday -- that seeing Paquita and Theme and Variations together on the same program made one aware of the differences between them. I would agree with that -- while at first glance, one might think "Oh, a night of all THAT kind of ballet!" often when you place things that seem similar right next to each other, the differences leap out at you.
Anyone care to comment?
Posted 05 February 2003 - 01:09 PM
The Saturday, February 1 performance featured one young principal (Carrie Imler) paired with a young soloist (Casey Herd) in "Paquita." Ms. Imler, CPYB and PNB trained, is a turner and has rock-solid balance. I counted (yes -- I count!) 34 fouettes (including doubles as ending flourishes) with no hint of traveling. Mr. Herd is a jumper and executed his solos well. I am sure that he will grow as a partner. There were some cast shifts among the soloists due to an injury that occurred on opening night, with some resulting unevenness in quality which should also smooth out during the second week of the run.
Louise Nadeau and Jeffrey Stanton were well matched in the "Tchaikovsky Pas de Deux." Ms. Nadeau has grown is stature as an artist as she has matured. Her performance appeared to be weightless, effortless and possessed of a very French effervescence -- perhaps as a nod to Violette Verdy. Mr. Stanton is known as one of PNB's most attentive and intuitive partners and did not disappoint.
The novelty of the evening was the opportunity to see the "Esmeralda Pas de Deux," set by Kaori Nakamura and Olivier Wevers. Alas, although scheduled, they did not perform last Saturday. (I hope to be able to see them on at least one of the performances this week.) Noelani Pantastico and Astrit Zejnati gave a pleasant and competent performance.
The glory of the evening, however, was Patricia Barker, partnered by Stanko Milov, in "Theme and Variations." As often as she has performed this role, it is altogether to her credit that Ms. Barker finds new avenues of exploration and continues to refine additional nuances. On this occasion, it was the new freedom in her control of port de bras and epaulement which impressed me the most. I speculate that these qualities are at least partially the result of increased exposure to roles in "Paquita," and, especially, "Sleeping Beauty," the latter of which she has described as the most difficult work she has ever done, and which she will perform later this spring.
The ensemble was in its element -- everyone radiated an aura of "this is what we live to do" confidence and assuredness.
Posted 05 February 2003 - 01:19 PM
Am I in a time warp, though? I thought Patricia Barker had retired at the end of last season -- is this her last season?
Posted 05 February 2003 - 01:34 PM
Posted 05 February 2003 - 01:57 PM
Posted 05 February 2003 - 02:06 PM
Posted 08 February 2003 - 01:16 PM
The two pas de deux on the program were slightly less successful choices. I enjoyed the Nadeau/Stanton "Tchaikovsky Pas de Deux" more than Barker/Bold. I think in general this piece works better with smaller ballerinas. I also don't think that the Barker/Bold pairing really seems to benefit either the dancers or the audience; they are at such different skill levels. He obviously tries hard, but I don't think he has shown much improvement in Balanchine or classical roles. He seems much more at ease in the harder-edged contemporary pieces (e.g. Martins, Forsythe) in the repertory. At any rate, as a stage couple they seemed to have no rapport, which marred the ballet as a whole for me (though individually Barker was excellent). I enjoyed both couples I saw in "Esmeralda" equally, and while it was fun to get a chance to see this kind of a thing, I don't think I could have sat through it for a third time so soon.
All in all, two really enjoyable experiences, although it was a bit dismaying to see so many empty seats for what one would have thought should have been an easy-to-sell program (and despite PNB offering a very generous discount on tickets, for a change).
Posted 08 February 2003 - 01:26 PM
It does sound like an intriguing program, and a very good chance to see lots of dancers. I'm also surprised that it didn't sell -- has this been a problem in Seattle generally the past two years? Are there theories -- recession, or lack of interest in the arts, etc? PNB is a stable company -- not a lot of dancer turnover, no high profile problems. It should be smooth sailing!
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. (If it doesn't appear below, your computer's or browser's adblockers may have blocked display):