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miliosr

Your Desert Island Triple Bill

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Here are the stats so far:

Balanchine (18)

Ashton (3)

Petipa (various stagings) (3)

Fokine (2)

Robbins (2)

Bejart (1)

Bournonville (1)

Forsythe (1)

Jooss (1)

Ratmansky (1)

 

In some case, I had to guess what the poster meant so any errors in tabulation are entirely mine.

 

canbelto -- You gave six entries so I didn't count any of them per the rules of the game. If you pick one of your choices as your absolute desert island triple bill, I would be happy to count those choices toward the stats.

 

It would be interesting to see what the results of this game would be if our sister forums in the UK and France played the same game. I would think many more choices of Ashton and MacMillan in the UK and many more choices of Bejart, Forsythe, Kylian, Lifar and Petit in France.

 

 

Edited by miliosr

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Ok the piano masterworks is my choice:

- Concerto DSCH

- Symphonic Variations

- Tchaikovsky Piano Concerto #2

 

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6 hours ago, volcanohunter said:

1. Concerto Barocco

2. Liebeslieder Walzer

3. The Four Temperaments

 

I wouldn't want to live without any of them. Barocco and the 4Ts were hugely influential in my ballet-going development, and I couldn't survive a desert island without Brahms.

 

And 4 T's is such a great closer, with those wonderful lifts.

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3 hours ago, Kathleen O'Connell said:

I have a whole archipelago of desert islands! But here's the first I ever stuck my flag into:

 

Serenade

Apollo

Four Temperaments

 

I was thinking about the dynamics of the triple bill (opener, middle, closer) and then you posted this trio -- it struck me that each work has a very didactic opening section.  Serenade begins with the fundamentals of ballet class (first position and open arms to the side), Apollo is all about learning how, and then Four Ts starts with those three themes.  You smartypants, you!

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1 hour ago, sandik said:

 

I was thinking about the dynamics of the triple bill (opener, middle, closer) and then you posted this trio -- it struck me that each work has a very didactic opening section.  Serenade begins with the fundamentals of ballet class (first position and open arms to the side), Apollo is all about learning how, and then Four Ts starts with those three themes.  You smartypants, you!

 

This is was my dream program when I was an absolute newbie, so I don't think I can take any credit for great insight. But maybe we can say Balanchine is a very good tutor!

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5 hours ago, sandik said:

 

And 4 T's is such a great closer, with those wonderful lifts.

 

For me it evokes the childhood thrill of watching planes take off.

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Here are the updated stats:

Balanchine (22)

Ashton (4)

Petipa (various stagings) (3)

Fokine (2)

Ratmansky (2)

Robbins (2)

Bejart (1)

Bournonville (1)

Eks (1)

Forsythe (1)

Jooss (1)

Lock (1)

Petit (1)

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14 hours ago, miliosr said:

Here are the updated stats:

Balanchine (22)

Ashton (4)

Petipa (various stagings) (3)

Fokine (2)

Ratmansky (2)

Robbins (2)

Bejart (1)

Bournonville (1)

Eks (1)

Forsythe (1)

Jooss (1)

Lock (1)

Petit (1)

 

So, right now there's no

 

Wheeldon

Peck

Tudor

Massine

deMille

Nijinska

Kylian

 

what else am I not seeing?

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Maybe there were so many choices of Balanchine works because they wear well on repeat viewings. There are so many twists and turns and trick endings that you are always surprised how they come out. Each is both a ballet and the critique of a ballet.

 

Ratmansky also has his surprises and enrichenings of content. I could add Shostakovich Symphony #9 (the first of the Trilogy) and parts of Bolt to a desert island menu. (I initially picked Seven Sonatas.)

 

I've only seen one Peck ballet here in San Francisco and intriguing snippets of Rodeo – so I guess there could be a triple bill of Rodeo (Peck), Rodeo (deMille) and Western Symphony.

 

 

Edited by Quiggin

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Ballet Is Woman — i.e. Balanchine Ballerina Fest!

 

(1)  Mozartiana  (Suzanne Farrell)

(2)  Serenade  (Sara Mearns, Ashley Bouder, Tess Reichlen)

(3)  Symphony in C  (Tiler Peck, Veronika Part, Skylar Brandt, Sarah Lane)

 

13 minutes ago, Quiggin said:

Maybe there were so many choices of Balanchine works because they wear well on repeat viewings. There are so many twists and turns and trick endings that you are always surprised how they come out. Each is both a ballet and the critique of a ballet.

 

Exactly. I could watch those three ballets, with those 8 dancers, over and over and over.

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2 hours ago, Quiggin said:

I've only seen one Peck ballet here in San Francisco and intriguing snippets of Rodeo – so I guess there could be a triple bill of Rodeo (Peck), Rodeo (deMille) and Western Symphony.

 

 

Oh, I'd love to see that program!

 

I've seen some Peck live (Rabbit and Debonair, which he made for Pacific Northwest Ballet), and big chunks of film, but still don't feel like I have a handle on what he's doing.

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