K2356

Regarding photographs of Elssler and the other Ballerinas, the NYC Public Library dance collection has many,many photographs.A limited number of the photos have been digitalized and can be view from your computer with internet access. - The NYCPL catolog internet address is www.catnyp.nypl.org - once you get to the above page click dance collection link then you can search by author,subject,etc.

Regarding photographs of Elssler and the other Ballerinas, the NYC Public Library dance collection has many,many photographs.A limited number of the photos have been digitalized and can be view from your computer with internet access. - The NYCPL catolog internet address is www.catnyp.nypl.org - once you get to the above page click dance collection link then you can search by author,subject,etc.

-I hear that the Kirov Ballet recently performed Mr.B's Jewels at the Kennedy Center in D.C. and since there is another thread regarding the SFB Jewels maybe the ballomatics on opposing coasts can trade notes for the benfit of us land lovers stuck in the middle the U.S.A. what do you say mates KEVIN

I have watched the "Tribute to Lopukhov" and enjoyed the performance very much.The only drawback regarding the video tape is my copy is a copy of a copy and the orginal recording was done in a "home movie" fashion and not as a "studio production".The video is very interesting and the Tanzsynfonia Thermal Energy(part III) is a very rare recreation. -Also the NYCPL-Dance Collection has another interesting vodeo titled From Petipa to Diaghilev: Tracing Russian Ballet -1989 call# *MGZIC 9-3079 1 cassette. 29 min. : sd. color NTSC Series Eye on dance ; 293 --Note Produced by ARC Videodance as part of the television series Eye on dance. Recorded on location at the Nakhamkin Gallery, New York, on October 2, 1989. Telecast on December 2, 1989. Producers: Celia Ipiotis and Jeff Bush. Video director: Richard Sheridan. Program director: Celia Ipiotis. Technical director: Jeff Bush. Host: Celia Ipiotis. --SUMMARY: Illustrated by visual works and artifacts from the exhibition "One hundred years of Russian ballet: 1830-1930" at the Nakhamkin Gallery, New York. -Dance historians Lynn Garafola and Tim Scholl provide an overview of Russian ballet beginning with the choreography of Marius Petipa. -They discuss the dancers associated with him, particularly Mathilde Kshessinska, and some of the technical and choreographic achievements of his period, notably the evolution of the supported adagio. -Moving on to the contributions of Serge Diaghilev, they discuss the rise of the unified production concept for ballets, the collaborative efforts of composers and designers (the latter including Léon Bakst), and Mikhail Fokin's choreographic innovations. ---They conclude with a discussion of the work of Fyodor Lopukhov in post-Revolutionary Russia, notably his experiments with plotless ballets. Excerpts from the Bolshoi Ballet's 1989 videorecording of The sleeping beauty are screened. Subject

----I have obtained a copy of the video tape "A TRIBUTE TO FEDOR LOPUKHOV" from a new friend of mine who studied dance at the Leningrad Conservatory.I have a few books that discuss Lopukhov's work and maybe i will provide future comment on the different ballet sections of the video tape. ----Videotaped in performance on November 17, 1986.Presented by the Choreographic Institute of the Leningrad State Conservatory Rimsky-Korsakov, in honor of the 100th anniversary of the birth of choreographer Fëdor Lopukhov. Producer/director: Nikita Dolgushin. Performed by members of the Kirov Ballet, students of the Conservatory, students of the Vaganova Choreographic School. Part I: Choreographic heritage of Fëdor Lopukhov. --Tanzsymphonia [The dance symphony]: The magnificence of the universe: Thermal energy (1923). Music: Ludwig van Beethoven (Symphony no. 4). Danced by Tatiana Ermolaeva, Larisa Boytsova (?), and male ensemble. -- The ice maiden: Adagio and variation (1927). Music: Edvard Grieg, arr. by Boris Asafiev. Danced by Valia Ganibalova and Igor Morozov. -- Khovanshchina: Persian dance (1926). Music: Modest Mussorgsky. Danced by Marina Komleleva (?) and ensemble. -- --The red poppy: Two excerpts (1929). Music: Reinhold Glière. Sailors' dance, performed by male ensemble. Tao-Hoa's variation, danced by Irina Portilyo (?). -- The snow maiden: Pas de deux (1947). Music: Peter Tchaikovsky. Danced by Conservatory students: Oleg Petrov (?) and partner. -- Raymonda: Variation (1922). Music: Aleksandr Glazunov. Danced by Tatiana Terekhova. -- The sleeping beauty: Two variations (1923). Music: Tchaikovsky. Aurora's variation from the Act II vision scene, danced by Olga Chenchikova. The Lilac Fairy's variation from the Prologue, danced by Altynai Asylmuratova. -- Taras Bulba: Three excerpts (1940). Music: Vassili Soloviev-Sedoi. Pas de deux, danced by Aleksandra Grivinia and Dimitri Korneyev. Ukrainian women's and men's dances, performed by the ensemble. -- Coppélia: Act III pas de deux (1934). Music: Léo Delibes. Danced by Zhanna Ayupova and Aleksandr Lunev. -- Pictures at an exhibition: Bydlo (1963). Music: Mussorgsky. Danced by V. Manuilov, A. Ivanenko, Vladimir Bondarenko, and Igor Morozov. -- Don Quixote: Fandango (1923). Music: Eduard Nápravník. Danced by Annelina Kashirina and Vladimir Lopukhov, with ensemble from the Kirov Ballet. Part II: Works by successors of Lopukhov. -- Legend of love: Pas de deux. Choreography: Yuri Grigorovich. Music: Arif Melikov. Danced by Elena Evteeva and Nikita Dolgushin. -- Coast of hope: Monologue. Choreography: Igor Belsky. Music: Andrei Petrov. Danced by Gabriella Komleva. -- The concert: Mistake waltz. Choreography: Jerome Robbins. Music: Frédéric Chopin. Danced by six women. -- Webern op. 5. Choreography: Maurice Béjart. Music: Anton Webern. Danced by Olga Chenchikova and Marat Daukayev. --Onegin: Act III pas de deux. Choreography: John Cranko. Music: Tchaikovsky, arr. by Kurt-Heinz Stolze. Danced by Evteeva and Dolgushin. -- Symphony in C. Choreography: George Balanchine. Music: Georges Bizet. Danced by Komleva, M. Vaziev, and ensemble. -- Le corsaire: Le jardin animé. Choreography: Petr Gusev after Marius Petipa, staged by Nikita Dolgushin. Music: Riccardo Drigo. Danced by students of the Vaganova Choreographic School. There is a copy of this tape at the dance collection of the NYPL. kevin

I am looking for a Russian Ballet book titled in English,does anyone know of someone i can buy this book ? "Mystery of Terpsichore". Story by Irina Deshkova.Drawings by Valery Kosorukov. Detskaya Literatura State Publishing House, Moscow, Russia, 1989 I have the two other books regarding Kosorukov's paintings of the ballet which are Ballet, Art book of Drawings and Paintings by Valery Kosorukov. Sovietsky Khudoznik State Publishing House, Moscow, 1966. Images of the Ballet, Paintings and drawings by Valery Kosorukov. Introduction by V. Fyodorov. Izobrazitelnoe Iskusstvo State Publishing House, Moscow, Russia, 1988 Ballet. I would like to get the third book to complete my set. I also got this information from his internet site. Born in Moscow in 1937, Kosorukov began his career in the late 1950's. He quickly gained worldwide recognition for his paintings of the Bolshoi Ballet and Theater, which later became the subject of two books. For 25 years, he served as a Professor of Fine Arts at Moscow Surikov State Art Institute. If you like to see some of Kosorukov's work internet address www.kosoruhov.com Thanks Kevin k2356@aol.com

I am looking for a Russian Ballet book titled in English,does anyone know of someone i can buy this book ? "Mystery of Terpsichore". Story by Irina Deshkova.Drawings by Valery Kosorukov. Detskaya Literatura State Publishing House, Moscow, Russia, 1989 I have the two other books regarding Kosorukov's paintings of the ballet which are Ballet, Art book of Drawings and Paintings by Valery Kosorukov. Sovietsky Khudoznik State Publishing House, Moscow, 1966. Images of the Ballet, Paintings and drawings by Valery Kosorukov. Introduction by V. Fyodorov. Izobrazitelnoe Iskusstvo State Publishing House, Moscow, Russia, 1988 Ballet. I would like to get the third book to complete my set. I also got this information from his internet site. Born in Moscow in 1937, Kosorukov began his career in the late 1950's. He quickly gained worldwide recognition for his paintings of the Bolshoi Ballet and Theater, which later became the subject of two books. For 25 years, he served as a Professor of Fine Arts at Moscow Surikov State Art Institute. If you like to see some of Kosorukov's work internet address www.kosoruhov.com Thanks Kevin k2356@aol.com

I beginning to think that the root of the problem is not how Serenade is pronounced but how it is spelled when translated from the Russian cyrillic letters to the english alphabet. Many Russian proper names are sometimes spelled differently like the chorographer Fedor Lopukhov is Lopoukhov or Lopokhov and his sister Lydia spelled her last name Lopokova,of course the "a" on the end of the name indicates feminine gender as with most Russian last names. Its us English-Americans,to be political correct, who slept thru spelling class as children and now we can't spell worth a HOOT !!!! KEVIN

I am making a collection of a NYC-Ballet and American Ballet Theater programs,i live in Detroit,MI. and the New York Theater programs are not very common in garage sales and bazaars, here in Michigan. Would anybody be interested in selling or maybe giving me their old extra NYCB & ABT programs? I will make a collection for myself and create a second collection to give to the Maggie Allesee Dance Book Collection at Purdy Library,Wayne State University here in my home city Detroit. RegardS KEVIN

Maybe we should get back to the beginning, does anyone know how Tchaikovsky pronounced his Serenade for Strings?

I found a internet site that displays Art and Manuscripts related to the Ballet Russes. the link is,for thoses that are interested. www.artdanse.com

I know of a internet site that is a Art Library for Diaghileff's Ballet Russes.A link and email address is located below this post,you can email the internet site and see if they can help you with the statue.The people who run the internet are located in France so their English is not perfect.The women who set up the Art Library is a real Nijinsky fan and maybe she knows something of this Pavlova foot statue. www.artdanse.com jacqeuline/ (jlraynaud) contact@galerie-appassionata.com Kevin

In the January 1967 issue of Dance Magazine there is a artical that states that Fedor Lopukhov claims the credit for the Lilac Fairy Variation in sleeping beauty.The artical tells a story told by Mariinsky balletina Elizaveta Pavlovna Gerdt (who later trained M.Plisetskaya,E.Maximova and other dancers) the story goes on to say the first interpreter of the Lilac Fairy was Petipa's daughter Maria.Gertd states Maria Petipa ..."she was no longer young and her plump,heavy torso was in striking contrast to her slender beautiful legs in heel shoes.I knew from my father that she never was a classical dancer and never danced on pointe.The variation of the prologue was therefore omitted,restricting the part of the Lilac Fairy to a mine character.Later when i took the this part from Lubov Egorova, about 1910-12,she taught me the variation.Egorova told me then that she asked Fedor Lopukhov to produce the variation,which he did very skillfully......" the artical goes on to say that this variation known everywhere as a work of Petipa,was really the work of Lopukhov.

In the January 1967 issue of Dance Magazine there is a artical that states that Fedor Lopukhov claims the credit for the Lilac Fairy Variation in sleeping beauty.The artical tells a story told by Mariinsky balletina Elizaveta Pavlovna Gerdt (who later trained M.Plisetskaya,E.Maximova and other dancers) the story goes on to say the first interpreter of the Lilac Fairy was Petipa's daughter Maria.Gertd states Maria Petipa ..."she was no longer young and her plump,heavy torso was in striking contrast to her slender beautiful legs in heel shoes.I knew from my father that she never was a classical dancer and never danced on pointe.The variation of the prologue was therefore omitted,restricting the part of the Lilac Fairy to a mine character.Later when i took the this part from Lubov Egorova, about 1910-12,she taught me the variation.Egorova told me then that she asked Fedor Lopukhov to produce the variation,which he did very skillfully......" the artical goes on to say that this variation known everywhere as a work of Petipa,was really the work of Lopukhov.

I found a reference to the variation in the first act of Raymonda in the January 1967 issue of Dance Magazine.The artical is about a new book written by Fedor Lopukhov titled 60 years in Ballett. In the artical it quotes the book ...."So for instance" Lopukhov writes "I produced the variation in the first act of Raymonda for the prima Lubov Egorova. The older verison,which was attributed to Petipa,was actually by Olga Preobrajenska,who adapted it to suit her tiny figure. But when Egorova had to dance the variation,it did not suit her at all,and she ask me to compose a new one for her..Evorova succeeded in persuading Pavel Gerdt that Marius Petipa had produced it for Pierina Legnani...Gerdt identified my variation as Petipa work. Everybody agreed and even started to argue that the first Petipa verison was better than the second,although neither of them(the two verisons) had anything to do with the old master(Petipa).

Eliot Feld's ballett "Organon" done to Bach's Organ music and performed by the NYCB in January 2001 for the New Combinations evening that the City Ballett hold for annual tribute of G.B.'s birthday.

Vagansmon When you get through the 1956 section of P's a/b can you tell us if any thing is said about "The Fountain of Bakhchisarai".I have a 1956 video of P.(as Zarema)& Galina U.(as Maris) also my Bolshoi booklet has photo of P. and Rasia Struchkova.Moreover i have the 1956 Ballet Annual where there is a review of (F.of B.) at the Royal Opera,Covent Garden.The author does not like the ballet but loves the preformances. I am interested if there is any comments of P. regarding her work with Galina U.

I just recently purchased a booklet from a rare Russian book dealer,authored by Lopukhov,titled Velichie Mirozdaniia(Grandeur of the Universe): Petersburg/Liubarsky,1st edition 1922. This book by Lopukhov has three pages of Russian text followed by 20 pages with 20 black and white silhouettes depicting dancers in various stages of "Dance Symphony" also there is a small line of music on each silhouette.The silhouettes were created by Pavel Gonchavov who was a Soviet theater artist.A few of these silhouettes,minus the chorographers notes,are the same as the silhouettes that appear in Lincoln Kirstein book that has a chapter that deals with Lopukhov's "Tansynfonia".The cover of my books says that 500 copies were printed of this book.I believe that i now own a little bit of Russian ballet history.I would also like to find a copy of Lopukhov's 1925 book "A Chorographers Path".

Raymonda is one of the ballets that Grigorovich's Ballet will be performing durning their upcoming U.S. winter tour. Personally i do not care for the theme of Raymonda-women waiting for man to come home, villain try to steal women while man is away, man return home and has duel with villain, villain is killed by man in duel, and the united couple lives happy ever after. The plot of Raymonda is to mawkish for my taste, but that is just my opinion.

The Jim Lehrer NewsHour did a segment about Farrel's dance company this evening on PBS. The NewsHour talked about Farrels history with the NYCB,showed some old clips with Farrel and Martins in Apollo & Diamonds,then talked about the Farrel Ballet and a interview with S.F. The NewsHour reporter said that the Farrel Ballet Company toured 7 cities this year and planned to expand their tour next season.

I bought a 1956 souvenir booklet of the Bolshoi theater from a used book internet site and the booklet lists 11 ballets for the season. Some of the ballets of the 1956 Bolshoi are several favorites like SWAN LAKE,SLEEPING BEAUTY, RAIMONDA,GISELLE,FLAMES OF PARIS,FOUNTAIN OF BAKHCHISARAI,ROMEO & JULIET,CINDERELLA But three ballets listed are new to me and they are STORKING(?),LAURENCIA,and SHURALE Am i missing something or are the last three less popular works ? The LAURENCIA pages have a wonderful photo of Plisetskaya. STORKING is listed a Ballet by Dmitri Klebanov and SHURALE is listed a ballet by Farid Yarullin also costumes look Tarter(shurale). KEVIN

Hello My name is Kevin and my friend and former fiance,Svetlana Simina,is a ballet dancer in the Kremlin Theater of ballet in Moscow.Svetlana also teaches modern/jazz dance part time at a small ballet school that is not associated with the Kremlin Theater.Svetlana graduated the St.Petersburg Academy of Culture,has work- ed in Russian dance circles 20 years,speaks understandable english,and knows many dance people in Moscow. If you wish i can ask Svetlana to help you find the a teacher that is "best suitable" with your goals.I say "best suitable" because modern dance is not to common in Moscow where everyone knows ballet. If i ask Svetlana i am sure she will help,i talk to her on telephone 3-5 times a month. My private email is k2356@aol.com so send me a message if you would like me to inquire about your future dance needs in Moscow. Regards Kevin (Detroit,Michigan)

I read about the Grigorovich ballet being on U.S. tour this winter.In the newspaper the ballet will be performing Swan Lake and Raymonda in Detroit in January 2002. This is odd to me because my ballet dancer friend in Moscow tells me that the "Russian Theater" is having a big anniversity celibration of Grigorvich in Moscow in January. In fact the ballet my friend works for is doing Grigorvich's "Ivan the Terrible" this season as tribute. Maybe Grigorvich will not be touring with his ballet company in U.S, ?

I was in NYC/NJ in October and was able to see Farrels ballet.It was a very pleasent performance and the only negative was a small problem with the audio/music in the beginning. --------------- Edited by Alexandra to delete the review posted. Kevin, posting long excerpts is a violation of copyright so we ask that people not do it. We post links reviews every day on the Links forum; we put up Jennifer Dunning's review from the Times the day it ran. (Please be careful about posting excerpts from books, too. A short quote is fine, but anything over 250 words violates fair use laws.) [ December 13, 2001: Message edited by: alexandra ]

This is not about a film,but the real NIJINSKY. In the corner in the shadows at the back of the stage is a little man of unusual build,dressed in a solf shirt and short pants.His behavior is strange!! With arms outstretched he jumps,up and down,without stopping,and always on the same place.Then suddenly he will commence some fresh mechanical movement.Standing on one leg he will raise the other,moving it forward,sideward,and backward.This operation he will repeat with one leg,and so he goes on,first one leg and then the other. This is Nijinsky at exercise.The perspiration falls like hailstones from his pale,slightly Mongolian face,and as you watch him going through these movements with such exactness and precision you are not quite certain whether you are looking at a clockwork doll or a human being. Behind the Scenes,The Metropolitan Opera House, New York 1916 Prince Peter Lieven "The Birth of the Ballet Russes" 1936