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About Amy

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    Balletomane, balletgoer, ballet historian, MA Ballet Studies student
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  1. From what we have learned from the notation scores, Petipa's choreography was very musical - he choreographed on the melody. Be careful with Lopukhov's writings because some of the things he wrote, he had his reasons for writing them...
  2. Yes, as I said, these variations are not notated, although I don't know where the changes in the final section of the flower basket dance come from; I assume they're by Ratmansky, but I could be wrong.
  3. You're welcome. Sorry, I meant that this version has Italian fouettes instead of the sissonnes. And also, I just learned that according to Ratmansky, Drigo composed this variation for Elena Cornalba's performance in The Vestal, which means it was composed in 1888. That would be nice lol. I always think that the more detail, the better, especially for those who can't make it to the performances. You're welcome, Drew.
  4. Hello everyone. I, too, attended the premiere on Sunday night and I got back home yesterday, so I think it only right that I share with all of you what was presented in this latest reconstruction of Petipa. However, I apologise in advance if I forget anything, but hopefully I won't. I had been wanting to see Ratmansky reconstruct La Bayadere for a long time and there were some details about this reconstruction that took me by surprise because there was historical information Ratmansky had discovered that I hadn't known about before. It's also important to note that there are a number
  5. My guess is that it could be due to union rules again, the same rules that forced to cut the panorama in The Sleeping Beauty. However, I don't see making major cuts in La Bayadere. Don't forget, Vikharev expanded some of the passages in the fourth act - the entrée and coda of the Grand Pas d'action were expanded (there are no fouettes notated for Gamzatti). Other expanded passages, i.e. the scene of Solor and Nikiya's meeting in Act 1 is in accordance with the notation scores and libretto. I certainly can't imagine Ratmansky putting the Grand Pas d'action into the second act; his aim is to und
  6. Hello Charlie, yes I, too, am going; I will be attending the premiere and I'm really looking forward to it! I'm especially curious to see how Ratmansky will be staging the adage and variations of the Grand Pas d'action of the fourth act since, unfortunately, those passages are not notated. However, Lupokhov's essay on La Bayadere may have some answers for the adage. As for the variations, they did survive through the recollections of past dancers and are used in Nureyev's production. I'm also curious to see how the destruction of the temple and the apotheosis will be staged. I certai
  7. Hello Joseph, it is available in the US on Amazon. Here's one of the links: https://www.amazon.com/Case-Light-Fantastic-Toe-Vol/dp/1987650239/ref=sr_1_14?s=books&ie=UTF8&qid=1529953873&sr=1-14&keywords=cesare+pugni Sorry, I should've posted the US Amazon links as well.
  8. Hello everyone. For those of you who haven't heard, there has a new five-volume book series published on Cesare Pugni - the composer of The Pharaoh's Daughter, The Naiad and the Fisherman, Le Roi Candaule, La Esmeralda, Pas de Quatre, etc - by Adam Lopez (mrlopez from YouTube). This is a vital step for both ballet and music history because this is the first full biography to be written on Pugni, at least in English, and all five volumes are available to purchase on Amazon: https://www.amazon.co.uk/Case-Light-Fantastic-Toe-Vol/dp/1987650239/ref=sr_1_3?s=books&ie=UTF8&q
  9. Thank you for these clips! It's wonderful to see some excerpts of Vikharev's La Fille mal gardee. However, there is one thing that should be pointed out - that Grand Pas de deux in Act 3 is not Petipa's choreography or creation for that matter. It's the famous so-called La Fille mal gardee Pas de deux that's performed many times today in galas and on the competition circuit and it was created by Gorsky in 1903, not Petipa, though this version is undoubtedly a Soviet revival of Gorsky's original version, possibly by Pytor Gusev. The music is a pastiche of various pieces from various ballet
  10. No it's not my opinion, it's a fact. Ratmansky followed the notation scores 100%, which unfortunately, poor Vikharev didn't do because he staged everything in a modern style. He also retained many of the Soviet passages instead of the notated passages, probably due to pressure. Just look at this quote from Alexandra Danilova about the idea of Imperial ballerinas sticking their legs up at 180 degrees - "Of course we could do it, but it was considered vulgar." And Petipa said that raising the leg above the head is "not art... but a clown act."
  11. This variation in question - here's the history: Petipa and Carlotta Brianza both rejected the music that Tchaikovsky composed for Aurora's Act 2 variation because they didn't feel it was very suitable for Brianza in terms of showcasing her talents and abilities. So they chose the music that Tchaikovsky composed for the Gold Fairy's variation, which was interpolated into Act 2 as Aurora's variation. However, this variation does not musically match the preceding waltz, so Riccardo Drigo was required to compose four new bars between the two numbers for the modulation into the new key. Most
  12. That video clip and the photos of Sergei's funeral made cry I know I never met him, but I would've liked to have attended to pay my respects; I owe him so much. We all do
  13. It is disgraceful how the Mariinsky won't release Sergei's reconstructions onto DVD; the only thing they have done was the third act of his Sleeping Beauty reconstruction for that New Year's Gala a few years ago. How dare Lopatkina use such a beautiful costume in such an appalling manner! If the Mariinsky is not going to use all these gorgeous sceneries and costumes, why don't they just let other people use them?!
  14. Oh wow! Thanks Natalia for alerting me to that.
  15. Thank you ladies and yes Natalia, I am DarkDancer06.
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