Solor

I had always wanted to see the ballet that the ballerinas of the old Imperial Ballet triumphed in, being that I had read so much about it in books and various other sources. I had only seen the usual excerpt that get performed on thier own, like the Drigo Pas de Deux and the MARVELOUS Pas de Six with the tamborines to the beautiful Pugni music. I saw this Mussorgsky Ballet movie/performance film via a tape a friend of mine copied for me from a telecast that they recorded from German TV. I had always dreamed of seeing this ballet, and I guess my expectations were WAY to high, as I was very dissapointed with the ballet. Some of my dissapointment had to do with the fact that the ballet was filmed like a movie - it reminded me alot of Baryshnikov's "Nutcracker" movie, at least as far as the way it was shot. The stage that the ballet was shot on was REALLY small, especially in the scenes of Esmeralda's house. I really loved the little goat running around a la Kschessinka. But all in all the ballet was WAY over the top as far as the plot went, and the lead ballerina Elvira Khabibulina, was not all that exciting as a dancer, though she did her best and has lots of spunk. I guess for it historicle points it a greatDVD to have and for the little documentary before the ballet, but the ballet itself is really stupid.

I think its great, very classy and cool that she chooses to retire at the top of her game! What a classy dame! Best wishes to her!

Spassov recorded all of the variations that turn up traditionally in Paquita in Russian performances, and just because they are included in the recording doesnt make them Minkus. I dont know why you find it illogical that Spassov would have recorded these numbers if they werent Minkus. Theres another recording of the Grand Pas of Paquita as performed by the Bolshoi - Its part of a long out-of-print (of course) box set 'The Original Bolshoi Theatre Orchestra' conducted by Zhemchushin. This recording includes just about all of the variations that are in the Spassov recording, but theres 1 variation thats not in the Spassov recording, being the variation for Gulnare from the scene "Le Jardin Anime" from Corsaire, though in this Bolshoi recording the variation is orchestrated far differntly than when it is performed in Corsaire (this variation turns up in Bonynge's recording as well). All of the variations in the Bolshoi recording are, curiously, orchestrated very differently from the variations in the Spassov recording, though they are the same. And also, as far as what you say about Minkus adding variations to the music instead of choreographers, well, Minkus would have added anything unless a choreographer, namely Petipa, told him to! But, what happened in the case of the Grand Pas, not only did variations from other ballets turn up there, but also variations from the rest of the ballet - the 3/4 Grand Jete solo (performed by Cynthia Harvey in the ABT vid) originally for Paquita in the Grand Pas, and the 3/4 pas de trois solo (in Makarova's version for ABT in the "Mixed Bill" vid). We can thank dear old Mme Kschessinka for having her ballerina homegirls dance their favorite variations in the Grand Pas. This started the tradition, and, well, the rest is history. These variations added in by these danseuses seem to still be hangin around in the Grand Pas all these many years later! Pavlova danced versions of stuff from Imperial Russia on her tours, like the Paquita Grand Pas. I'm sure you've heard Bonynge's recordings of Paquita, and again, I'm pretty sure though not 100% that all of his sources for Paquita are Pavlova's materials. But these solos in the Bonynge recording, who knows where they came from. Ive never seen them performed. Now as far as some variations of Paquita Grand Pas not being included in the Spassov recording, what variations are those? You got me, because only 2 varations that I have seen pop up in performances of Paquita is missing - the harp solo that Jaffe dances in the ABT vid, and the Delibes variation that Zelensky dances in place of the traditional male variation, and interpolation from 'La Source' (this variation isnt ever part of Paquita as far as I know, Zelensky just needed a change I guess). But again - if your referring to some of the variations Bonynge stuffed into his recording well, again, who knows where those came from. But otherwise every variation that turns up in Paquita in the Kirov staging is in the Spassov recording (watch the video/DVD 'Kirov Classics' AKA 'The Maryinsky Ballet' - the Kirov dances most of the variations that are in the Spassov recording, with the exception of the Delibes variation - track 21 on the CD, and the polonaise variation - Track 29 on the CD). QUOTE "It's just like Drigo's additions to Swan Lake aren't included in any recordings of "Swan Lake" (that I know of)" That's cause these symphonic conductors ONLY record the orginal 1877 score, and more likely than not have no idea that when Swan Lake gets performed its the Drigo revised score that gets played (and also, listen to the way most of these conductors conduct the score, they obviously know very little about ballet). I've told you before, Fedotov made a CD of the 1895 Swan Pond revised by Drigo, it's out of print, but has been re-released - http://www.classicalrecords.ru/cr/cd-en/042.htm

Lol....I wrote that review! How funny. Sorry - I meant to say that, I think that most of the numbers that are not credited to another composer are are either by Minkus or someone else tat isnt credited at all (or even by Minkus AND someone else!). I found out that the variation that is traditionaly for the lead ballerina of the pas is a revised piece of music that is from a Drigo addition from Petipa's 1892 revival oif "La Sylphide" (Shneitzhoffer, revised by Drigo 1892 - to bad that revival has not survived!.....or has it?) Mikus didnt choose anything to be added to his ballets, the ballet master and/or the ballerina did! If they eanted a certain numner put into a ballet, then it was put there.

At first, I actually thought that it was Baryishnikov - at a glance there is a definate resemblance, of him, Soloviev, and Kovmir of one another.

I know that he was an alchoholic, and that he commited suicide, but why? Such an incredible dancer............

what CD do you speak of?

An older thread has an in-depth discussion about the variations of the "Paquita" Grand pas Classique ( http://ballettalk.invisionzone.com/index.p...topic=11664&hl= -as well as this thread - http://ballettalk.invisionzone.com/index.php?showtopic=18439 ) but unfortunatly it doesnt help clear up the mystery of the good ole' 1881 Grand Pas Classique Petipa added to the ballet"Paquita". In this older thread, there is a wonderful listing provided by RG, that lists each variation to the composer. Unfortunatly, each variation only has titles such as '2/4, 3/4, 4/4' and so on, and one is left wondering what variation is being reffered to. Instead of using the available films of the Grand Pas Classique of "Paquita" (of ABT w/ Gregory & Bujones & of the Kirov w/ Makhalina & Zelensky) as was done in the threads listed above, why not use the available recordings on CD by Boris Spassov and the Sofia National Opera Orchestra (CD Capriccio 10 544) , and Richard Bonynge (for those that have it), since it can be listened to and compared to. I know that Minkus didnt compose all of the variations included in the Spassov recording - even the ones that arent credited to another composer. Aside from containing Minkus's full additions for the ballet "Paquita" (The Grand Pas Classique, the Pas de Trois, and the Children's Polonaise and Mazurka), the Spassov Recording also contains Minkus's music for the scene "The Kingdom of the Shades" from "La Bayadere". What makes the Spassov recording so much better than the Bonynge recording(s) (Bonynge has recorded excerpts from both "La Bayadere" and "Paquita") is that the music as presented by Spassov is as Minkus orignaly scored it. Most recordings (Bonynge's included) of Minkus's music are of re-orchestrations/revisions. So who wrote these ever so famous yet obscure variations that traditionally turn up in "Paquita"? What ballets did they originate from? For what dancer and in what year did these variations get composed? It is Mathilde Kschessinksa who is responsible for having the entire suite of 4 or more variations show up in the "Paquita" Grand Pas Classique. At some point in the early 1910s (I have read that it was for a gala in honor of Catherine the Great) she invited her ballerina freinds to dance their favourite variations during the pas, and this simply became tradition, surviving to the present day. There are 9 variations recorded on this CD, they span from tracks 21-29 - Track 21. in 3/4 -by Delibes (I have no clue what ballet this variation originated from, nor have I ever seen it performed in anyones staging of the Pas - it could be that the credit to Delibes is an error) Track 22. in 3/4 -by Pugni (incorrectly spelled as 'Pouni' in the CD's accompanying booklet) (this is the 'White Pearl' variation from the so-called 'Underwater Scene' from "The Little Humpbacked Horse") Track 23. in 3/4 -by Minkus (this variation with a solo for harp is from Petipa's 1891 ballet "Kalkabrino") (danced by Lubov Kunakova in the Kirov/Mariinksy film) (for trivia's sake it might be interesting for some to know that "Kalkabrino" was Minkus's last known ballet) Track 24. in 2/4 -by Minkus (this is the variation danced by Cupid in 'The Kingdom of the Dryads' AKA 'The Garden of Dulcinea' AKA "The Dream Scene" from "Don Quixote") Track 25. in 4/4 -by Cherepnin (this variation with a solo for celesta (or xylophone?) is from Fokine's 1907 ballet "La Pavillion d'Armide") (danced by Larissa Lezhnina in the Kirov/Mariinksy film "Kirov Classics") Track 26. in 4/4 -by Drigo (the slow gavotte variation with a lovely solo for harp is traditionally danced by the lead ballerina of the "Paquita" Grand Pas Classique - Yulia Makhlina dances it in the Kirov film "Kirov Classics" aka "Maryinsky Ballet", and so does Cynthia Gregory (in Lanchbery's horrific reorchestration with nauseating counterpoint, though I find the violin's to be a pretty addition during the slow bouree en diagnale) in the ABT film "ABT at the Met: Mixed Bill") (this variation comes from Petipa's 1892 revival of Phillipe Taglioni's original 1832 production of "La Sylphide". Riccardo Drigo added music to the original Jean-Madaliene Shnietzhoeffer score for this revival. This variation was written by Drigo especially for the ballerina Vavara Nikitina who danced the Sylph {historically Nikitina is best known for being the first Princess Florine in the 'Blue Bird Pas de Deux' from "The Sleeping Beauty"}. The variation came to be included in the "Paquita" Grand Pas Classique via Anna Pavlova, as Petipa choreographed it especially for her {Drigo served as musical director for a time on Pavlova's tours} and likely adjusted the music further for her performance). I have heard that this variation was really by Cesare Pugni, interpolated for an early revival of the Taglioni/Schnietzhoeffer "La Sylphide" for the Act I 'Grand Pas de Trois'. I have a film of Olga Chenchikova dancing this variation in the excerpt from "Paquita" given on the film "Magic of the Kirov", and the music sounds VERY Pugni-ish to me, at least by way of the manner in which the orchestra was recorded for this film.....BEAUTIFUL MUSIC, WHOEVER WROTE IT! ***In Petipa's diaries, he writes on March 5/18 (new/old calender) 1904 - quote "They rehearsed "Paquita"-Pavlova II. I went to mount her role on her; composed (for Pavlova) a new variation for her to new music by Mons. Drigo...". I dont know why Petipa wrote 'new music'....perhaps his notorious slip of memory which came toward his later years. Track 27. in 3/4 -by Minkus (the 'real' variation for the lead ballerina of the Pas {which more than likely explains the elaborate introduction of the variation}, at least according to Pierre Lacotte's revival for the Paris Opera Ballet) (danced by Cynthia Harvey in the ABT film "ABT at the Met: Mixed Bill") Track 28. in 3/4 -by Minkus? (typical 19th century male variation in 3/4, identicle in structure to the Cosaire variation, or Solor's 'wedding' variation, for example. I have seen this variation danced by both the lead danseur of the pas, as well as by a female soloist, though I think that only in the west is the variation danced by a male, and in Russia it is danced by a female soloist among the suite of solos. In Makarova's staging of the pas for ABT this variation is danced by the lead danseur, as in the film ABT at the "Met: Mixed Bill", where it is danced by Fernando Bujones. Since this variation is usually danced by a woman, male variations from other ballets are often interpolated into the pas for the lead danseur, most often the introduction from the "Introduction and Mazurka" from "La Source", being from the section of the ballet scored by Leo Delibes {Minkus scored "La Source" with Delibes}) Track 29. 3/4 polonaise -by Minkus? (a variation with an elegant solo for violin in polonaise rhythm, which I believe comes from Petipa's 1892 revival of "Ondine", given at that time as "The Naiad and the Fisherman", and composed by Minkus for Anna Johannson) (Like the Delibes variation, Ive never seen this variation performed either in any peformance of the Pas. It is included in the Bonynge recording) Tracks 16-20. The Pas de Trois -almost all by Minkus (the variation for the male dancer of the pas (Track 19) is by Adolphe Adam, and comes from his 1845 ballet "La Diable a Quatre" (AKA "The Willfull Wife"). The second part of the Entree in 3/4 (Track 16) is by Edouard Deldevez) -up for question as well - the variation danced by Susan Jaffe in the ABT film "ABT at the Met: Mixed Bill"- I would love to know the origins of this variation, ANYONE KNOW? ALSO - The Bonynge recordings of the "Paquita" Grand Pas Classique, and the Pas de Deux. Both pieces have been recorded by him only once but have been issued, as far as I know, 3 times. His recording of the Grand Pas turns up on the sets "Ballet Gala" (London / 2 CDs 421 818-2 / out-of-print) and "Fete du Ballet" (Decca / 10 CDs 468 578-2, still available). His recording of the Pas de Deux was included in the CD series "Ballet Gala" released by London in 1992, specifically on the disc "Ballet Gala: Pas de Deux" (Decca / CD 433 862-2 / out-of-print) as well as on the set "Fete du Ballet". Both the Grand Pas and the Pas de Deux recorded by Bonynge are of the music as used by Anna Pavlova during her tours of the late 1910's through the 1920s, and all the numbers are severely re-orchestrated. It was Pavlova that performed the Grand Pas in 'Pas de Deux form' from time to time. Basically, what is known as the "Paquita Pas de Deux" is simply the "Paquita" Grand Pas Classique performed as it was originaly intended - with only 2 variations (watch the DVD of Pierre Lacotte's recent revival of "Paquita" for the Paris Opera Ballet, which performs the pas in this way). Niether recording of either piece credits who is responsible for the orchestrations, but they are by Peter March (Bonynge's recording of excerpts from "The Kingdom of the Shades" scene of "La Bayadere" are also presented in a reorchestration, which is only titled as "original Pavlova material". This reorchestration is very much alike in style to his "Paquita" recording) The Bonynge recording of the Grand Pas - The arrangements here are the same as for the recording of the pas de deux in the numbers that are included in both, and are by Peter March. The arrangement is not all that great IMO. Heres what Bonynge has recorded for the Grand Pas - All of these numbers are on 1 whole track. 1. Entree 2. Grand Adagio 3. Dance for the Corps de Ballet 4. Variation in 3/4. (a nice tuneful piece. I have no idea where it comes from or who composed it, nor have I ever heard it before or seen it in any staging of the Pas) 5. Variation in 2/4 (this variation is probably by Pugni. It is the variation traditionally danced by Gulnare in the scene 'Le Jardin Anime' from "Le Corsaire". In this recording it is ridiculously over-orchestrated, sounding loud and awful) 6. Variation in 2/4 (this Kitri's variation before the finale of Act I of "Don Quixote", where she performs her famous sissones, as well as her downstage traveling pirouettes from 5th on the diagnale) 7. Variation in 3/4 (this variation comes from Petipa's ballet "Kalkabrino" and was composed by Minkus. It is nicely orchestrated) 8. Coda/Finale (the traditional Coda/Finale always used for the Pas. In this recording the ending is extended quite a bit. Pavlova sometimes had the music of her Codas/Finales extended to accompany everyone taking their bows at the end of a performance, and the one tacked-on here is very tacky a la Vaudville) For the recording of the 'Paquita' Pas de Deux, the music for the Entree, Grand Adagio, Dance for the Corps, and the Coda is the same. For the variations Bonynge has recorded - the traditional variation for the male (no.28 in the Spassov recording), and the polonaise variation (no.29 in the Spassov recording). **Excuse my time signatures if they are not correct, as I did my best!

This is another video I just got. It was wonderful - with the devine Assylmoratova dancing Aurora. Zaklinsky dances the Prince. Kunakova the Lilac Fairy. All the other dancers are not credited, but I noticed Irina Chistyakova, and Veronika Ivanova as the fairys, Tamara Mizoyan as the white cat, Yelna Pankova as Florine. It was the drab Sergeyev production, VERY drab and out-dated looking with the ridiculous wigs of the fairys and even on the men in the garland waltz. I cannot believe that the Chinese ballet wanted to actually copy these sets! Or that the Mariinksy actually perfers this production over the 1890 reconstruction. Maybe it is because there is more dancing for every one, but this really isnt a pretty production - I guess old habits die hard. I was wondering, for those who have this video, was this film shot at the Mariinksy? When the dancers went to take thier bows at the end of each act, I noticed that the curtain was the same as that of the Bolshoi's - the gold curtain with all the Soviet/Communist symbols on it. The stage was mostly covered with Marley, though I noticed that toward the footlights the wooden floor was exposed (I know the Mariinksy stage has a wooden floor). I didnt think the Bolshoi stage had a wooden floor though. And also, it seemed that the stage was the same dimensions as the Mariinksy's, not the very wide stage of the Bolshoi. There were no shots of the theatre, or the outside, so I cant say for sure that the performance took place at the Mariinsky, but I have never seen this curtain in any film I have of the Kirov, and I have only ever seen the famous canvas/curtain of the Mariinksy theatre, and the blue curtain that comes behind that one, usually used for taking curtain calls.

I just bought the film from Kultur called Classic Kirov................I have to say that the footage I saw blew me away. It showed me many things I had never seen before as far ballet dancing goes. I am not really familiar with the dancers of old, as far as the way that they danced goes and my purchasing this film has definatly got me interested in seeing more DVDs/videos of old performances....... I was really suprised by the 1940 film of Chabukiani and Dudinskaya in thier stream-lined movie version of the Shades scene from Bayadere. Dudinskaya had incredible balance and she turned REALLY fast - I mean she would put a figure skater to shame - but she was so sloppy! Her passe's while in supported pirouette were turned in and out of place, her port de bras had no "classical structure" if you get my meaning - there was really no "technical correctness" in the way she held her arms while preparing to do turns, etc....... even in those days, were'nt there "correct ways", "rules" if you will, as there are today, as far how one is supposed to hold thier leg in passe, present thier arms in classical positions, etc.? It was the same thing in the HILARIOUS film of her and Sergeyev in another stream-lined movie version of scenes from Raymonda. I found Sergeyev to be absolutly comical, with his tights sagging off his butt, and his very stout, chubby stature. Dudinskaya was radiant of course with her INCREDIBLE balances, but again, there were times, especially when Sergeyev was dancing his variation (with un-pointed feet and legs not fully straight) when I thought "why are they so sloppy?" Another piece of footage was of Kurgapkina and Soloviev in footage of fragments from Act I of Don Q. As with many other pieces of film in this video, the tempi was VERY fast when compared with what we are used to today. But aside from the difference in tempo, I must say that the acting was far better, and much more rich and detailed then what one would see in modern day performance (this fim is from the 60's), and that technique seemed to be 2nd place when it came to tellling the story, and showing the relationship between Kitri and Basilio. I was suprised to see Soloviev in character shoes instead of ballet slippers. It made me realize why dancers like Nureyev and Baryshnikov made such a sensation when they made thier debuts. There was also a fragment of film of Pavlova dancing 'Dying Swan'. It was beautiful, though the dancing was very antiquated......she had gorgeous feet! It was the same with a film of Vecheslova in footage from Sleeping B. from circa 1930 - her dancing was of the same school as Dudinskaya's. Trained as well by Vaganova, there was a film of Kolpakova dancing the Grand Pas adagio from Nutcracker in the Vaionen version (very 'al la Rose Adagio' with 4 suitors as well as the lead cavalier). It was night and day when compared with Dudinskaya! This was a VERY young Kolpakova in this black and white film - thoug it was maybe a 20 or 25 year difference from the Dudinskaya/Chabukiani Bayadere film. She was superb, not at all the more reserved ballerina it seems she became later in her career. She was opulent, and gradiose - with marvelous technique and placing - it made me think of the DVD I have of Larissa Lezhnina dancing the same role in the 1990 Kirov Nutcracker - Lezhnina looks exactly, and dances just like Kolpakova in the footage in this video. Another one that deserves mentioning was a piece of film from a 1940's movie version of the Khachaturian ballet "Gayane". It was not really all that great, but one thing that REALLY threw me was this one part where the lead ballerina makes her entrance riding in on a horse. When she made her way onto the stage, I took notice of the horse that she was on, and I thought - "Man - THAT IS ONE BIG HORSE!" The horse was towering over everyone - the dancers in this film probably came up to the top of the horses legs - I mean this was like a horse that deserved to be in the Guiness Book of World Records! But then, I suddenly realized that it was not that the horse was big, its that the dancers were SOOO SMALL! I could not believe it! They were all really tiny! It was such a contrast with the dancer of today at the Kirov (like the 5'10" Lopatkina for example). After watching this video, I also realized how HUGE, a ballerinas feet look today in point shoes - when she isnt on point mind you - compared with a ballerina of old - not one ballerina in any of the footage in this video had HUGE feet - they all has very pretty feet. Obviously they were alot smaller so thier feet didnt look as big when in point shoes. There are some ballerinas today, the tiny ones, like Lezhnina or Durante that have gorgeous feet still when not up on thier toes. But the really tall ballerinas - for example - the Kirov's Pavlenko or Lopatkina that have really big feet when they are not on full point. After all I have said, what do you guys think?

Whoops! Sorry, I thought that we were refering to the Nureyev and Fonteyn ballet.

Its actually Liszt that was used by Kenneth McMillan (wasnt it him that crea for the Fonteyn and Nureyeev ballet. There is a recording of the orchestrated music of Liszt work "Maugerite & Armand". I think that it was John Lanchbery who was responsible for revising the score. I will find out more for more.................

I would indeed! I find it rather refreshing that the Trocks perfomed the LHH scene in a serious way, as I feel it should be. Im not a conservative or conventional person by any means, but when it comes to classical ballet I get real testy, and I am very conservative. I even had serious issues with the all male "Swan Lake"

I borrowed a friends DVD of the Trocks. He had the 2 DVDs that they have released so far. I could not believe it. I was really offended and appalled by what I saw. It had nothing to do with the fact that they were men dressed as ballerinas and performing ballerina steps, which I think is pretty cool. Had thier performance been in seriousness, I would have had a far different reaction. But my problem with the companies performance had to do with the fact that they turned thier performances of some of the classics, into a 'Make-fun-a-thon'. Sure, I got a giggle out of thier "Swan Lake" act II - but gimme a break, It was just bad. I know that they recently acquired the Underwater scene from "The Little Humpbacked Horse", and that they perform such works as "Harlequinade" and others of the Petipa tradition. I find it so awful that they are the only company in the USA that probably dances such rare gems and all they can do is parody it.

Are there any performaces on film of Drigo's "Harlequinade"? Balanchine's staging? Russian stagings? This is a ballet from the classical rep I have never seen....Id love to see it!

I know the Trocks recently restaged the Underwater scene from the ballet "The Little Hump-Backed Horse" via Elena Kunikova. I have the performance of the ballet as staged by Kurgapkina and Ostaltsov for the Vaganova School/Kirov. I noticed that the Underwater scene is only a few dances.....not a long divertessment in the spirit of "Paquita" or "The Kingdom of the Shades" that one would imagine would warrant a performance as a 'stand alone' excerpt. Is the staging of the Trocks longer? What numbers does it consist of? In the staging I have on film the scene starts out with the Variation of the "White pearl" (to a Pugni 3/4 variation), then that leads into a 2/4 number for 2 ballerina "red corals", next is a variation for a male called "Ocean" (to someones very 'Selovyev-Sedoy' sounding 3/4 that sure wasnt composed by Pugni), and finally a variation of the 'Blue Sea Flower' to the famous Pugni waltz variation that is in everyone's production of "Paquita" (here its danced by Anna Polikarpova), and thats it. There is a scene where the Humbacked Horse and Ivan abduct the Czar Maiden - this scene has that 19th century 'ballet-blanc' feel to it - it consists of: Entrance for the Corps, waltz variation for the Czar Maiden, and a Coda that ends in her abduction......perhaps the Trocks' production utilizes this section..........all the music of the dances are tuneful and DANSANTE as all hell - obviously Cesare Pugni to the bone. I was also wondering if anyone knew any history on the pas de quatre of the frescos. I love this number....its great! Whos choreagraphy? The music is obviously by Pugni (the beginning of this number - when the ballerinas are taking thier places - sounds alot like the scene with the Monkey in "Pharoah's Daughter") Its seems very Petipa............the 4 ballerinas I have dancing in this number are of the finest schooling and make the simplest patterns seem larger than life. Arched backs, opulent port de bras, and beautiful legs and feet. They are Vaganova trained to the MAX.

I absolutly adore the ballets of Shostakovich. I love his music: very dansante, very melodious, and still giving the orchestra something to sink thier teeth into. There is a touch of Jazz and orchestral coloring that are all his own - in a way, a very small way mind you, the music has a likeness to Prokofiev in his choices for orchestration. The music is still BALLET MUSIC in the tradition of the old "specialist" ballet composers, but in the tradition of Tchaikovsky, Prokofiev, and Glazunov it is symphonically sophisticated. I have on CD his ballets "The Bolt", "The Golden Age", and the double CD "5 Ballet Suites". I just bought a recording of the ballet "The Limpid Stream". The music is very stripped down compared to his other works (it is his 1st ballet and he was quite young when he wrote it). I compared many of the numbers that are from this ballet to the numbers on the CD "5 Ballet Suites" (where the composer took many numbers from "The Limpid Stream" and dressed them up orchestration-wise) and the music made me think immediatly of Minkus or Pugni as far as the very dansante and melodious quality of the music (funny I should compare the music to Pugni, as this recording of "The Limpid Stream" is conducted by Gennadi Rozhdestvensky - Pugni's BIGGEST enemy!). Are any of his ballets still performed? I know Lopukhov staged the 1st version of "The Limpid Stream", though it appalled Stalin and was banned from further performance. The Bolshoi danced "The Golden Age" in Grigorovich's staging, but do they still dance it? I know that they recently staged a Shostakovich ballet, though I dont know what ballet it is.........

to bad we dont live in NY

I was wondering if anyone had any word on any soon-to-be released perfomances onto DVD/Video that would be worth knowing about........................

I was thinking of up-grading my ballet film collection to include some DVD releases. I am interested in getting the Royal Ballets "La Bayadere". I was wondering if anyone knows if there are any x-tras included in this re-release to DVD? Or any of the recent Kirov Ballet re-releases, like Don Q or Corsaire have any x-tras? If anyone knows of any DVD releases of any of the classical rep. with any bonus materials would be great!

is the ballet as perfomed before it ever made its way to Russia, so no 'Petipa/Perrot-included' numbers are recorded. I would guess (a GUESS mind you) that its all that Bonynge could get a hold of here in the west to make this recording, as the Mariinksy often proves stingy when it comes to giving up music for other peoples purposes. You will also find that many of the numbers recorded in this Bonynge recording will not be familiar, though no less great. The scene "Jardin Anime' is included though only the Entree/Valse des Fleurs, variations and adagio and codaUnfortunatly this recording, along with many other Bonynge recordings (like his FABULOUS recording of "La Fille mal Gardee" in the Lanchbery/Royal Ballet revival) are SHAMEFULLY Out-Of Print. It took me YEARS of digging and waiting to find mine! The only recording that has the orginal interpolations in thier original arrangements is the very rare and long out-of-print disc called "Musique pour les ballets de Marius Petipa" on the European label Accord. One would have better luck getting a new kidney than getting a hold of this CD. It is the Orchestra de Nice conducted by Klaus Wise. It includes the original "Trio de Odalisques", the "Pas d'Esclave", and the Grand Pas in the original Drigo arrangement (the only other recording that has this recorded is the out-of-print 6 CD set "The Original Bolshoi Theatre Orchestra" conducted by Algis Zhuriatis). All other recordings of the "Le Corsaire pas de deux/Pas de Deux a trois" are in the Lanchbery re-orchestration, and almost always conducted by Bonynge. Go to the site ChristopherSeminars.com to find bootlegs of the Bonynge recordings. Inlcuded on each of the "Le Corsaire" sets offered, are extractions of the music from the Kirov Ballet's and the ABT's performances on DVD of "Le Corsaire", digitally included with the clapping and other audience noise taken out. A real treat to have when needed for performance, competition, or just to listen to.

I was just stating that the scene "Le Jardin Anime" should have been included in the set "Delibes: The 3 Ballets" among Delibes' other compositions for ballet. There is nothing in the music of "La Source", "Sylvia" or "Coppelia" that sounds anything like the numbers in "Jardin Anime". The only thing that does sound as theough it were used in the scene is the Adagio/Andante from "Sylvia" (Used as the Grand Adagio in Balanchine's "Sylvia" Pas de deux). This number has a melody that is pretty much the same (although re-worked) as the adagio for Medora and the Corps de Ballet with thier garlands in the scene'Jardin Anime' in "Le Corsaire". But other than that, there are no number that sound like they are selctions from any of Delibes' ballets.

What on Earth does the speling of 'Gnocchi' have to do with this dudes last name? If it was pronounced "Poon-Yee", the "G" would have to come after the "N", and the spelling would be P-U-N-G-I: thus pronounced "Poon-yee". But its spelled P-U-G-N-I, so it couldnt be pronounced "Poon-yee". So, it must be pronounced "Pooj-nee" unless the letter 'G' is silent often in the Italian language. Anyway this topic is getting "Stoo-pid".

Doug - Didnt you work with Lacotte on "Fille"? I was wondering if you knew..... In the 3 films I have of "Fille" (I have 2 bootlegs that I got from a friend:) . The 1st is the premiere, I believe, with Ananiashvili and Filin (This is a professionally shot film, of the premiere I believe). The 2nd is a cam-corder recording with Alexandrova and Scortsov, and the 3rd is the DVD with Zhakharova and Filin. I noticed in the Ananiashvili film that the music is much different in some sections....for example, the introduction/'overture' before the 1st scene is entirely different than that of the other 2 films I have, which, I think, were filmed later. The music seems to have the same theme, but the structure and arrangements are different. Also, the Adagio's between Taor and Aspicia have different arrangements, as well as some other numbers. Was the music changed at some point? If so, why the changes? If the music was in fact changed, is the score used at the premiere the orignal Pugni?

I thought it was P-U-G-N-I.....If it was pronounced 'Poon-Yee' wouldnt the 'G' come after the 'N'? Isnt Italian similar to Spanish in that its phonetic?