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Solor

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Posts posted by Solor

    Maestro Leon/Ludwig Minkus - Photo

    in Ballet History and Music

    Posted

    -- Heres a pic of Maestro Minkus I thought you guys would like -

    http://img226.imageshack.us/img226/4934/minkus5an.png

    -- Heres another pne, this one is always in CD booklets, etc.

    http://img226.imageshack.us/img226/4066/pic556bm.jpg

    Anybody got any pics of Drigo, Schnietzhoeffer, Adam, or Pungi?

    There is a pic of Pugni in Wiley's book "A Century of Russian Ballet", and a good one of Adam in the booklet that comes with Bonynge's recording of "Le Corsaire". Ive seen a picture of Drigo on the cover of a book of piano music a piano player had in one of my ballet classes when I was at SAB. I think that Balanchine includes a pic of him in his book "Balanchine's Tchaikovsky".

    The Golden/Bronze Idol Variation from Bayadere

    in Ballet History and Music

    Posted

    Thanks, rg, that's neat!  I didn't realize that the interpolation came that late.  Another thing for me to go a-digging for!   :innocent:

    what an awesome pic rg! Maybe it was your book, Ballet 101, where I read what ballet the Bronze Idol/Little God solo came from.

    I swear, I have read and have heard from SOMEWHERE that the music was written by Minkus, and was a piece from one of his ballets - It was a march/procession of sorts from one of his ballets.

    any info on these questions? -

    As well, I know that there is a march by Minkus of some kind that I have read was used by the White Army in Imperial Russia.

    Also, I think it was Balanchine that said it in one of his books, that the Czar was prepaired to pay for the Imperial Ballet's expenses as long as he could hear (I think) a particular number from some ballet - Im not sure which - I think it was from "The Little Humpbacked Horse"

    The Golden/Bronze Idol Variation from Bayadere

    in Ballet History and Music

    Posted

    I may be mistaken, but I don't think that variation is by Minkus.  For one thing, it didn't appear in the ballet until 1920, and Minkus died in 1918 in Vienna.  He had been on "the other side" during WWI and was sent back to Austria when war broke out between that country and Russia.  For another thing, it's in 5/4, but not a 5/4 waltz.  I don't recall Minkus working in that time signature.

    No....it is Minkus' composition. Just because he had been dead for some time (he died in 1917) before the number was put into "La Bayadere" doesnt mean that he didnt write it. The number comes from one of his ballets, but Im not sure which. It is perhaps the only number Minkus ever wrote in 5/4.

    The Golden/Bronze Idol Variation from Bayadere

    in Ballet History and Music

    Posted

    What ballet does the music for this variation come from? I know its by Minkus, but I forgot which ballet it was.

    As well, I know that there is a march by Minkus of some kind that I have read was used by the White Army in Imperial Russia.

    Also, I think it was Balanchine that said it in one of his books, that the Czar was prepaired to pay for the Imperial Ballet's expenses as long as he could hear (I think) a particular number from some ballet - Im not sure which - I think it was from "The Little Humpbacked Horse"

    The Kirov/Mariinsky's "Giselle"

    in Giselle

    Posted

    I must say that there are differences in Giselle's 1st act variation between Russian versions and Western (like ABT, and Alicia Alonso's).  In the Russian versions, Giselle does piroette en attitude en dedans, ended in croise, then does an enveloppe with the right leg, rising on pointe in passe, and going back to plie in arabesque.  In ABT and Alonso's versions, Giselle does the same pirouette followed by a ballonne with left leg, then piques en arabesque to plie - pas de bourre.

    Also there are changes in the hops on pointe: in Russian versions Giselle does all ballones on pointes, while in ABT she does 6 rond de jambes en l'air followed by 6 hops en attitude devant.

    Also the ending is different: Russians do manege, while the ABT (and Alonso, do pirouette en dedans, lowering the passe without plieing, then do 2 piques en dehors,and so on).

    I think only the beginning is the same.

    Maybe I am mistaken,

    silvy

    I saw a film of Spessivtseva dancing this same variation, and she did the pique turns (or maybe outside pique turns aka lame ducks) on the diagnale at the end of the variation. I think she was the first to dance this variation, at least that is what she says as well as Anton Dolin in the film "A Portrait of Giselle", though Ive read here and there that Petipa added the variation to the ballet for the ballerina Emma Bessone for his 1887 revival to the music of Minkus. Perhaps the variation was only performed when Bessone danced the ballet, and was put back in via Spessivtseva.

    I like the Kirov's version the best out of any in the world. Ive seenquite a few Giselles live - all only the USA though, all of the European versions Ive seen have only been on film on film. All of the versions I have seen danced by American companies have had pretty much the same choreography. If you watch the film of Baryshnikov and Makarova, ABT dances a staging like all the rest of the US companies as far as choreography goes. These versions are different from the Kirov's staging, which I have read apparently has not changed much since Petipa's last staging in 1903 for Pavlova (as well, I have also read that "Giselle" is the only ballet in the classical repertoire of the Kirov that has not been changed over and over through time as with the other ballets). The choreography of ABT's and the kirov's versions have the same 'foundation' but different details if you get what I mean. ABT's version is choreographicaly simaler to the Royal Ballet's version.

    The Kirov's version is divine.....SO VERY DIVINE. In ABT's version the Dances of teh Wilis are very different, the biggest difference between thiers and ABT's is that Myrtha is in the middle during the 'Entree', and all of the ballerinas are grouped arounf her, where as the Kirov's doesnt have Myrtha on stage untill her section of the pas, and the ballerinas are in close rows. As well ABT's verions has Giselle's Act I variation danced for Albrecht's fiancee (I thin her name is Bathilde), where as the Kirov's has the variation after the 'Grape Pickers' come in.

    ABT uses, at least in the Baryishnikov/Makarova film, a version of the music re-orchestrated by Lanchbery. I dont know if they still do (do they?). Why ABT chose to have the score re-orchestrated is beyond me, as Adam's acore is a masterpiece in its original form. I do feel however that Lanchbery's work on the score is very very good, but not nesessary at all. Anyone know why this was done? Anyone know if ABT still uses this version of the music?

    Le Sacre du Printemps (The Rite of Spring)

    in Ballet Videos, Films, Broadcast Performances, Photos, and Interviews

    Posted

    I recently became aware of a recreation of the choreography of Stravinsky's Rite of Spring by the Joffrey Ballet in the mid 80's. I was watching a somewhat poor quality video of the performance that aird on PBS. I was curious if anyone has a copy or knows here I can buy one? I have looked on Ebay and other such places but have, as of yet, to find anything thus far.

    Thanks,

    KR

    Greetings KnightRuppert! I have this performance along with the accompanying documentary.........

    Another great ballet recording -OUT OF PRINT

    in Ballet History and Music

    Posted

    Lets play "Taps" on the Trumpet -

    The recording of La Bayadere/Paquita by Boris Spassov and the Sofia National Opera Orchestra has recently gone out of print.

    I have this recording, but Im getting really tired of great ballet music on CD going out of print! Maybe I should start my own record label for ballet music only!

    If anyone doesnt have this recrding, you should get it! Maybe Ebay?

    Raymonda-1898 - premiere reports

    in La Scala Ballet

    Posted

    Speaking specifically about tempi, I find that the Anisimov version is very bad in one of the most crucial parts of the ballet, which is Raymonda's 3rd act variation:  the start is not so bad, though too quick in my view, but it is the final diagonal that I dislike the most, because it so slows down that the effect is totally lost.  I have tried dancing to it, and just could not. 

    Also, as it was said earlier in this thread, Raymonda's variation in the "Tableau de Reve" scene is not the one as danced by the Bolshoi (and the one I was taught, by the way).  It seems that everything is wonderful excepting Raymonda's solos!!

    I wonder if anyone agrees with me?

    Indeed I do! I know EXACTLY what you are talking about. I find this problem with just about every recording of ballet music that is out there.

    As far as the variations of Raymonda go in the Anisimov recording, indeed they are at totally improper tempos. The variatioin Anisimov recorded for the vision scene is the original solo Glazunov composed for the ballet, but at Petipa's request was ommited in favor of the "Scenes de Ballet" waltz, which was subsequently re-orchestrated for the 1898 produstion by Glazunov for a solo violin and is still performed today in the vision scene by not only the Bolshoi but everyone else.

    As far as the solo for Raymonda in the Act II Pas d'action with Abderakhman is conducted entirly to fast, as well as the Grand Pas Hongrois variation to solo piano for Raymonda in the 3rd Act. This is a problem that is found in just about every recording of the great classics.

    Silvy - You should get Fedotov's recording of Raymonda, it is of the Soviet version and conducted very well (especially the variations). It is out-of-print, but has been re-released though ( http://www.classicalrecords.ru/cr/cd-en/043.htm ). Its kind of a pain to get a hold, but worth it. You can also get his recording of the 1895 "Swan Lake" ( http://www.classicalrecords.ru/cr/cd-en/042.htm ).

    Where do these variations come from?

    in Ballet Videos, Films, Broadcast Performances, Photos, and Interviews

    Posted

    --In Vol. 2 of the DVD of "Nina Ananiashvili & Internat'l Stars", there is a performance of the Pas from "Don Quixote". Ananiashvili and Fadeyechev dance the Adagio and everyone else dances solos from either "Don Quixote" or the "Paquita" Grand Pas Classique.........

    Yuri Possokhov dances a variation I have never heard and/or seen before.......it is the typical 19th century 3/4 male variation (2 or 4 bars to start, 16 bars of the main melody, 16 bars of a central melody, and then back to the main melody for 16 bars to the finish). Where does this variation come from?

    --What of Solor's Grand Pas Classique variation.....where does this variation come from?

    --In the Bolshoi's film of "La Bayadere", Alexander Vetrov (who performs Solor) dances a variation in the Act II Grand Pas Classique in place of the traditional variation for Solor. Again, this variation has the typical 19th century male variation formula (in 3/4 for about 48 bars). I have never heard/seen this variation anywhere else either (Vetrov dances the traditional solo for Solor in the Shades scene, thus warranting the substitution). Where does this variation come from?

    Bonynge's recording of 'Jardin Anime'

    in Ballet History and Music

    Posted

    Does anyone know the orgins of the "Pas des Odaliques"?

    Adam composed the Entree and the 3rd variation, both numbers are included in the Bonynge recording of the 1867 Paris Opera conductors score.

    But what of the Coda, and 1st, and 2nd variations?

    when was this pas first assembled? how authentic is the version danced today to the orginal?

    Le Antique Ballet Photos...............

    in Ballet History and Music

    Posted

    Does anyone know what this photo says? -

    The ballerina in this photo (according to the writing) is Pavlova. I have difficulty reading Russian script sometimes. I am able to pick apart some of what is written, but not enough to say for sure. I will show it to a Russian collegue. Maybe she will know. The letter does begin...Dear Marius...I believe.

    Does anyone have any info on this ballerina?

    This ballerina is Bakerkina, according to what is written. St. Petersburg. She is not listed in the 1981 Russian language edition of the Ballet Encyclopedia. Again, I will ask my collegue.

    Dear Marius?????? Well It was given to Petipa then? I have never heard of any other men named Marius involved with the old Imperial Ballet or any other part of the ballet at the time..........

    Yes RG, I have heard of this as well.....the 'grave clothes colored' tutu Kschessinskaya gave to Karsavina.....what a ruthless ole dame she was!

    Le Antique Ballet Photos...............

    in Ballet History and Music

    Posted

    rg, thanks for the clarification.  I knew Petipa had a dancer daughter named Marie, but was flummoxed by the description "about to pull out a dollar from her ... Luxuriant Bosom."  The thought struck me that maybe there was a Black Swan also to be found in the Petipa menage.

    Thanks for the corrections RG :)

    I assumed it was either Moyna or Zulma that Kurgapkina was photographed as because I dont think either Myrtha or Giselle have the flowers running on the diagnale down the tunic in the traditional Kirov Wilis costumes, but I may be mistaken

    I couldve sworn that was Esmeralda that Zucchi was photographed as, but then Im sure she danced other roles where the main prop was a tamborine.

    You were right about Nunephar RG for the 'butterfly Preobrajenskaya' photo, as there is another picture of her in the same costume in the book "The great Russian Danecrs" by Smakov.

    I honestly though the photo of Elena Smirnova was Kschessinskaya (2nd from top)

    nice collage Dr Coppelius! I made it my wall paper!

    does anyone know who the ballerina in the 4th photo from the bottom is?

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