CharlieH
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On 4/29/2017 at 5:00 PM, Natalia said:
The Ekaterinburg Ballet, Russia, is dedicating its entire 2017/18 season to the Petipa 200th celebration!
in addition to existing rep, such as the FILLE MAL GARDEE recon (pictured in the article), novelties include:
Nov 17, 2017: Vikharev/Gershenson new recon of complete PAQUITA
Mar 15, 2018: Yuri Burlaka's recon of the complete 2-act HARLEQUINADE
June 2018: - total rarity! - THE KING's COMMAND, chor by a team led by company A.D. Vyacheslav Samodurov. (Not clear if it'll be a recon or a "rethinking" a-la Lacotte) *Note: this ballet exists in the "Harvard Notes" in the 2-act version of 1900...as "Les Eleves de Dupre." It includes a very famous pdd that Petipa created for Virginia Zucchi & Enrico Cecchetti: "Fisherman & Pearl"...oh, that we may be seeing this gem!
July 7, 2018 - a gala of many Petipa gems, incl premiere of Burlaka's NAIAD & FISHERMAN SUITE (ONDINE suite)...a "Petipaniana" extravaganza!
Thank you, Laurent. Glad to hear about the Etoiles Pas in Cheboksary!
The June 2018 date for the Ekaterinburg King’s Command - and other Ekaterinburg plans to celebrate Petipa’s 200th - came from the above news report cited by Natalia in April 2017. Plans change and dates are pushed; for ex, the multi-year postponement of the Lacotte Ondine at the Mariinsky (from 2003 to 2006).
The final session of the recent Petipa Symposium presented by Moscow’s Bakhrushin Museum (July 8, 14:30 - 17:30, Panel 6: “Petipa Today: Brand or Kitsch?”) was to have included a speaker from the Ekaterinburg Theatre, Bogdan A. Korolek, on the topic “M. I. Petipa’s Ballet The King’s Command: Then and Now.” It would be interesting to read a summary of that presentation once the symposium proceedings might be published.
If, as Laurent writes, Ekaterinburg has scrapped the Imperial-era score (by Vizentini, rearranged by and supplemented by Drigo for Petipa’s last, two-act version of King’s Command) then what’s the point? That’s an even bigger sin in bringing back a ballet than making significant changes to the original designs, IMO. Think Schedrin’s new score for The Little Humpbacked Horse supplanting the Imperial era’s Pugni et. al. Totally different ballet. Also, one of Andris Liepa’s “recreations” of Diaghilev-era ballets used a different musical score than the original (his presentation of Fokine’s Dieu Bleu ditched Reynaldo Hahn’s score for a pastiche of Scriabin tunes...but performed with the original Bakst designs).
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1 hour ago, vipa said:
I just saw Lane and Cornejo interviewed in Bryant Park. Lane mentioned she'd be doing Swan Lake pas de trois twice. The nights Cornejo does Siegfried. I think it's a shame. One of those shows should be her O/O.
Insulting. No other word for it. Is she a Principal or a new rank Soloist-Plus?
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Does anybody know if the reconstruction of Petipa’s King’s Command (aka Les Eleves de Dupre) for Russia’s Ekaterinburg Ballet happened this month? It was announced last fall by the troupe’s AD Vyacheslav Samodurov, set to happen in June 2018. It was to have been staged by someone other than Vikharev.
Did this come up at the recent symposium in Moscow?
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2 hours ago, cargill said:
It looks like they are using the first act Bonne Fee costume now for the finale--I saw it the first two nights and she had changed for the second act into something more colorful, though I didn't think it was quite as elegant as the first act one.
Absolutely right, Cargill. She wore the A2 dress with the bright green bodice for the final tableau and during the bows. We can see her during the bows here (50-seconds in):
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5 hours ago, fondoffouettes said:
Though I loved the costumes in general, I thought the Good Fairy's costume was a bit of a weak link, especially amongst all the whimsical, elaborate costumes worn by the rest of the cast. It was a beautiful dress, but it looked like she was heading to dinner at Downton Abbey. It didn't conjure a magical figure for me. But I see now that you posted a photo of the original costume earlier in this thread, and the ABT costume is indeed similar, so I guess they were going for authenticity.
Ah...but she looked like the Tsarina Alexandra, whose known favorite colors were mauve (pale grayish lilac) and silver! Also, note the tones of mauve in the larks’ tutus.
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There’s that too, RG. In that case (White House) the Coda music was that of the Alouettes (Larks), with new choreography for the occasion (Baryshnikov, McBride & kids). I read somewhere that the kids dancing at the WH - all from the DC area - included little Julie Kent, then about 9 or 10. I may have read it in a Wash Post interior of Kent, many years later.
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9 hours ago, rkoretzky said:
I saw opening night and thought the children were well rehearsed and did an excellent job. But I agree that the childrens' dances were too long and I wonder if the purpose was to stretch the ballet into an evening's worth. As presented it's too long to pair with another piece, yet I found it too short to be a full length ballet. NYCB offers Harlequinade with another short ballet ion the program. Maybe shorten the kids part and follow suit?
RKoretzky, the NYCB and ABT versions of Harlequinade both use exactly the same score - no cuts in either version - same running times, with one intermission. NYCB has always opted to present it with with an additional ballet, e.g,, when I first saw it live in the early 1990s, it was followed by Robbins’ The Concert.
The kids’ suite of dances in A2 is titled in the score “The Harlequinade”...in other words, a Harlequinade within Harlequinade! In the first few performances in 1900, the Waltz music of the coda of this kids’ suite was actually an adult character dance for Marie Petipa and one of the Legat brothers, a dance titled “Past and Present Times.” Maybe, in the next go-around, Ratmansky could restore this adult dance’s steps (if they exist in notation), thus cutting short the kids’ participation a bit? I suspect not because the kids’ suite needs to be wrapped up...to end it with the relatively gentle Little Scaramouches Dance...followed up by the lively waltz by two completely-new adult characters, would make little sense.
I vote for keeping the Coda Waltz for the kids, as Balanchine & Ratmansky did.
One last nugget: The entire Harlequinade kids’ suite was presented on PBS a few years ago, in the “Balanchine 100th Birthday” TV special. Nobody hated it then. I just rewatched my DVD of the show and am amazed by how much of Petipa’s original moves Balanchine kept, such as the ditzy stiff-legged rocking back and forth of the Little Harlequins’ dance...also, how some of the Harlequins use their slapsticks to tap the shoulders of the others (in Balanchines’ case, all boy Harlequins...in Petipa-Ratmansky, four boys and four girls).
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Good news! According to Doug Fullington’s FB, the conference proceedings will eventually be published.
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22 hours ago, nanushka said:
Indeed, and those can also be printed, and empty jewel cases purchased. There are ways of getting to a physical end product from non-physical computer files (for those to whom the tactile is important), when and if those are the only options. But it sounds like for this particular album — at least for those with connections in Hungary! — that's not the case.
For those with connections in Budapest, the physical CD is most readily available. On the other hand, do I want to spend $20+ for 3 minutes worth of Harlequinade music, since I already have that tune in the lovely James Galway version? Maybe not. I can change my mind when I visit family in August.
A few other tunes from Drigo’s Harlequinade are included in the “Music from the Imperial Ballet” CD’s by noted ballet pianist Igor Zapravdin (based in Vienna). They may be out of print; unable to find an Amazon USA link but it might be found through other ways.
The best possible outcome would be that an orchestra somewhere is inspired to record the full Drigo score. There’s a bit of hope because ABT’s Harlequinade is a co-production with the Australian Ballet. Queensland and other Australian symph orchestras have occasionally produced ballet recordings.
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Nanushka, I meant MP3 as a non-CD form. Download is not a CD...with the jewel case, notes in print and such. I’m the old-fashioned collector of CDs and DVDs (and books with words on paper) for a physical library with bookshelves. Charlie’s Ballet Collection can be touched!
Thanks again for the tip. My nephew in Budapest knows where the CD is available, by the way. Hurray!
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44 minutes ago, nanushka said:
There is another instrumental track on an album of assorted violin/piano transcriptions, available here on Amazon. (It's also on Sirius.)
Thanks, nanushka. I’m hoping that it’s also available in traditional CD, not just MP3. Once I find a link to a CD, I’ll post. Update: I’ve searched and, alas, it’s only available in streaming on the US Amazon site. Maybe CDs of this exist in Hungary; I’ll be checking with family in Budapest.
Here’s the Amazon link to the James Galway CD, a slightly different compilation than what I noted above but with the Drigo Serenade:
https://www.amazon.com/James-Galway-Serenade-Franz-Schubert/dp/B000003EUV
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Back to Harlequinade.
One big reason why I love the Petipa-Ratmansky and Balanchine versions above all existing Russian Soviet versions - Lopukhov, Gusev, Burlaka-after-Gusev, etc: The Soviet editions all present the Serenade music with tenor vocals (singing from the pit or in the wings). This most famous of Drigo tunes was not intended to be literally sung during the ballet. Rather, as ABT (& NYCB) correctly present it, it is an instrumental tune, with Harlequin opening his mouth as if singing, while his Scaramouche friends stand by and pluck their lutes. The audience imagines how he sounds, the great charm of the episode. Later in the act, this is countered by Columbine’s wealthy suitor, Leander, attempting his own discordant serenade...and, in Soviet versions, this remains without an offstage vocalist. I’ve never understood why Gusev and other Soviet/Russian stagers of this ballet insist on a tenor in the wings or pit actually singing the serenade.
By the way, as far as I can tell the only readily-available CD recording of any portion of Harlequinade is this famous Serenade (Serenata)...but almost all are the vocal version (Gigli being most celebrated). The only all-instrumental version that I’ve found is in flautist James Galway’s CD “Man with the Golden Flute” - track 2 (BMG Classics label, 1992 reissue of a 1976 LP). It’s a gorgeous CD for all 11 tracks. Highly recommended.
Maybe some day this delectable 80-minute ballet will be recorded in its entirety, as Richard Bonynge once recorded Drigo’s Magic Flute and substantial portions of Flora’s Awakening?
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1 hour ago, cubanmiamiboy said:
All in all, I strongly believe this is a ballet that won't have a strong impact for generations to come, both for audiences and for dancers. Reconstruction of the Imperial Petipa legacy is the "it" thing right now, and I agree it is a wonderful thing. ...... I am happy I made it for this premiere, but I wouldn't arrange to travel in the future to see a whole run of it again.
I agree with a lot of what you wrote, Cubanmiamiboy. However, this ballet, in either the Petipa or Balanchine version - brings joy to my heart because it is brimming with beauty 101%...beautiful music, beautiful designs, beautiful simple story of love...and who needs more “characterization” that that zany, loveable Harlequin! All three who I saw - Whiteside, Cirio & Simkin - had it in spades, yet in different tones.
To me, the message of joy & beauty in this “little” 80-minute ballet trumps all of the McGregors, Abrahams, and Millepieds put together.
Harlequinade is the perfect antidote to our troubled society of drugs, sick mores, guns and hatred. Mr. B knew. Ratmansky knows.
p.s. I feel very fortunate to have witnessed three presentations of extraordinary beauty and positivity in the past five days: NYCB’s Coppelia and the Balanchine B&W triple bill (Barocco, Agon, Four Ts), in addition to the ABT Harlequinades. All depression busters. The stars aligned!
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I sat in first row of Dress Circle and had no problem understanding the mime. That said, I can imagine how much more understandable this production was in its original venue, the Winter Palace (Hermitage) Theatre. Absolutely gorgeous theatre - one of the best in StP. Highly recommended.
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I keep coming back to this thread because of the positive emotions that this production has left in my heart. As a long-time ballet lover of traditional classics, who has traveled the globe whenever a Vikharev or other reconstruction has premiered, I must say that this ABT Harlequinade premiere on Monday night was one of the top-five moments of my 50 years of ballet globetrotting. Here’s my shortlist of grandest premieres that I’ve been honored to attend. All of these counted with spectacular old-fashioned sets & costumes, first & foremost. “Charlie’s Golden Horde” - my Best of the Best :
Sleeping Beauty (Vikharev) at Mariinsky, 1999 w/ Vishneva
Fille du Pharaon (Lacotte) at Bolshoi w/ Gracheva & Tsiskaridze
Paquita (Lacotte) in Paris; I saw 2nd cast w/ Gillot/BART...amazing! Still the most satisfying Paquita ever staged, although I loved Burlaka’s Grand Pas for Bolshoi
Bayadere (Vikharev) at Mariinsky w/ divine Pavlenko and Kolb
Ondine (Lacotte) at Mariinsky with enchanting Obraztsova & Sarafanov
Corsaire (Burlaka/Ratmansky) at Bolshoi, starring Zakharova; loved so much that I traveled one month later to London, seeing all casts. Wow!
Flora’s Awakening (Vikarev) for Mariinsky with adorable Obraztsova once again! Probably my all-time fave reconstruction, with ABT’s Harlequinade. Drigo Double Delight!
Coppelia (Vikharev) at Bolshoi 2009; I saw the debut of the Osipova-led cast
Raymonda (Vikharev) at La Scala, Milan 2011...Novikova spectacular!
Esmeralda (Burlaka) at Bolshoi - Osipova once again. My only quibble is that Burlaka chose to change the A2 Grand Pas des Fleurs...so the Maly-StP version of A2 remains my fave version of only that act.
Swan Lake (Ratmansky) in Zurich 2016 with excellent local principals - despite mostly-crappy Kaplan designs, the Swan tutus are great (traditional) and it’s the best we have until we may see this lovely production in totally-traditional sets & costumes
Nutcracker (Burlaka/Medvedev) Berlin
...and now I can add...
Harlequinade (Ratmansky) ABT, New York, 2018 starring Boylston and Whiteside
I add the Mariinsky’s Giselle and Don Q to my ideal play list. To me, only a great traditional Little Humpbacked Horse (to Pugni’s score) is missing.
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5 hours ago, cubanmiamiboy said:
Pierrette should loan her second act dress to Aurora for her wedding...😎
Yes, especially if we are talking about Aurora in the ABT Cheapo edition of SB. Next time that ABT presents SB, they should commission Robert Perdziola to design & oversee production of truly grand sets & costumes.
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Today, I’ll have one more look at Ratmansky’s spectacular Harlequinade - the matinee...now to star Skylar Brandt - before taking the train back to DC. If I could stay to watch all other performances this week, I would. This production is my dream come true. Finally - FINALLY! - a Ratmansky recon of a Petipa ballet with truly grand sets & costumes (the Bolshoi Corsaire was mainly Burlaka’s recon, as others pointed out elsewhere).
Ratmansky’s Whipped Cream is not a Petipa reconstruction BUT it is a ballet presented in the grand Petipaesque Imperial tradition. I’d stay for a week of that, too, if I could. So now ABT has two truly luxurious Ratmansky ballets that are “Fit for the Tsars”: Harlequinade and Whipped Cream.
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I agree that the first cast was the best, at least Harlequin & Colombine. However, I preferred tonight’s Pierrot and Pierrette for their acting & chemistry.
I love this ballet more than ever after the second viewing...and I also love the Balanchine version with the simpler-yet-sweet designs. I absolutely despise the various one-act condensed Soviet versions, which are basically Act I only...eschewing the entirety of Drigo’s second act music - no Polonaise, no kids divert, no Larks, no Berceuse solo for Colombine! Sacrilege.
Few here talk about the sheer beauty of Drigo’s score. Pure evocation of love and simplicity in sound. To me, the most perfect ballet score. (I wish that it would come out on CD.)
Finally, folks, please remember the special nature of Harlequinade’s creation - it was a private entertainment for the court, at the Hermitage palace. It was a short (but luxurious) ballet, not intended for the Mariinsky but such a hit that it was soon transferred to the larger stage.
This is the 200th Birthday year of the great Petipa. How magnificent that we can, in 2018, experience this Royal Splendor with our own eyes and ears right here in the Good Ol’ USA. Bravo, Ratmansky, Drigo, Petipa...and ABT!
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Another interesting factoid:
The ABT Harlequinade playbill thanks Edward Villella and Ethan Stiefel “...for their invaluable assistance during the Harlequinade rehearsal process.” How cool is that?
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5 hours ago, Laurent said:
The conference is not meant to be for a general audience. The venue rotates daily but on a any given day is at a single place.
For whom is the conference?
It’s been widely publicized on the internet, in Russian & English.
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38 minutes ago, rg said:
Anna Petrovna Urakova danced the role of La Bonne Fée in 1900
Fascinating, RG. Thank you. I had incorrectly assumed Marie P. but will correct my report. By the way, I happily noted that you are mentioned in the Playbill among those who assisted ABT/Ratmansky with additional documents to make this production happen. Bravo!
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Link to the detailed agenda of the upcoming June 6-8 Petipa conference sponsored by the Bakhrushin Museum in Moscow. Please note that not all sessions are at the Bakhrushin but in venues all over the city. Crazy!
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You’re welcome, Inge! Pierrot does a little “floppy leaping” in his A1 initial encounter with Pierette (longish mime episode about the key) and he appears in group dances in A2, including the reconciliation dance with Pierette and her friends, BUT it’s mostly mime. Thomas Forster performed Pierrot to a T tonight. David Hallberg will definitely not be pushing his dancing feet tomorrow night...but he’ll be called upon to perform vigorous comedic acting. Did you see his comedic moments as Prince Coffee in Whipped Cream last year? I think we’re in for a treat tomorrow.
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JUST back to the hotel. One word: GORGEOUS! Two more words: TSARIST SPLENDOR! In other words...El Cheapo is absent!
Total triumph tonight, judging by the loud bravos for Ratmansky & the designers, in addition to this perfect cast. Boylston’s solos are all ultra difficult terre a terre dancing - incl lots of hops, some in circular patterns - that few ballerinas alive today could master. Whiteside combined amazing quick beats and great humor in mime to win us over as Harlequin. Murphy resplendent as Pierette, a meatier role than we see in Balanchine. Pierot is almost 100% mime...so Pierette has an unnamed “mystery man” for her partnered dancing (Alex Hammoudi).
i made lots of notes comparing this Petipa original to the famous versions of Gusev (Maly, Leningrad 1950s) and Balanchine (NYCB, 1965 & 1973). Both men remembered LOTS of the Petipa but not necessarily the same movements (for ex, Balanchine got the Ai Ballabile’s snaking exit correct and much of the kids’ dances; Gusev got the head bobs of the Scaramouche ladies...and a signature “big rond de jambes move” by the ensemble in the finale). But both Balanchine and Gusev forgot that Bonne Fee is a mime role in heels - originally Urakova (as per RG’s post & photo below), here Tatiana Ratmansky!
Lots to digest. Now I’m being summoned to supper by friends so I’ll end here.
The Petipa Bicentennial (March 11, 2018)
in Multi- and Cross-Company Events, Festivals, Galas, & Dancer Groups/Solos
Posted · Edited by CharlieH
Speaking of the distinguished Ekaterinburg Ballet panelist, Bogdan Korolek...
Edited/update: go to his Vimeo channel — google “Bogdan Korolek Vimeo” — to see two extraordinary clips that he posted on his Vimeo site of Vikharev’s reconstruction of Petipa's Fille Mal Gardee (Waltz and Galop).
[deleted direct link, as all attempts to post links to the two Fille excerpts took us to an excerpt from Naiad & Fisherman]
The Fille excerpts were professionally filmed, allowing us to appreciate the gorgeous designs of Vikharev’s Fille in all of its glory. Gnossie and others are correct; what a delight! This production MUST tour to NY and London!