Ray Boucher
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Posts posted by Ray Boucher
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I'm not sure how easy or hard this question may be to answer, but I figured I'd ask it here.
When producing Swan Lake, different choreographers tend to switch/change the order of some of the action/dances in Act III - more specifically the entry, and waltz, of the princesses/prospective brides, and the national divertissements. Many versions traditionally have the opening march, the waltz of the princesses, Odile and Rothbart's entrance, then the divertissements, pas de deux and the betrayal scene. As far as I know, the general Russian/Western tradition is that the brides enter, then after Odile arrives, the national dances happen. Other versions like Grigorovich's Bolshoi production, Nureyev's POB version, or Kevin McKenzie's ABT version have the divertissements before the waltz, Odile's entrance, and the pas de deux. Between these two choices (Choice A: waltz of the brides -> Odile's entrance -> divertissements -> pas de deux, and Choice B: divertissements -> waltz of the brides -> Odile's entrance -> pas de deux), which interpretation do you prefer?
Generally speaking, I think both have their subjective pros and cons. Personally I really like the traditional structure (waltz -> Odile's entrance -> divertissements -> pas de deux) because in-universe I think it gives Siegfried and Odile time to spend some private time, and for their dancers, more time to prepare for their pas de deux), but some of the choreographers I mentioned earlier come earlier - specifically Grigorovich and McKenzie - manage to make the "Divertissements earlier" approach work well dramatically. In the Grigorovich one, Siegfried, Odile, and Rothbart (here called the Evil Genius) have a powerful dancing scene together, then Rothbart/Evil Genius has a solo of his own while the other two go offstage for a bit. McKenzie meanwhile has Rothbart dance a solo to the "Russian Dance" music to charm the court, which I think fits the mystique vibe he and Odile put on for the ball scene. But I'd be interested in hearing what others think of the ballroom act structure, though, because there are many ways to interpret the scene/act.
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On 10/24/2007 at 6:13 PM, Dancecreature said:
The whole Pas de Six has a very beautiful music (that is really never played in many productions). I find though the Variation II is way to long for a variation (solo piece). I see it more as a pas d'action where Odile tries to convince that she is the swan princess he loves. This piece also has a oboe melody that one can relat to the Odette. That is my own interpretation.
As a matter of fact, the Bolshoi version by Grigorovich uses the 2nd variation music for a scene between Odile and Siegfried after the former's entrance with Rothbart (or as he's named in Grigorovich's version, the Evil Genius), before their pas de deux. Grigorovich is also one of a few choreographers to use variation 5 for Odile's solo instead of the lighter music Drigo interpolated for the Petipa version (I prefer the darker mood of variation 5 for Odile since she's supposed to be an antagonist). I agree that the oboe in both variations makes it easy to identify with Odette since she's a major character in the story.
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On 4/23/2023 at 8:17 PM, sandik said:
I had a moment with this earlier in the week, reading through an essay about the early days of Pacific Northwest Ballet. Melissa Hayden, who was the artistic director for about a year in the mid-seventies, set a version of the ballet on the young and small company. When Kent Stowell and Francia Russell arrived to take over the ensemble, he made a version of the work that was a bit more complex and offered some great opportunities for dancers to move up (Julie Tobiason had one of her first big successes as Swanhilda in that production.) And now the company dances the Balanchine/Danilova production. The essay mentioned all three, but didn't really make the differences clear -- it needed a bit more editing. There are so many heritage works in the ballet repertory that exist in the same way -- multiple versions made for different groups at different points in their development -- sometimes I wish for the dance equivalent of Ancestry.com, to help trace all the ins and outs!
That sounds very interesting. I would like to see a dance equivalent of Ancestry.com too.
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My first ever production was the Bolshoi Ballet Blu-Ray with Margarita Shrayner as Swanhilda (she is very funny in that role!), Artem Ovcharenko as Franz, and Alexey Loparevich as Dr. Coppélius (also quite goofy). Currently this is my favorite version with beautiful sets and costumes; the Waltz of the Hours especially wins out here, I like the patterns they make a lot and the variety of colors is exquisite.
The second production I saw in full was Patrice Bart's version for the POB (Paris Opera Ballet) with Dorothée Gilbert as Swanhilda, Mathias Heymann as Franz, and even José Martinez as a younger and more handsome Coppélius (who splits his character traits with a new character, Spallanzani). One of my preferred Patrice Bart choreographies and interesting narrative change, but the pacing of Act I drags later on and I miss seeing the Act III divertissements.
Third full performance I saw was by the Royal Ballet with Gary Avis as Coppélius and Marianela Nuñez. More traditional like the Bolshoi and good sets + humor (I particularly prefer the costume for the Prayer soloist), but I prefer the Bolshoi for its 3rd act specifically.
Edit: I almost forgot the fourth performance video which I just saw - the DVD of the Kirov Ballet/Vinogradov version; overall, probably my least favorite/weakest Coppélia that I've ever seen. It's got good ideas + dancing and stands out in interesting ways, but I feel the rearranging of the music order and the sets to be a bit much and the story unclear in places (notably in the festival act, which is now the second act {the workshop scene is the second scene of Act 1}).
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1 hour ago, volcanohunter said:
One production I saw used the Entr'acte as a purely musical interlude (curtain down, solo violinist standing in front of it) to represent the hundred years between Acts 1 and 2, instead of an intermission. So unlike the Nureyev production, the mime scene between the Prince and the Lilac Fairy was maintained, and with it some very beautiful music.
Wright asked Ashton to provide the choreography for the "awakening pas de deux" for his production for the Royal Ballet in 1968.
https://rohcollections.org.uk/Production.aspx?production=799
Ah, that's interesting to know. I'm surprised they had a solo violinist standing in front of the curtain communicating that idea because I'm used to solo players performing from the orchestra pit, but that is a neat concept. Which production was it?
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On 5/4/2005 at 3:22 PM, jllaney said:
I was wondering if anyone could clarify a little on the history of Desire and additional dances he has in Act II. My frame of reference is The Royal Ballet version where Solymosi dances a slower version of the Sarabande. I think it was a wonderful addition to that production and I love the choreography but I was reading a post about the POB version of SB and a few people had made reference to a 7 minute dance(I think it was Legris on the video) and the reaction seemed generally unfavorable. Is it now or has it always been an acceptable part of the staging to give the prince an additional dance? And if so, what piece of music is used?
Thanks
In the POB version of TSB (the version choreographed by Rudolf Nureyev), the Prince's long dance is actually to the "Entr'acte" (No. 18) that is sometimes cut from Act II, probably indeed because of its length. I like the choreography to the pretty violin music personally but I prefer it when the "Entr'acte" is used either as a musical interlude between the panorama and the last scene of Act II or sometimes, like Peter Wright's version for the Dutch National Ballet, as a pas de deux for Princess Aurora and Prince Désiré at the end of Act II after the former is awoken.
On 5/4/2005 at 7:20 PM, richard53dog said:Carbro ,
I assumed that these are Nureyev interpolations. Actually I like the video of the POB Sleeping Beauty a lot, but the Vision Scene seems all pulled apart by the different solos that Florimund has, particularly the last sequence, diagonally across the stage.
And is it supposed to be a joke that after Florimund wakes Aurora up he's hiding in a cluster of female dancers? Aurora has to pull the group apart to find him, almost like a reverse of Siegfied looking for Odette in all the clusters of Swans in Act 4.
I have to saw though that other than some of the extra Florimund stuff in Act 2, I really like this POB version, I wish they would release it in the US.
Occasionally we come across Chinese bootlegs but they are hit and miss quality wise.
Richard
Also I don't blame people for thinking it's an interpolation that Nureyev did; the Entr'acte isn't used in every single version and even then some may use it differently. The "Entr'acte" was actually interpolated into Act I of George Balanchine's "Nutcracker" production which can get a little confusing when trying to figure out which song is from what ballet and so forth.
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Hello. I share the same opinions on the "Sarabande" that you did; it's a very mellow and relaxing yet also mysterious song. Nureyev did indeed use it at the beginning of Act III before the "Polonaise" (where the guests and fairytale characters usually enter), you are correct. There are actually at least a couple productions I know that do use it differently, usually it's to a solo variation choreographed for Prince Désiré/Florimund in Act II (after the hunting party leaves, before he meets the Lilac Fairy).
The Royal Ballet stagings use(d) choreography by Frederick Ashton for the D/F solo and pitched the song down (from A minor to F minor) and also abridged the song for time. Interestingly there was/is a Leipzig Ballet production that used "Sarabande" as a Désiré solo but it used the original key (A minor) instead.
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Here are the productions that I've fully seen/watched:
(Live)
- National Ballet Theater of Odessa's version (Maria Polyudova, after Petipa, Sergeev, and Lopukhov) = 1st TSB production I ever saw in a 2019 tour; it was pleasant and had beautiful sets (particularly Prologue and Act III) but I remember a few songs/dances were missing (like the "Singing Canary" fairy variation)
(Video)
- Royal Ballet's version (2006 revival performance/2009 DVD; Ashton/Dowell/Wheeldon) = First video of TSB ballet I watched; generally a pleasant production, I like how Désiré/Florimund has an added solo in Act II and the costumes are excellent, but the DVD I watched is a bit on the "old" side when it comes to footage quality.
- Bolshoi Ballet's version (2011 revival/2012 Blu-Ray; Grigorovich) = One of the most "grandiose" ballet productions I've ever seen in terms of sets and costumes, the dancing is really well done and this is the only one I've fully watched that has the Cinderella/Prince Fortune divertissement, but I feel like Grigorovich abridged/cut parts of the score a little too much.
- Peter Wright's version (2003/2004{?} DVD; Dutch National Ballet) = The sets are a little too dark for my liking and it's hard to determine which fairies are which {I remember the Lilac Fairy variation being danced by another fairy} but this has one of my favorite Act III pas de quatres {all variations split between 2 ballerinas and 2 cavaliers} and the "awakening" pas de deux is gorgeous.
- Matthew Bourne's version (2012 production; 2013 DVD) = A very interesting Gothic-styled and well-choreographed modern take on the ballet; I like the relationship dynamic between Aurora and the Prince's equivalent Leo but I miss some tracks from Act III which were cut here.
- Rudolf Nureyev's version (I own the La Scala Ballet DVD but first saw a video of Nureyev's POB staging) = Another visually beautiful production with more male solos; I like the reinterpreted Act III pas de quatre as a pas de cinq, but I miss having one more divertissement and I prefer ending the ballet with the Apotheosis than just ending with the mazurka.
- Australian Ballet's version (Maina Gielgud's version, 1993 performance/2008 DVD) = The costumes are very "maximalist"/80's (as a family member watching the video with me pointed out), though I love the pas de deux between Christine Walsh as Aurora and David Ashmore as Prince Florimund, and this version is tied with or may surpass the Bolshoi version's "wedding act" imo.
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On 3/27/2023 at 12:27 AM, Helene said:
Is this based on a relatively modern interpretation that Odile is supposed to ooze badness a la Cruella de Vil? I know Siegfried is under pressure, -- public pressure -- to marry, with his amygdala racing and that he sees what he wants to see, but she is, plotwise, trying to assure him that she is Odette. Softer music could work to that effect.
As far I know, the earliest I've seen the darker music used is with Vladimir Bourmeiester's version which first premiered in 1953; I guess this decision inspired Nureyev's Vienna staging and Grigorovich's version which both came in the 1960's-1970's.
I suppose that interpretation in favor of the lighter music does work; personally I like to think of grand pas de deux variation music as reflections of the characters' inner feelings; to me, the darker music just feels more powerful/impactful in the "Rothbart disguising Odile to trick Siegfried into professing love for the wrong woman" context. But I'm open to different interpretations as long as they're handled well.
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On 3/26/2023 at 11:41 PM, volcanohunter said:
I'm fairly certain that no current production gives Odile the female variation we know from Tschaikovsky Pas de Deux. It's a nice piece of music, but it would be altogether too cheerful.
Agreed.
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That's true, almost forgot about that. I kind of agree, the Petipa "Odile" variation does work the best in Neumeier's version. I do like the rest of Petipa's selections for the sequence, but I wouldn't mind seeing the alternative pas de deux music get a little more love/usage in some other productions.
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1 hour ago, volcanohunter said:
The music for Petipa's Odile variation is really, really boring.
I understand where you're getting at; personally I think the Petipa music and choreography are fine on their own, but the former more like a song you would hear for a kinder, less malevolent character (hence why I prefer the alternative music in the Grigirovich, Bourmeister, and 'Vienna' Nureyev versions). To be honest, the tone of the Petipa "Odile variation" music fits more in the context of one of the four (sometimes five) brides Siegfried would be expected to marry, if it was used in a sort of 'pas de quatre/pas de cinq' for the Brides in the ballroom act.
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1 hour ago, vipa said:
Thank you knowledgable people. I've been curious about this because I've never cared for the Odile variation, that I'm used to seeing in American companies. It's rare to see a dancer truly pull off that opening step, and other parts of the choreography seem labored. Seeing the alternative versions/music made me wonder why more companies don't adopt it. I was told that Susan Jaffe did at ABT. I don't know if that's true. I know Skylar Brandt posted a video of herself doing it for a guesting gig.
That's interesting to hear.
As far as I know, a lot of other European versions still use Riccardo Drigo's interpolated piece from the Petipa version, aside from (again) Nureyev's Vienna production which I hope to get on DVD or Blu-Ray someday to watch (more specifically the newer staging).
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On 3/26/2023 at 1:26 AM, volcanohunter said:
This is from Nureyev's Vienna production, which differs from his later Paris production. It is still performed by the Vienna State Ballet.
Burmeister, Bruhn and Grigorovich used the same music for their Odile variations.
Correct. It also seems like some productions that use the darker 'oboe' music vary in choreography a bit - Grigirovich's choreography is different from Burmeister's, for example. However I still see other Russian-inspired versions (for example, Vladimir Troschenko's version for the Moscow Ballet {see 26:08-27:30 for the solo} and Nadezhda Kalinina's version for Russian Ballet Theatre) that use Grigorovich's choreography to the oboe piece. Honestly I think the darker piece communicates both a subtle similarity (with the use of the oboe like in the main "Swan Lake" theme) and a clear difference between Odette and Odile, even though they're often interpreted to be different characters.
I got to say though, Grigorovich's "Odile" solo choreography (with the turns and balance steps at the beginning) kind of feels like the ballerina's way of prepping for the 32 fouettés.
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I've seen a lot of different "Swan Lake" productions - a couple live performances, but most versions I've seen were on video.
The ones I've seen live are:
- Nadezhda Kalinina's version for Russian Ballet Theatre (probably my first ever "Swan Lake" - saw it in 2018 and later in 2022)
- Les Ballets Trockadero de Monte-Carlo's version (super funny; like Odette's interactions with Siegfried and Benno)
The versions I've fully seen on video:
- Yuri Grigrovich's Bolshoi version ~ "revised" 2001 version (my preferred Russian ballet company version; first viewing was at a cinema broadcast event; now I own both the DVD and Blu-Ray of it)
- Konstantin Sergeyev's Mariinsky version (maybe the only version besides Kalinina's version I saw that has a happy ending)
- Kent Stowell's PNB version - the sets and costumes are really nice, twice on their video stream{s} of the production
- Matthew Bourne's New Adventures version - I like seeing the male "swan" corps de ballet and the Act I "ballet parody" scene is funny
- Rudolf Nureyev's POB version - I like the psychoanalytical undertones of this production, also like José Martinez as Siegfried a lot
- Kevin McKenzie's ABT version - possibly my favorite "Swan Lake" in general, Gillian Murphy as Odette is superb
- Liam Scarlett's ROB version - maybe my second favorite to McKenzie's, the costumes were excellent especially in Act III divertissements and the sets are a nice improvement over Anthony Dowell's version
- Patrice Bart's Berlin Staatsballet version - possibly my least favorite version, pacing just feels too long but the focus on the queen-mother character was fascinating
- Peter Wright's Royal Swedish Ballet version - liked it a lot, was surprised by how Wright changed the Act III structure
- Jean-Christophe Maillot's "LAC" version - interesting "modern" take but the Act II portion was too streamlined for my liking and the Odette "bird/wing gloves" were a bit overdone)
- Natalia Makarova's London Festival Ballet version - Evelyn Hart was really good as Odette, Act III was done in an interesting way but I like seeing more divertissements in other versions
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Hello fellow ballet goers/ballet enthusiasts! I have had a question on my mind regarding "Swan Lake."
Many productions of "Swan Lake" commonly use what's known as the "Black Swan" pas de deux for Act III, the music of which was originally in Act I in the old 1877 version except for Odile's traditional solo ("L'espiègle"), which was interpolated and orchestrated by Riccardo Drigo from Tchaikovsky's Eighteen Pieces for Piano, Op. 72. However there are a few versions of Swan Lake that have different music (sometimes the adagio and/or 1st variation from the pas de deux that Tchaikovsky interpolated into the original). One notable difference is that Odile dances a different solo to the 5th variation (moderato ~ allegro semplice) of the pas de six cut from most versions of Act III.
Personally I like the traditional black swan pas de deux, though I do prefer it when choreographers use the 5th pas de six variation music for Odile's solo rather than the interpolation by R. Drigo; the former sounds more enigmatic and dark which I think fits Odile better from a story perspective. Between the different Odile solos and overall pas de deux(es), which one(s) is/are your favorite and why?
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Thanks for letting me know. Sorry I wasn't aware of that beforehand.
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Note: For clarification, my family has no qualms with me wearing tights at home for comfort; my parents are very accepting of it and I'm grateful for that. Also I generally try to be very careful with what I wear in public, I only wear tights at home and in ballet class and I always ask what the dress code is and what is acceptable to wear in class before choosing what to wear. I was just generally curious about what other people's observations/thoughts were on the subject matter.
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Hi! I've been involved in ballet for close to 5 years now, and one thing I've always wondered about recently was the matter of the usage of specific colors of ballet tights.
I am a male ballet student and dancer, and in my first two years of ballet classes and lessons, I wore long black pants with matching socks and ballet or jazz shoes - this carried over to many of my past performances as well. As I got older, I became fascinated with wearing tights and now I have several pairs of ballet tights in a few different colors - though I mainly wore blue with white socks and black shoes in recent performances. In my current ballet classes I tend to alternate between a black pair and a blue pair of footless tights/leggings (each color is a separate pair, fyi) with white socks and black ballet shoes. At home however, I tend to experiment with different ballet get-ups. The other tights I wear include:
- A black convertible pair with black shoes.
- A white footed pair (no hole on the bottom) plus one of two extra white convertible kinds with white shoes (which I haven't worn for performances so far).
- A grey convertible pair that I haven't worn as many times, with black shoes sometimes (I don't have grey shoes).
Whenever I'm in ballet class, I tend to notice that older male students tend to wear more black and grey tights (one of the older men in my classes wears white socks and black shoes over his tights, like I do, whereas the other man wears black footed/convertible tights with black shoes). From my experience watching videos of ballet, I see that men tend to wear white tights moreso during actual ballet performances, if the costume design demands it. Is this accurate/true for other ballet companies as well? Has anyone ever seen males wearing white tights in class, and what would you imagine/what are others' reactions to it would be?
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Hello! I've been having this question on my mind for a while, but what are your favorite choreographies for each of Nutcracker's Act II divertissements and why?
Personally my favorite Act II divertissement choreographies are as follows:
Spanish Dance = Either Rudolf Nureyev's, led by Louise and Fritz in Clara's dream, or Kirill Simonov's/Mihail Chemiakin's (two Matadors) - these are the ones that stand out to me the most (Baryshinikov's is an honorable mention because I love the Spanish costumes in his staging)
Arabian Dance = Stanislav Vlasov's "Arabian" duet for Moscow Ballet's Great Russian Nutcracker - I love the dim lighting and the technicality is superb
Chinese Dance = Wayne Eagling and Toer van Schayk for Dutch National Ballet - I like the focus on Chinese martial arts
Russian Dance = George Balanchine - Very energetic, and technically impressive, too
Dance of the Reed Flutes/Mirlitons - Mikhail Baryshnikov - I like the pastoral theme often used for this variation and the dynamic between the ballerina and male danseur is excellent
Mother Gigogne and the Polichinelles - Traditional hoop skirt and tiny dancers choreography, but most notably Helgi Tomasson - the touch of the dancing bear is fun
And while I'm at it:
Waltz of the Flowers = I can't decide, maybe George Balanchine or Mikhail Baryshinikov - I love the Dew Drop Fairy's choreography and Clara partaking in the waltz in Baryshinikov's version is clever
Pas de deux Adagio = Wayne Eagling and Toer van Schayk (Dutch National Ballet) - Anna Tsygankova and Matthew Golding are one of the best ballet couples ever, they have such good trust in each other
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Hello! My name is Raymond Boucher.
I am an aspiring ballet student and ballet scholar/researcher, and I have a dream of someday choreographing my own ballet productions and dancing major roles in ballets.
I was first introduced to ballet when I saw the 2016/2017 animated movie Ballerina (a.k.a. Leap!), which inspired me to try dancing and I've been learning ballet for close to 4 and a half years now. The movie is very positive/encouraging and a lot of fun, I like to watch it to inspire myself to do well in my interests.
My favorite ballets + the ballets I've had the most exposure to and interest in include Tchaikovsky's ballets (Nutcracker, Sleeping Beauty, and Swan Lake), Coppélia, Cinderella, La Bayadère, and Spartacus (Grigorovich). I like to listen to ballet music often, watch various versions of ballets, and compare music orders between different productions of the same ballet. In addition I also like to brainstorm ballet production concepts of my own, some are more traditional, others are more radical and in some ways kind of avant-garde. I also like to support other local/touring ballet companies by going to their performances. Seeing ballet on the screen is one thing, but seeing the full stage and choreography with my own eyes - it's truly breathtaking.
That's all I'll say for now. Feel free to share any comments, thoughts, questions, etc., whatever comes to mind.
Thank you!
Swan Lake: which productions have you seen?
in Swan Lake
Posted · Edited by Ray Boucher
I saw/skimmed parts of Marcia Haydee's "Swan Lake" via a YouTube video out of curiosity and I thought emphasizing Rothbart's character was interesting, as well as the use of music (like the 2nd pas de six variation for after the ballroom scene), but a couple of the dance numbers in Act I were transposed (why?).
There is a lot to respect about the Sergeyev version (I saw a 2006 performance with Ulyana Lopatkina as Odette/Odile and Danila Korsuntsev on the 2008 Decca DVD) - it has terrific set design, and I like the Jester's dance - but I kind of feel that, like with the 1895 Petipa/Ivanov revival it was based on, some of the musical changes (Drigo's interpolations for Odile's solo {which is still used in many versions today}, the swan dance in the final act, and the slightly abridged music in the finale where Siegfried tears off Rothbart's wing {this version uses a happy ending}) don't quite do justice to the dramatic power of Tchaikovsky's score.
Liam Scarlett's 2018 version with Nuñez and Muntagirov might just be my favorite Swan Lake, period. Great balance of both enhanced storytelling and dancing; Nuñez acts beautifully as Odette as well as Odile, she's a close second to Gillian Murphy from the 2000/2005 ABT DVD/production. I also really like the updated scenery and costumes, and the divertissements are terrific. (Plus, I love the Act III ending where Rothbart takes the Queen's crown and the black swans storm the palace after Siegfried's betrayal - that is my favorite Act III/ballroom act ending).