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Everything posted by doug

  1. Wiley is pretty thorough in his description of the Beauty notation in his Tchaikovsky's Ballets. I'll see what ABT offers as far as a list for Beauty. For the Munich Paquita, a chart was published providing attribution for all music and choreography.
  2. Hang on. The Munich Paquita made no Act 3 cuts in the Petipa version. We used everything in the Petersburg violin repetiteur from start to finish of that act. Of course, the Petipa version was different from the original Parisian version of 1846. If you are taking the Lacotte Paquita as gospel, you should consult sources, both from Paris and Petersburg. You will find the Lacotte Paquita includes material not found in sources. Further, the Stepanov notation of Beauty is incomplete. Also, the Vikharev Beauty included material/music not included in the 1890 Beauty, accounting for the longer running time. I suggest taking the Ratmansky Beauty on its own terms. See it first, then make comments. Sorry to be so blunt, but there is so much supposition here, I could not help myself.
  3. Just a note that Burlaka was responsible for the Bolshoi Corsaire's Jardin anime.
  4. No fouettes in the Paquita notation. The only ballet in which they are notated is Swan Lake. We interpolated the Delibes variation for Lucien for three reasons: 1-no variation is notated for Lucien and no music is included in the sources for his variation. 2-the choreography for the variation is well-notated and was intended for the Delibes music. 3-the variation is exactly the kind of male choreography that would have been danced circa 1904, when most of the Paquita choreography was notated.
  5. To further clarify: I date the Stepanov notation of Act I of Giselle circa 1903, because Pavlova is named as Giselle in the notation of that act. The notation of Act II, however, uses the name "Giselle" for the title role, rather than Pavlova, who is listed in the notation dancing the role of Zulme, which she first danced in 1899. So it is possible that (at least parts of) Act II was notated as early as 1899.
  6. Try Airbnb. There are B&Bs in the neighborhood of PNB.
  7. Thanks, rg. I'll have a look at Beaumont.
  8. I'm working on a reconstruction of four sections of this apparently six-part pas for an upcoming presentation at the Guggenheim. I'm using the documents at Harvard, which included a choreographic notation, a two-violin repetiteur, and a manuscript piano score. The repetiteur appears to pre-date the piano score (which makes sense). From the nature of the differences between the two, I'd venture a guess that the rep represents the pre-1891 music and the piano score represents the changes Drigo presumably made for the 1891 revival of the ballet. In any event, my biggest question is about the corps nymphs that are mentioned above. The notation makes no mention of nymphs, providing choreography only for Diana, Endymion, and the Satyr. An early 20th-century Maryinsky program of "Divertissements" includes a "Les Amours de Diane" (the notation and scores refers to the dance as "Pas de Diane") and lists only these three roles. It was the norm for all dancers excepts young students to be listed in Maryinsky programs. My hunch is that the pas was indeed for only these three dancers and did not include nymphs. Any thoughts, ideas, documents, facts? I am also reviving "Le Berceau du Papillon" (The cradle of the butterfly) from the same ballet. This is a multi-section dance for a lead woman and four corps women. The old Wikipedia article (now sadly mutilated) on Le Roi Candaule refers to this dance as "La Naissance du Papillon" (The birth of the butterfly). I have no information, beyond the title(s), about the premise of this dance. I would appreciate any information any of you may have--ideas, pointings in any direction, etc. Thank you!
  9. I am not aware that the La Scala notes have been translated into English, save for the synopsis. Nearly all of the articles for the program book were originally in Russian and were translated into Italian for the publication.
  10. I love the longer, soft Diamonds tutus. For me, they hearken back to the late 19th century, just as do all the pas de chats in the choreography. Farrell wore the Diamonds headpiece backwards for purposes of the photo only, above. No change in the women's headpieces between 1st and 4th movements. Fingerless lace elbow-length gloves added for 4th movement, however. The PNB Diamonds principal's costumes were built by PNB. All others from NBoC.
  11. It's Benjamin Griffiths in the First Pas de Trois.
  12. Petipa used 48 women as Shades in the December 1900 production that was notated. The Shades scene was also performed at the Hermitage; I have no details about the Hermitage performance(s), but perhaps numbers were cut for that stage.
  13. Yes, the fugue is by Adam and part of the original Giselle score. I believe Marian Smith explains in her book that, at least in 19th-century theater, a fugue symbolized something sinister and evil. Adam also included a fugue in Le Corsaire to depict the mutinous disagreement between Conrad and Birbanto.
  14. doug

    Pas de dix

    From what I know, Pas de Dix was not a term used to describe the third act divert. I've not seen this term in any original Raymonda sources I've worked with. I've always thought Pas de Dix with regard to Raymonda referred to both the Balanchine ballet of the name and also his 1946 staging of the ballet for Ballet Russe de Monte Carlo, in which he staged the Grand pas Hongrois for 5 couples.
  15. Thanks, everyone. AGMA granted our waiver to have the presentations live streamed and posted in perpetuity. I assume they'll be up before long.
  16. I saw three performances and really enjoyed them. The production is beautiful. The Harvard notes include virtually no port de bras, save for the few variations that are notated twice. The second notation of each of these, interpolated into the main body of notations, includes choreography for the entire body. That said, those "complete" notations are mostly the notation work of students and must be considered accordingly. Raymonda's Act Two variation is notated twice. In the notation that is in the main body of the notation of the ballet, the variation is notated as danced by Preobrazhenskaya. The passage that has been under discussion is notated as a plie in fifth position (left foot front), followed by a jump up onto pointe, still in fifth (left foot front), followed by a hop on pointe, still in fifth (left foot front), with no entrechat quatre or changement. this is followed by a hop onto the right pointe with the left leg extended behind at 45 degrees high with the knee bent 45 degrees (a long, low attitude). Then the dancer plies in fifth and begins the combination again. She performs this twelve times, traveling from USC to DSC. No notation is given for head, arms, or torso. In the second, "complete" notation of this variation (which also includes Preobrazhenskaya's name, omits a combination included in the main notation, and therefore appears to be incomplete, and which also includes several variants of combinations from the main notation), the passage in question is notated as 24 hops on pointe with changement, beginning with the right foot front and traveling forward on the diagonal from USL to DSR. The dancer's head is turned to the left and her arms are in first position. After the first four hops, the left arm opens to the side and the head faces forward, i.e., in the direction she is traveling. After six hops, the right arm is raised overhead and the dancer's head is bent back as though she is looking up at her raised hand. After 8 hops, the notation indicates the sequence of 8 hops should be repeated twice for a total of 24 hops.
  17. The Danse Orientale is not included in the Stepanov notation of Raymonda. My current thought is that it was cut, either by the time of the premiere or shortly after. Also in Act 1 scene 2, the third variation in the dream scene was replaced by a variation taken from Glazunov's Scenes de ballet (the violin solo variation for Raymonda).
  18. Thank you for all this wonderful information! What a story. I'll have to look up this source.
  19. Laying Giselle on a bed of flowers stage left goes back to the original production of 1841 and is in all the sources Marian Smith and I recently consulted for Giselle in Seattle, including the Russian Stepanov notations. Although this ending wasn't used in Seattle, I think it works brilliantly dramatically because it represents Albrecht bringing Giselle to his side of the stage (stage left) and, in my opinion, Giselle's redemption. Good for Balanchine! (That said, it's probably easier said than done, stagecraft-wise.)
  20. Any clarification of dates? There seem to be two sets of dates through the La Scala site.
  21. doug

    Giselle's act one solo

    This variation, including the hops on pointe, is included in the Stepanov notation of Giselle Act One, which was made circa 1903, the year Pavlova first danced the role. The music is included in both the piano score (a manuscript interpolation) and full score of Giselle that are also part of the Harvard Collection.
  22. Thanks, Helene. We've also got a timeline up that helps give context to the source material we're using. Rehearsals begin again in earnest on April 12.
  23. PNB's Giselle scenario, based on the original and translated and adapted by Marian Smith, is now up on the company's website.
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