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Everything posted by doug

  1. Hi Sandi, The scenic designs are actually painted drops, rather than projections. Beautiful work!
  2. In brief, we are amalgamating three sources as we put the ballet together: the 1842 repetiteur (action described in prose and linked to corresponding music), the 1860s Justamant notation (very detailed blocking and action), and the Stepanov notation circa 1899-1903 (choreography). The 1884 pas de deux does not appear to be notated. The score we are using is a recent edition of the autograph score by Adam, supplemented by additional French sources produced in close proximity to the premiere. The traditional interpolations will be included (Giselle's Act I variation and Giselle's Act II waltz variation). The Burgmuller "Peasant" pas de deux will also be included.
  3. See Marian Smith's book, Ballet and Opera in the Age of Giselle.
  4. The steps are notated with a flat foot in the Stepanov notation of Giselle.
  5. The image on the CD is the design for Act II - Cour d'amour.
  6. The Seasons is, unfortunately, not in the Harvard collection. Ruses is, but, for the most part, the notations are very sketchy and don't offer much substantial data. I also love Glazunov's ballet scores. I think Raymonda is one of the great underdogs, if you will, of the 19th-century full-length repertory.
  7. Seth is Seth Orza, who joined PNB this season, coming from NYCB. Carla Korbes is currently out with a back injury. (This has been reported several times in Seattle papers.)
  8. In my opinion, they are all indispensable. I re-read them often. Writing in the Dark includes a few from each of Croce's three collections plus more recent material.
  9. I've always thought Kistler looked fantastic in the Theme segment, dancing the ballet the way I wish American dancers would dance the older classical ballets.
  10. We just received a copy of the Hogan book at Pacific Northwest Ballet. I've not read it yet, but it includes some wonderful photos I've never seen.
  11. I don't have immediate access to all of the notations of The Sleeping Beauty, including this particular section. Outside of the actual prose conversation being included in the libretto or balletmaster's plan (see Wiley), the only other potential source I am aware of is the Stepanov notation of this scene. Mime conversations are written in prose in Stepanov notation; gestures are not described. If the prose exists, translation into mime gesture would be editorial.
  12. In my experience, a commissioning company usually retains the right to perform the new work exclusively for a period of time (say three years) before the choreographer can license it to another company. The choreographer holds the copyright for his/her choreography.
  13. Following the pianist, Olivier Wevers is the first character on stage - the music lover - in The Concert. Jonathan Porretta is the husband, the Groucho Marx character. PNB's regular season actually begins right away - this Thursday, Sept 20!
  14. Each has a wonderful entry in "I Remember Balanchine."
  15. The Rajah's Dream seems (again from the Harvard scores) to have been the shades scene preceded by a brief prologue that introduced the Rajah (a Solor-type character) and, if my memory is correct, included a characters solo, a la Fakir's dance. Sergeev made notation sketches of a very reduced version of shades, with about 12 in the corps. These dates from the 1930s, Paris.
  16. Harvard's Sergeev Collection includes several handwritten piano scores of the Shades scene. One of these gives a tempo marking of "Molto moderato" for the Shades entrance. Another gives a metronome mark of dotted quarter note equals 60 (i.e., the pulse is equal to one second). This last source shows evidence of being copied in Riga in the 1920s and later used for Sergeev's staging of the scene for Mona Inglesby's International Ballet, a production that apparently did not make it to the stage (correct me if I am wrong). Where there is evidence, I generally find that turn-of-the-nineteenth-century tempi were faster than today's tempi for the same music.
  17. Ben Huys will stage Wheeldon's Variations Serieuses for Pacific Northwest Ballet in Seattle in October.
  18. Re the Jardin anime casting (I'm looking at opening night): looks to me like they have two soloists (Zakharova and Shipulina)and six demis listed, with an accidental space between Stashkevich and Alizade. This jives with the notation - Medora, Gulnare and 6 demi women.
  19. The pas de deux in the afternoon performances was Balanchine's Tchaikovsky Pas de Deux, and the lead dancer in Melissa Barak's piece was Joanna Curley. Helene, students coming up through PNB School go through Level VIII before moving on to the Professional Division. Level VIII is a new level this year, made necessary because IVB and IVA became IV and V, bumping the higher levels up another number.
  20. Actually, the pas de fleurs encompasses several tracks on the Bonynge and is nearly 14 minutes long. Track 6 includes the introductory measures and the best-known passage of the pas des fleurs, the waltz. This is followed by an adagio, two variations, two interludes, a coda and a final sortie based on the waltz music. Careful, though. This is Delibes's original and was much re-arranged and replaced in subsequent productions. Unfortunately, it will not accompany any existing version of the dance (even extant reconstructions) without modification. If you are in need of the Naila waltz (a combination of several passages from the pas de fleurs, all arranged to waltz meter), that is available on the Naxos "best of french ballet" release.
  21. Here is info about Richard Bonynge's recording of the 1868 revival, available from arkivmusic.com - Release Date: 09/15/1992 Label: Decca Catalog #: 430286 Spars Code: DDD Composer: Adolphe-Charles Adam Conductor: Richard Bonynge Orchestra/Ensemble: English Chamber Orchestra Number of Discs: 2 Recorded in: Stereo Length: 2 Hours 11 Mins. This recording includes Delibes's original "Pas des fleurs," later called "Le jardin anime."
  22. Flexed feet were used in character choreography performed by the Imperial Ballet. Balanchine would have seen these dances and performed some of them himself.
  23. I wish I had been able to go - PNB was performing the same evening. Mara danced the white swan and black swan pas de deux for some short student matinees during PNB's run of SWAN LAKE last month.
  24. This dance is included in the 1900 choreographic notation of Bayadere. Surprising, but there it is.
  25. Here is the page from the Balanchine website about Interpreters Archive.
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