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doug

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Everything posted by doug

  1. 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.
  2. Ben Huys will stage Wheeldon's Variations Serieuses for Pacific Northwest Ballet in Seattle in October.
  3. 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.
  4. 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.
  5. 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.
  6. 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."
  7. Flexed feet were used in character choreography performed by the Imperial Ballet. Balanchine would have seen these dances and performed some of them himself.
  8. 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.
  9. This dance is included in the 1900 choreographic notation of Bayadere. Surprising, but there it is.
  10. Here is the page from the Balanchine website about Interpreters Archive.
  11. Here is today's press release from PNB: CARLA KÖRBES AND CASEY HERD PROMOTED TO PRINCIPAL DANCERS SEATTLE — Carla Körbes and Casey Herd have been promoted from Soloists to Principal Dancers with Pacific Northwest Ballet, it was announced at last evening’s 2006 Opening Gala by Artistic Director Peter Boal. Mr. Boal’s announcement was immediately followed by Ms. Körbes’ and Mr. Herd’s first appearance as Principal Dancers, in a performance of the White Swan pas de deux from Kent Stowell’s Swan Lake. Mr. Boal comments about Ms. Körbes: “Eleven years ago I met a 14 year-old ballet student in Porto Alegre, Brazil. She spoke only Portuguese. Through an interpreter I told her and her parents that I thought she possessed exquisite gifts as a dancer and as an artist. I asked her family to consider allowing “Carlita” to move to the U.S. to study at New York’s School of American Ballet. It has been a pleasure to watch Carla’s technique and presence blossom over a decade.” He added, “The past year has been particularly rewarding for all of us at PNB as we have watched Carla triumph in role after role. We are all proud to promote her to the rank of Principal and look forward to a long future with our newest ballerina.” Mr. Boal comments about Mr. Herd: “Over the past two years I have had the pleasure of encountering so many gifted and accomplished dancers at PNB. I have watched Casey Herd emerge as one of our strongest leading men. His range has always impressed – from the cocky swagger of his sailor in Jerome Robbin’s Fancy Free to the quiet and complete adoration he gives to his partner in Kent Stowell’s Swan Lake. His combination of classical line, soaring jumps, gallant partnering, and powerful acting have earned him this well-deserved promotion to the rank of Principal.” Carla Körbes was born in Porto Alegre, Brazil, and began her ballet training at age five with local teachers. At age eleven, she began studying at Ballet Vera Bublitz. In 1996, Peter Boal danced with her as a guest artist of the school and encouraged her to come to New York to study at the School of American Ballet. For academic year 1997–1998, her tuition was paid by Alexandra Danilova so that she could continue studying at the School of American Ballet. In 1999, she was the Mae. L. Wien Award recipient and was made an apprentice with New York City Ballet. She joined the company as a member of the corps de ballet in 2000 and was the Janice Levin Dancer Honoree for 2001–2002. She was promoted to soloist in 2005 and later that year joined Pacific Northwest Ballet as a Soloist. Since joining Pacific Northwest Ballet, Ms. Körbes has danced leading roles in George Balanchine's Concerto Barocco, Diamonds, Emeralds, La Valse, and Symphony in Three Movements; Val Caniparoli's The Bridge; Ulysses Dove's Red Angels; Nacho Duato's Jardí Tancat; William Forsythe's Artifact II; Ronald Hynd's The Sleeping Beauty (Lilac Fairy, Gold and Silver pas de trois); Jerome Robbins' In the Night; Kent Stowell's Hail to the Conquering Hero and Nutcracker (Clara, Flora, Peacock); Richard Tanner's Ancient Airs and Dances; and Twyla Tharp's Nine Sinatra Songs; and most recently, in Sonia Dawnkins’ Ripple Mechanics at PNB performances at Jacob’s Pillow in August 2006 and Seattle’s Bumbershoot Arts Festival in September 2006. At New York City Ballet, Ms. Körbes danced leading and featured roles in Balanchine's Divertimento No. 15, Episodes, A Midsummer Night's Dream (Titania, Helena), and Serenade; Peter Martins' Concerto for Two Solo Pianos, Sinfonia, The Sleeping Beauty, and Swan Lake; and Robbins' Antique Epigraphs, Fanfare, The Four Seasons, I'm Old Fashioned, and Interplay. She originated leading roles in Albert Evans' Haiku, Martins' Chichester Psalms, Susan Stroman's Double Feature, Richard Tanner's Soiree, and Christopher Wheeldon's An American in Paris and Shambards. In 2002, Ms. Körbes performed Richard Tanner's Ancient Airs and Dances for the nationally televised PBS Live from Lincoln Center broadcast, "New York City Ballet's Diamond Project: Ten Years of New Choreography." In addition to her performances with New York City Ballet and Pacific Northwest Ballet, Ms. Körbes has performed with Peter Boal and Company. Casey Herd is from Salt Lake City, Utah. He trained at the Ballet West Academy and Kirov Academy and attended summer courses at Pacific Northwest Ballet School in 1993 and 1994. He was a finalist in the 1996 Paris International Ballet Competition. In 1997, he joined American Ballet Theatre, and in 1999, he joined Pacific Northwest Ballet as a member of the corps de ballet. He was promoted to Soloist in 2002. Casey Herd is from Salt Lake City, Utah. He trained at the Ballet West Academy and Kirov attended summer courses at Pacific Northwest Ballet School in 1993 and 1994. He was a finalist International Ballet Competition. In 1997, he joined American Ballet Theatre, and in 1999, he Northwest Ballet as a member of the corps de ballet. He was promoted to Soloist in 2002. Mr. Herd has performed leading roles in George Balanchine's Agon, Brahms-Schoenberg Quartet, Concerto Barocco, Emeralds, The Four Temperaments, A Midsummer Night's Dream (Titania's Cavalier, Theseus), Symphony in C, Symphony in Three Movements, Theme and Variations, and Western Symphony; Todd Bolender's Souvenirs; Donald Byrd's Subtext Rage; Val Caniparoli's The Bridge, Lambarena, and Torque; Nacho Duato's Jardí Tancat; William Forsythe's Artifact II and In the middle, somewhat elevated; Paul Gibson's The Piano Dance; Ronald Hynd's The Merry Widow (Count Danilo) and The Sleeping Beauty; Susan Marshall's Kiss; Kirk Peterson's Amazed in Burning Dreams; Marius Petipa's Le Corsaire Pas de Trois, Don Quixote, and Paquita; Christopher Stowell's Zaïs; Kent Stowell's Carmen, Carmina Burana, Delicate Balance, Dumbarton Oaks, Pas de Deux Campagnolo, Quaternary, Silver Lining, Swan Lake, and The Tragedy of Romeo and Juliet (Romeo); Richard Tanner's Ancient Airs and Dances; Lynne Taylor- Corbett's Mercury and The Quilt; Twyla Tharp's Nine Sinatra Songs; and Glen Tetley's Voluntaries and The Rite of Spring. He originated a featured role in Nicolo Fonte's Almost Tango.
  12. Hi sandik - actually PNB used the term with regard to, I believe, THEME AND VARIATIONS, because we refer to the 4 solo couples as "demis." So the term isn't referring to a rank of dancer, simply a role in this particular ballet.
  13. I bought mine from Dance Books and it plays fine on my DVD player here in Seattle.
  14. Hi Hans, sorry to be slow reading this. Yes, upstage *left* corner, sorry about that. I was writing about the Kirov's variation in the reconstructed Sleeping Beauty, not the K. Sergeyev production. I had occasion to set both of the notated variations recently. The more difficult of the two is essentially what the Royal Ballet performs (although without as many pauses in the choreography as the Royal's version now has). The version the Kirov dances in their reconstruction matches neither of the notated versions of the variation.
  15. That's the one. The same edition of BALLET REVIEW includes a review of Nureyev's RAYMONDA.
  16. PNB's gala is traditionally the Saturday evening before the first repertory performance of the season (the following Thursday evening). Unfortunately, the symphony changed the date of their gala to coincide with the ballet's.
  17. Also - Patricia Barker and Stanko Milov were coached by Suzanne Farrell during a January rehearsal session for DIAMONDS when Farrell was in Seattle for her summer course auditions held at PNB School, and last week Stephanie Saland was in to coach Louise Nadeau, Carla Korbes and Mara Vinson in the EMERALDS lead. Elyse Borne has been the stager for JEWELS.
  18. I have read about the muses' smiles and flirtatious affect in the Kirov APOLLO, and perhaps they were coached to do that. But, I am quite certain it did not originate with the Balanchine Trust repetiteur for the Kirov APOLLO, Francia Russell.
  19. It's hard to tell from the notation, plus the fact that the notation was made closer to 1900 than 1890. The coda is notated for Aurora and Desire. There is also a dance for the two fairies. I have always assumed - perhaps wrongly - that this was danced to the now-discarded Entree music, rather than the coda. I *think* the notation bears a "6/8" time signature (the Entree is in 6/8), but I don't have it in front of me and would have to check. In addition, the adagio (with pantomime sentences) and both variations are notated. I love the Legat variation for Desire - very difficult. I would like to see it danced sometime.
  20. Tharp's WATERBABY BAGATELLES includes 27 dancers.
  21. I believe the Jardin anime photo is of Legnani and Preobrajenska, who danced Medora and Gulnare, respectively, in Petipa's 1899 revival of Le Corsaire.
  22. Helene, we've had a heck of a time trying to get copies to sell at the PNB shop. Still working on it ... possibly by June for June 11 Encore program.
  23. Just wanting to echo Alexandra by thanking vrs *very much* for stating unequivocally that Balanchine did not train in the Vaganova era.
  24. Thanks, Helene. My assumption, then, is that the production is based on Soviet-era RAYMONDAs - probably K. Sergeev's from 1948.
  25. Helene, to whom was the RAYMONDA choreography credited? Petipa or Balanchine or Andersen-after-Balanchine? In the orginal, the two friends are named Henriette and Clemence. RAYMONDA is one of my favorite ballets, so I am always glad to hear about performances.
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