Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×


Editorial Advisor
  • Posts

  • Joined

  • Last visited

Everything posted by doug

  1. The original Medora variation that Delibes composed is no longer danced but its choreography (presumably by Petipa) was notated in the 1890s in St. Petersburg and recently has been reconstructed. In 1899, a variation was interpolated in the Jardin anime scene for Pierina Legnani as Medora. That variation is from Pygmalion, music by Prince Trubetskoi. The two-violin repetiteur from turn-of-the-century St. Petersburg includes this variation for Medora in the Jardin anime scene. The choreography was not notated at the time. I believe this music is used in the current Kirov production of Le Corsaire or at least on their videotaped production with Assylmuratova.
  2. The Mariinsky has the original Minkus orchestration. Harvard has the Shades scene orchestration plus a little bit more in a score copied out in Riga. Roland John Wiley discusses the Bayadere score a little in the intro to "Tchaikovsky's Ballets." The two-violin score is the repetiteur used for rehearsal. Lanchbery's arrangement of Don Q has been referred to as "Kitri goes salsa-regaae."
  3. That's a tall order to have on hand! But if you get thee to a dance dictionary, you will be able to find these ballets. Oxford Dictionary of Dance, Oxford Encylopedia of Dance. The internet will even help you here.
  4. Thanks, Mel. If you ever come across the version with the Flora variation, let me know. I'm interested in anything that is still danced from Awakening of Flora.
  5. Mel, This thread is a blast from the past that I was re-reading. Are parts of Awakening of Flora actually danced in Paquita, et al? If so, I'm really interested to know. Thanks, Doug
  6. Oh dear. I think a couple generations in the ballet world still do not make the distinction between the Imperial era in Russian ballet and the post-Revolution Vaganova era. I am certain there are varying reasons for this. And that would be a whole new thread (and maybe a Pandora's box)!
  7. The Act One waltz is notated, per se, but the notation is indeed sketchy and consists mostly of groundplans, which indicate the use of tabourets (stools). But enough large-scale Petipa waltzes are notated in enough detail so that, in my opinion, if one studies the others well, the information from them could inform a reconstruction of the Swan Lake waltz. The same situation exists for the mazurka in the ballroom scene. You are right that Swan Lake is definitely not one of the better-notated ballets in the Stepanov collection!
  8. Minor corrections. Peter mentioned that Francia Russell told him she modeled the PNB School syllabus for eight-year-olds on the teachings of Tumkovsky and Dudin, and therefore it would be familiar to him. La Valse, Concerto Barocco and Rubies are already in PNB's rep. New ballets are commissioned for next season from Marco Goecke and Dominique Dumais.
  9. I didn't discuss with Lacotte the variations the he learned from Egorova, so in addition to those I provided it sounds like he added the ones he knew, too. Yes, the river variations would be a fun project. I only had access to the variations themselves and I am not sure what else surrounds them in the scene, but a nice suite possibly could be developed.
  10. I reconstructed 5 of the 6 river variations for Lacotte for his Daughter of Pharaoh, but he didn't use any of them (in the versions I provided). He did use three (I think, maybe it was two with the first being longer - it's been a while now - I should buy the DVD and check!) variations in one of the court scenes. One is for two women and the other is for a man (Lacotte added a double tour at the end). The notations are very spare, with movements only for legs and feet plus groundplan and occasional rubrics in Russian. The choreography seemed much older to me than Petipa's choreography for Beauty or Raymonda. I really like the river variations - they are, on the whole, very interesting character variations, and I would love to see them performed sometime.
  11. Hair down in Serenade didn't begin until the late 1970s, yes?
  12. Thank you all so much for your contributions!
  13. PNB's DanceChance program is still going strong, and a number of students, including some current Professional Division students, have continued on as students in PNB School. Helene, the outreach programs you mention are part of the Company's outreach, while DanceChance is part of the School. Here is the url to the DanceChance page on the PNB site: DanceChance at PNB
  14. I've been asked to compile a list of choreographers who were born or raised in the Pacific Northwest, spent a significant part of their career in the Northwest or are now working the Northwest. I've got a good start, but thought I'd ask for help from fellow posters. Mark Morris was raised in Seattle, and Robert Joffrey was from Tacoma, WA. Those are two heavy-hitters. Care to add names to the list?
  15. Petipa appears to have replaced the original variation music for Aurora with the Gold Fairy music prior to the premiere of the ballet. Tchaikovsky made a change in the passage leading up to the variation in order to accommodate the difference of key. Wiley has documented this well in TCHAIKOVSKY'S BALLETS.
  16. I, too, would be interested to know if any parts of this ballet have survived as interpolations in other ballets. I haven't thought so to this point. The ballet was *very* popular in Russia for over 50 years after its premiere. Having worked with some parts of the Pugni score, I have to say I don't think it is of very high quality - not at all, in fact! But, it is rhythmic and provides a suitable basis for dance. I'm generally sympathic to specialist 19th-century ballet music, but this drove me crazy. Lacotte's production is quite grandiose; however, I would love to see a reconstruction based as much as possible on the notations of the ballet, even if only in suite form. The River variations (as notated) are quite clever.
  17. PNB's MERRY WIDOW came from La Scala via Royal Danish. BEAUTY came from English National. Owning a ballet instead of renting allow more control over the look of the scenery and costumes, and one is more apt to sink money into maintenance of the production if it is owned. Buying an existing production, especially a full-length, is relatively new to PNB, which has its own costume and scenic shops.
  18. I think the recent influx of Balanchine ballets at the Kirov (since 1998) is because Gergiev and Makhar Vaziev have wanted them. They did SCOTCH and THEME AND VARIATIONS back in 1989 under Vinogradov and that really took some doing. In 1998 they got APOLLO, SERENADE and TCHAI PAS (or at least got maintenance on TCHAI PAS). SYMPHONY IN C came somewhere in those years, too, I believe. Then JEWELS and the recent rep of additional Balanchine ballets. My understanding is that the Trust has, for years, been very generous with the ballets and very reasonable financially, too. I thought it was AGON that was pulled from the RB rep - ?
  19. Hi all. I can speak for Jardin at the moment. Over the years an increasing amount of music has been interpolated into Corsaire, including interpolations into Jardin anime. That scene has also been re-orchestrated (the original manuscript in Delibes' hand sits in the Library of Congress). By 1899 both ballerina variations in Jardin - danced by Olga Preo. and Pierina Legnani - were interpolations from other ballets. One of those interpolations - the Medora variation - is still performed by the Kirov. As far as the Adam score for the entire ballet, Bonynge has recorded it and included Delibes original orchestration of Jardin. That can be a starting point for comparison but you won't get too far before the interpolations begin. Re modern revivals, it seems that the long-time practice of interpolation continues!
  20. Sometimes the waltz variation from Sylvia Act III is used for Franz.
  21. I will try to help sort out what I can from my end. And I can check the scores at PNB and clarify. I had no idea a variation from Awakening of Flora found its way into the Soviet Paquita.
  22. I have always understood the Drigo variation composed for Pavlova to be the waltz in C major, but I could be mistaken. The Paquita scores at Harvard include five variations (including the C major waltz) but not the "harp variation." But I will re-check my notes.
  23. "Marius Petipa. Materialy, vospominaniya, stat'i" (materials, recollections, articles), ed. Yuri Slonimsky and others, was published in Russia in 1971 and has since been translated into German.
  24. I think, in some cases, original orchestrations have viewed as weak-sounding or sparse and have subsequently been beefed up for bigger sound and to make them "legitimate" for modern audiences. I'm of the opinion that this generally does not work musically. The straightforward nature of most melodies and harmonies of music of this period does not stand up to enhanced orchestration. Delibes' Pas des fleurs (Petipa's Jardin anime) has for years and years, possibly for a century, been performed with enhanced orchestration, although the original has been available from several accessible sources.
  • Create New...