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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    dancer, choreographer, composer, BMN notator
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  1. I definitely agree about not having adults play children... but isn't infantilizing adults something we do in ballet literally all the time. Aren't some of the great parts in ballet infantilized adults? Swanhilda...? Lise...? Aurora...? Giselle...? Just thought I'd bring up the point.
  2. Does anyone know if any of the ballet scores that are no longer in repertoire still exist? Some that I am particularly interested in are Pugni's "Terpischore" Pugni's "Titania" Pugni's "Two Stars" Minkus's "Roxana" Minkus's "La Fille des Neiges" Minkus's "Mlada" Minkus's "La Nuit et le Jour" Oldenburg's "La Rose, La Violette et le Papillon" Any information would be great! Thanks
  3. I love the ending of Sir Peter Wright's production of the Swedish Royal Ballet where after they drown, Benno fishes Siegfried's body from the lake. The final tableux is very bitter-sweet and incredibly moving.
  4. I was under the impression that each of the fairies were there to give a gift from their season. I can't quite remember but off the top of my head I thought they were Summer - Roses, Winter - Jewels, Autumn - a Dress and I can't remember what Spring gave...
  5. I've tried youtube and following links to the reconstruction on the Wikipedia page but they don't work! Is there any other way I can see the reconstruction?
  6. I've always been confused as to what the different time periods are in the ballet and where the ballet is set? Which productions to what?
  7. I am doing a project at uni on why it is that the Specialist composers are so little respected in comparison to Tchaikovsky and Glazunov. Something that I find incredibly interesting is that Tchaikovsky respected the specialists for their wide variety of melody and even said that had he known of Delibes' "Sylvia" before writing Swan Lake, he wouldn't have written it. Obviously, the Specialists' music doesn't have nearly the artistic or musical merit of Tchaikovsky or Glazunov but it is because such music was in vogue at the time and anything too rhythmically, structurally or harmonically challenging would have been rejected, as was Tchaikovsky's Swan Lake. What views does everyone have on this subject?
  8. I know there are lots of posts on the Nutcracker, but I was wondering... ever Nutcracker I ever see seems to disappoint me... none of them seem to fulfil the potential of the music and the setting. The one that has nearest fulfilled my expectations is the PNB's version. Which versions do you all love? Which version should I seek out and see so that I can actually be pleased by the Nutcracker?
  9. Kenneth MacMillan's "Different Drummer" is just absolutely appalling. Never again do I want to have to see that.
  10. I have only found out recently about this ballet and am fascinated by it! What information is available on the ballet? Can anyone answer these questions? a) Is there a recording available of the music? b) Does anyone perform "Cinderella" to this music? c) Does the score still exist? d) How does this ballet differ to Prokofiev's (structurally, not musically. For example, are there still the four seasonal fairies, etc.)? e) I know that the notation doesn't exist in the Sergeyev Collection but is there any other possibility for reconstruction? Thankyou for anyone with information!
  11. I agree! Possibly the weakest version of the Nutcracker I have ever seen. No imagination, no magic, no personality to draw you in! The costumes are hideous (is it really necessary for each and every character to wear a wig??? The snowflakes? The flowers? The sugar plum fairy?) and boring (an all-white second act surely doesn't inspire the children and definitely doesn't bring Tchaikovsky's colorful score to life). The production is very dated and think needs to be updated (by a different choreographer)! The sad thing is that they advertise it as "the definitive Nutcracker". Really...?
  12. The fact that the choreography on "The Company" is quite different to the Kirov production and all productions of the Kirov's seem to have all the Russian affectations put over the top of it makes me wonder how original is the apparent "Saint-Leon" work? Or has it simply evolved into a new work over the years?
  13. Does anyone have any idea which production of Giselle is closest to the Petipa revival? Has anybody ever staged the version notated in the Sergeyev collection?
  14. Does anyone know what music the Royal Ballet School uses for its defile? I know it's Czerny and an etude but which ones from which opus? Thanks.
  15. Not true, Cygnet. Yes Petipa carefully outlined all of what he wanted for Tchaikovsky, even specifying the amount of bars he wanted in each piece. For example, in the Garland Waltz Petipa ordered 16 bars of introduction and 150 bars of waltz, but Tchaikovsky supplied 36 bars of introduction and 261 bars of waltz. As you see, if Petipa had started choreography before the music came he would have had to have changed most things anyway. Also, in any case the score was completed in four weeks. There was no need for Petipa to choreograph before the music was presented. A quote from Petipa's daughter: "Peter Ilyich arrive at our house customarily in the evenings and played trough his work in parts, and father listened and planned his dance fantasies in harmony with the music."
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