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About MinkusPugni

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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 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.
  2. 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...
  3. 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...?
  4. 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?
  5. 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 daught
  6. Paquita Saturday, 9th of June 2007 The evening commenced with a new ballet, "Valetta" choreographed by a member of the company, Paul Knobloch set to music by Bruch. The short and simple piece choreographed for one girl and fourteen men fell somewhat short of charming and there was no chance for anyone to shine due to the scattered, unthoughtful and uninnovative choreography which seemed to bore most members of the audience and there is no doubt that the piece will be buried, never to show its head again. Next on the programme was the pas de deux from Le Corsaire. Kirsty Martin danced w
  7. I believe the position originated from the hands being at the front of the shoulders, almost on the pecs. I have a feeling (correct me if I'm wrong!) that at least in ballet this is a sort of middle-eastern sign of humility, where one puts their hands to bow. For example, this is also seen in Fokine's Scheherazade and in La Bayadere (though in La Bayadere when the dancer is standing still, the elbows are down by their sides and when they bow their elbows go out to the side).
  8. Should the second act be set at day or night? Some versions set it at night but I believe this gives the ballet too much of a Giselle feel. I do, however, believe that once Madge offers James the scarf it should become dark as most companies do. What does everyone think?
  9. Very confused... I thought that Cesare Pugni composed "The Little Humpbacked Horse" as the famous 6/8 variation from Paquita apparently comes from that, though I have never heard the rest of the ballet but the Bolshoi's version released on DVD is composed by Rodion Shchedrin so this version of the ballet must be fairly recent as Shchedrin is a fairly recent composer so I'm just wondering - when did this new version come about and why did it replace the old one?
  10. The music for Raymonda's variation in the Dream Scene after the Valse Fantastique is not from Raymonda. It's a slow waltz that gradually gets faster entitled "Valse.Adagio - Piu Mosso - Animato". Where does it come from? I'm under the impression that it comes from "The Seasons". If so, what specific section?
  11. Has anyone seen this Balanchine ballet "Western Symphony"? We are performing two movements of it this year and I was just wondering if anyone knew anything about it? Are there any recordings of it? Also, could anyone clear up what the female characters are? My teacher believes that they are prostitutes but I don't tend to agree. Another question - I BELIEVE that Hershey Kay arranged the music (the music is credited to him, though I believe he was only an arranger) and if this is the case then what are some of the pieces that the themes come from?
  12. I believe this ballet is Lichine's original choreography wherever it's performed...? I may be wrong though. All the things I said above (the differences in the score verses the ballet) are changes in the Australian Ballet's production. And yes, this is a fantastic recording despite some of the tempos being very, very fast and the extra music making it unsuitable to dance to.
  13. Whenever I buy a ballet CD I always run through the ballets in my head but when I bought Graduation Ball I realised there was too much music. The Grand Gallop has many internal repeats which are cut out in the actual ballet, Perpetuum Mobile has a whole chunk cut out in the ballet and ends differently, the Romantic Girl's solo is missing the glockenspiel "ping" where she lets go of her skirt, Pigtails' Solo has a repeat where she does the turning relevees in attitude, there is a whole piece called "Teachers and Pupils" where in the ballet only half of this music is used for the love letters...
  14. The King has always been Florestan the eighth or some other number and now that you mention it, only the Australian Ballet's version has the prince named Florimund. All the others I've seen I believe they've been Desire. Sorry for the confusion.
  15. Thanks for all your help, guys! Especially to you, PerA!
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