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MinkusPugni

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Everything posted by MinkusPugni

  1. Our school recently performed a character dance to the music of the Danse Russe which we got the choreography for from a very old Bolshoi archive tape that one of our teachers brought over from Russia. I am not sure if this was just simply a character dance choreographed to the music of the Danse Russe or whether it was, infact from Swan Lake. The dance was for sixteen corps girls with scarves and one soloist girl with a scarf. Also, I thought that the mazurka was supposed to be a Polish dance, but I'm not sure.
  2. Sort of off-topic, but in the original story (is there a story?) was the Princess actually named Florine? And is it just a coincidence that all the royal names start with Flor (ie Florestan, Florimunde, Florine)?
  3. I can't find much detailed information on Gautier in English on the internet so could anyone help me? How many ballets did Gautier write the stories for? What were some of Gautier's most famous novels? Any other info? I would be extremely greatful.
  4. I have just noticed that the first variation (that is apparently Delibes) appears on a class CD I own (A Class from St Petersburg) and that credits the music to Drigo.
  5. There is a very in-depth article on La Fille mal Gardee's music in the recent production of the Australian Ballet's La Fille programme. There is also an article on the life of La Fille (all its adaptations etc) and an article on Lanchberry. If you have access to it, it has heaps of info, if not I might scan it in so you can read it.
  6. I'm sorry, I know nothing about this ballet. I was hoping to get some general info like synopsis, choreographer and composer.
  7. Pugni composed the rest of the pas (even though I thought that he composed the whole thing!) as I have seen the three variations credited to him. Now that I know the introduction isn't Pugni, maybe the coda isn't too! The variation I'm talking about that is in the score of Don Quixote (it's in the score but I've never seen it performed) is the one that is performed in the ABT variation for Medora in the Pas de Fleurs. What is the Medora's Minkus variation performed in the Kirov?
  8. I suspect that today's Medora's Variation is Minkus as it is included in the score of Don Quixote. I have also seen a different orchestration of today's Gulnare's variation performed once in a production of Paquita (but that obviously doesn't help). Also, was the introduction to the Odalisque Pas de Trois Adam? It sounds very Pugni - simple and cute, easy to dance to. I am in desperate search of this CD! Even though it's out of print, is there any where that would sell it?
  9. I have read the synopsis (Balanchine's from 101 Stories of the Great Ballets) and have just bought the music (Offenbach) and now I'm itching to see it! Which companies have Gaite Parisienne in their repertoire and how often do they perform it? And If you've seen it, what did you think of it and was it Classical (Graduation Ball / Union Jack type classical ballet) or was it more like Petrouchka and Scheherazade? Also, does anyone have information about Massine? Such as other works, etc.
  10. I'm really disappointed with the coming season. I don't think I'll see anything. Giselle is the only decent thing there but I fear that they won't be able to do justice to it. I am incredibly angry that they are bastardising yet another ballet, this time the classic Raymonda. Sleeping Beauty by Stanton Welch was terrible!
  11. Was the production broadcasted as bad as the Raymonda they released on DVD?
  12. Lately I have been trying to obtain the piano scores of a few ballets and I can't seem to find them anywhere. I have looked over the internet and have been to a few stores like Allans in search but they seem to be out of print or non-existant. Could anyone tell me if the following ballets in piano / full score are available for purchase to the public? 1. La Bayadere (Minkus) 2. Paquita (Minkus, et al.) 3. Coppelia (Delibes) 4. La Sylphide (Lovenksjold) 5. Le Conservatoire (Paulli) 6. Graduation Ball (Strauss) 7. Sylvia (Delibes) 8. La Source (Delbies, Minkus)
  13. Two questions: 1. Does anyone have a listing of the pieces used in Lancberry's compiled score for Ashton's "Tales of Beatrix Potter"? The only pieces I can recognise are the 'Variation d'Amour' (Don Q) and 'Allegro' (from Prologue of Don Q). There may be more but I can't really remember. 2. Did Lanchberry ever compose or was he only ever an arranger?
  14. I think we are no longer doing "classical ballet". "Classical ballet" of today differs so much from the original pure classical ballet of the past. I think that we need to change the term for today's "classical ballet". But I believe romantic ballets shouldn't be turned into classical ballets. The chest should be pulled forward and up, the legs should be lower, more restrained and much simpler. We have to remember, Giselle when she is alive is a peasant and they aren't professional ballerinas. When she is dead, though, she is a spirit and they can do whatever they want! I have seen too many productions of Giselle (mainly Russian ones) where Giselle is so elite that it's completely unrealistic to the character, the ballet and the style. But this isn't a thread about Giselle is it/.
  15. The Pas de Trois was written by Minkus, not Deldevez. And also, Minkus composed many more variations in Paquita than just the lead variations (ie from the Pas de Deux) so the original intention was to have variations from a few of the girls attending the wedding as well as Lucien and Paquita which is why I still think that Minkus did indeed put the variations in his score, not the choreographers. It isn't logical that additions to the choreography from other composers would be recorded as "Paquita" if they weren't put there by Minkus. Some variations that are commonly performed are left out of the recording which indicates Minkus didn't add them to his score. It's just like Drigo's additions to Swan Lake aren't included in any recordings of "Swan Lake" (that I know of).
  16. Before reading this post, I believed the credits were correct, but you've said you're sure that Minkus didn't compose all of the ones that aren't credited to another composer. I would like to add another question: Why did Minkus choose other composer's pieces for his ballets? Why didn't he just compose some more? I thought the period of "quotations" was over before Minkus. After going on Amazon.com and reading about the Paquita CD, I found out that Drigo was the one who composed Paquita's Harp Variation. It was composed for Anna Pavlova especially. There's one more variation credit to add. Though I'm not sure how accurate this is as it's only a review. The link above will take you to the review. Also, the variation performed by Susan Jaffe is standard in most productions I believe. I have seen it performed before. I believe it's just omitted from the Spassov recording but I am only speculating.
  17. I recently bought a Pas de Deux CD with the "La Fille mal Gardee" Pas de Deux on it, though it wasn't the La Fille mal Gardee (Ashton and Herold [arr: Lanchberry]) that I was familiar with. I'm not sure if this is the right place to post this (if it isn't move it) but what are the differences between Herold's and Hertel's La Fille mal Gardee? How do they differ musically? Different storylines? When was the Hertel one created? Different characters? Has the Hertel one survived?
  18. I just bought a CD of Sylvia (I love the music!) but I've never seen it before. I was just wondering if anyone could give a piece-by-piece synopsis of the ballet as was done with Raymonda a while ago. Thanks in advance!
  19. There is a seriously long synopsis in the booklet of the Bolshoi DVD which would take so long to write down. Well, I have changed my mind, I think I will write it down for you. Be grateful, lol. ACT ONE Scene I A young Englishman, Lord Wilson, is travelling through Egypt with his servant, John Bull. At the foot of the pyramid they meet a caravan of Arab merchants who kindly invite them into their tent. Suddenly, a powerful storm gets up and the travellers and merchants hurry to take shelter in the nearest pyramid. Scene II The caretaker of the pyramid requests that his uninvited guests remain quiet and points to a tomb at the back of the pyramid which has Aspicia, the daughter of one of Egypt's most powerful Pharaohs in it. Settling down in a corner of the pyramid, the Arab merchants light up their opium pipes. Lord Wilson also asks for a chibouk. "Watch it! Opium can be dangerous," one of the merchants says, pointing to a smoker who appears to be in the throes of a disturbing dream. "No matter," Lord Wilson replies. "I would like to experience such sensations too." He falls asleep. Fantastic dreams now take form: the walls of the sepulchre disappear and the mummies come to life and leave their sarcophagi. After them comes Aspicia, their mistress, and daughter of the mighty Pharaoh. Being over the Englishman, she lays her hand on his heart. At that very minute, a magical metamorphisis takes places: Lord Wilson and his servant become Egyptians. The former is called Taor, the latter Passiphonte. Enchanted by Aspicia's beauty, Taor tries to follow her but the princess disappears in a limp haze. Scene III Taor and his servant hurry off to the forest in search of Aspicia. They find her by miracle, sleeping on a moss-covered rock. Nearby are her attendants who are worn out by the intense heat. Aspicia wakes up and recognizes the handsome youth. Oblivious to everthing around them, they gaze at each other. In the distance, hunting horns can be heard. Aspicia asks Taor to hide. Ramze, her slave who has noticed the stranger, tries to persuade her mistress to leave. The hunters appear and worn Aspicia that there is a lion in the forest. Aspicia goes off with the hunters in persuit of the lion. The lion is surrounded but suddenly he breaks out of the ring of hunters and makes for the princess. Toar, who from his hiding place is following the scene in horror, seizes a bow that was left behind by one of the hunters and neatly lodges an arrow into the lion's heart. Aspicia is saved! The pharoah arrives and sees his daughter in the arms of a stranger and gives orders that Taor should be arrested. Aspicia tells him that Taor saved her life and should be rewarded. The pharaoh's rage turns to gratitude. He orders that the youth be freed and invites him to his palace. ACT TWO Taor visits Aspicia in her sumptuous apartments and declares to her his love. The Pharaoh enters, surrounded by a brilliant suite of dignitaries and palace officials. They are followed by the King of Nubia who has come to ask for the hand of the Pharaoh's daughter. The Egyptian potenate agrees to give his daughter in marriage to the King of Nubia and the two men sign a treaty of friendship. Hearing this, Taor is out of his mind with despair. Aspicia tries to calm him down and promises she will never belong to anyone except him. The Pharaoh commands that the festivities to mark his daughter's wedding begin. Full of sadness, Taor reminds Aspicia that soon she is to marry the King of Nubia. "What can we do?" Aspicia asks. "Run away," Taor replies. At the height of the festivities, Taor is handed the key to a secret door which the couple make their escape from the palace. The Pharaoh is furious when he hears of his daughter's disappearance and orders that the runaway couple be apprehended. Noticing the secret door, the King of Nubia sets off, together with his bodyguards, in pursuit of Taor and Aspicia. ACT THREE Scene I Taor and Aspicia are hiding in a fisherman's hut on the banks of the Nile. At nightfall, the fishermen get ready to go fishing and invite their guests to come too. Aspicia decides not to go. Taor advises her to rest and goes off with the fishermen. No sooner has he departed than the King of Nubia, accompanied by his bodyguards, enters the hut. Aspicia is only too well aware that her marriage to the King will seperate her forever from the man she loves. Therefore, to avoid being caught, she runs to the window and throws herself into the Nile. Scene II The mighty God of the Nile gives Aspicia a warm welcome and recognises her to be the daughter of the Pharaoh but she only has one request - she wants to see Taor again. Aspicia's wish is granted and she is united with Taor on dry land. Scene III The Pharaoh's palace. The ruler of Egypt is in despair. He demands that Taor be brought into his presence and threatens to kill him if her does not tell him where Aspicia is hiding. But Taor has no idea where she is. So the Pharaoh commands that the youth be condemmed to death. But at this very moment, sound of joyful march can be heard in the distance: the fishermen have found Aspicia. She throws herself into her father's arms and tells him of her adventures. After hearing of his threats, the Pharaoh orders the King to leave. But the Pharaoh will not forgive Taor for abducting his daughter. Aspicia tells her father that she will kill herself if he doesn't free Taor. Touched by Aspicia's selflessness and the depth of her feeling for Taor, he forgives Taor and gives the couple his blessing. At the height of the festivities, the stage is envelloped in clouds. Scene IV Lord Wilson wakes up and looks around him in astonishment. He sees the tomb of Aspicia and smiles as he remembers his wonderful dream. This synopsis comes from the Bolshoi Theatre.
  20. In which productions do they stage which parts as which acts? Paris Opera is: Act I, Scene I - Indian Temple Act I, Scene II - Rajah's Palace Act II - Betrothel of Gamzatti and Solor Act III - Kingdom of the Shades Australian Ballet's one is: Act I - Forest Outside a Temple Act II - The Rajah's Palace Act III - Betrothel Act IV - Kingdom of the Shades On my CD it says: Act I, Scene I - Forest Outside a Temple Act I, Scene II - Betrothel Act II - Kingdom of the Shades Act III - Marriage of Gamzatti and Solor But this can't be right as it makes for a very long first act and a very short third act. What other productions are there that differ from these and what is the original?
  21. No, in the original Act IV I believe is the shades. This is another good topic, I will post it now.
  22. In the Paris Opera version, there are pieces that aren't in my CD. Maybe my CD is just missing some but these are the Manou Dance, the Indian Dance, the Overture and the Slave Dance. Are these just missing from the CD or did Lanchberry compose them and not credit himself to them?
  23. Which companies perform the epilogue and which don't? The epilogue being Solor and Gamzatti's wedding day and as soon as they say "I do", there is a great storm and everyone is killed (including Solor) and Nikiya and Solor are once again united in the kingdom of the shades.
  24. I have never properly looked at the booklet of my La Bayadere CD (Decca - Richard Bonynge - English Chamber Orchestra - 436 917-2) before today but I just realised that in the back it says "Further ballet releases for DECCA by Richard Bonynge" and it says that "Le Corsaire" has been released on CD (though by the looks of it only the Adam parts). Does anyone have this CD (Decca 430 286-2) I can't seem to find it on their website and I'm really excited about it. Does anyone have it and is it any good?
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