phenby
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Diaghilev Ballet Russe Centenary Celebration 2009
phenby replied to leonid17's topic in Ballet History and Music
In the course of my Ballets Russes pilgrimage last November I viewed the two exhibitions in St Petersburg. While I was happy to have seen them, neither was equal to those of Stockholm or Moscow. The posters announcing Dance: To the 100th Anniversary of Sergey Diaghilev’s Russian Seasons in Paris at the State Hermitage Museum were all over the city. Finding the actual display in the labyrinth of the Hermitage was another thing, however. In fact, I walked right through it the first time thinking what I saw was in some way a teaser for the real thing. But that was it: a handful of original costume designs and a score of production photographs thrown on a wall with little thought of identifying in any detail what you were looking at. No catalog, no brochure, not even a Xeroxed flier. None of the photos were unknown to me (a couple were more probably Maryinsky productions). The nine (yes, NINE !) original designs were a delight but after the poster build-up I felt a little short-changed. For the curious I append a list: Benois: Le Pavillon d’Armide: set design Benois: Giselle: 2 costume designs Benois: Petrushka: 2 costume designs Bakst: Narcisse: 2 costume designs Ansifeld: Sadko: 2 costume designs There were also 4 costume designs by the last-named for Pavlova’s Seven Daughters of the Mountain King (1912). Diaghilev was the focus of another, much larger, exhibition at The Russian Museum (Benois Wing) entitled Diaghilev, The Beginning. This exhibition, occupying 5 large galleries, focused on the early career of Diaghilev as the producer of several Russian art exhibitions (1898 – 1905). While nothing in this notable exhibition related to the Ballets Russes in particular or the dance in general, everything informed the viewer about the evolution of artistic taste that took place in the mind of the young Diaghilev and the artistic and aristocratic contacts that he cultivated. The very size of the art exhibitions he produced was staggering! Aside from the question of his artistic choices it became obvious Diaghilev had organizational skills that were unequalled. A nicely-produced volume of essays and reproductions was issued in conjunction with the exhibition in both Russian and English editions: Diaghilev: The Beginning Edited by Evgenia Petrova (St Petersburg: Palace Editions, 2009), 255pp Teriffic scholarship but nothing on the Ballets Russes. I think only of interest to the completist (or fanatic?). PHENBY (who must be a fanatic to travel around the world to see Ballets Russes exhibitions) -
Diaghilev Ballet Russe Centenary Celebration 2009
phenby replied to leonid17's topic in Ballet History and Music
A number of Diaghilev exhibitions past, present, and future have yet to be noticed in the Western press so I will venture a brief summary. Schwäne und Feuervögel: die Ballets Russes, 1909 – 1929 Deutsches Theatermuseum, Munich Feb 18, 2009 – May 24, 2009 Österreichischen Theatermuseum, Vienna June 25, 2009 – Sept 27, 2009 Catalog by Claudia Jeschke & Nicole Haitzinger (Leipzig: Henschel, 2009) 176pp I am listing the contents as this publication seems to have limited distribution. There are many beautifully reproduced illustrations, including several Roerich designs for Sacre du printemps and Gontcharova’s Liturgie and Les noces. I was fascinated to learn about Fokine’s handwritten dancenotation of Oiseau de feu and Les Sylphides, as well as that of Nijinska for Les noces. I wonder what other Diaghilev ballets may have been notated by their creators? Vorwort by Claudia Jeschke und Nicole Haitzinger Russische Bildwelten in Bewegung by Nicole Haitzinger Russische Bildwelten in Bewegung – Bewegungstexte by Claudie Jeschke Nijinsky und Cecchetti. Zur Aufzeichnung von Ballet-Exercises by Ann Hutchinson Guest & Claudia Jeschke Liturgie (1915) by Nicole Haitzinger Die Geschichte des Balletts Die Hochzeit (Les Noces) by Evgenia Ilyukhina Unglückliche Liaison, Unvereinbarkeit der Charaktere oder späte Liebe? Die Ballets Russes und Mitteleuropa by Gunhild Oberzaucher-Schüller Stampfen, Wirbeln, wildes Trommeln. Zur Rezeption der Ballets Russes in Wien – Stationen von 1909 bis 1933 by Andrea Amort »… ein neues Wort in der europäischen Kunst …« Sergei Diaghilew als Vermittler und Propagandist russischer Kultur by Andreas Wehrmeyer Wichtige Mitarbeiter der Ballets Russes by Petra Kraus Stückbeschreibungen ausgewählter Produktionen by Petra Kraus Die Tourneen im Überblick by Petra Kraus An exhibition sponsored by the Russian American Cultural Center (in two manifestations) had little direct connection with the Diaghilev company. Unfortunately, the one attributed Ballet Russes design (a Roerich ascribed to Sacre du printemps) is more probably related to some other production. Hommage to Diaghilev: Enduring Legacy The Harriman Institute, Columbia University, New York Mar 31, 2009 – June 30, 2009 Hommage to Diaghilev’s Enduring Legacy Ana Tzarev Gallery, New York Sept 17, 2009 – Oct 7, 2009 Catalog by Regina Khidekel The designs can be viewed at: www.russianamericanculture.com/Galleries/Virtual_Exhibitions/Rediscovered_Gems/ A small display of items from the collection of Leon Woidzikowsky turned up in Delaware (!!!) 100th Anniversary of Diaghilev’s Ballets Russes Wilmington, Delaware May 1, 2009 – May 22, 2009 Some of the collection can be seen at www.russianballethistory.com There are also photos of the current Paris Opéra exhibition. A pity that the Library of Congress has such limited space to show all the treasures they own. A small selection had to suffice. Serge Diaghilev and His World: A Centennial Celebration of Diaghilev’s Ballets Russes, 1909 – 1929 Library of Congress, Washington DC June 4, 2009 – Oct 10, 2009 Most of the contents of this exhibition can be viewed at http://myloc.gov/Exhibitions/balletsrusses...es/Default.aspx Italy has thrown its hat into the Ballets Russes arena. “Les Ballets Russes” alla Scala Milano: Anni Venti Teatro alla Scala, Milan, Italy Dec 20, 2009 – Apr 30, 2010 I’ve not encountered any details other than the announcement at www.teatroallascala.org/en/stagioni/2009_2010/manifestazioni/les_ballets_russes_alla_scala.html Besides the current Paris Opéra exhibition there are two other Ballet Russes shows in progress in France. First, an exhibition of costumes for 3 of Diaghilev’s opera productions (Boris Godunov, Khovantchina, Ivan le terrible). Opéras russes, à l’aube des Ballets Russes 1901 – 1913 Centre National de Costume de Scène et de la Scénographie Moulins (Auvergne), France Dec 12, 2009 – May 16, 2010 Catalog by Martine Kahane, Mathias Auclair et Claude Fauque (Paris: Éditions du Mécène. 2009) 160pp The second emphasizes companies following in Diaghilev’s wake. Dans le sillage des Ballets russes (1929 – 1959) Centre National de la Danse Pantin, France Jan 6, 2010 – Apr 10, 2010 Catalog by Florence Poudru (Paris, 2010) 128pp There are some illustrations at www.cnd.fr/agenda/208328/ Finally, the promised Australian exhibition was rescheduled. Ballets Russes: The Art of Costume National Museum of Australia, Canberra Originally: Dec 4, 2009 – Apr 26, 2010 Now: Dec 10. 2010 – Mar 20, 2011 -
Diaghilev Ballet Russe Centenary Celebration 2009
phenby replied to leonid17's topic in Ballet History and Music
Last year I had the occasion to visit the Ballets Russes exhibitions in Stockholm, St Petersburg and Moscow. I believe all of these have presently completed their runs so perhaps some brief summaries might interest since I have seen few reviews in the Western press. Tonight, the Dansmuseet in Stockholm. Several museums possess an original Ballets Russes costume or two in in their wardrobe collections, if they maintain them. Here in Los Angeles the LACMA has one from Chant du Rossignol. Pity that so many are scattered about. Happily the Dansmuseet has some 130+ and just about all of them were on display and what a display it was! No exhibition of art designs, production photos, programs, newspaper reviews or filmed recreations has ever approached the visual and tactile immediacy of experiencing these costumes en masse. The conservation and presentation efforts of the Dansmuseet surpass anything I've seen elsewhere. Herewith a list of the goodies. Le Pavillon d’Armide [bakst] 6 costumes Danses polovtsiennes [Roerich] 5 costumes Cléopâtre [bakst] 6 costumes Schéhérazade [bakst] 13 costumes Giselle [benois] 1 costume L’Oiseau de feu [Golovin] 7 costumes + [Goncharova] 3 costumes Narcisse [bakst] 5 costumes Petrushka [benois] 1 costume Le Dieu bleu [bakst] 6 costumes Thamar [bakst] 9 costumes Daphnis et Chloé [bakst] 7 costumes Le Sacre du printemps [Roerich] 6 costumes [15 costumes in catalog] Le Coq d’or [Gontcharova] 3 costumes Sadko [Gontcharova] 5 costumes La boutique fantasque [Derain] 2 costumes Le Tricorne [Picasso] 2 costumes [in display: not in catalog] Le Chant du Rossignol [Matisse] 2 costumes Le Astuzie femminili/Cimarosiana [sert] 12 costumes Chout [Larionov] 8 costumes The Sleeping Princess [baskt] 14 costumes Aurora’s Wedding [Gontcharova] 2 costumes Les Noces [Goncharova] 2 costumes Les Biches [Laurencin] 2 costumes [in catalog only: not on display] La Pastorale [Pruna] 2 costumes Ode [Tchelitchev] 2 costumes Le Bal [de Chirico] 1 costume There were also a handful of original designs: Bakst: The Sleeping Princesse: Columbine Benois: Le Pavillon d'Armide: A Chevalier, Favorite Slave, Marquis, King Hydraot And a few film clips of recreations on monitors, though all seen before. There is a catalog issued in conjuction with the exhibition: Ballets Russes: The Stockholm Collection edited by Erik Nåslund [the texts are in Swedish & English] (Stockholm, 2009) xxxii & 354pp These are the best photographic reproductions of Ballets Russes costumes I know of! Many costumes from Diaghilev's company remain in private hands to this day. The Dansmuseet hope to acquire as many as opportunity and funds permit. I wish them every good fortune. PHENBY -
Favourite piece of music from a ballet
phenby replied to MinkusPugni's topic in Ballet History and Music
> 'Appalachian Spring' of Copland, which is not a ballet, but is called one anyway. < Not only is it an original ballet score but quite possibly one of the most successful of the 20th century. It remained in the repertoir of the Martha Graham company for many seasons. -
Diaghilev Ballet Russe Centenary Celebration 2009
phenby replied to leonid17's topic in Ballet History and Music
I have seen the three Ballets Russes exhibitions currently on view in the U.S. several times. The collections of the NYPL are not blessed with abundance of visual materials to be found at the Harvard Theatre Collection or the Wadsworth Athenaeum. Since many of the items in the New York exhibition are on loan from private collections curato Lynn Garafola is to be congratulated for putting on an excellent show of Diaghilev material. There are costumes, only one of which is an actual Diaghilev original from the 1908 production of Boris Godunov. The rest are mostly from the Joffrey Company’s recreations: Tricorne (1969), Pétrouchka (1970), Parade (1973), Spectre de la Rose (1979), Sacre du printemps (1987) and Chout (never staged: curious that Joffrey was interested in recreating this). Also one costume from Les Biches : Dance Theater of Harlem (1983). Several monitors display clips from some of the Diaghilev ballets: Joffrey’s Pétrouchka and Parade, New York’s Fils prodigue, and several from the Royal Ballet in black and white (some with scripted commentary by Karsavina): Pétrouchka, Oiseau de feu, Sylphides, Spectre de la Rose, Les Noces. I was especially fascinated by an excerpt from Massine’s Femmes de bonne humeur, although the original footage was silent and the added piano accompaniment suffered from synchronization problems. For the many casual visitors (this exhibition, after all, is presented in a public library) the costumes and film clips really make the Ballets Russes come alive. Last, a clip from Pavlova’s film The Dumb Girl from Portici. Of this latter no comment. The center of interest of every Ballets Russes exhibition seems to lie in the direction of costume/scenic designs. There are about twenty on view at the NYPL, several from a private collection (and previously unknown to me). Bakst: costume designs from Cléopâtre (1909) and Narcisse (1911), a set design for Femmes de bonne humeur, and a costume for the Sleeping Princess (1921). Benois: a set design for Pavillon d’Armide (1909). Gontcharova: two costumes for the projected Liturgie (1915), a set design and three costumes from Les Noces (fascinating the comparison between her preliminary version and the finished item), and a set and a costume design for the restaging of Oiseau de feu (1926). Larionov: set design for Renard (1929). Robert Edmond Jones: costume design from Nijinsky’s ill-fated Till Eulenspiegel (1916). Juan Gris: costume design from Les Tentations de la Bergère. Pavel Tchelechev: a set and a costume design from Ode (1928). Giorgio de Chirico: a costume design from Le Bal (1929). There are Ballets Russes programs on display as well as from other ballet companies of the era: Pavlova, Gertrude Hoffmann, Truhanova, Chauvre-souris, Ballets suedois, and La Argentina. Correspondance of Diaghilev, Astruc, Anton Dolin, Lifar, Balanchine and … Cole Porter. Production photos, portraits, rare book editions, Diaghilev’s autograph notebooks (1909-11) and (ca 1916-20), Nijinsky’s autography Diary (YES, that famous diary!!), and two of Grigoriev’s autograph notebooks. Last, four autograph documents from Diaghilev’s greatest musical star, Igor Stravinsky, on loan from the Julliard collection: sketches for Oiseau de feu and Pétrouchka and corrected scores for Les Noces and Apollon Musagète. Before I leave New York City I must mention the large exhibition of theatrical designs currently on display at the Museum of Modern Art. Most of these relate to US ballet productions (many are gifts of Lincoln Kirstein), among which a few from the Ballets Russes. There is a scene design by Gontcharova for Coq d’or and another by Bakst. Also costumes (reproductions) for the French Manager (small differences from the NYPL example) and the Horse from Parade are included. While you have until Sept 13 to view the NPYL exhibition, this is the last week of the Wadsworth Athenaeum (closing the 21st). If there is interest I’ll post a resumé of that exhibition. Harvard’s show closes August 28. Did I mention NYPL and Harvard are free admission? PHENBY -
Diaghilev Ballet Russe Centenary Celebration 2009
phenby replied to leonid17's topic in Ballet History and Music
I have yet to visit the Wadsworth exhibition and won't make it to the Harriman Center (Columbia University) but in the meanwhile I'll add my two thumbs up for the current Ballets Russes exhibition in the Pusey Library at Harvard University. The scope of the decor and costume designs displayed is breathtaking (most from the Howard Rothschild collection). Various portraits of the dancers (many of these are frequently reproduced in books). A smattering of programs, letters and signed contracts (the Harvard Theatre Collection has a large archive of these). Several manuscript/autograph scores of the music for the ballets (Rieti's Le Bal, Dukelsky's Zephyr et Flore. etc). The exhibition space in the library is a bit cramped but it's hard to complain with so much available to view. The exhibition opened during the 3-day symposim organized by the Harvard Theatre Collection: Diaghilev's Ballets Russes, 1909-1929: Twenty Years that Changed the World of Art. (April 15 - 17). Some 30 speakers coming from various disciplines, everyone had something interesting to say. Topics that I rashly presumed would bore me proved interesting after all. Among the many, that of Prof. Thomas Forrest Kelley on The First Night of The Rite of Spring was outstanding in content and delivery. If you have any interest in the Ballets Russes you HAVE TO make it to this exhibition. It's on view through August 28. You might wait 'til June though, as nearby Boston University opens their Ballets Russes exhibition in late May following their symposium (I'll be there). PHENBY -
Diaghilev Ballet Russe Centenary Celebration 2009
phenby replied to leonid17's topic in Ballet History and Music
Paris has finally released the schedual for their Ballets Russes festivities. For the ballet perfmances: The Three-Cornered Hat' Le spectre de la rose L'Apres-midi d'un faune Petrouchka Dec 28 - 28, 2009 Ballet de l'Opera de Paris The Paris exhibition at the Bibliotheque-Musee de l'Opera de Paris, Salle Garnier Nov 2, 2009 - April 30, 2010 Les Ballets russes -
Diaghilev Ballet Russe Centenary Celebration 2009
phenby replied to leonid17's topic in Ballet History and Music
Three more Ballet Russes scheduals of performances not yet listed: Ballets Russes Les Sylphides Apollo The Dying Swan Schéhérazade The Rite of Spring (chor Kenneth MacMillan) L'Après-midi d'un faune (chor David Dawson) Le Spectre de la Rose June 16 - 20, 2009 English National Ballet, Sadler's Wells, London 100 Years of Les Ballets Russes Les Sylphides Scheherazade (chor Krzysztof Pastor) Le fils prodigue June 19 - 27, 2009 Het Nationale Ballet, Amsterdam Soirée Ballets Russes program not announced Dec 12 - 31, 2009 Ballet de l'Opéra de Paris The total number of exhibitions announced numbers 10. And plans for the promised Paris show are yet to be unveiled! To recap and update those already mentioned: The Ballets Russes: Celebrating the Centennial Feb 19, 2009 - June 21, 2009 Wadsworth Atheneum, New Haven Homage to Diaghilev: Enduring Legacy Mar 31, 2009 - May 22, 2009 Harriman Institute, Columbia University, New York Diaghilev's Ballets Russes, 1909 - 1929: Twenty Years that Changed the World of Art Apr 15, 2009 - Aug 28, 2009 Pusey Library, Harvard University, Cambridge Ballets Russes in Paris, 1909 - 2009 May 15, 2009 - Jan. 10, 2010 Dansmuseet, Stockholm Étonne-Moi!: the Ballets Russes and the Art of the New May 20, 2009 - ? 808 Gallery, Boston University Tanz der Farben. Nijinskys Auge und die Abstraktion (Dance of Colours. Nijinsky's Eye and Abstraction) May 20, 2009 - Aug 16, 2009 Hamburger Kunsthalle, Hamburg, Germany Diaghilev's Theater of Marvels: The Ballets Russes and Its Aftermath Jun 26, 2009 - Sept 12, 2009 Donald and Mary Oenslager Gallery, New York Public Library for the Performing Arts Étonne-Moi! July 9, 2009 - Sept 20, 2009 Nouveau Musée National de Monaco, Villa Sauber Oct 27, 2009 - Jan 24, 2010 Tretyakov Gallery, Moscow Ballets Russes: The Art of Costume Dec 4, 2009 - Apr 26, 2010 National Gallery of Australia, Canberra Diaghilev and the Ballets Russes, 1900-1939 Sept 18, 2010 - Jan 16, 2011 Victoria and Albert Museum, London -
The Diaghilev production of Las Meninas (decor/costumes by J-M Sert) was danced to the Pavane of Gabriel Fauré, an equally beautiful piece of music. A plan to enlarge this short ballet with three additional numbers (music by Aubert, Chabrier, and Ravel) never came to fruition. This unrealized production, entitled Les Jardins d'Aranjuez, is one of only three ballets that appear in the program books of the Ballets Russes but never actually achieved production.
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You don't have to wait for Boston and London. The McNay Art Museum of San Antonio opens their Ballets Russes exhibition June 7 through Aug. 17, 2008. The Tobin collection houses what is the second largest collection of costume designs for the Diaghilev company in America. The Dansmuseet of Stockholm has schedualed its Ballets Russes exhibition for May 18 - Nov 1, 2009. They possess one of the larger collections of actual costumes used by the Diaghilev company. The conference/exhibition at Boston University in conjunction with the Wadsworth Atheneum, Hartford will be held May 16-21, 2009. Boston Ballet's Diaghilev program includes Le Fils prodigue, L'Apres-midi d'une faune, Spectre de la Rose, and Sacre du printemps. The Joffrey will be recycling its Diaghilev recreations on a program Feb 19 - Mar 1, 2009. So far Les noces and Sacre du printemps have been mentioned. Ballet West follows shortly thereafter, Mar 27 - Apr 4, 2009 with a Diaghilev program including Les Biches, Le Fils prodigue, and Danses polovtsiennes. The resurrected Oakland Ballet has promised a Diaghilev program. I have fond memories of their Ballets Russes restagings from the late '70s/early '80s. It looks like the Victoria & Albert (London) exhibition may be pushed back from its target of Oct 2009 to early 2010. That's the problem with have too many possibilites at you hands for inclusion. Major exhibitions are promised in Paris and Monaco. No details yet. Time to cash in those travel awards. PHENBY
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'Le portrait de l'Enfant' is set to three scores by Ravel: Pavane pour und Infante defunte, Alborada del gracioso, Rapsodie espagnole.
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Complete Daphnis & Chloe Recording?
phenby replied to MakarovaFan's topic in Ballet History and Music
The Chung recording on DGG label. -
Complete Daphnis & Chloe Recording?
phenby replied to MakarovaFan's topic in Ballet History and Music
At least 36 commercial recordings of the complete Daphnis et Chloé have appeared in the last 55 years. All but 2 have been issued on Compact Disc. Antal Dorati & Minneapolis Symphony Orchestra [lp only] mono Ernest Ansermet & l'Orchestre de la Suisse Romande (1st recording) mono Désiré-Emil Inghelbrecht & l'Orchestre du Théâtre des Champs-Elysées mono Charles Munch & Boston Symphony Orchestra (1st recording) Pierre Monteux & London Symphony Manuel Rosenthal & l'Orchestre du Théâtre National de l'Opéra de Paris Charles Munch & Boston Symphony Orchestra (2nd recording) Leonard Bernstein & New York Philharmonic André Cluytens & l'Orchestre de la Société des Concerts du Conservatoire Ernest Ansermet & l'Orchestre de la Suisse Romande (2nd recording) Pierre Monteux & Concertgebouw Orchestra Rafael Fruhbeck de Burgos & New Philharmonia Orchestra [lp only] Lorin Maazel & Cleveland Orchestra Seiji Ozawa & Boston Symphony Orchestra Charles Dutoit & Montreal Symphony Orchestra Pierre Boulez & New York Philharmonic Jean Martinon & l'Orchestre de Paris Eduardo Mata & Dallas Symphony Orchestra Gennady Rozhdestvensky & Moscow Radio Symphony André Previn & London Symphomy Simon Rattle & City of Birmingham Symphony Orchestra Claudio Abbado & London Symphony Bernard Haitink & Boston Symphony Eliahu Inbal & l'Orchestre National de France Yan Pascal Tortelier & Ulser Orchester Gerard Schwarz & Seattle Symphony Orchestra Pierre Boulez & Berliner Philharmoniker Yoël Levi & Atlanta Symphony Orchestra Ricardo Chailly & Concertgebouw Orchestra Kent Nagano & London Symphony Michael Gielen & SWR Symphony Orchestra Michael Schønwandt & Berliner Sinfonie-Orchester Myung-Whun Chung & l'Orchestre Philharmonique de Radio-France Laurent Petitgirard & l'Orchestre-National Bordeaux Aquitaine Two further pendants: Ravel himself prepared the requisite piano score of Daphnis to be used for rehearsals. This has been recorded complete by the pianist Clair-Marie Le Guay. A version of Daphnis rearranged for synthesizer (!) has been recorded by the artist Tomita. As for recommendations. I don't know the Levi, Gielen, Schønwandt, and Tomita performances. For the remainder I would stay away from Bernstein, Rozhdestvensky, and Schwarz. The others I would rate from good to excellent. Monteux is a frequent recommendation: he premiered the work with the Diaghilev Ballets Russes and knew its measure better than any, but his two recordings, though good, are sonically dated. For a new listener I would go with two of the more recent: Chung on DGG or Petitgirard on Naxos if you're on a tighter budget. The difference in sound makes an appreciable difference. PHENBY -
Any news on any upcoming ballet recordings?
phenby replied to Solor's topic in Ballet History and Music
Here's a new CD release that may interest the 19th-century afficionado: Ferdinand Herold (1791-1833): La Somnambule, ou L’Arivée d’un nouveau seigneur, ballet-pantomime en trois actes choreography by Jean-Pierre Aumer (1774-1833) libretto: Eugène Scribe premiere: 19 Jan. 1827, Paris Opéra Richard Bonynge & Orchestra of Victoria, Australia MELBA MR 301087 timing 60:30 I'm happy to see Mr. Bonynge continue his efforts in forgotten ballet scores. Incidentally, it was this ballet which provided the inspiration for Bellini's opera four years later. PHENBY -
How does one gain access to Paris Opera Library? I see my quoted words are a bit of an overstatement. Non-copyright materials in the collections of the French National Libraries (of which the Paris Opera Library is a branch) may be copied by the staff after the payment of the service fee. Otherwise research is reduced to making notes in paper and pencil. To gain access to the library you must apply well in advance of your visit. You must list your academic qualifications, materials you wish to examine, and the purpose of your research. The first step is a letter (en Francais) to the director. I have not been for several years and I'm told these days this can be done by e-mail. Pierre Vidal, directeur Bibliothèque-Musée de l’Opéra 8, rue Scribe 75009 Paris France bibliotheque-musee-opera@bnf.fr After you'vre received permission and you're in Paris you take the letter to the central library where a library card will be issued. Again, I'm told this part may also now be accomplished by e-mail. The web site with instructions will be found at www.bnf.fr Good luck! PHENBY
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However, if 'Bleuette' is a piano piece, it may not be in the orchestra score, in which case I know there's a piano score available there too that I was planning to take a long look at. The Valse bluette is from the last collection of piano pieces Tchaikovsky published (as are the two other interpolations of Drigo). Tchaikovsky: Valse-bluette, Op. 72, No. 11 (E-flat major) It is easily available in published editions of Tchaikovsky's piano music. Drigo's orchestration was also published, although copies of the score are mightily scarce. PHENBY
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For the Pugni enthusiast there's a nicely-done appreciation recently published: Cesare Pugni, Marius Petipa and 19th-century ballet music by Rodney Stenning Edgecombe The Musical Times Summer 2006 vol. 147, no. 1985 pp. 39-48 PHENBY
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Almost. I once catalogued the orchestral score for Diaghilev's production many years ago. Diaghilev made a few cuts in the score which were patched with specially composed bridges by Igor Stravinsky. The latter also reorchestrated two numbers and recomposed the Finale Apotheosis. Although Petipa's choreography was reproduced by Nicholas Sergeyev some numbers were newly choreographed by Nijinska, namely "the action-scenes, hunting dances in Scene 3, Aurora's Variation in Scene 3, and tales of Bluebeard, Sheherazade, and Innocent Ivan." I assume it was purely the caprice of Diaghilev to interpolate new choreography into Petipa's masterpiece since I would think Sergeyev would have been perfectly capable of reproducing Petipa's original choreography to these sections. Similarly, I think Stravinsky's 'reorchestrations' were merely Diaghilev's ploy to affix the cache of an avant-garde composer to a past classic with little audience interest at the time. Le mariage d'Aurore or Aurora's Wedding was Diaghilev's title for the selection of numbers he chose to make up the condensed version premiered in Paris May 18, 1922 (the sets were from the 1909 production of Le Pavillon d'Armide since the original Bakst production had been impounded after the failure of the 1921 London production). PHENBY
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Am I the only one that's frustrated that this ballet has not been reproduced in light of the fact that members of the original cast are alive and reputedly remember the choreography? Come on, the Stravinsky/Balanchine combination was the greatest pairing since Gilbert and Sullivan! Ten years after they are gone someone will be attempting a 'reconstruction' based on photographs and reviews!?! PHENBY
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Solor: There is nothing more complicated in the world right now than the international music copyright situation. Most of the western countries subscribe to the Bern Convention, which guarantees that all materials copyrighted in the participating nations will be granted the same protection in each country accorded to its own citizens. The problem occurs in that every nation has a different set of copyright laws. Some countries have extended copyright terms to absurd lengths (the USA for instance). At the other extreme some have very limited terms (Italy for instance). So the question is not always IF a given piece is still under copyright, but rather WHERE it is still under copyright. At the moment the term of musical copyright in the United States is 'frozen' at about 1923. Most music published before that is now in public domain (there are exceptions). The Busser edition of Giselle would still be under copyright in the US, probably also France and England, probably not Germany and Italy (these are guesses). Adam's original score is definitely not under copyright. Anyone who can gain access to the Paris Opera Library can make a copy of it. But if someone chooses to publish a new 'edition' then that 'edition' would be under copyright. By definition an 'edition' must add or change something in the original text. No changes, no edition, no copyright, NO ROYALTIES! I do know a couple of publishers have put out 'suites' from Giselle since the Busser edition. Again, these are 'editions' which make some changes. I've never heard of a publication of the complete score other than the Busser edition. If I can ever regain access to my research archives (in storage since the renovation of my house began a year ago) I'll send a list if there's interest. I'm not familiar with any study dealing with the score of Giselle, but have not kept up with academic publishing much in the last ten years so perhaps something has been done. As for my sources, well .... I grew up with training in both ballet and music. When I moved to NYC in the mid-70s I became the majordomo of a wealthy balletomane who dreamed of creating a museum devoted to ballet. The private collection of materials, both published and manuscirpt, was vast and for several years I consumed its contents in the process of cataloging the collection. Alas, the ballet museum never came to fruition, its materials dispersed in the 1990's. By the way, Leonid, I was also authenticating a few Pavlova scores for Sotheby's in the 1970's. I wish I'd paid more attention to them. PHENBY
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Solar I don't have access to my copy of the CD presently but my recollection is that it followed the score. May I take this opportunity to voice my complaint against all recording companies which produce ballet recordings and then fail to reproduce the libretto in the liner notes (just about always the case!). PHENBY LE PAVILLON D’ARMIDE Ballet en trois tableaux. Poème d’Alexandre Benois. Chorégraphie de Michel Fokine Musique de N. TCHEREPNINE. [snip]
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Any news on any upcoming ballet recordings?
phenby replied to Solor's topic in Ballet History and Music
More importantly, which century? I probably pick up a new recording of an unknown ballet score of the 20th century every month. Sometimes more. This month it's Mayuzumi's Bugaku (Balanchine 1963). But it's a very long wait between resurrections of 19th century pieces. I know the problems having been personally involved. For most 20th century ballet scores a conductor can go straight to the publisher or orchestral library and obtain a complete score and parts ready for performance. For the 19th century forget it! If your lucky enough to locate an orchestral score of a work it's often not usable. Notations have in some cases changed in the intervening years, the paper or binding may be too brittle to allow direct use. So the whole score may have to be recopied. Then there is the matter of orchestral parts which have to be recopied. (The latest computer software facilitates this.) It's extremely time consuming work and no one is willing to pay. I've had offers by producers to record works I've discovered if I can supply a score and parts gratis. I understand their position, the commercial return is miniscule. But it's a commitment of months for no renumeration. So my appetite for ballet music will continue to be served by the 20th century with the occasional bon bon from the 19th. Bye the bye, does Bugaku still get performed? I'm intrigued by the music and wonder what Balanchine made of it? PHENBY -
I cannot address the specifics of your instance but here follows the general situation. During the 18th and 19th centuries ballet scores were typically only published in piano reductions, if at all. Orchestral scores could only be obtained by having a copyist create a duplicate score: time-consuming and expensive. As an alternative it was often cheaper and more expediant to have someone create a new orchestration based on the published piano reduction. I believe Adam's orchestration of Giselle remained unpublished until the 1920's when the composer/conductor, Henri Busser, prepared an edition for publication. Busser's edition contained all manner of 'improvements': the era of musically authentic texts was yet to come. Most of the recordings I have heard seem to use Busser's text. One notable exception was a recording by Bonynge which went back to Adam's original orchestration. Despite the availability of Busser's edition for these many years, a number of productions used commissioned orchestrations. That can avoid royalty fees. Constant Lambert was responsible for one such orchestration. PHENBY
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Grogh was Copland's apprentice work, intended for the Swedish Ballet. Never produced as a ballet, Copland recycled most of the music in a concert work entitled Dance Symphony. It doesn't sound a lot like the Copland we all know (very French in harmony) but I like the music just the same. It might have played well in its time and place (Paris 1924) but the ballet libretto was so corny it's no wonder the score had to be shelved. Hear Ye Hear Ye was choreographed by Ruth Page. I don't think its production (1934) ran more than one season, but I don't have the impression many ballets of Page ever did. Critical reception was poor. Copland never allowed the work to be published or performed in his lifetime. The music sounds like Copland, some jazz influence. Least interesting of his ballet scores. Dance Panels was an abstract score commissioned by Robbins, who rejected the result. I'm not sure if it was ever used for it's intended balletic purposes. It's undoubtedly one of Copland's least performed works. Sounds like Copland (late Copland; more dissonant than his mid-life works) in every measure but nothing really sticks. Not bad, just not memorable. You can talk miles around the topic of what makes a work of art great, be it ballet, music, literature, graphic arts, etc. I have read many scholarly disserations, sat through way too many interminable lectures. This one's use of forced perspective, that one's harmony, another's narrative technique. For me, what it comes down to is this; some few special works have a way of finding a permanent presence in the memory, a presence that compells re-experiencing. Returning to Copland, I could recall parts of the three famous ballets after I first heard each. I've listened to the above scores more than once in my life (though none too recently). I can't remember a single note. PHENBY