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odinthor

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About odinthor

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Avid balletgoer
  • City**
    Los Angeles
  • State (US only)**, Country (Outside US only)**
    California

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  1. Thanks for the interest! I glanced over the collection and have made a hasty stab at listing the items which appeared to indicate the holdings of Stepanov notations of Petipa's choreography for operas. These are the operas concerned, which I list by composer: Berlioz, Les Troyens Bizet, Carmen Borodin, Prince Igor Cui, Prisoner of the Caucasus Dargomyzhsky, Rusalka Delibes, Lakmé Glinka, Life for the Tsar Glinka, Ruslan and Ludmila Gounod, Romeo & Juliet Massenet, Esclarmonde Meyerbeer, Huguenots Meyerbeer, Prophète Náp
  2. We see among the works of Petipa preserved in Stepanov notation in the Sergeyev Collection a handful of works intended, as I understand, for the ballet sequences in a number of operas--Lakmé, Aïda, Les Contes d'Hoffmann, and so on. I can imagine, even aside from their being included in opera productions, that these would provide in and of themselves a most interesting suite or suites for production simply as ballet presentations. They would add further diversity to the classic ballet repertory. Have any of these Petipa opera-born works been reconstructed from the Stepanov notation,
  3. ^^^ Thanks so much! It sounds as if I'd enjoy the Meisner book immensely [grabs credit card and rushes off to Amazon]!
  4. I've made a bit of progress on this. Someone in a position to know, authoritatively, has given me to understand that these wonderful works are from the hand of the mother of Jimmy Gamonet De los Heros. Now to find out what production they represent!
  5. Do we know to what degree Petipa scuttled the previous choreography when he rechoreographed an existing ballet? At times I have the feeling that the previous choreography has at least "colored" much of what Petipa's rechoreography/revision presents. Unless he always completely changed everything, obviously it would vary from ballet to ballet; but I'm interested in knowing what remains of the work of previous choreographers in Petipa's rechoreographies. Perhaps at times Petipa simply fine-tuned what he regarded as occasional miscues in the original. We may have more of St.-Léon or Perr
  6. Thanks for your thoughts! Surely somewhere--book or research paper--there's an extended study of ballet in South America, with details of productions...? The signature seems to be "R de los Heros". I'd very much like to see more of his/her work. Online searches have yielded nothing applicable, neither text nor images. The theatrical costume design folks in the Victoria and Albert Museum in London are unfamiliar with this artist, yet clearly these were produced by a professional familiar with costume design. The bird symbol on one gentleman's shield appears to be ver
  7. Still trying to pin down something about the production these delightful sketches presumably come from, or who the artist/designer was. The female has something of a Medea vibe; but the story of Jason and Medea doesn't concern rival men, which would seem to be the implication of the spirit of the sketches. Does anyone know someone who has done research on the Ballet scene in South America in approximately the 1950s? (Of course, just because the pictures came from a collector in Argentina doesn't mean that the production was in Argentina or South America.)
  8. Thanks! I was quite charmed by them. Here are close-ups of the other two figures, should they provide a clue about the production/artist: and The lady seems to be holding a length of rope.
  9. I wonder if anyone has any ideas about what production these costume designs were evidently intended for (and who the artist/designer might be)...? Here is the artist's signature (which for the life of me I can't construe): I recently purchased these three gouaches. The seller indicates that they came from Argentina, and guesses a date around 1940; another design expert, not knowing of the 1940 guess, thought "1950s." (I seem to recall vaguely that Massine had a South American tour or two in that era.) Here's a sharper image of one: Any thoughts would be wa
  10. Saw it last night. Was entertained but underwhelmed. No questioning the commitment and ability of the dancers; but I did not feel the spirit of Isadora was evoked. The movements were too tight and nervous. The presentation was too concerned with being symbolic and allusive. The ever-undulating thisses and thats made me sea-sick. Afterwards, I felt neither a greater understanding of Isadora nor--taking Isadora out of the equation--understanding nor empathy with the faux-Isadora. I was unable to set aside the notion that character Terpsichore looked halfway between an Indian in a
  11. Asking forgiveness for presenting a wall of text--I'll restrain myself after this--but I've run across a page which I feel puts across the essence of what Massine was doing with music vis-à-vis dance. (From Massine a Biography, by Vicente Garcia-Marquez, p. 122; the text relates to 1919, London.) "[...] In the evening the company presented its first performance, Les Femmes de bonne humeur, with a new, more realistic décor by Bakst. To Diaghilev's immense relief and deep satisfaction, Les Femmes and its dancers were a sensation. The ballet's cinematic movements and simultaneous ac
  12. Thanks, Quiggin, for that excellent overview and discussion of Massine! Massine is mentioned in various places, I seem to recall, as being extremely inventive; it's probably a case of having so much to give, and wanting to pack it all in. He became aware, as time went on, that his complexity could be daunting; or at least I recall in his autobiography several remarks from him to that effect. In talking about a revival of his Mam'zelle Angot, for instance, he writes, "In the course of producing this ballet [...], I found that much of the original choreography needed simplification
  13. My word. A Parisian friend, on seeing my recent Facebook blather about Massine, writes to me and tells me that one of his clients worked with Massine in one of the late incarnations of the Ballet Russe, has broached my interest to the client, and the client wonders if I have any questions. If I get any answers of interest, and can relate them without any breach of confidence or privacy, I'll share them here...
  14. Outstanding and exciting! I'd feel honored and enriched to see such offerings today. I'm fairly sure I saw the Joffrey in L.A. about then doing at least Parade, Petroushka, and The Green Table. (And maybe I've just forgotten the others; it was about then that I started attending ballet, and I wouldn't yet have been hip to the significance of the various choreographers and their works.) And so, anyone who has any sway: Start talking up Massine, and the serious stuff (I wonder if his own choreography of Sacre du Printemps is recoverable...?) as well as the light pieces
  15. Yes, it looks like it; or Theodor Massine. See http://massine-ballet.com/html/revivals.php : "For revivals the original Léonide Massine Ballets of the Ballets Russes and Ballet Russes de Monte Carlo have been documented on film and are available for remounting of these ballets. In addition the Massine Ballets have to be restaged in cooperation with a repetiteur approved by the Massine Estate. Restagings have been conducted by Lorca Massine, www.lorcamassine.com. Please send all enquiries to Mr. Theodor Massine."
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