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sejacko

Member
  • Content Count

    37
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About sejacko

  • Rank
    Member
  • Birthday 07/16/1968

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Very avid balletgoer
  • City**
    London (The ROH is my second home)
  • State (US only)**, Country (Outside US only)**
    United Kingdom
  1. From 1.27 onwards there's a bit from Luigini's Ballet Égyptien. I remember when they danced it here in London I was quite gobsmacked to hear it in there! (I had just listened to the wonderful Bonynge recording a few days before) http://www.buywell.com/cgi-bin/buywellic2/efly.html?mv_arg=16227
  2. For those with Blu-ray players, Amazon has it listed for only £17.59 (RRP £30) -- I have a feeling it's a mistake, as they don't seem to have the normal DVD listed at all, and this was probably meant to be their DVD price. Or maybe it's just an amazing pre-order-only price.
  3. Minkus in this case. I'm guessing the info on the VHS cover and/or the Ebay lister don't have a clue.
  4. Thanks for coming to my rescue, dirac. "Pedants rush in where angels fear to tread."
  5. I thought I'd better start a completely separate thread for this (rather delicate) topic, although it is something I was wondering during yesterday's Mariinsky Sleeping Beauty performance at the ROH. (Let me say at this point, that as a gay man, I don't get any kicks out of gawking at ballerinas' bosums). But I did notice that in Act 3, one of the soloists had a rather more fullsome bust that one normally sees on ballerinas. She was very good, and seemed to be.. shall we say.. extremely well-supported. It made me wonder, from a purely practical point of view, whether this can be a problem fo
  6. I saw the SB matinee yesterday. What struck me was how the whole thing had been unnecessarily truncated. Huge chunks were simply omitted (eg. Act 1 went straight into the Waltz - unforgivable!) and many individual numbers shortened. I felt a bit short-changed at the end of it all. Is this really how they perform "their" Sergeyev version? (or perhaps only when they're on tour?) Oh and yes, I also missed the lovely mime sequences that we've become accustomed to in the RB versions.
  7. As an expat South African, that is exactly the kind of ignorant remark one can expect from the uber-manly Rugby fraternity.
  8. Slighty but... In the original 1877 score, with those (what I call) "false starts", ie. several fanfares inbetween the bits of the Waltz of the Prospective Fiances (I think introducing 2 of them at a time before the full waltz is played), the last fanfares for Odile & v.Rothbart have a lot more impact. As if to say, "we thought we'd seen them all, but it seems we have another contender!"
  9. I too have found Dutoit's recording a disappointment; "unballettic" for lack of a better word. Strange that it was so highly rated when it came out, and is *still* widely recommended in the mainstream classical press as a first choice of the complete score. (But then so is the Pletnev/Beauty!) I've always been a bit suspicious how Decca managed to squeeze the whole ballet onto 2CDs.. does Dutoit play all the repeats, and in particulat all those "false starts" in the Dance of the Prospective Brides in ACT 3? For me, the sheer excitement of Ermler's ROH version is unmatched, even though it l
  10. What are the most commonly used editions of the Giselle score used today? Although Minkus's 1884 interpolations have become standard (apart from the much-discussed Act I PDD), I understand that his actual orchestrations are only still used in Russia. In these days of adherance to authenticity, the most obvious thing to do (short of reverting to the complete original Adam version and losing the Minkus interpolations), would be to use the 1884/Petipa version (the published piano reduction which I believe was the basis for most subsequent editions anyway) as a starting point, and then restore Ad
  11. I don't think that's the point. 3rd party online vendors wouldn't have access to those "missing tracks" unless the record companies made them available to them separately from the already available (incomplete) CD versions. If for instance EMI made the "missing tracks" available from the wonderful complete Sylvia & Coppelia (Paris Opera Orchestra, cond. Jean-Baptiste Mari, 1977/78), I'd buy/download them in a flash (even though I already have the existing CD versions which contain about 80% of the music). Mind you, I'd *only* buy those missing tracks, not the whole lot..
  12. Interesting you mention the live Rozhdestvensky one. Around the same time (literally days before/after) he made a studio recording (also with the BBCSO) which was released at the time on LP on the BBC's own label in the UK, and on Eurodisc in mainland Europe. I've been trying to find out for some time whether it's ever been out on CD, but I cannot find any trace of that, so I gather it hasn't. Unlike the live version (which is "slightly abridged"), the studio version was complete, and from the few references I've been able to find, it was very good indeed. It was highly praised in the Gramoph
  13. The much-maligned Makarova/Lanchbery version has no particular relevance in terms of copyright issues since so much "real work" (orchestrations, reworking and new music) went into it that it would carry its own new copyright, and rightfully so. I happen to think that it's very enjoyable in its own right, but it's one of those love-to-hate-it vs. hate-to-love-it things. At least it did lead to a a splendifirous recording of the music (Decca/Bonynge) which is more than the Russians ever gave us. But does Makarova not also deserve credit for starting the slow process towards La Bayadere's rehabi
  14. I've been doing a bit of reading about Russian copyright law. (Ok so it's only on Wikipedia..) Here's what it says about unpublished works: "Among the true novelties introduced by the new legislation in the area of copyrights were a publication right (a copyright granted to the publisher of a previously unpublished, uncopyrighted work with a period of 25 years from the publication), and the definition of two kinds of contracts: one for copyright transfers, and licenses for granting usage rights. Newly, gratis licences were explicitly allowed (article 1235). A subtle change concerned the calc
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