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a recording i have of the glazunov 'chopiniana' includes the following: POLONAISE IN A MAJOR, OP 40 NO. 1 NOCTURNE IN F MAJOR, OP 15 NO. 1 MAZURAK IN C SHARP MINOR, OP 50, NO. 3 WALTZ IN C SHARP MINOR, OP 64, NO. 2 TARANTELLA, A FLAT MAJOR, OP 43 meanwhile i'm attempting to attach a photo, probably from 1914 of Elena M. Lukom and Anatole N. Obukhov in CHOPINIANA, Imperial Theater production.

greetings jane, herewith some bits from ny pub. lib. for perf. arts/dance collection, there are 14 hits when i search her name here. a good no. are photos, from caton's SEBASTIAN, some w/ moncion. in what the lib. calls its AUTHORITY TERMS, Maslova's name is listed simply as LISA MASLOVA w/ no life dates whatsoever. not much to go on, alas. Mad Tristan [motion picture] / produced by Ballet International ; choreography by Leonide Massine. 1944. (26 1/2 min., 633 ft.) : si., b&w ; 16 mm. Permission required. Filmed in rehearsal with sets and some costumes at the International Theatre, New York, N.Y., December 1944. Libretto and decor, Salvador Dalí. Danced by Ballet International. Cast includes Francisco Moncion (Tristan), Toni Worth (Isolde) and Lisa Maslova (Chimera of Isolde). Leonide Massine Collection. Kay, Lisan 1 / Photograph, no credit given. New York, 1945. 5 x 7 in. Notes:Standing behind Lisa Maslova, with Yul Brynner seated at left, in the dance of the Phoenix Birds in the musical, Lute Song, at the Plymouth Theatre. Subjects: Musical comedies. Lute song. Sebastian 6 / Photograph, no credit given. Notes:With Lisa Maslova, Yvonne Patterson and Francisco Moncion. Subjects: Sebastian (Choreographic work : Caton) Patterson, Yvonne 2 / Photograph, no credit given. Notes: With Lisa Maslova and Viola Essen in Sebastian. Subjects: Sebastian (Choreographic work : Caton) Maslova, Lisa 2 / Photograph, no credit given. Notes: With Viola Essen and Yvonne Patterson in Sebastian. Subjects: Sebastian (Choreographic work : Caton)

re: Diaghilev's Ballets Russes LES SYLPHIDES, buckle says (and i'm not sure he known for his exactitude): valse - karsavina mazurka - pavlova prelude - baldina tradition from here on out has had the pas de deux ballerina peforming a combination of either mazurka & pdd or prelude & pdd. i don't think there's a tradition for the combination of valse/pdd.

this is a somewhat complicated answer regarding CHOPINIANA, as there were a few 'versions' before the ballet was shown in paris. lynn garafola's fact-filled appendices in her DIAGHILEV'S BALLETS RUSSES would give you many details. in brief the cast of what garafola lists as REVERIE ROMANTIQUE-BALLET SUR LA MUSIQUE DE CHOPIN (CHOPINIANA-SECOND VERSION): st.petersburg, 8 march 1908 was: anna pavlova, olga preobrajenska, tamara karsavina, vaslav nijinsky that for LES SYLPHIDES (paris, 2 june 909) repeated the st. pete cast except for the preobrajenska, who was replaced by alexandra baldina. (a version previous to the st. pete CHOPINIANA [10 february 1907] was a rather differently constucted suite of chopin pieces (orchestrated before the fact by glazunov), the male lead for this production, dancing opposite pavlova in the pas de deux to the valse in c-sharp minor, op. 64 #2 was mikhail oboukhov.)

fyi: a selection of video titles being auctioned on ebay. (no connection to me personally, it's just that i have them all, but some here might not.) http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...&category=41634

re: the gashlycrumb's A, yes, AMY is correct. the now late amy greenhouse cherished the use of her name. she was a good friend of EG's when i knew him at NYCB but by then the 'gashly' alphabet was a classic, so tho' it wasn't written for amy, she was amused by it. my favorite is neville who died of ennui.

pic 5 = baryshnikov (solo) in DON QUIXOTE PAS DE DEUX [danced opposite gariela komleva, not in this picture]

pic 4 = GISELLE/PEASANT PAS DE DEUX - baryshnikov (who made his season debut in this role, if mem. serves) & nataila bolshakova

pic 3 = sizova and sergei vikulov in GISELLE

pic. 2 = soloviev and sizova in FLOWER FESTIVAL PAS DE DEUX

this series of pic/post-cards comes from my summer, 1970 trip to london, they were all bought if mem. serves at the dance bookshop, and had no credits stamped on the back. alas i have nothing in my box of such items of jonny markovsky, or alla ossipenko. all the shots seemingly come from semi-dress rehearsals. pic. 1 = makarova and soloviev in GISELLE

without, i hope, abusing the privilege of posting moderator's pictures, i'm posting on ballet history some souvenirs of the 1970 london kirov season mentioned earlier in this thread.

BACKSTAGE AT THE KIROV still seems on the market from KULTUR but the eveteyeva swanlake seems deleted.but it pops up now and again on ebay. if i see it i'll let you know. or do a search of amazon it may be available used. fyi: http://www.kulturvideo.com/AB2046000/webpa...=6&WebPage_ID=3

yevteyeva's partner in the kirov swanlake is jonny markovsky, husband, at the time, i THINK of alla ossipenko. he was part of the kirov's summer season in london, when ossipenko also danced and which included kolpakova, sizova, soloviev, semenonv, and makarova, and oh yes the west's first look at baryshnikov. by the royal festival hall season's end, markarova had defected. this was 1970, and it was my good luck to have had this occasion as my initial look at the kirov live.

susan jaffe would likely be prominent in most publications featuring photo spreads of baryshnikov's era at ABT, she was much promoted by him. there was a lovely pub. of photos of the SWAN LAKE baryshnikov staged: Swan lake (Choreographic work : Baryshnikov after Ivanov and Petipa, M) Chor: Mikhail Baryshnikov (based upon Kirov version after Marius Petipa and Lev Ivanov); mus: Peter Ilich Tchaikovsky; scen & cos: PierLuigi Samaritani; lighting: Jennifer Tipton. First perf: Costa Mesa, Calif., Orange County Performing Arts Center, Dec 2, 1988; American Ballet Theatre.//First New York perf: Metropolitan Opera House, May 8, 1989; American Ballet Theatre. the portfolio was of photos by paul b. goode, an excellent photographer; it was produced in house if i recall correctly, and jaffe was baryshnikov's premiere swan queen. otherwise you might do a search on google, perhaps more videos w/ jaffe would come up. she was shown in jardin anime, baryshnikov produced as part of an all-petipa evening that was telecast as part of the 'live from lincoln center' series: Jardin animé Chor: Diana Joffe after Marius Petipa (from Act II of the corsair); mus: Léo Delibes, Adolphe Adam & Riccardo Drigo arr. by Hershy Kay; scen & cos: Santo Loquasto. First perf: New York, Metropolitan Opera House, May 20, 1981; American Ballet Theatre. here are a few other video listings w/jaffe: American Ballet Theatre at the Met / WNET/13 ; director, Brian Large. U.S.: WNET, 1984.(85 min.) : sd., col. Danced by members of American Ballet Theatre. Les sylphides / choreography, Mikhail Fokin ; music, Chopin ; scenery, Alexandre Benois ; danced by Marianna Tcherkassky, Cynthia Harvey, Cheryl Yeager, Mikhail Baryshnikov, and ensemble. Triad / choreography, Kenneth MacMillan ; music, Sergei Prokofiev ; danced by Amanda McKerrow, Robert La Fosse, and Johan Renvall, with John Gardner, John Turjoman, and Craig Wright. Paquita / choreography, staged by Natalia Makarova after Marius Petipa ; music, Ludwig Minkus, orchestrated by John Lanchbery ; costumes, Theoni V. Aldredge ; danced by Cynthia Gregory and Fernando Bujones, with Leslie Browne, Susan Jaffe, Cynthia Harvey, Deirdre Carberry, and ensemble. Videotaped in performance at the Metropolitan Opera House, New York, in 1984. Telecast on February 22, 1985 on the Dance in America series by WNET/13, New York. American Ballet Theatre in San Francisco 1985. 105 min. : sd. color A National Video Corporation production. Producer: Robin Scott. Distributed by Home Vision, Chicago, Ill. Directed for television by Brian Large. Live performance from the War Memorial Opera House, San Francisco, recorded March 1, 1985. Danced by artists of American Ballet Theatre. CONTENTS. - Airs. Choreography: Paul Taylor. Music: George Frideric Handel. Costumes: Gene Moore. Lighting: Jennifer Tipton. Danced by Lisa Rinehart, Kristine Soleri, Anna Spelman, Christine Spizzo, Peter Fonseca, Johan Renvall, Thomas Titone. - Le jardin aux lilas (Lilac garden) Choreography: Antony Tudor. Music: Ernest Chausson. Scenery and lighting: Tim Lingwood. Costumes: Raymond Sovey. Danced by Leslie Browne, Martine van Hamel, Robert La Fosse, Michael Owen. - Swan lake, Act III: Black swan pas de deux. Choreography: Marius Petipa. Music: Peter Tchaikovsky. Scenery: William Pitkin. Costumes: Nicholas Georgiadis. Danced by Cynthia Gregory and Fernando Bujones. - Romeo and Juliet, Act I: Balcony scene pas de deux. Choreography: Kenneth MacMillan. Music: Sergei Prokofiev. Danced by Natalia Makarova and Kevin McKenzie. - Great galloping Gottschalk. Choreography: Lynne Taylor-Corbett. Music: Louis Moreau Gottschalk. Costumes: Gretchen Ward Warren. Lighting: David K. H. Elliott. Danced by Susan Jaffe, Elaine Kudo, Deirdre Carberry, Lisa Lockwood, Christine Spizzo, Kristine Soleri, Robert La Fosse, Gil Boggs, and Johan Renvall. Balanchine Celebration, part two / produced by Thirteen/WNET in association with New York City Ballet, NVC Arts, and NOS Television ; directed by Matthew Diamond ; produced by Judy Kinberg ; choreography by George Balanchine. New York, N.Y. : Thirteen/WNET, c1993. (86 min.) : sd., col. with b&w sequence Host: Robert MacNeil. Performed by New York City Ballet with guest artists. Conductors: Hugo Fiorato, Gordon Boelzner, and Maurice Kaplow. Executive producer, Jac Venza ; writer, Holly Brubach ; lighting, Mark Stanley. Western symphony: Fourth movement, Rondo / music, Hershy Kay ; scenery, John Boyt ; costumes, Karinska ; danced by Susan Jaffe (American Ballet Theatre), Nikolaj Hübbe, and ensemble. Agon: selections / music, Igor Stravinsky ; danced by Peter Boal, Zippora Karz, and Kathleen Tracey (first pas de trois) ; Albert Evans, Arch Higgins, and Wendy Whelan (second pas de trois) ; Darcey Bussell (Royal Ballet) and Lindsay Fischer (pas de deux). Who cares?: selections / music, George Gershwin ; cast: The man I love: Viviana Durante (Royal Ballet) and Robert La Fosse ; I'll build a stairway to paradise: Lourdes Lopez ; Embraceable you: Heather Watts and Jock Soto ; Fascinatin' rhythm: Judith Fugate ; Who cares?: Melinda Roy and Ronald Perry (Dance Theatre of Harlem) ; My one and only: Elizabeth Loscavio (San Francisco Ballet) ; Liza: Jeremy Collins (American Ballet Theatre) ; I got rhythm / danced by entire cast and ensemble. Stars and stripes: Fourth and fifth campaigns / music, John Philip Sousa, adapted and orchestrated by Hershy Kay ; danced by Margaret Tracey, Damian Woetzel, and ensemble. Closing speech and toast by Peter Martins, with Lincoln Kirstein, Jerome Robbins, Mikhail Baryshnikov, and company members. Performance recorded at New York State Theater, New York, on June 27, 1993. Telecast by Thirteen/WNET on the Great Performances: Dance in America series. Second part of the closing night program of the New York City Ballet's Balanchine Celebration. For the first part of this telecast, see: *MGZIC 9-4138. In addition to performance footage, this telecast includes comments by ballet master in chief Peter Martins, archival footage of Balanchine, and reminiscences by dancers Melinda Roy, Lourdes Lopez, Judith Fugate, Diana White, Maria Calegari, Darci Kistler, Katrina Killian, and Heléne Alexopoulos. Baryshnikov by Tharp with American Ballet Theatre / WNET/Thirteen ; directed by Don Mischer and Twyla Tharp ; produced by Don Mischer ; written by Twyla Tharp and Peter Elbling ; choreography by Twyla Tharp. New York, N.Y. : WNET/Thirteen, 1984. (57 min.) : sd., col. Danced by Mikhail Baryshnikov and members of American Ballet Theatre. Set design, Romain Johnston ; lighting, William Klages. The little ballet / music, Aleksandr Glazunov ; costumes, Santo Loquasto ; danced by Mikhail Baryshnikov, Deirdre Carberry, Elaine Kudo, Amanda McKerrow and Nancy Raffa. Sinatra suite / music, five Frank Sinatra songs ; costumes, Oscar de la Renta ; danced by Mikhail Baryshnikov and Elaine Kudo. Push comes to shove / music, Joseph Lamb and Joseph Haydn ; costumes, Santo Loquasto ; danced by Mikhail Baryshnikov, Susan Jaffe, Elaine Kudo, Robert La Fosse, and Cheryl Yeager. Telecast on the Dance in America series by WNET/13, New York, on October 5, 1984. Ballet / Ballet Films, Inc. ; directed, produced and edited by Frederick Wiseman. Cambridge, Mass. : Zipporah Films, c1995. (172 min.) : sd., col. Appearing in this documentary are dancers, creative personnel, and administrators of American Ballet Theatre, and guest artists, among them executive director Jane Herman and her assistant Ross Stretton ; principal dancers Julio Bocca, Wes Chapman, Christine Dunham, Alessandra Ferri, Guillaume Graffin, Cynthia Harvey, Susan Jaffe, Amanda McKerrow, Danilo Radojevic, Johan Renvall, Cheryl Yeager ; and ballet masters, choreographers, and teachers Nicholas Beriozoff, Agnes de Mille, Ulysses Dove, Ruben Echeverria, David Howard, Irina Kolpakova, Natalia Makarova, Terrence S. Orr, Georgina Parkinson, David Richardson, Michael Somes, Wendy Walker. Photography, John Davey. Dance excerpts: among the ballets seen in rehearsal in New York are: The other / choreography, Agnes de Mille ; music, Franz Schubert ; danced by Amanda McKerrow and others ; de Mille is assisted by Terrence S. Orr -- La bayadère / choreography, Natalia Makarova after Marius Petipa ; music, L. Minkus ; footage includes Makarova coaching Cheryl Yeager, and Irina Kolpakova coaching Susan Jaffe -- Serious pleasures / choreography, Ulysses Dove ; music, Robert Ruggieri -- Firebird: berceuse / choreography, Michel Fokine, staged by Nicholas Beriozoff ; music, Igor Stravinsky -- Raymonda, Act III / choreography, Fernando Bujones after Petipa ; music, Aleksandr Glazunov ; footage includes variations danced by Christine Dunham and Susan Jaffe, the latter coached by Georgina Parkinson -- Symphonic variations / choreography, Frederick Ashton, staged by Michael Somes ; music, César Franck ; rehearsal segments danced by Cynthia Harvey, Sandra Brown, Ashley Tuttle, Ethan Brown ; Somes is assisted by choreologist Wendy Walker -- Rite of spring / choreography, Glen Tetley ; music, Igor Stravinsky. : Dance excerpts on cassette 2: performance excerpts filmed at the Herod Atticus Theater, Athens, Greece, are: Bruch violin concerto no. 1 / choreography, Clark Tippet ; music, Max Bruch -- The sleeping beauty, Act III / choreography, Kenneth MacMillan after Petipa ; music, Peter Ilich Tchaikovsky ; includes Red Riding Hood and the Wolf, Aurora's variation, coda of the grand pas de deux -- Symphonic variations [see credits above] -- Rite of spring [see credits above] -- Performance excerpts filmed at the Royal Theater, Copenhagen, Denmark: Romeo and Juliet: balcony pas de deux, bedroom pas de deux / choreography, Kenneth MacMillan ; music, Sergey Prokofiev ; danced by Alessandra Ferri and Julio Bocca. : Documentary without narration on American Ballet Theatre, filmed over a period of nine weeks in 1992. The first part of the film, recorded at the company's studios in New York City, contains rehearsal footage of selected ballets presented during the company's spring season. The second part of the film was recorded on tour in Greece and Denmark, and includes performance footage. Interspersed with the dance excerpts are scenes representative of a dancer's life: job interviews, company class, physical therapy, photography sessions, costume fittings, backstage preparations, and leisuretime activities such as sightseeing. Also included are interviews with David Richardson, Agnes de Mille (interviewed by David Patrick Stearns), and Irina Kolpakova (interviewed by Otis Stuart) Variety and virtuosity [videorecording] : American Ballet Theatre now / produced by Thirteen/WNET in association with RM Associates ; produced by Judy Kinberg ; ballets directed by Thomas Grimm ; documentary directed by Judy Kinberg. Imprint : New York, N.Y. : Thirteen/WNET, c1998. Description : 1 videocassette (87 min.) : sd., col. NTSC ; 1/2 in. (VHS) Notes : Danced by American Ballet Theatre. : Music performed by the American Ballet Theatre Orchestra, conducted by Jack Everly ; violin soloist, Ron Oakland ; piano soloist, Barbara Bilach. : Introduction by Natalia Makarova. : Interviewees: Susan Jaffe, José Manuel Carreño, Kevin McKenzie, John Gardner, Amanda McKerrow, Julie Kent, Robert Hill, Vladimir Malakhov, Alessandra Ferri, Julio Bocca, Paloma Herrera, Angel Corella, Ethan Stiefel. : Editor, Girish Bhargava ; lighting director, Alan Adelman ; executive producer, Jac Venza. : Polonaise from The sleeping beauty / choreography after Marius Petipa, staged by Kenneth MacMillan ; music, Peter Ilich Tchaikovsky ; set and costumes, Nicholas Georgiadis ; lighting, Thomas Skelton ; danced by the Company. : Black swan pas de deux from Swan lake / choreography after Marius Petipa ; music, Peter Ilich Tchaikovsky ; costumes, José Coronado ; danced by Susan Jaffe and José Manuel Carreño. : Pas de deux from The leaves are fading / choreography, Antony Tudor ; music, Antonín Dvorák ; set, Ming Cho Lee ; costumes, Patricia Zipprodt ; lighting, Jennifer Tipton ; danced by Amanda McKerrow and John Gardner. : Pas de deux from Cruel world / choreography, James Kudelka ; music, Peter Ilich Tchaikovsky ; costumes, Carmen Alie, Denis Lavoie ; lighting, Scott Zielinski ; danced by Julie Kent and Robert Hill. : Remanso / choreography, set, costumes, lighting, Nacho Duato ; music, Enrique Granados ; associate lighting designer, Brad Fields ; danced by Vladimir Malakhov, Parrish Maynard, and Keith Roberts. : Balcony pas de deux from Romeo and Juliet / choreography, Kenneth MacMillan ; music, Sergey Prokofiev ; set and costumes, Nicholas Georgiadis ; lighting, Thomas Skelton ; danced by Alessandra Ferri and Julio Bocca. : Grand pas de deux from Don Quixote / choreography after Marius Petipa ; music, Léon Minkus ; costumes, Santo Loquasto ; danced by Paloma Herrera and Angel Corella. : Third movement from Bruch violin concerto no. 1 / choreography, Clark Tippet ; music, Max Bruch ; set, Zack Brown ; costumes, Dain Marcus ; lighting, Jennifer Tipton ; danced by Ashley Tuttle and Ethan Stiefel, Julie Kent and Robert Hill, Paloma Herrera and Keith Roberts, Yan Chen and Angel Corella, and Company. : Ballets videotaped in performance at City Center, New York, in November 1997. Telecast by Thirteen/WNET on the Great Performances: Dance in America series on May 27, 1998. : A sampling of American Ballet Theatre's current repertory, represented by seven excerpts and a full ballet, Remanso, danced by an array of the company's principal dancers. Interspersed with the ballets are commentaries by Kevin McKenzie, artistic director of American Ballet Theater, and twelve leading dancers, who discuss the ballets they perform on the tape, and their experiences and perceptions as members of the company.

the dancers in the dream scene of baryshnikov's DON Q are, in order of solos, as follows: SUSAN JAFFE CHERYL JAEGER CYNTHIA HARVEY so i assume the dancer you ask about is JAFFE: she wears a tutu much like that of the corps de ballet of dream visions and dances the solo western europeans and americans associate with the CORSAIRE pas de deux as it was introduced to the west by nureyev. the second solo is one we also know from stagings Paquita but is traditionally linked to Amor (or Cupid) in Don Q the last solo by the kirtri ballerina (here harvey) is traditionally seen as a kind of surrogate dulcinea, and i believe is said to have been choreographed by alexander gorsky, tho' from what i understand some of the details specific the version danced in baryshnikov's staging are due to elena tchernichova. gamache in this film is danced by VICTOR BARBEE your question has brought up a good point: the labeling on these tapes (or DVDs) is quite incomplete.

a second obukhov card a bluebird.

i'm not able to shed much light here, i'm afraid, being neither a scholar of technique including stylistic preferences from school to school, nor familiar with the perf. history of bluebird up to and through obukhov's participation. one can get dates from the nijinsky photos referred to elsewhere in this thread (for ex. v.n's debut as bluebird took place in 1907). a.n.o was born 1896 some six or so years after v.n. so ball-park fig. might put the obukhov photo as 1913 or so. a few thoughts that might pertain: the arm position in the obukhov photo - a version of 'en couronne' - may be a pose from the role or may be a position chosen and held by the dancer for the photo's duration - the droop could well represent comfort range for holding such a position long enough to 'get' the picture. i also repeat here something balanchine reportedly said when someone asked him the name - i.e. the technical/academic/studio/school term - for a certain moment. 'is not school,' he reportedly said, 'is choreography.' all of which goes to say that what is practiced in class may or may be what's precisely desired by a balletmaster. (the bluebird is an apt ex. in this case. again in balanchinean lore, someone at a teaching seminar once asked him about brise-vole and he asked: do you mean brise-vole or 'bird' (as in bluebird) step? which, o'course involves a choreographic variation on brise-vole but is not the step, per se. (if mem. serves mr. b. referred to the bird-step he felt he was being asked about, as the 'nijinsky step.') i hope i've made a bit of sense.

here's a photo with [Pierre] VLADIMIROV (in cyrillic script) written (in pencil) on the card. the odd thing about this is that it likely post-dates nijinsky's debut as the bluebird but yet it reverts to the 'original' costume. (as more than one observer has pointed out, balletalert's doug, for one, this may well not have been the costume worn for the pas de deux, but rather that worn for the cortege of fairy-tale characters that occurs at the start of act 3.)

to elaborate my commentary about the postcards of a.n.obukhov, here's one of him in the costume i've been led to understand nijinsky was responsible for devising, to replace/un-date the vsevolozhsky original. i have no precise date for this photo.

this picture helps keep the ponamarev them: Victor Aleksandrovich Semenov, Elena Mikhailovna Lukom & Vladimir Ivanovich Ponomarev as, respectively, Grasshopper, Butterfly and Phoenix/Butterfly, LES CAPRICES DU PAPILLON, 1919

re: collecting, i suppose i've been collecting ballet memorabilia ever since i first got a program and just couldn't throw it away. many years later, i find that i have had to throw out some things, but never enough it seems. i became interested in russian ballet cards specifically, probably, in 1983 when a few colleagues met a great collector in the soviet union and this fellow, alas now gone, gave two of our group some of his cards. writer, cunningham archivist and one-time dancer and performer, david vaughan was the first i knew personally who had a fine collection, especially of his beloved teacher a. n. obukhov. (many of his treasures were published in his loving tribute to obukhov - 'beautifully dance' in BALLET REVIEW). so my interest in and aquisition of similar cards began slowly and grew and grew ever since then. (i have no idea why/how this thread got awakened, btw, but in honor of the occasion i'll post a couple other items.)

both the lazzarini and money books on anna pavlova include information about AMARILLA, a 1912 ballet, in which pavlova played a gypsy in the time of louis xvi. the music is a mix of drigo, glazunov and dargomyszhsky. it seems to me from passing my eye over the passages in these two books that this ballet, arranged by clustine, owes much 'inspiration' to 'esmeralda' certainly the notion of a gypsy's dancing w/ her tambourine, which figures prominently in the partnering - see esp. the passage in money, all entailing a dramatic situation that has her performing for the man she loves as he's betrothed to another woman, mirrors quite closely the situation from perrot's (and petipa's) 'esmeralda' where the title character dances w/ the poet gringoire at the wedding ceremonies of her beloved phoebus. i'm not sure that the particular photo you mention is reproduced in either money or lazzarini but you'll be able to see that for yourself. good luck w/your research. here are some listings from the n.y.public lib. for the perf. arts on the ballet and the books that mention it: Anna Pavlova, her life and art / Keith Money. 1st ed. New York : Knopf : Distributed by Random House, 1982. [x] 425 p. : ill. ; 30 cm. Includes index. Bibliography: p. 415. Pavlova; repertoire of a legend [by] John and Roberta Lazzarini. New York, Schirmer Books, c1980. 224 p. illus., ports. 31 cm. "A Dance Horizons book." Bibliography: p. 214-216. "Repertoire": p. 217-221. Includes index Amarilla Chor: Ivan Clustine; mus: Glazunov and Drigo. First perf: England, June 26, 1912, Anna Pavlova Company. p.s. to the best of my understanding the only ones who are able to attach picture files are the topic moderators.

i am unaware of this documentary's being shown anywhere but in russia, in russian, but i could be mistaken.

oddly, see below, the credits given for this work in the dance coll. at n.y.pub. lib. don't list a costume designer. i ASSUME the late J-T Oman did them. so far as i know there have been no other productions of this ashton work other than that at the royal ballet. so the original designs have been used exclusively to date, unless there's a subsequent production i've not heard about. Month in the country : Chor: Frederick Ashton; mus: Frederick Chopin (Variations on "Là ci darem," Fantasy on Polish airs, Andante spianato and Grand polonaise in E flat) arranged by John Lanchbery; lib: freely adapted from Turgenev's play; scen: Julia Trevelyan Oman; lighting: William Bundy. First perf: London, Covent Garden, Feb 12, 1976, Royal Ballet.//First perf. in U.S.: New York, Metropolitan Opera House, Apr 27, 1976, Royal Ballet.