rg

the encapsulated 'ondine' w/ fonteyn is on a tape originally called 'the royal ballet' which is different from the tape called 'an evening w/ the royal ballet' 'the royal ballet' is a czinner film offering encapsulations of: swan lake, act 2, which fonteyn dances w/ somes ondine, w/ somes, grant, and farron firebird, w/ somes. full credits as follows: The Royal Ballet 1960. Description: ca. 135 min. : sd. A J. Arthur Rank presentation. Produced by Paul Czinner Productions for Poetic Films Ltd. in association with the Royal Opera House, Covent Garden. Producer and director: Paul Czinner. Performed by the Royal Ballet, London, starring Margot Fonteyn and Michael Somes. CONTENTS: Swan lake: Act II excerpts (Valse, pas de deux, pas de quatre, rondo, and coda). Choreography: Frederick Ashton and Nikolai Sergeev after Ivanov and Petipa. Sets and costumes: Leslie Hurry. Cast: Margot Fonteyn (Odette), Michael Somes (Prince Siegfried), Bryan Ashbridge (Benno), Leslie Edwards (Von Rothbart); Ann Howard, Mavis Osborn, Clover Roope, and Antoinette Sibley (Cygnets), and corps de ballet. Firebird. Choreography: Serge Grigoriev and Lubov Tchernicheva after Mikhail Fokin. Music: Igor Stravinski. Sets and costumes: Natalia Goncharova. Cast: Margot Fonteyn (Firebird), Michael Somes (Prince Ivan), Rosemary Lindsay (The beautiful Tsarevna), Franklin White (Immortal Kostchei), and corps de Ballet -- Ondine: Acts I II and III. Choreography: Frederick Ashton. Music: Hans Werner Henze. Sets and costumes: Lila de Nobili. Cast: Margot Fonteyn (Ondine), Michael Somes (Palemon), Julia Farron (Berta), Alexander Grant (Tirrenio), Leslie Edwards (Hermit), and corps de ballet -- full credits for 'evening w/ the royal ballet': An evening with the Royal Ballet/ British Home Entertainment Ltd. in association with The Royal Opera House Covent Garden ; produced by Anthony Havelock-Allan. Imprint :W. Long Branch, N.J. : Kultur, c1963. (87 min.) : sd., col. Danced by the Royal Ballet. Music performed by the Orchestra of The Royal Opera House Covent Garden, conducted by John Lanchbery. Le corsair [pas de deux] / film directed by Anthony Havelock-Allan ; choreography, Rudolf Nureyev ; music, Riccardo Drigo ; danced by Margot Fonteyn and Rudolf Nureyev. La valse / choreography, Frederick Ashton ; music, Maurice Ravel ; danced by the Royal Ballet. Aurora's wedding (Act III of The sleeping beauty) / film directed by Anthony Asquith ; choreography, Nikolai Sergeev after Marius Petipa ; music, Peter Ilich Tchaikovsky ; sets and costumes, Oliver Messel ; cast: Fonteyn (Princess Aurora) and David Blair (Florimund); Graham Usher, Merle Park, Georgina Parkinson (Prince Florestan & his sisters); Antoinette Sibley, Brian Shaw (Bluebirds); Douglas Steuart (Puss-in-Boots) & Virginia Wakelyn (White cat); Ann Howard (Red Riding Hood) & Ronald Plaisted (Wolf); Alexander Grant, Keith Milland, Lawrence Ruffell (Three Ivans); Leslie Edwards (Cattalabutte); Ray Powell (Carabosse); Deanne Bergsma (Lilac fairy); Derek Rencher & Gerd Larsen (King Florestan & his queen). Les sylphides / film directed by Anthony Asquith ; choreography, Serge Grigoriev and Lubov Tchernicheva after Mikhail Fokin ; music, Chopin, arr. by Ray Douglas ; danced by Margot Fonteyn and Rudolf Nureyev, with Merle Park (valse), Annette Page (mazurka), and members of the Royal Ballet. Filmed at the Royal Opera House, Covent Garden, London, 1963, under the supervision of Frederick Ashton, assisted by John Hart. i'm not sure if either is still on the current market.

any number of complete swanlake recordings include this as a 'supplementary number' in the third act where it was originally intended to be given. my LONDON recording of swanlake conducted by dutoit (w/ the orchestre symphonique de montreal) has it in place as track 9, disk 1: numero supplementaire: pas de deux I introduction II moderato - andante III variation 1 (allegro moderato) IV variation 2 (allegro) V coda (allegro molto vivace) [ March 06, 2002, 10:43 AM: Message edited by: rg ]

picasso/danse has consistently included, so far as i know, both 'train bleu' and 'tricorne' (i've never known 'rendez-vous' to be included on a commercial tape, PAL or otherwise). the work was, however, included in a triple bill that the POB toured to washington, d.c. as follows: icare rendez-vous suite en blanc but none of these has been made available on any commercial video i'm aware of.

'picasso et la danse' translated so that the commentary was in english and entitled 'picasso and dance,' has been shown here and there, certainly in canada. the cassette was marketed, if mem. serves, in PAL format, (maybe jane s. could confirm/deny this) and was even promised in NTSC here in the USA but it never came out so far as i can tell. perhaps it will be released on DVD sometime, or maybe in PAL dvd it already it.

re: the word, it's been recorded that taylor got specific references for his work, perhaps even his inspiration from the start, from taking in the 'glory of byzantium' exhibit at the met. mus. of art. in particular one icon caught taylor's eye: "The Heavenly Ladder of John Kilmax" a late-12th c. icon from the Holy Monestary of Catherine, Sinai, Egypt. (it shows a parade of men climbing a ladder to heaven as any number of little demons do their best w/ ropes and arrows to pull isolated individuals down off their climb, to plummet to the lowerdepths of an inferno. one iconparticular ms. illumination showed a ladder w/ men and women climbing to heaven as isolated ones fall

cezanne and MANET??? to me, perhaps MONET would be a fair for-arguments-sake comparison, but i'm afraid where MANET is concerned i feel rather similar lincoln kirstein: (and i'll vaguely paraphrase: 'manet was a bad painter!') to mine eyes both cezanne and monet were GREAT painters. as to pitting cunningham against taylor, the joust holds no interest for me. see each charging off in a different/opposite direction.

cezanne and MANET??? to me, perhaps MONET would be a fair for-arguments-sake comparison, but i'm afraid where MANET is concerned i feel rather similar lincoln kirstein: (and i'll vaguely paraphrase: 'manet was a bad painter!') to mine eyes both cezanne and monet were GREAT painters. as to pitting cunningham against taylor, the joust holds no interest for me. see each charging off in a different/opposite direction.

i seem to have heard that the POB-group perfs. mentioned here will take place in may and will be held in the auditorium of John Jay College (for Criminal Justice) on 10th avenue between 58th & 59th streets.

as i vaguely recall from one brief look at this 'making of...' vid. it amounts to a little feature on the creation of this choreographer's own rendering of 'on your toes' (mostly rehearsal footage, or so it now seems in retrospect) quite unmemorable all around if mem. serves... certainly it bears little or no relation to the original by balanchine. [ February 28, 2002, 02:21 PM: Message edited by: rg ]

fyi: after dolgushin presented some of his video tapes to the nypl/dance coll. there was a little screening of the 'dance symphony' reconstruction, which i attended, sitting right behind danilova. i filed a little item for dancemagazine on this screening, which is listed as follows in the library's catalogue: Lopukhov work is shown at NYPL. Dance magazine. New York. June 1991, p. 16. ill. Notes:About Tribute to Fëdor Lopukhov, a videotape which includes a 1986 performance of Fyodor Lopukhov's 1923 work, Dance symphony (Tanzsymphonia). The tape was shown recently at the Dance Collection of the New York Public Library for the Performing Arts.

the TIMES misspoke, in my view, here; the only portion missing from the kirov's 'jewels' was the pas de sept. the pas de deux was in place and given as usual. the confusion likely arose from reading the 'choreography by balanchine' catalogue which mentions the '76 addition to 'emeralds' of a pas de deux and a pas de sept, leading to the assumption that if the kirov decided against the pas de sept it also decided against the pas de deux, which it did not. another confusion in that review came from suggesting that balanchine commissioned the new (post-harvey) decor for the ballet, when in fact the new decor was presented after balanchine's death. robin wagner, the newer designer, took his suggestions for what to do from lincoln kirstein and ronald bates, to the best of my knowledge he had no advice from balanchine on what he ended up providing for new decor.

on p. 565 of my book, paul, i have the 'princess zenobia' ballet listed, as being given in THAT'S DANCING, in an entry where i've misspelling charles laskey's name (w/out the 'e'). sigh. the full movie is also 'around' tho' i've never seen a bright and shining copy myself.

i'm not sure if there are specific or oblique or coincidental references here to source material suggested by 'the station master' (sometimes called 'the post master'), a short story by pushkin, wherein, and i haven't actually read said story, a character in the narrative is taken by a series of three prints--etchings(?) engravings(?) woodcuts(?)--delineating the story of the prodigal son. this specific, pictorial reduction of the parable was said to have been a key inspiration to the gestation of this ballet chez diaghilev. i'm not sure if the pictures are real, and thus familiar to many russians or imagined, generic ones. [ February 19, 2002: Message edited by: rg ]

my apologies here, the thread clearly says: BALLET MUSIC, i read in haste, again... but my point could still hold, as amazon also sells CDs, so if you highlight the CD category and type in prokofiev cinderella you might find a number of recordings of the full score, or try similarly on any site that features audio cd's. i should think there must a few recordings of this somewhat popular score.

i'm unclear about your question: are you asking about audio recordings of prokofiev's "cinderella" or are you asking about video recordings of the same? amazon would have a selection of both, you could click on the amazon banner above and type cinderella in the CD category as well as in the VHS category.

the women of the town where pineapple poll lives all get in little sailor shirts, hats & trousers and even, in the case of all but poll, whiskers too, if mem. serves, in john cranko's 'pineapple poll' i wasn't aware of there being a corps of travesty sailors in 'far from denmark' but then i only saw it about 2x. and to be sure the women in sailors' clothing in 'poll' do retain their poineshoes.

the british-produced 'south bank' show did a two-part program on fokine pegged to isabelle fokine and the kirov. it was, i believe, called 'recreating fokine,' which i think is the BRAVO prog. mentioned here. the footage of markova's 'dying swan' is indeed fascinating, too bad it's not presented in one interrupted segment from beginning to end. regardless, the interwoven arrangement for the show's purposes still presents a historic film not widely available. i don't think that even the n.y.p.library of the perf. arts has a copy.

stafford replaced borree on tuesday as well.

when i first started hearing of this 'other' pat mcbride in the era of the later, patricia mcbride, those who knew both dancers used to refer to them with some consistency, calling the first NYCB mcbride 'pat' or 'Pat McBride I' or, referring the later mcbride as either 'patricia' or 'patty' but not to the best of my knowledge 'pat'. maybe to prevent the confusion from continuing the I and II designations would be most helpful, the way it was used in Russia, where, for example, the famous anna pavlova became known as pavlova II, and the late, famous ballerina/S.A.B. teacher was known in the imperial theaters as danilova II. and not to mix topics too messily, it bears noting that linda merrill had to change her name to merrill ashley when she joined NYCB, because there already was a linda merrill in the company. (and if mem. serves and if ironies can multiply, i don't think this linda merrill was born w/ her name, but changed it to that when she joined NYCB, some years before linda merrill ashley joined.) [ February 04, 2002: Message edited by: rg ]

can someone explain who this 'coppen' is? is it a ref. to adam cooper?

if i understand your question, you are looking for videos of performances of the suite of solos presented as part of the 'grand pas classique' from 'paquita.' there are two such performances commerically available at the present, if mem. serves: one production, staged by oleg vinogradov and his artistic staff for the kirov ballet is on "the maryinsky ballet" a mixed program of ballets filmed in 1991. the other is a somewhat shorter version, staged by natalia makarova for american ballet theater and filmed in 1984 and marketed on a cassette called "american ballet theatre at the met." the kirov version has at least 6 different solos plus the additional ones, one for each of the two women included in the 'pas de trois' that is not always part of the 'paquita' divertissement. the a.b.t. tape includes four female solo variations plus that for the ballerina. [ January 29, 2002: Message edited by: rg ] [ January 29, 2002: Message edited by: rg ] [ February 02, 2002: Message edited by: rg ]

with regard to 'tchaikovsky suite no.3' and its range, clive barnes' review of the premiere performance offered a perception suggesting that the span/scheme of the ballet suggested balanchine's looking back on the following choreographic lineages: duncan's in the elegy fokine's in the waltz gorsky's in the scherzo and petipa's in the theme

here's what the NYC's performing arts library/dance collection says of this tape: Hamlet [videorecording] / Teleteatr ; directed by Irina Gurina ; produced by Svetlana Kononchuk ; choreography and scenario by Svetlana Voskresenskaia ; music by Dmitrii Shostakovich. Imprint :West Long Branch, N.J. : Kultur, [199-?] (65 min.) : sd., col. Production designer (?), Zinaida Novoselova ; scenery and costumes, Liudmila Deter. Danced by the Moscow State Theater Ballet: Vladimir Malakhov (Hamlet), Nadia [Nadezhda on end credits] Saidakova, Ludmilla Vasileva, Sergei Vanaev, Anatolii Lanasyukov (?), and others. Cinedance adaptation of William Shakespeare's play of the same title. Titles in English and Russian at head of tape ; end credits in Russian.

so far as i know these days, the library no longer takes duplicates or spares of things as the annual sale no longer takes place. i used to keep every program, but after moving lately i no longer have some of what i kept and tend now to discard those i don't think i'll refer to again. tho' i still have a complete set of programs for major companies like ABT NYCB the Royal (British and Danish) ballets, the kirov, bolshoi, and a few others. some space is saved by keeping the casting sections and discarding the text and ad portions of the booklets. One convenient thing about NYCB is that its seasons, or at least its NYC ones are numbered by which NYC season it is, so the seasons can beshelved according to those numbers: the co. is currently in its 115th nyc season for example, that means one doesn't have to note on the frontmost covver the year, a simple number suffices to help keep them in somekind of chronological order. but it's still a 'growing' problem.

i believe the films you refer to are those made in germany, 1973: the infamous ones that balanchine was given no control over and which were maddeningly edited with countless changes of camera angle and range. i've just checked the n.y.p.library's holdings and don't think the dance collection has these two films. i think they show up more on european television than on ours, tho' a few of the series did appear on our t.v. on rare occasions. (in all 15 ballets were filmed for this project.) there are undoubtedly more copies in european off-the-air collections than in american ones, since there were more opportunities for taping them there.