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About Dancecreature

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    ballet student, hobby dance historian
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  1. In the Giselle recording of Bonynge there is a pas de vendanges that is a piece that I have only seen in a shortend version of the Seymour and Nureyev film recording. Is this the pas de deux that you are talking about or was it from Adam?
  2. Thank you so much for the information! Dancecreature.
  3. The whole Pas de Six has a very beautiful music (that is really never played in many productions). I find though the Variation II is way to long for a variation (solo piece). I see it more as a pas d'action where Odile tries to convince that she is the swan princess he loves. This piece also has a oboe melody that one can relat to the Odette. That is my own interpretation.
  4. When I saw her in Frankfurt in Swan Lake (1999) I didn't find her fat. She was a really beautiful swan princess. The version she danced was the one by Vasiliev. His version didn't have a Black Swan (Odile).
  5. Interesting. I really like Margots feet. They have and air to Markova's.
  6. I turned up curious about La Péri when I read in a book that Carlotta Grisi actually let herself fall from a ramp into the arms of Lucien Petipa. I have been researching quite a while on the ballet. Does anybody know if Coralli left any notes about the choreography? I do have the recording that Boynge included in his CD pack: Fete du ballet. But is it the whole score as it was produced in Paris? Does anybody know/have the piano reduction of this ballet or where to get it? I have seen that the piano reductions of 19th century ballets are very useful because they describe the action under the ba
  7. The two productions of La Sylphide are very different. Both have the same plot but the choreography and the music have major differences. The Taglioni/Lacotte production has a different sense of choreography and the patterns are much more ornamental than in the Bournonville production. The both music scores have a different motivs regarding the caracterization of the roles. Both are beautiful and have their own special values. The Schneitzhöffer's score reminds me of a work between two musical ages because some pieces seem to have a slight classical touch and in other the romantic sense of mus
  8. Hello to all that form this website. I'm so glad that many people from all around the world can comunicate to each other about ballet. The site is also very profesionally made. Well I'll come to know you all hopefully and open up my mind on the topic learning and being alert of the past and present of this wonderful art. Dancecreature
  9. The Library of Congress has some pieces from the ballet Sylvia in piano reduction. http://lcweb2.loc.gov/diglib/ihas/loc.natl...ner.html?page=1
  10. One of the first productions of Satanella was the one by Paolo Taglioni. It was arranged in a prologue and four scenes/acts. The music is credited to Hertel and Pugni. Some of the dances (pas), as written in the theatre program of Taglioni's production in the Teatro y Circo de Madrid, in 1874 mention a seduction pas de dix, an infernal mazurka, a quadrille, pas de fleurs for 48 female corps de ballet members. This version is prior to Petipa's and surely didn't include the today known Satanella pas de deux.
  11. Hello to all i'm new and this is my first post. I have been asking myself quite some time on how the dancers used and holded there arms in the 19th century. As I have been dancing parts of Giselle, La Vivandìère Pas de six and also Les Sylphides (a 20th century ballet on the romantic era). If one takes a look at the prints of Taglioni, Grisi, Elßler etc. one can clearly see that they pose in more rounded and uneven positions. For example: Taglioni in Chalon's Pas de Quatre print shows a much more upon and forward bended fifth positon and Grisi in a print of Coralli's La Péri positions a kin
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