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I wonder if there are other commercially available videos of Paquita other than Kirov's (starring Makhalina and Zelensky) and ABT's (starring Cynthia Gregory and Fernando Bujones).

In particular, I would very much like to see the other variations that are in the score (I heard it online on www.christopherseminars.com), which do not appear in either of these 2 videos.



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A video of "Paquita" was filmed at the Paris Opera one or two seasons ago (with Agnès Letestu and José Martinez, if I remember correctly), and was shown recently on a French cable channel, but I don't know if it is commercially available (I think it isn't so far, but perhaps will be later).

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hi! I have noticed in a Marynski Ballet video (I think, Im not sure) that there is a variation in Paquita with the same music as the variation of the cupid in Don Q (ABt version)... Does anybody know who is the choreographer and why they used the same music? Im not sure from whom is the original piece, from don q or paquita


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Paquita Grand pas was a divertissement created to show all the principal ballerinas and their qualities, they choose variation where they are brilliant and it's for that we have Cupid variation in Paquita, but the original one is in Don Quixote.

I don't know from which other ballets are the variation against.

In all the complete version of Paquita Grand pas you have the Cupid variation, it seems that is the case in ABT version but in POB, you have it too it's sure that we had also Vinogradov's version :rolleyes: !!!!.

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As Francoise said above, all the Paquita's variations are from other ballets. For instance, the first one (in Kirov or ABT production), is from The Little Humpbacked Horse (music by Pugni). The Prima Ballerina's variation uses the music of La Sylphide (music by Pugni, choreographed by Petipa, revised for Paquita). The "true" Paquita's variation is the third one in the ABT video (Cynthia Harvey) with Grands jetes at the beginning.

Anyway, the Bolchoï production is quite different : there are some other variations, and there is an orchestral arrangement of the music score.

About the reconstruction by Lacotte for Paris Opera Ballet, the Grand Pas is danced without all the variations, because they were added for a special gala occasion and not during a whole Paquita's performance (birthday of Catherine II if I remember correctly). Only the two soloists dance their variation.

Edited by Jean-Luc
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Jean-Luc, many thanks for this post, which I find VERY interesting. I am going to play my tape of the Paquita grand pas immediately so as to identify the Little Hunchbacked Horse variation. I shall post again if I am wrong, but I am pretty certain that the prima ballerina in the Kirov version dances a variation to music much later than the 1830s--later even than Minkus, as I remember thinking. Could you clarify what you mean by the Sylphide variation to music by PUGNI? Was this an insertion into the Schneitzhoeffer score? I wasn't aware that Petipa had mounted a version of La Sylphide, and am highly intrigued. By the way, I have seen Plisetskaya dance a variation from Little HH that looks very C19, even though the music is by her husband. Do you happen to know if this possibly the original Saint-Leon choreography, grafted on to Schedrin's score?

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Jean-Luc, I have just watched my Kirov Paquita tape, and I am fairly sure (about 80%) that the first variation (the one that follows the coda of the pas de trois) was set by Petipa to music by Minkus, and not by Saint-Leon to music by Pugni. To be sure, can you confirm that the variation is a waltz, and that it begins with a developpe a la seconde sur la pointe, followed by a jete de cote en face, and that it has a passage of grands fouettes en tournant toward the end? And my prima ballerina dances her variation to a particularly nauseating slow gavotte for harp solo (written by somebody like Lincke or Krein), which begins, after some preliminary positioning into epaule with a sous-sus, entrechat huit and attitude derriere. That rather thrilling variation that you describe as the true one precedes it in my tape. If my description of the "Pugni" variation doesn't tally with yours, and if it's not to much trouble, could you please tell me the time signature, and list the first three steps? I might be able to find it somewhere in the fruit salad! Thanks so much!

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it was i believe alastair macaulay who pointed out that in all likelihood it was m.f.kschessinska who started the tradition of so many 'party' variations in the 'grand pas classique' from paquita.

i know that current kirov/maryinsky tradition includes a variation which asylmuratova may do on one of these tapes - i don't have my cassettes handy to check - in any case it's often danced there in an emerald-green-trimmed tutu - and was taught to asylmuratova by her teacher e.evteyeva, in any case the dance is by fokine, the music by tcherepnine, and the variation comes from 'pavillon d'armide' (and to confirm its provenance this same variation was staged by alexandra danilova when she staged a version of the 'pavillon' pas de trois for school of american ballet in i-forget-just-when.)

when i spoke w/ nikita dolgushin, whose version of the grand pas for the maly theater was telecast in britain in the late '70s, he noted that the variants in his staging, which is simililar at times and different at others from the kirov staging - which i believe long had credit to natalia dudinskaya - came to him in good measure from moscow, specifically from advice given him by elizaveta gerdt (pavel's daughter and a favorite dancer in her day of georgi balanchivadze).

all you balletalerters w/ keen ears and finer musical memories than mine will be able to discuss all these variants for tempo, type, etc.

i'd not heard of one of the variations being famously taken from 'humpbacked horse' tho' why not? as i say, alastair macaulay pointed out that m.f.kschessinska noted somewhere, likely in her memoirs, how she invited her ballerina friends to dance in her grand pas classique from paquita and to do so bybringing with them their favorite variations. the tradition seems to have held and evolved ever since.

yes, the vari. we think of today as cupid's from DonQuixote is regularly in this suite. when the kirov did their version of 'paquita grand pas' here in the 1980s when the leading ballerinas alternated performances, they would change their tutu colors - white for the main ballerina - but not their variations, which they were known to dance when they were in a cast led by another ballerina. i recall, for example, that lubov kunakova would do the lead and then one of the soloist ballerinas: when she danced her variation as the lead she'd be in the white tutu, when she was not the lead she wore whatever color was relegated to her role, but in both cases she'd dance HER variation.

i hope i'm making a little bit of sense here: i've just come from 24hrs. sans electricityand 48 sans DSL. so i'm discombobulated more than usual.

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RG, your post is wholly lucid--far more so than any I could have offered after the ordeal you and your fellow East-Coasters have just endured. It's a pity this discussion has split off from the Paquita one in Ballets, because I drew attention to the Tcherepnin solo in that. In my tape it's danced by Larissa L. I am nothing short of stunned to learn that Fokine was the choreographer, having speculated there that it might have been by Lopokov. Fokine could Petipize with the best of them, it seems. And indeed Alastair Macaulay said in a DT review that the ballet from Ruslan and Lyudmila that F is said to have choreographed was also very pre-Isadora and classical tutu.

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A word about the R & L ballet credited to Fokine. No men. I believe that the year of its debut was 1916, and the Mariinsky company was sadly depleted of men of any sort, most having been drafted to serve on the Austro-Turco-German front. No matter who choreographed it, it looks like it was set in a "neo" style for that year, to please audiences who wanted their ballet old-fashioned and comfy.

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RSE: i've just keyboarded the following by picking thru this volume i was given from russia on the paquita grand pas classique. i trust some of it will be redundant to what you point out was a separate thread on paquita the ballet vs. paquita on video. but so be it. here's what gleaned w/my primitive reading of cyrillic:


14 Variations and pas de trois

*Variation 1 (3/4) – Riccardo Drigo

*Variation 2 (2/4) – Aleksei Papkov

*Variation 3 (2/4) – Riccardo Drigo [the note here says, as stated earlier on this thread that this music is from the ballet ‘SYLFIDA’ (1892) – when yes, indeed Petipa staged the ballet to Schneitzhoeffer with additional music by Drigo – the variation is further defined as that composed for V. Nikitina, Petipa’s first-cast sylph]

*Variation 4 (4/4) – Edouard Tsabel

*Variation 5 (3/4) – Aloishus Ludwig Minkus [a note says this variation is from another 1892 ballet: NAIAD AND FISHERMAN and that the variation was composed for A. Johansson]

*Variation 6 (4/4) - Riccardo Drigo

*Variation 7 (6/8) - Aloishus Ludwig Minkus

*Variation 8 (3/4) - Aloishus Ludwig Minkus [a note indicates that this variation dates from 1881 and was composed and choreographed especially for Ekaterina Vazem]

*Variation 9 (3/4) - Riccardo Drigo

*Variation 10 (3/4) – Yuli Gerber

*Variation 11 (3/4) - Aloishus Ludwig Minkus

*Variation 12 (3/4) [with a note of a change(?) to 4/4] - Riccardo Drigo

[there would seem at this point in the book to be an alternate(?) variation, making 13, but to the same(?) music as 12]

[there is also some music here for a 14th variation, specially noted as being by Drigo and from ‘Paquita’ tho’ I think there is no specified choreographic text to go with it]

Pas de Trois – has musical credit to both Minkus and Edouard Marie Ernest Delvedez: NB in the music portion of the book Delvedez’s name is attached to both female variations along w/ Minkus’s, as I read it)

*Woman’s variation No. 1 (4/4) - Aloishus Ludwig Minkus

*Woman’s variations No. 2 (6/8) - Aloishus Ludwig Minkus

*Man’s Variation (4/4) – Adolf Charl Adan[sic] – from, if I’m getting the gist correctly: DIABLE A QUATRE

the individual illustrations include, in addition to a headshot of the editor(?)/author - German Prib'lov, pictures of: Minkus, Petipa, Vazem, Kshessinskaya, children from the 'polonaise and mazurka,' Karsavina,Vaganova, E.Gerdt, E.Vil' and P.Vladimirov (in the Pas de Trois), N. Legat, S. Legat, M. Fokine, Nijinsky, Adan[sic], Pugni and Drigo.

the kind courier who brought me mycopy said it wasn't published in 2000 as scheduled because of a shortage of paper; i believe it finally came out in 2001.

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A word about Minkus' name - Aloishus is just a Russianized Aloysius, which is Latin for "Louis". Ludwig is German for "Louis". I pity the poor guys who got named "Ludwig Alois" because they are "Louie Louie" - Somebody should write a song about that. Oh, they have? Nevermind. :)

And yes, "Le Diable à Quatre" was a very popular ballet by Adam. Petipa staged a revival of it in St. Petersburg, (he retitled it "The Wilful Wife") and used it to make the debut of the character Mother Ginger for the Russian audience.

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RG--a HUGE thank you. So much to digest here and match against my tape. I am already having doubts that the Kirov will tally, though, because the Fokine variation doesn't appear on your list. But I am pretty sure that the variation I mentioned above as starting with a developpe a la seconde is the one to the Drigo waltz. Although I didn't say so in my post, I did have faint doubts about the Minkus authorship, but these faded in the context of a conviction that it definitely wasn't Pugni. It must be early Drigo. He became very distinctively (and somewhat repulsively, in my opinion) himself in the 90s. I shall post again when I have had time to sort out all this info.

Mel, a big thank you too for the fascinating info on R&L and Diable a 4. Where do the two of you get all your material? I'm still stuck with Roslavleva!

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PS I forgot to mention, apropos of your amusing onomastic fantasy, Mel, that Aloysius is the name of Sebastian's teddy bear in Brideshead Revisited. I used to pronounce it as spelled, until a friend of mine pointed out that it is spoken as RG has transliterated it, probably because the use of the English name is connected with the Polish saint, and the Poles must pr it in much the same way as the Russians. And when it comes to nominal doublets, I can tell you that I once taught an Elizabeth-Isabel!

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I can't speak for rg, but I've just been a sort of collector of anecdotes from my old teachers, some of whom went back into "the day" of the ballet Renaissance in western Europe and even earlier, to pre-Revolutionary Russia. When I can find something in a scholarly writing, as Wiley, I can often put it together with the stories, and Walter de la Mare-like, say, "Ah, so that is what THAT meant." So, I've really unconsciously been a bit of a ballet folklorist, and as with all folklore, often the tale (which at times seemed a tall one) is backed up by actual documentable history.

And I know exactly what you mean about names - I have a relative who is a Nancy Ann. She's all ready for her part in "The Seven Deadly Sins" - Anna Anna. She is sort of a "church lady" and her colleagues would take the vapours if they realized that.

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And my prima ballerina dances her variation to a particularly nauseating slow gavotte for harp solo (written by somebody like Lincke or Krein), which begins, after some preliminary positioning into epaule with a sous-sus, entrechat huit and attitude derriere.

RS...what company is on this tape? And who is the ballerina? I have the same tape Silvy does: with Makhalina and Zelensky, and Makhalina does entrechat-six, jeté du coté, piqué forward into attitude derriere croisé. I am just wondering because I have never seen a female dancer perform entrechat-huit in my life and would dearly love to see it done!

Mel, I could swear I've seen Minkus' given name written as "Léon." Is that just inaccurate?

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Well, thank you to everybody for these interesting answers!

All my knowledge (and more!!!) about these variations have been posted...

But, I'm wondering if we can be absolutely sure about the composers (except Tcherepine, that's obvious). The first variation (with developpé seconde at the beginning) is by Pugni, Drigo or Minkus??? I don't know exactly. This kind of music let me think is probably Pugni, but I'm not sure!!

One thing I can tell is this variation appears on a Vaganova's Little Humpbacked Horse Russian TV production. This variation is danced by a kind of a "Sea-Fairy"...(very short part in the ballet). But instead of developpé, fouettés, attitude (in the the third section of the variation) as we can see in Paquita, the choreography is piqué, penché-arabesque, retiré.

I think it's very difficult to get a precise tracability of these things. Ballet history is so complicated!

As nobody knows the true composer of the female variation from Le Corsaire... And what is the true choreography? Dryad Queen from DQ? Gamzatti from Bayadere? Or something else, like the Vinogradov's or Sergueyev's Corsaire full lenght productions??

Edited by Jean-Luc
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Hans, your tape and my tape are one and the same. I must have miscounted the beats of the entrechat. I could never manage more than a quatre, so anything more awes me into blurry wonderment. However, am I wrong in thinking that Nerina once did 32 entrechats huit in the Black Swan coda to cock a snook at Nureyev? Were they in fact sixes?

Mel, I do hope you will write your memoirs soon and gather all this priceless information in compact form. I know it's scattered throughout this site, but it would be nice to have it in a vade mecum.

Jean-Luc, I am about 80% sure that the first variation in the Kirov Paquita isn't by Pugni, but we could be speaking about different pieces of music. There is a quite distinctive naievete about P's music, which is all the more remarkable because it was wholly affected. He prob knew more about the theory of music than M and Drigo combined.

I'm afraid, RG, that the Kirov tape doesn't match up at all with your list. The only thing I am reasonably certain of is that your variation 8 (the Vazyem) is the Kirov 5 (strange that Vazyem, who apparently didn't jump well, should have had to start her variation with jetes). I am also once again undecided about the Kirov 1--its melodic deportment is slightly more Drigovian than Minkusoid, but those acciaccatura crockets are so distinctively M that I really don't know which way to lean. If it turns out that Bolshoi 1 and Kirov 1 are identical, then my mind will be made up for me--but how to establish this??? And I must say that, watching the Kirov 4 again in the knowledge that Fokine wrote it, I felt a mild degree of indignation. How could the choreographer who spurned the old master have helped himself so liberally to Candite and Miettes qui tombent. The dance read quite differently when I didn't know the author, or rather, when I believed him to be doing homage.

Now for the pas de trois. Thank you VERY much for the Deldevez information. The 4/4 is especially interesting because there is nothing else quite like it in Minkus (read the Minkus that I know!), but there are several parallels in Fr ballet music, esp. Auber--cf the pas de quatre in Les Rendezvous and also the 8th item in Act I, Scene 1 of Marco Spada that I marked "currente calamo--flute" in some notes I attached to the record sleeve. However, I couldn't confirm the parallels because I no longer have the means to play my vinyls. The dates for both of these Aub pieces (1850 and 1856) suggest the influence flowing from D to A, though one should also bear in mind the earlier influence on both of the female var from Burgmueller's Peasant p de d. As to Del's valse in A major--on Friday I tried to explain to myself why the Queen of Dryads valse doesn't seem echt Minkus, and for a while considered the fact that its first bar is harmonized on the dominant. (I don't have the music, but I guessed V4/3 after the anacrusis, which sounded right-ish, and Gwendolen, sitting on top of the piano and looking down on me, narrowed her eyes in assent!) Then I remembered this valse from the pas de trois, and rejected those particular grounds, though I think others remain. Now that I know it's D, I might want to reinstate the 1st bar on the dominant reasoning. However, the valse is SO like the coda of the Enchanted G scene in DQ that one must assume that M was very fond of this variation, and used it as a template for some of his own compositions.

And before I go, could I ask you please to explain why, in a response to a post by Solor in another thread you called this pas de trois the "golden"? Thank you SO much, once again.

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Mel, I could swear I've seen Minkus' given name written as "Léon."  Is that just inaccurate?

Both the French and the Russians of the 19th century were very big at renaming non-homeboys with local names. The French, as usual despising the "Boche", would use some French name starting with the same initial as a German name, and the Russians often fell back on "Feodor" if there were no Russian equivalent for the name, especially in the patronymic. Minkus was an Austrian, and lived to survive World War I! In Russia, his name was frequently rendered simply as "L. Minkus"

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It does seem a bit perverse, though, to have called him Leon when Louis was there for the taking. I suspect it was a printer's error that got engraved--in metal and then in stone. In my Dance Books reprint of the Stellowsky DQ, LM is Gallicized as L. Mincous on the title page, which also shows that dryads carried palm branches (or highly elongated and bedraggled feathers!!) in their hands. How fond Petipa was of this sort of prop--parrots in B and garlands in SB and, in DQ, a dimanche des rameaux in the very presence of Amor! Mel's Aunt Nancy-Anne would NOT approve! On the first page of the score, the C of Mincous gives way to a K very like a kappa and the Cyrillic equivalent, whatever it's called.

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To pick up on a secondary thread, in case you're interested, Rodney, I can tell you a bit about the Fokine ballet from "Russlan and Ludmila." It's been presented in San Francisco. In fact, a few years ago, the SF Opera presented the whole fabulous opera "Russlan and Lyudmila"-- one of the great opera-house experiences of my life. For SFO had collaborated with Gergeyev and the Maryinsky and had reproduced from the original designs Bakst's production, whose sets and costumes Diaghilev brought to Paris -- in the finale, there was the costume that Nijinsky wore in "Le Festin" on a splendid dancer who proceeded to do the Lezghinka, with his arm in front of his nose.

The last act ends with a ballet, but there's a big one earlier, which as Mel noted is all made up of women. There are reasons inside the very fantastical, Ariostoesque opera why it's all women-- the scene is a seduction-vision, prepared by a sorceress. (The dancers are like the shades -- none of these women really exist). The sorceress, as I remember, is trying to remove one of the main characters from the competition -- to get Lyudmila's Arabian suitor to forget his quest and go back to Arabia. So this Armide-like witch (who's offered him hospitality at her castle) conjures up images of his own harem back in Arabia, who do a kind of Arabian dance very much addressed to the singer-prince..... Each of the women is distinctive, he knows each of them already -- or rather he THINKS he does, he doesn't know they're phantoms manipulated by a sorceress -- and each makes her own personal appeal to him. They should be in harem pants, but usually aren't when the ballet is presented by itself (I've seen it once done by the SFBallet school). Notice the Arabian plastique. In the opera, the singer is a contralto playing a man -- who sings a gorgeous nostalgic aria as s/he gradually falls asleep, which leads directly into the ballet -- a fantastic transition.

The whole opera is full of spectacular coups de theatre -- there's a wizard who's in love with Lyudmila who sets all the action in motion, and who when he's really worked up flies around in the air on a wire, with a 10-foot-long white beard following him like the tail of a kite. The music is delightful in the extreme -- rather like Rossini, even more like Mozart -- infectious, witty, very changeable, full of colors and moods....

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And for those interested in the political/historical wings of things, in 1842, when R&L was first presented, there was another wonderful war between the Russians and the Turks. The Sultan of Constantinople, Sulieman the somethingorotherth, made the remarkable statement, "If I should win this war, who would rule Russia? I don't want it!"

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so many thoughts presented here, so little time, overall, to follow through, esp. as aging takes away one's hoped for sharpness.

but to try to get to a few points:

i hope it didn't seem as if i was bungling the spelling/naming of dear ole maestro minkus. i used my most primitive cyrillic transliteration to indicate the way the text of the russian book on pakhita was written, if i'd had to refer to minkus in my own work i'd use what the International Encyc. of Dance gives: Le[acute]on Minkus, not saying this work is the last word, just the 'standard' one i tend to use when i need to 'nail' something down.

re: where i get my info. overall. in the case of this paquita list, it was from the recent book from russia, i just copied the list as given, and prob. didn't offer sufficient apologies for not being conversant enough w/ musical notation, russian, and choreographic notation to be more specific for all of the readers of this thread who really know their variations and videos backwards and forwards.

re: my info. otherwise, i get if from whatever most strikes me as having fed my curiosity on a given subject over the years.

for example, press kits can be of some use. the one provided by ABT for the version of DonQ staged by vasiliev in 1991 (for jane hermann's ABT) included a fascinating list of provenances:

tho' the music credit overall was given to Ludwig Minkus (now i'm reading from the kit) the following musical indications also were given:

Mercedes' Dance, Act II, Valery Zhelobinsky

Dryad Fairy's Vari. Act II, Anton Simon (my own note to myself in the kit indicates that is is the vari. i associate w/ Sizova in the 'graduation' perf. of the pas de deux from "Le Corsaire" w/ R.Nureyev, i.e. that w/ the huge grand jete de cote details)

Kitri's Variation in Act II (given in another source work i have, from russia of 'classical variations' [see below] as choreographed by Gorsky), by R.Drigo

Espada's Variation in Act III by Rheinhold Gliere

Mercedes' Variation, Act III, Anton Simon

March music, Act III, Yuly Greber,

Fandango, Act III, Eduard Napranik

the production's overall staging, very much in the Moscow tradtion, was by Vasiliev with special choreographic credit given to Kasyan Goliezovsky for 'the gypsy dance'.

regarding my ref. the Pas de Trois from Paquita, as Petipa's Golden Pas de Trois, if mem. serves i picked that up from roslavleva. (tho' i could be misremembering.)

to clarify, i did not mean to present the variation list offered earlier from the recent book on Paquita as jibing necessarily with the current kirov staging, or with the tapes available w/ the kirov. quite right, the cherepnine is nowhere to be seen in the book's list and i can't tell you if the author/editor of the book explains what his precise sources are and why he finds them definitive. the perf. on tape and the one most referred to in this thread is the vinogradov version. the previous one dudinskaya was somewhat different, i think, and the one dolgushin did for the maly th. was still different from these other two leningrad versions.

the booklets i have under the rubric: Klassicheskoe nasledie: variatzii iz baletov Russkikh khoreografov also has music and choreographic breakdowns, it is a companion publication to the following tape at the NYPub.Lib.for the Perf. Arts.

Classical heritage: Thirty variations from ballets by Russian choreographers

1990. 60 min. : sd. color

Co-produced by Soyuzteatr and Sintez. Chief producer: A. Murtazin. Producer/writer: F. Slidovker. Camera: A. Tafel. In Russian with English subtitles.

Issued in conjunction with the Russian-language publication by Soyuzteatr entitled Klassicheskoe nasledie: variatzii iz baletov Russkikh khoreografov (see: *MGTM 90-9614)

SUMMARY: Compilation of variations performed in the studio to piano accompaniment, in practice clothes, as a choreographic record.

CONTENTS: Swan lake: Act II, Odette's variation. Chor: Ivanov. Danced by Tatyana Chernobrovkina. -- Swan lake: Act III, Odile's variation. Chor: Grigorovich. Danced by Galina Shlapina. -- Swan lake: Act III, Odile's variation. Chor: Petipa. Danced by Chernobrovkina. -- Swan lake: Act III, Siegfried's variation. Chor: K. Sergeyev. Danced by Vladimir Malakhov. -- Swan lake: Act III, Siegfried's variation. Chor: Grigorovich. Danced by Malakhov. -- Swan lake: Act I, Pas de trois, male variation. Chor: K. Sergeyev. Danced by Malakhov. -- The sleeping beauty: Act I, Aurora's variation. Chor: Petipa. Danced by Shlapina. -- The sleeping beauty: Prologue, Lilac Fairy's variation. Chor: F. Lopukhov. Danced by Tatyana Yatsenko. -- The sleeping beauty: Act III, Désiré's variation. Chor: Sergeyev. Danced by Malakhov. -- The sleeping beauty: Act III, Bluebird's variation. Chor: Petipa. Danced by Malakhov. -- The nutcracker: Act II, Princess Masha's variation. Chor: Vasily Vainonen. Danced by Ludmila Vasilyeva. -- The nutcracker: Act II, Prince's variation. Chor: Vainonen. Danced by Malakhov. -- The nutcracker: Act II, Marie's variation. Chor: Grigorovich. Danced by Tatyana Paliey. -- The nutcracker: Act II, Prince's variation. Chor: Grigorovich. Danced by Stanislav Isayev. -- Raymonda: Act I, Raymonda's variation with a scarf. Chor: Petipa. Danced by Shlapina. -- Raymonda: Act III, Raymonda's variation. Chor: Petipa. Danced by Susanna Avetisova. -- Chopiniana: Prelude. Chor: Fokin. Danced by Svetlana Tsoy. -- Chopiniana: [Woman's] mazurka. Chor: Fokin. Danced by Olga Ivanova. -- Chopiniana: Waltz. Chor: Fokin. Danced by Ivanova. -- Chopiniana: [Man's] mazurka. Chor: Fokin. Danced by Dmitry Zababurin. -- Don Quixote: Act IV, Kitri's variation. Chor: Petipa. Danced by Paliey. -- Don Quixote: Act IV, Basil's variation. Chor: A. Ermolaev, V. Vasilyev. Danced by Vadim Bondar. -- Don Quixote: Dream scene, Kitri's variation. Chor: A. Gorsky. Danced by Chernobrovkina. -- Don Quixote: Act IV, female variation. Chor: Gorsky. Danced by Liliy Musovarova. -- Coppélia: Act III, Swanilda's variation. Chor: Gorsky. Danced by Vasilyeva. -- La fille mal gardée: Act II, Lise's variation. Chor: Gorsky. Danced by Paliey. -- La fille mal gardée: [act unspecified], Colin's variation. Chor: Gorsky. Danced by Malakhov. -- Le corsaire: Act II, Slave's variation. Chor: V. Chabukiani. Danced by Ilgis Galimullin. -- La bayadère: Act II, Gamzatti's variation. Chor: Chabukiani. Danced by Vasilyeva. -- La bayadère: Act IV, Kingdom of the shades, Solor's variation. Chor: Chabukiani. Danced by Bondar.

now i've gone likely so far OT that everyone's gone to sleep, or to get the hook.

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