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2 versions of Aurora's wedding variation


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I have noticed that there are 2 different versions of this variation: one is how the Russians do (both Kirov and Bolshoi in my tapes), and the other as performend by Royal Ballet (both Margot and Durante in my tapes). The Russians start it with sisonne sur pointe to attitude derriere efface, while the English start doing a passe derriere efface, then do passe (1 or 2) with same leg on the efface devant position. There are other changes as well: in the English version she does a complete manege at the end, while the Russians cut the manege at point 6, where they prepare to a chaines combination, which they cut again after 4 counts to prepare for the final diagonal. The Russians take 4 counts more for this whole manege thing. There are other differences in the “walking” part as well

Someone knows which of this came first? Whose are the changes? What chorography of this 2 versions is really Petipa? Or none??????

Puzzled silvy

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Learning a classical variation is a lot like buying a used car; it really helps to know who had it before you! The Royal's version is taken from the Nicolai Sergeyev notations that were taken shortly after the original production of the ballet. Sergeyev may have massaged them a little bit, too. Both Russian productions were filtered through Agrippina Vaganova, and the Kirov also underwent some juggling by Konstantin Sergeyev. I'm not certain who might have been the intervening voice at the Bolshoi, but it very well could have been Kasian Goliezovski or Asaf Messerer, both of whom had a way of tinkering with the repertoire.

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The Act III fish dives themselves are not original --

Sergeyev's version, if I remember rightly -- haven't looked this up recently -- comes fom hte version ("The Sleeping Princess")that Diaghilev did for London, and for that version Lopukhov made some additions (or was it Nijinska?) -- including I believe the fish (which indeed, hte Russians no longer do, but use instead usually a multiple inside turn and a swoon in sous-sus).

In the variation itself the Russians nowadays do less of hte Russian dance (the section with the corkscrewing wrists), but break it up with a couple of soutenus or something. I myself would love t o know how much of THAT is petipa, and who konw, and how they know for sure....

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The version that RB does today is pretty much the same one that they've been doing ever since they first did the ballet, or the pas de deux as a separate divertissement. And yes, the Nijinska adds are in there, including the Three Ivans (from The Little Hump-Backed Horse) which was used in the 1921 Diaghilev production because the ballerinas were all pretty much winded by the end of their variations in that production. They needed something to break it up before the final ballabile. A coda arranged by de Valois or Ashton, I forget whom, was once used instead of the Ivans, and their material danced earlier in the wedding scene to the "Trepak" from Nutcracker.

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