M. Taglioni/Offenbach's "Le Papilllon" clip.

[cubanmiamiboy]

A beautiful rendition of a Pas de Deux from M. Taglioni/Offenbach's "Le Papilllon"

Irina Kolpakova as Farfalla and Sergei Berezhnoi as Prince Djalma

Enjoy!

http://en.wikipedia.org/wiki/Le_Papillon_(ballet)

[leonid17]

A beautiful rendition of a Pas de Deux from M. Taglioni/Offenbach's "Le Papilllon"

Irina Kolpakova as Farfalla and Sergei Berezhnoi as Prince Djalma

Enjoy!

http://en.wikipedia.org/wiki/Le_Papillon_(ballet)

Thank you for posting this Christian. I have two versions of this pas on an old video.

As probably one of the most complete and truly classical ballerinas of the 20th century, Irina Kolpakhova came to this role at the end of her career. There are so many felicitous moments that it remains a joy even having watched this film over and over again. For me it lifts the heart. What epaulement, what an experience to see beaten steps performed so low off the ground exactly what one expects to see in classical choreography evoking the Romantic ballet. Here we see her flitting across the stage and not with beats sprung so high, as to have a smack of the circus.

I was fortunate enough to see her performance of this pas live and it matches in beauty and wonder the performances I had seen when she was in her prime.

[Mel Johnson]

However, directly attributing the choreography to Marie Taglioni is, at best, overreaching.

[leonid17]

However, directly attributing the choreography to Marie Taglioni is, at best, overreaching.

You are absolutely right.

Marie Taglioni's choreography has not survived in any shape or form.

For his version it is said thatLacotte based it upon; prints, notes, drawings, and archival materials from the time of the ballet's original production.

Although it may be seen to use the vocabulary of Taglioni's era, there can be no claim to authenticity.

The version we see with Kolpakhova, was staged in St. Petersburg in 1979 by Lacotte.

[Mel Johnson]

Yes, certainly, that's a true evaluation of the source of the choreography. It is solidly based on the vocabulary and style of the pre-Franco-Prussian War French school, and even makes graceful bows in the direction of the Petipa restagings of earlier choreographers' works (cf. Giselle et al.) It is the work of a stagewise scholar.

[Nanarina]

However, directly attributing the choreography to Marie Taglioni is, at best, overreaching.

You are absolutely right.

Marie Taglioni's choreography has not survived in any shape or form.

For his version it is said thatLacotte based it upon; prints, notes, drawings, and archival materials from the time of the ballet's original production.

Although it may be seen to use the vocabulary of Taglioni's era, there can be no claim to authenticity.

The version we see with Kolpakhova, was staged in St. Petersburg in 1979 by Lacotte.

This is really lovely, and by information provived by Pierre Lacotte on the La Sylphide DVD he has done numerous research into Taglioni history and work. He always endeavours to portray any reproductions he undertakes to be in the most authentic manner. In some circumstances 0btaining original details of steps and variations which he uses in his works.Both from Tafglioni family members and archives at museums where they have been hidden away for decades.