doug Posted February 28, 2015 Share Posted February 28, 2015 Wiley is pretty thorough in his description of the Beauty notation in his Tchaikovsky's Ballets. I'll see what ABT offers as far as a list for Beauty. For the Munich Paquita, a chart was published providing attribution for all music and choreography. Link to comment
volcanohunter Posted February 28, 2015 Share Posted February 28, 2015 How I wish that programs for all classic ballets included such charts! All ballets with composite scores could use them, too. Link to comment
sandik Posted March 1, 2015 Share Posted March 1, 2015 How I wish that programs for all classic ballets included such charts! All ballets with composite scores could use them, too. That's one of my wishes too -- I'm much better at recognizing physical quotation than I am at musical, and when I'm trying to do some homework for a performance, it's sometimes really difficult to get a handle on what I should listen to. Link to comment
Plisskin Posted March 1, 2015 Share Posted March 1, 2015 Gillian posted a picture on Instagram of Isabella wearing one of Aurora's costume's during rehearsal: https://instagram.com/p/zqxLUiHVaz/?modal=true Link to comment
sandik Posted March 1, 2015 Share Posted March 1, 2015 Alexei said that for Sleeping Beauty, his aim is to use as little of his own choreography as possible, was that also his aim with Paquita? Just stepping in till Doug gets back -- as I understand it, that was indeed the goal. The Paquita score was pretty intact, which means it didn't need much filling in. And due to the number of blank spaces found in the notation, would I be right in assuming that in both Sleeping Beauty and Paquita, these spaces have been filled with editorial steps by you and Alexei? Again, as I understand it, Doug mostly reconstructs from notation, rather than creating any additional "filling." Doug, please let me know if I've mis-represented here! Link to comment
Natalia Posted March 2, 2015 Share Posted March 2, 2015 Gillian posted a picture on Instagram of Isabella wearing one of Aurora's costume's during rehearsal: https://instagram.com/p/zqxLUiHVaz/?modal=true Hopefully not the finished product. Say it ain't so, Joe! Link to comment
Kaysta Posted March 2, 2015 Share Posted March 2, 2015 Diana Vishneva posted a picture of she and Marcelo in their post-wake up costumes and they look gorgeous. There are also pictures of some of the tutus on ABT's instagram. The costume designer is the same person who designed for ABT/Ratmansky's Nut, correct? Maybe I'm in the minority, but I thought those Nutcracker costumes were gorgeous, so I'm really excited about the design of this production. I don't think the picture of Boylston's rose adagio dress is a finished project in that photo. It is interesting to see the length of the skirt though. Link to comment
Natalia Posted March 2, 2015 Share Posted March 2, 2015 Boylston herself looks great! Only problem is the mumu bodice. Surely it will be tight by the time opening night rolls around. Link to comment
mussel Posted March 2, 2015 Share Posted March 2, 2015 Yes, Richard Hudson is the same costume designer for ABT's Nut and new Beauty. More costume sketches: Hummingbird Fairy Lilac Prince Charming? Another picture of the set from Library of Congress, looks different from the one posted earlier on FB: Link to comment
sandik Posted March 2, 2015 Share Posted March 2, 2015 I like the arch upstage center -- a nice place to frame Aurora in her first entrance. Link to comment
mussel Posted March 2, 2015 Share Posted March 2, 2015 Vision costume Queen at christening King Canary Fairy Lilac's costumes appear to have 2 different lengths Link to comment
Natalia Posted March 2, 2015 Share Posted March 2, 2015 I like the arch upstage center -- a nice place to frame Aurora in her first entrance.This seems to be the prologue, with the cradle.The Lilac costume definitely looks familiar. See photo on cover of recent Lydia Lopukhova bio by Judith Mackrell, i.e., same costume as Lydia wore in the 1921 Bakst-Diaghilev production, down to the coronet. This is looking hopeful. A lot will depend on quality of fabrics and execution. Crossing my fingers for no polyester and 'Art Stone Recital Catalogue' looks. Link to comment
mussel Posted March 2, 2015 Share Posted March 2, 2015 So there will be Puss in Boots and Big Bad Wolf Diamond & Princess Florine Aurora PdD Vishneva & Gomes in their coronation costumes: https://instagram.com/p/zs5eB4wW6P/?modal=true Link to comment
Kathleen O'Connell Posted March 2, 2015 Share Posted March 2, 2015 I like the arch upstage center -- a nice place to frame Aurora in her first entrance.This seems to be the prologue, with the cradle. I hope this set doesn't commit one of the errors of the current production, which is pushing too much of the action towards the wings -- including, crucially, the cradle in the prologue. At the Met, if you're anymore than halfway in on the house right side section of the orchestra it's almost impossible to see what's going on around the cradle. Link to comment
abatt Posted March 2, 2015 Author Share Posted March 2, 2015 That wouldn't be the first time that people on the far right miss important action. Having sat in a right side parterre box during my early ABT years, I learned the hard way that you miss a great deal of the R&J balcony scene if you are too far right. Although I was at the performance, the closest I came to taking it in was the review a few days later that talked about how great the balcony scene was. Live and learn. Have never sat in a side box for the ballet since. Link to comment
Natalia Posted March 2, 2015 Share Posted March 2, 2015 Some of these costumes are quite bright and colorful (e.g., bluebirds). We have to see them on the stage as part of the total scene. Fingers crossed for a big success. Link to comment
Kathleen O'Connell Posted March 2, 2015 Share Posted March 2, 2015 That wouldn't be the first time that people on the far right miss important action. Having sat in a right side parterre box during my early ABT years, I learned the hard way that you miss a great deal of the R&J balcony scene if you are too far right. Although I was at the performance, the closest I came to taking it in was the review a few days later that talked about how great the balcony scene was. Live and learn. Have never sat in a side box for the ballet since. What irked me about ABT's soon-to-be previous version of SB was that I wasn't even really that far over to the side; I certainly would not have thought to describe it as far right. If a seat isn't labelled "partial view" one should be able to see everything, or at least everything important, especially if one is paying full price. I took it as a sign that either 1) the production team didn't care enough to make sure the set design actually worked in the theater or 2) management didn't care enough about giving their patrons good value for their money. Link to comment
volcanohunter Posted March 2, 2015 Share Posted March 2, 2015 I would guess that the 50ish Pavel Gerdt danced rather simple solos that a Marcelo Gomes or Herman Cornejo would not want to dance... As the fabulous "After Petipa" presentation at the Guggenheim reminded us, the ballet was not notated in 1890. It was noted around 1903, by which time the part was being danced by Nikolai Legat, and the variation he danced was insanely difficult. Skip ahead to about 1:12:30. https://www.youtube.com/watch?feature=player_detailpage&v=6xpOVN3cfGc#t=4350 Link to comment
Plisskin Posted March 2, 2015 Share Posted March 2, 2015 Vishneva posted a photo of herself wearing the Rose Adagio costume. It looks much better with the bodice tightened up: https://instagram.com/p/zuebEPwW5L/?modal=true Link to comment
Helene Posted March 2, 2015 Share Posted March 2, 2015 From Wilifried Hosl's interview with Ratmansky for the "Paquita" premiere: We do not know how much of the original Mazilier choreography Petipa used in his stagings, but I can promise ther eis only 2 minutes of my own choreography in this production, the rest comes from the notations. That's the main difference between us an Pierre Lacotte, who can definitely call his 2001 Paris Opera staging of Paquita his own ballet. Pierre is a brilliant stylist, a legendary classicist, but if you want to see what Petipa's Paquita looked like you need to go to Munich, not Paris. On the other hand, my Russian colleagues, Sergei Vikharev and Yuri Burlaka, who have made some very fine productions of the classics based on the notations, seem to quiet [sic] skeptical about today's values of it. They alter, modify and develop the material. Personally I have no interest in staging a modified version (unless there is not enough sources of information). I would rather do my own ballet instead. By standing firmly with the notation even in smallest details, we give an audience a chance to judge for themselves. It feels fair. I think Petipa deserves it. Link to comment
sandik Posted March 2, 2015 Share Posted March 2, 2015 From Wilifried Hosl's interview with Ratmansky for the "Paquita" premiere: ... By standing firmly with the notation even in smallest details, we give an audience a chance to judge for themselves. It feels fair. I think Petipa deserves it. I've worked with notation (primarily Labanotation) for years, and I'm just thrilled to see people really mining the Stepanov materials. I've liked a great deal of what I've seen of Ratmansky's choreography, and look forward to seeing more, but this commitment to the historic record really warms my heart. Link to comment
Kaysta Posted March 2, 2015 Share Posted March 2, 2015 Vishneva posted a photo of herself wearing the Rose Adagio costume. It looks much better with the bodice tightened up: https://instagram.com/p/zuebEPwW5L/?modal=true It does! It looks gorgeous! All of the costumes do. Link to comment
ABT Fan Posted March 2, 2015 Share Posted March 2, 2015 Yes, the costumes are certainly beautiful! I especially love the Lilac Fairy's. Link to comment
Helene Posted March 2, 2015 Share Posted March 2, 2015 I've worked with notation (primarily Labanotation) for years, and I'm just thrilled to see people really mining the Stepanov materials. I've liked a great deal of what I've seen of Ratmansky's choreography, and look forward to seeing more, but this commitment to the historic record really warms my heart. The historic record at a dropping off point from the years the notations were made and as much supplemental information in them and from other sources about the way different things were changed. Had Balanchine lobbed the beginning and end off of "Apollo" after the 1920's, we might only have photos and review descriptions of the work, instead of several filmed versions and enough people who've staged and dance the longer version to have passed it on (and continue to stage the alternate version). Then there is the issue of style, as the notated steps are fit to bodies that look quite different than today's dancers and their current strengths. Sigh. Link to comment
Recommended Posts