Lidewij Posted May 6, 2014 Share Posted May 6, 2014 The Grand Pas from this ballet was reconstructed by Vasily Medvedev and performed at Dance Open; a rehearsal video has turned up on youtube: Does anyone know anything more about this ballet? What is the context of this Grand Pas? I'm wondering what the doors with 'past', 'present' and 'future' above them in the backdrop signify. Edit: another video of what appears to be the coda. Filming quality is not very good, but it gives an idea. Link to comment
FauxPas Posted May 8, 2014 Share Posted May 8, 2014 1896 ballet by Marius Petipa, music by Pyotr Schenk. Supposedly was the most lavish spectacle Petipa had done so far. Restaged by Nicolas Legat in 1910. Libretto based on Perrault. http://www.pitt.edu/~dash/perrault03.html This probably would be a wedding pas de deux where the handsome hero has saved Bluebeard's wife from joining his previous wives in death. Handsome hero kills Bluebeard and marries now ex-Mrs. Bluebeard. Mrs. Bluebeard gets to keep castle, treasury and dungeons. Link to comment
Helene Posted May 8, 2014 Share Posted May 8, 2014 Now Eifman would have done justice to the original story. Link to comment
sandik Posted May 9, 2014 Share Posted May 9, 2014 How interesting -- the only Bluebeard I've seen was Pina Bausch, which was not like this at all... Link to comment
sandik Posted March 9, 2015 Share Posted March 9, 2015 "Finally, the door of the Temple of the Future opens and two dancers present the Pas de Deux Electrique." Now that has real potential! The cast list alone is quite special -- thanks so much for posting this here! Link to comment
MadameP Posted March 9, 2015 Share Posted March 9, 2015 Wow! That ballet must have been quite some spectacle! Link to comment
rg Posted March 10, 2015 Share Posted March 10, 2015 f.y.i. Bluebeard : Chor: Marius Petipa; mus: P. P. Schenck; lib: L. Pashkova (cf. Beaumont); scen and cos: P. B. Lambin, K. M. Ivanov, Henrykh Levot, V. T. Perminov. First perf: Russia: St. Petersburg: Maryinsky Theater, Dec. 8, 1896 Link to comment
sandik Posted October 11, 2015 Share Posted October 11, 2015 My, but this is full of fun! Amongst all the language, I'm curious about Act 2, Scene 3 -- there are two iterations of "orientale," a "japonais," and a "hindoue." I've had several conversations with people over the years about the characterization of music (e.g. what makes something "Spanish"). I haven't heard this score, so don't know this section -- does anyone here have insight on these characterizations? Link to comment
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