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Mariinsky's Raymonda To the KC in Feb 2016


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Amy,

I have always wondered why the Mariinsky dancers choose changements or entrechats. I always wondered why it was okay to change things for that moment but not other moments, and you explained why! Thank you for saying this, because it has always been a mystery. I wondered if changements were correct or if entrechats were correct or if both are correct. It sounds like both are correct b/c one is notated, the other was done by Legnani, who originated the role. So one was done in practice. The other is actually notated. That explains why Mariinsky ballerinas are allowed to choose one or the other to do at that moment.

Thank you for this information!

Agree. Tereshkina does the changements, for example, and she has very strong pointework, so I am sure she COULD do the entrechats4 - yet she doesn't.

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In one of Markova's books she relates how she was given the choice on how to perform the final diagonal in Giselle's PasSeul, after Pavlova vs. Spessivtseva-(both were notaded according to her). She went for the latter one, and from there Alonso took it in the early 40's. I believe is not performed anywhere else nowadays but in Cuba, as everyone else does the circle of pique turns.

Stagers can be very strict with this. Osipova has said that she would like to perform said diagonal in Russia, but she would not be allowed by her coach.

In Helgi Tomasson's staging of Giselle at the San Francsico Ballet, a ballerina does the Spessivtseva diagonal instead of a mange of pique turns.

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On 3/1/2016 at 9:47 AM, MadameP said:

With regard to the diagonale of entrechats4 (or not!), I was not present at the American run of Raymondas, but have seen many Raymondas on the Mariinsky stage in St Petersburg. For the sake of information only, here is a list of all those ballerinas I have seen perform the role of Raymonda at Mariinsky Theatre, and what they actually performed during this sequence.

Lopatkina - changements

Tereshkina - changements
Matvienko - changements
Skorik - changements
Kondaurova - did maybe 2 entrechat4 then the rest changements
Shirinkina - entrechat4
Kolegova - entrechat4
Somova - entrechat4

I just wanted to do a quick return to this issue. According to The Petipa Society, the troubles of doing changements vs entrechats on pointe on this section goes back to the very Petipa times. It looks like Legnani, the original Raymonda, did the most difficult option...the entrechats, whereas les accomplished technician Preobrajenskaya went for changements, and hers is the variation that was notated. Doug Foullington...correct me if I am wrong...?

https://petipasociety.com/raymonda/

Edited by cubanmiamiboy
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It is important to understand that Legnani was dancing Raymonda in 1898 while Preobrajenska was rehearsing it in 1903, she was thus to dance a new production; in all such cases altering and adapting the text for a new soloist was a standard practice.

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52 minutes ago, Laurent said:

It is important to understand that Legnani was dancing Raymonda in 1898 while Preobrajenska was rehearsing it in 1903, she was thus to dance a new production; in all such cases altering and adapting the text for a new soloist was a standard practice.

Laurent...if you go back a bit on this thread, you will see why I came back to mention this fact. When the Mariinsky came to DC, this section was much discussed, for which some ballerinas obviously did not do the difficult entrechats on pointe, but rather changements. It was interesting to see that they have been quite following into the footsteps of their venerable originals.🤗

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