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Le Corsaire Live Stream, Bavarian State Ballet, June 12 9am ET


Helene

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Thanks to the heads up from volcanohunter, we have the update that the performance of "Le Corsaire" on June 12 will be the matinee performance instead of the early evening performance, and it will begin 9:00am ET (6am PT):

http://balletalert.invisionzone.com/index.php?/topic/40730-le-corsaire-live-stream-bavarian-state-ballet/?p=370541

Click on the link for casting details, including the dancers who will be leaving the company with Zelensky's arrival next season.

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I see in the credits that Doug Fullington of PNB did the reconstruction of the Petipa choreography.

Yes, I know that Doug reconstructed the Pas d'esclave and the Pas des Odalisques for this production, but I don't know what else he reconstructed... does anyone here know what other passages he reconstructed? Because he reconstructed over 20 passages.

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Well to answer my question, there's also a partial reconstruction of the Scene de seduction, so what does everyone think of this production so far?

I'm afraid that Simkin's truly extraordinary Ali (that I saw at the Met June 4) has ruined me for all future Ali's! This one is perfectly acceptable, clean, solid, but nothing astonishing once you have seen what Simkin does with that role. (But I have a hunch some of the young talent at Pennsylvania Ballet will give him a run for his money next March.)

The camera work is mostly good, although there have been a few brief moments when I was being shown the crowd instead of a nice variation by the principal.

Overall, a very nice, clean, easy-to-watch production. And, as always, I so regret that American companies never do this.

BTW - the clips of their very unorthodox Swan Lake at intermission look fascinating. Hope they live stream that one later this month!

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I'm afraid that Simkin's truly extraordinary Aili (that I saw at the Met June 4) has ruined me for all future Aili's! This one is perfectly acceptable, clean, solid, but nothing astonishing once you have seen what Simkin does with that role. (But I have a hunch some of the young talent at Pennsylvania Ballet will give him a run for his money next March.)

The camera work is mostly good, although there have been a few brief moments when I was being shown the crowd instead of a nice variation by the principal.

Overall, a very nice, clean, easy-to-watch production. And, as always, I so regret that American companies never do this.

BTW - the clips of their very unorthodox Swan Lake at intermission look fascinating. Hope they live stream that one later this month!

I hate Ali, so I don't care about him whatsoever. I really wish he would stop invading so many Le Corsaire productions!

So far, I'm not overly impressed with this production, but we still have the final act to see; it'll be interesting to see the staging of Le Jardin Anime.

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Thank you for sharing this live stream with us.

Overall, this is certainly not the best production I've ever seen; the constant dancing at every minute just gets really irritating, especially when it's obvious that there's dancing to music that's supposed to be for action and mime scenes. The costumes and sceneries are not the best either, though I really liked the pink costumes in Le Jardin Anime, but I really wish the women had been wearing tights; I don't like tutus without tights, it just doesn't look right.

I really have to applaud the use of notated Petipa passages; it seems that Doug Fullington reconstructed Le Jardin Anime, or at least most of it, including Adele Grantzow's variation, which is the bonafide original variation for Medora.

Despite the flaws of this production, the dancers were all incredible; I saw some of them in Paquita last year, so it's a shame that some of them are leaving.

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Doug Fullington reconstructed the Jardin Anime as a stand-alone work for the Pacific Northwest Ballet school in 2004 (not to blow my own horn, but I wrote a bit about it in danceviewtimes). He reworked that reconstruction here, and also staged it this year for the PNB family matinee performances.

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Doug Fullington reconstructed the Jardin Anime as a stand-alone work for the Pacific Northwest Ballet school in 2004 (not to blow my own horn, but I wrote a bit about it in danceviewtimes). He reworked that reconstruction here, and also staged it this year for the PNB family matinee performances.

Oh thank you sandik; love the article! ;)

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BTW - the clips of their very unorthodox Swan Lake at intermission look fascinating. Hope they live stream that one later this month!

:off topic: There are no further ballet streams planned for this season (this was the only one all year), and the company isn't performing John Neumeier's Illusions - like Swan Lake next season. However, there is a film of the Hamburg Ballet performing it. It is an unorthodox approach, inasmuch as Neumeier turns the ballet into a semi-autobiographical piece about Ludwig II of Bavaria. However, the lakeside scene (staged by Alexandra Danilova) is more authentic than what you'll see in most conventional productions of Swan Lake, because Neumeier was aiming for a "period" feel, and he also retains the "black swan" pas de deux.

Unfortunately, the assurance that "diese DVD hat keinen Ländercode" comes with a disclaimer, because it was released on DVD as a region-free PAL disc, so while it will play just fine on your computer, you'll need a region-free player to watch it on an American TV set--or you can connect a laptop to your TV and project it onto the screen that way. It's available from the Hamburg Ballet and the European versions of Amazon. There's little available film of Elizabeth Loscavio, so her performance on this disc is a bonus.

http://hamburgballett-shop.de/epages/9681fdc6-2651-4b06-bcf7-658393ece38e.sf/de_DE/?ObjectPath=/Shops/9681fdc6-2651-4b06-bcf7-658393ece38e/Products/2-4

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the constant dancing at every minute just gets really irritating, especially when it's obvious that there's dancing to music that's supposed to be for action and mime scenes

I have to agree with that entirely. Not only is it unmusical, without the mime the narrative becomes much less clear, and it flattens out the characters if they're all basically performing the same kinds of steps. And I don't like the bare chests, bare midriffs and bare legs.

But I was very grateful for the reconstruction of the pas d'esclave and particularly glad to find that the lifts in the entrée where the women tucks her feet under her before being lowered into an arabesque were absent. That move invariably makes her tutu fly up in front and looks indecent. I was sure it violated Ratmansky's maxim about not showing one's underwear to the czar, and sure enough, the supported croisé grand jetés looked much, much better. On the other hand, there was a moment in the jardin animé when Medora and Gulnare were kneeling on opposite legs, one woman in front of the other, and from the unfortunate camera angle, at least, it made Medora appear as though she were squatting in second position Mats Ek-style.

It was very interesting to see the third odalisque variation performed without the interpolated pirouettes, and therefore danced much faster, although in general I wanted to shoot conductor Aivo Välja with a tranquilizer dart for racing through the ballet at a pace with which the dancers could not keep up. And I agree with California that the final tableau on the ship does not register nearly as strongly as it should.

I particularly admired Daria Sukhorukova in the jardin animé. Her departure is a real loss for the company.

I recall that when this production premiered, someone wrote that the printed program included a chart indicating the choreographic and musical provenance of each dance. I'm sorry that information isn't available on the company web site because I'd love to know it. I am glad the production is coming to Boston, because while I agree that it isn't perfect, it does strip away some tiresome accretions--albeit not Ali.

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I have to agree with that entirely. Not only is it unmusical, without the mime the narrative becomes much less clear, and it flattens out the characters if they're all basically performing the same kinds of steps. And I don't like the bare chests, bare midriffs and bare legs.

I recall that when this production premiered, someone wrote that the printed program included a chart indicating the choreographic and musical provenance of each dance. I'm sorry that information isn't available on the company web site because I'd love to know it. I am glad the production is coming to Boston, because while I agree that it isn't perfect, it does strip away some tiresome accretions--albeit not Ali.

Unfortunately, the constant dancing is what has become of Petipa's ballets and revivals, primarily thanks to Soviet meddling and this production further proves that it just does not work. I wonder if Zelensky will be retaining this production... I certainly want him to retain the notated passages, but it would be even greater if we were given more notated passages, like the pas de six in the grotto scene that Petipa added for Adele Grantzow; anything is better than that wretched hodgepodge that, thanks to Sergeyev and Dudinskaya, is constantly mistakenly credited to Petipa! In other words, it's time for a full Le Corsaire reconstruction.

The awful sight of the bare chests, bare midriffs and bare legs made me want to jump in through the screen and shout at the women to go and put some tights on! Lol!! I hope the Boston Ballet can give this production much better sceneries and costumes.

Yes a chart with all the information regarding the choreography, music, etc was in the printed program for Paquita and it was excellent! It literally told you which music was by which composer and the ballerinas whose five variations were used in the Grand Pas Classique. The variation that was used for Lucien, however, the choreographer is unknown, but like you said, it would be excellent for all this information to be available online. I still have my copy of the Paquita program if you have any questions. ;)

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Unfortunately, the constant dancing is what has become of Petipa's ballets and revivals, primarily thanks to Soviet meddling and this production further proves that it just does not work.[...] In other words, it's time for a full Le Corsaire reconstruction.

What do you think of the Ratmansky/Burlaka reconstruction?

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What do you think of the Ratmansky/Burlaka reconstruction?

I do like the Ratmansky/Burlaka production, although it's not a reconstruction, but rather a revival. It does, however, use the splendid scenery and costume designs from Petipa's 1899 revival and the Le Petit Corsaire variation.

I'm not Amy, but I saw it a couple of times, and my favorite parts were "Jardin Anime," "Petite Corsaire," no Ali, and no bare chests.

Those are my favourite parts too, Helene! :)

Actually here's what Alexei said about his and Burlaka's Le Corsaire staging in an interview last year:

"My school friend Yuri Burlaka (we graduated together from Piotr Pestov’s class) learned how to read it [stepanov notation] long before me and I invited him to take care of the notated steps and also of the score, which is a mishmash. In the notations the mime is described in words and floor plans, so I was able to do the mise-en-scenes myself. Then we would sit together and compare all the known versions of the choreography with the archival documents. Yuri would say ‘oh, this dance in the notes is almost like it is done today’ and we would set a traditional version here and there. In other places he would follow the notations, sometimes adapting steps to the modern technique, or we would decide that the known version is preferable. So we used the notations, but we took them as a point of departure. The idea was to revive the mime and overall structure, and where possible to get rid of the later Soviet additions, because both of us agreed that Petipa knew better. The reconstructed Jardin Animé, one of Petipa’s greatest masterpieces, looked magnificent, but the problem was that the ballet’s most famous piece, the pas de deux a trois, is not notated at all. What we know is a compilation of steps from a dozen ballet masters and dancers of different times, so we left it more or less as it is done today. We don’t even know for sure if there is anything from Petipa in it…"

It's unfortunate that both men mistakenly thought that the pas de deux a trois (the so-called Le Corsaire Pas de deux) is by Petipa, because it's not... it would've been better if they had either staged their own version of Adam's original Grand Pas des Eventails, which Petipa retained for Pierina Legnani in his 1899 revival, or if they had reconstructed the pas de six that's notated for the grotto scene. The Grand Pas des Eventails in the third and final act is one that they created to music from Riccardo Drigo's one-act ballet The Enchanted Forest - the male variation is a supplementary variation Drigo composed for Sergei Legat in The Magic Mirror and Medora's variation is her traditional variation for Le Jardin Anime. In both the original version by Mazilier and Petipa's revivals, there were no other Grand pas after Le Jardin Anime.

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Funny how memory plays tricks: I don't remember a pas de trois at all, just a pas de deux.

In DC, due to overtime rules, we got the very abridged last act. That meant no fan dance, which we got to see in Seattle in March, thanks to doug's work on the Family Matinee, the highlight of the season.

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Funny how memory plays tricks: I don't remember a pas de trois at all, just a pas de deux.

In DC, due to overtime rules, we got the very abridged last act. That meant no fan dance, which we got to see in Seattle in March, thanks to doug's work on the Family Matinee, the highlight of the season.

Yes they did stage it as a pas de deux - they gave it to Conrad and Medora; it's perhaps the only staging of the so-called Le Corsaire Pas de deux that doesn't include the obnoxious Ali. Lol!

The fan dance that Doug reconstructed for the PNB family matinee, who else besides Medora dances in that passage, Helene?

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I don't remember the pas de trois in the Ratmansky-Burlaka production either. (I saw it in London). The pas des Eventails by Ratmansky was pure Petipa-esque pastiche, and I enjoyed the dancing, but found it odd to see Medora with a cavalier when she was at the same time supposedly guarded by eunichs. For me, the highlight was certainly the Jardin Anime along with some of the character dancing. And the costumes. I also had some questions about how the ballet hung together as a whole. Unfortunately I won't be seeing it again any time soon.

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I don't remember the pas de trois in the Ratmansky-Burlaka production either. (I saw it in London). The pas des Eventails by Ratmansky was pure Petipa-esque pastiche, and I enjoyed the dancing, but found it odd to see Medora with a cavalier when she was at the same time supposedly guarded by eunichs. For me, the highlight was certainly the Jardin Anime along with some of the character dancing. And the costumes. I also had some questions about how the ballet hung together as a whole. Unfortunately I won't be seeing it again any time soon.

Well it's definitely in the Bolshoi recordings that are available, but like I said, they staged it as a pas de deux for Conrad and Medora. I do like the Grand Pas des Eventails for the final act; it's a beautiful piece and it gives us the chance to listen to some of Drigo's wonderful music that's never used anywhere else today, although I do find the Cavalier a little odd as well...

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For that matter, even men standing at the rear of the jardin animé scene with garlands is odd. What really strikes me as dissonant are those versions of the scene where Seyd apparently brings out his harem to provide entertainment for the faux pilgrims.

Not that one goes to the ballet with expectations of seeing accurate depictions of the Orient.

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Actually here's what Alexei said about his and Burlaka's Le Corsaire staging in an interview last year:

... because both of us agreed that Petipa knew better.

yup!

Yes they did stage it as a pas de deux - they gave it to Conrad and Medora; it's perhaps the only staging of the so-called Le Corsaire Pas de deux that doesn't include the obnoxious Ali. Lol!

The fan dance that Doug reconstructed for the PNB family matinee, who else besides Medora dances in that passage, Helene?

Medora danced with her friends -- they all had fans (very large ones, like burlesque dancers), and were able to create several interesting tableaux with them.

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