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Five Ballets From Paris And St Petersburg
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Book Synopsis Five Ballets from Paris and St. Petersburg by : Doug Fullington
Download or read book Five Ballets from Paris and St. Petersburg written by Doug Fullington and published by . This book was released on 2023 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt: "This book offers something entirely new: detailed scene-by-scene descriptions of the action and dancing of five classic ballets, bringing the reader far closer to what the audience saw when the curtain went up on Giselle, Paquita, Le Corsaire, La Bayadère, and Raymonda than has heretofore been possible. Drawing on archival documents, the authors show that (among other things) the classic story ballets could be more like today's pop entertainment: funnier, more violent, more spectacular, and with female characters far stronger than one might expect. This rigorously researched book fills huge gaps in dance history and is bound to be of interest to practitioners, scholars, and devotees of ballet and the arts"--
Book Synopsis Five Ballets from Paris and St. Petersburg by : Doug Fullington
Download or read book Five Ballets from Paris and St. Petersburg written by Doug Fullington and published by Oxford University Press. This book was released on 2024-03-26 with total page 889 pages. Available in PDF, EPUB and Kindle. Book excerpt: This book offers something entirely new: detailed scene-by-scene descriptions of the action and dancing of Giselle, Paquita, Le Corsaire, La Bayadère, and Raymonda, bringing the reader far closer to what the audience saw when the curtain went up on these five classic story ballets than has heretofore been possible. Drawing on archival documents, the authors show that these ballets were like today's pop entertainment: funnier, more violent, more spectacular, and with female characters far stronger than one might expect. This rigorously researched book fills huge gaps in dance history and is bound to be of interest to practitioners, scholars, and devotees of ballet and the arts.
Book Synopsis America in the French Imaginary, 1789-1914 by : Diana R. Hallman
Download or read book America in the French Imaginary, 1789-1914 written by Diana R. Hallman and published by Boydell & Brewer. This book was released on 2022-05-17 with total page 410 pages. Available in PDF, EPUB and Kindle. Book excerpt: Following the American Revolution, French observers often viewed the United States as a laboratory for the forging of new practices of liberté and égalité, in affinity with and divergence from France's own Revolutionary ideals and experiences. The volume examines French views through musical/theatrical portrayals of the American Revolution and Republic, soundscapes of the Statue of Liberty, and homages to the glorified figures of Washington, Franklin and Lafayette. Essays investigate paradoxical depictions of slavery in the United States and French Caribbean colonies of 'Amérique'. French critiques of American music and musicians, including the reception of Americanized or Creolized adaptations of European art traditions as well as American popular music and dance, are also presented. The subject of race features prominently in French interpretations of American music and identity. These interpretations see French constructions of the Indigenous American and African American "exotic" that intersect with tropes of noble, pastoral savagery, menacing barbarism, and the "civilizing" potency of French culture. The French reinterpretation of African American music and dance reveals both a revulsion of Black alterity and an attraction to the expressive freedom, and even subversiveness, of these "foreign" forms of music and dance. Contributions include essays by music, dance, theatre and opera scholars, and the volume will be essential reading for students and scholars of these disciplines.
Book Synopsis Cesare Pugni: Music from Five Ballets by : Cesare Pugni
Download or read book Cesare Pugni: Music from Five Ballets written by Cesare Pugni and published by . This book was released on 2012 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt: Cesare Pugni (1802â "70) made his debut as a composer at La Scala in 1826 with the opera Elerz e Zulmida. In the 1840s he worked closely with the choreographer Jules Perrot (1810â "92) in Paris and in London, creating some of the most renowned ballets of the 19th century, a number of which still find their place in some modern repertories. Pugni later followed Perrot to St Petersburg, and became official composer of the Imperial Russian theatres. Some of his earlier ballets were transferred to St Petersburg, and he also composed many new works for that city. Along with Perrot, Pugni also worked with Arthur Saint-LÃ(c)on (1821â "70), Paolo Taglioni (1808â "84), Marius Petipa (1818â "1910), and some of the greatest dancers of the century. His most famous collaboration, with Marius Petipa, lasted until the composerâ (TM)s death on 26 January 1870. Pugni was extremely prolific, composing more than 300 ballets, a dozen operas, over 40 masses, other polyphonic works and a few symphonies. He was very popular with the public, who were delighted by his direct uncomplicated style, with its attractive melodies and infectious rhythms. Ondine, choreographed and danced by Perrot and Fanny Cerrito, was premiered at Her Majestyâ (TM)s Theatre in 1845. It is a variant on the famous water nymph story Undine by Friedrich de la Motte FouquÃ(c). The ballet became famous for the conception of the generic scene type of the Pas de lâ (TM)Ombre, where the nymph sees her own shadow in the moonlight for the first time and tries to catch it. The ballet was praised for its magnificent dÃ(c)cor and for Pugniâ (TM)s score: â oe. . . the musical accompaniment which describes the rise and fall of the waves is eminently characteristic and beautiful: the very ripple of the flow, and the rushing sound of the ebb over the pebbly strand, are heard and fully satisfy the earâ . Esmeralda, choreographed by Perrot and premiered with Perrot, Carlotta Grisi and Saint-LÃ(c)on in the principal roles, was first performed at Her Majestyâ (TM)s Theatre in London in 1844. The ballet is based on the story of Victor Hugoâ (TM)s Notre-Dame de Paris. It was reasonably successful, and Grisi was pronounced the perfect personification of the gypsy girl Esmeralda. The ballet later became immensely popular in Russia; Fanny Elssler enjoyed one of her biggest triumphs in the title role. Pugniâ (TM)s music successfully evokes an atmosphere of Medieval Paris, the changing moods of the story, and the delicate vulnerability of the heroine. For Petipaâ (TM)s production of 1888, Riccardo Drigo was asked to compose several new numbers, including the Esmeralda Pas de Deux and the Diana and Acteon Pas de Deux, which became very popular in their own right. The Pas de quatre was a divertissement choreographed by Perrot for four of the leading ballerinas of the time, and premiered at Her Majestyâ (TM)s Theatre in 1845. Created by Marie Taglioni, Carlotta Grisi, Fanny Cerrito and Lucile Grahn, this plotless ballet epitomizes the Romantic cult of the ballerina. Pugniâ (TM)s variations were exquisitely tailored to the character and particular skills of each of the illustrious protagonists. There were four performances of the Pas de quatre with the original dancers, and there have been many revivals, starting in 1847 (when the part created by Grahn was given to Carolina Rosati), and continuing through to later reconstructions in the 20th century. Catarina, ou La Fille du bandit was choreographed by Perrot, with the principal roles created by Lucile Grahn, Perrot and Louis Gosselin. It was first performed at Her Majestyâ (TM)s Theatre in 1846. The plot revolves around the love of the painter Salvator Rosa for Catarina, a bandit chief. The ballet grew in popularity due to the fascination and humanity of the unconventional characters from an original story based on the artistâ (TM)s life, and the incomparable elegance of its mass movements. Founded on the contrast between feminine grace and military precision, this work was one of the greatest triumphs of both Lucile Grahn and Fanny Elssler. ThÃ(c)olinda, ou Le Lutin de la vallÃ(c)e, an opera-ballet in 2 acts and 3 scenes, with choreography by Arthur Saint-LÃ(c)on, and music by Eugène Gautier, was first performed in Paris at the ThÃ(c)âtre Lyrique in 1853. Later Saint-LÃ(c)on reworked the piece as ThÃ(c)olinda lâ (TM)Orpheline for the Bolshoi Theatre of Moscow in 1862, with the score arranged by Pugni. Saint-LÃ(c)on chose the new young star Marfa Muravieva to create the title role. The work was revived in 1865 with Praskovia Lebedeva, again with Lebedeva in 1866, and once more, in 1870, this time with Ekaterina Vazem. Pugniâ (TM)s adaptation of the music became popular in Russia, and was published in Saint-Petersburg by Stellowsky.
Book Synopsis The Cambridge Companion to Ballet by : Marion Kant
Download or read book The Cambridge Companion to Ballet written by Marion Kant and published by Cambridge University Press. This book was released on 2007-06-07 with total page 406 pages. Available in PDF, EPUB and Kindle. Book excerpt: A collection of essays by international writers on the evolution of ballet.
Book Synopsis Leonide Massine and the 20th Century Ballet by : Leslie Norton
Download or read book Leonide Massine and the 20th Century Ballet written by Leslie Norton and published by McFarland. This book was released on 2004-04-19 with total page 381 pages. Available in PDF, EPUB and Kindle. Book excerpt: The great Russian choreographer Leonide Massine was the most important figure in modernist ballet in the 1930s, known for works such as Gaite Parisienne and The Three-Cornered Hat. His versatility and scope made his choreography the most representative of the century. Whatever period he portrayed, his style flowed freely and unselfconsciously. His character ballets dealt not with stereotypes but individuals, and his symphonic ballets proved how great music could be employed without demeaning it. Like his mentor Diaghilev, he strove to bring music, painting, and poetry to his ballets. Massine was responsible for the first resolutely abstract ballet and the first true fusions of ballet and modern dance. This work provides a biography of Massine and a detailed analysis of his major ballets, including those for Diaghilev's Ballets Russes, the Ballet Russe de Monte Carlo and American Ballet Theatre. The work integrates biographical study with an examination of Massine's works from an array of perspectives. By examining the music and composers, set design, and literary sources, it places the work in the larger context of the dance, opera, major visual art movements, literature and theater of the period. Analyses of ballets include synopses, scenery and costumes, music, choreography, critical survey and summary. The work concludes with an epilogue summarizing Massine's impact on the development of ballet in the twentieth century, and includes both informal and performance photographs.
Book Synopsis A Dictionary of Music and Musicians by : George Grove
Download or read book A Dictionary of Music and Musicians written by George Grove and published by . This book was released on 1889 with total page 796 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Book Synopsis Dictionary of Music and Musicians by : George Grove
Download or read book Dictionary of Music and Musicians written by George Grove and published by . This book was released on 1898 with total page 784 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Book Synopsis Cesare Pugni by : Robert Ignatius Letellier
Download or read book Cesare Pugni written by Robert Ignatius Letellier and published by Cambridge Scholars Publishing. This book was released on 2012-12-18 with total page 210 pages. Available in PDF, EPUB and Kindle. Book excerpt: Cesare Pugni (1802–70) made his debut as a composer at La Scala in 1826 with the opera Elerz e Zulmida. In the 1840s he worked closely with the choreographer Jules Perrot (1810–92) in Paris and in London, creating some of the most renowned ballets of the 19th century, a number of which still find their place in some modern repertories. Pugni later followed Perrot to St Petersburg, and became official composer of the Imperial Russian theatres. Some of his earlier ballets were transferred to St Petersburg, and he also composed many new works for that city. Along with Perrot, Pugni also worked with Arthur Saint-Léon (1821–70), Paolo Taglioni (1808–84), Marius Petipa (1818–1910), and some of the greatest dancers of the century. His most famous collaboration, with Marius Petipa, lasted until the composer’s death on 26 January 1870. Pugni was extremely prolific, composing more than 300 ballets, a dozen operas, over 40 masses, other polyphonic works and a few symphonies. He was very popular with the public, who were delighted by his direct uncomplicated style, with its attractive melodies and infectious rhythms. Ondine, choreographed and danced by Perrot and Fanny Cerrito, was premiered at Her Majesty’s Theatre in 1845. It is a variant on the famous water nymph story Undine by Friedrich de la Motte Fouqué. The ballet became famous for the conception of the generic scene type of the Pas de l’Ombre, where the nymph sees her own shadow in the moonlight for the first time and tries to catch it. The ballet was praised for its magnificent décor and for Pugni’s score: “. . . the musical accompaniment which describes the rise and fall of the waves is eminently characteristic and beautiful: the very ripple of the flow, and the rushing sound of the ebb over the pebbly strand, are heard and fully satisfy the ear”. Esmeralda, choreographed by Perrot and premiered with Perrot, Carlotta Grisi and Saint-Léon in the principal roles, was first performed at Her Majesty’s Theatre in London in 1844. The ballet is based on the story of Victor Hugo’s Notre-Dame de Paris. It was reasonably successful, and Grisi was pronounced the perfect personification of the gypsy girl Esmeralda. The ballet later became immensely popular in Russia; Fanny Elssler enjoyed one of her biggest triumphs in the title role. Pugni’s music successfully evokes an atmosphere of Medieval Paris, the changing moods of the story, and the delicate vulnerability of the heroine. For Petipa’s production of 1888, Riccardo Drigo was asked to compose several new numbers, including the Esmeralda Pas de Deux and the Diana and Acteon Pas de Deux, which became very popular in their own right. The Pas de quatre was a divertissement choreographed by Perrot for four of the leading ballerinas of the time, and premiered at Her Majesty’s Theatre in 1845. Created by Marie Taglioni, Carlotta Grisi, Fanny Cerrito and Lucile Grahn, this plotless ballet epitomizes the Romantic cult of the ballerina. Pugni’s variations were exquisitely tailored to the character and particular skills of each of the illustrious protagonists. There were four performances of the Pas de quatre with the original dancers, and there have been many revivals, starting in 1847 (when the part created by Grahn was given to Carolina Rosati), and continuing through to later reconstructions in the 20th century. Catarina, ou La Fille du bandit was choreographed by Perrot, with the principal roles created by Lucile Grahn, Perrot and Louis Gosselin. It was first performed at Her Majesty’s Theatre in 1846. The plot revolves around the love of the painter Salvator Rosa for Catarina, a bandit chief. The ballet grew in popularity due to the fascination and humanity of the unconventional characters from an original story based on the artist’s life, and the incomparable elegance of its mass movements. Founded on the contrast between feminine grace and military precision, this work was one of the greatest triumphs of both Lucile Grahn and Fanny Elssler. Théolinda, ou Le Lutin de la vallée, an opera-ballet in 2 acts and 3 scenes, with choreography by Arthur Saint-Léon, and music by Eugène Gautier, was first performed in Paris at the Théâtre Lyrique in 1853. Later Saint-Léon reworked the piece as Théolinda l’Orpheline for the Bolshoi Theatre of Moscow in 1862, with the score arranged by Pugni. Saint-Léon chose the new young star Marfa Muravieva to create the title role. The work was revived in 1865 with Praskovia Lebedeva, again with Lebedeva in 1866, and once more, in 1870, this time with Ekaterina Vazem. Pugni’s adaptation of the music became popular in Russia, and was published in Saint-Petersburg by Stellowsky.
Book Synopsis A Dictionary of Music and Musicians (A.D. 1450-1889) by Eminent Writers, English and Foreign by : George Grove
Download or read book A Dictionary of Music and Musicians (A.D. 1450-1889) by Eminent Writers, English and Foreign written by George Grove and published by . This book was released on 1889 with total page 788 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Book Synopsis A Dictionary of Music and Musicians (A.D. 1450-1880) by Eminent Writers, English and Foreign by : George Grove
Download or read book A Dictionary of Music and Musicians (A.D. 1450-1880) by Eminent Writers, English and Foreign written by George Grove and published by . This book was released on 1883 with total page 782 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Book Synopsis A Dictionary of Music and Musicians (A.D. 1450-1889) by :
Download or read book A Dictionary of Music and Musicians (A.D. 1450-1889) written by and published by . This book was released on 1890 with total page 784 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Book Synopsis The Ballets of Ludwig Minkus by : Robert Ignatius Letellier
Download or read book The Ballets of Ludwig Minkus written by Robert Ignatius Letellier and published by Cambridge Scholars Publishing. This book was released on 2008-10-01 with total page 275 pages. Available in PDF, EPUB and Kindle. Book excerpt: The composer Ludwig Minkus represents one of music’s biggest mysteries. Who was he? Hardly anything is known about him, and yet he occupied an influential position in the theatres of the Imperial ballet in late nineteenth-century Russia. He has been recognised as a predecessor of Tchaikovsky, but as a musician is commonly held to have been so feeble as to be beneath contempt. Yet despite the scorn heaped on him, and his consequent obscurity, Minkus is far from being forgotten. Since the early 1960s his name has slowly begun to re-surface. Two works, Don Quixote (1869) and La Bayadère (1877), have been presented in their entirety for the first time to new audiences all over the world. The musical and dramatic power of both ballets has taken people by surprise. The stories have a very real human appeal, the choreography attracts the admiration of balletomanes, and the music, with its rhythm, verve, and beauty of melody, holds attention and engages the heart wherever it is heard. This introduction seeks to discover something more behind the blank façade of Minkus’s life and work. What do we actually know about him as a man and as an artist? Are we able to apprehend his oeuvre as a whole, and how much can we establish from the available material? What is the nature of the music he created for those few works that have survived the years, and that have come to the fore again recently to delight those who have ears to hear? This study includes iconography from the life and times of the composer, many musical examples from his works, and a comprehensive bibliography and discography.
Author :Exhibition Design, Dance and Music of the Ballets Russes 1909 - 1929 (1997 - 1998, Hartford, Conn. u.a.) Publisher :Yale University Press ISBN 13 :0300074840 Total Pages :362 pages Book Rating :4.3/5 ( download)
Book Synopsis The Art of Ballets Russes by : Exhibition Design, Dance and Music of the Ballets Russes 1909 - 1929 (1997 - 1998, Hartford, Conn. u.a.)
Download or read book The Art of Ballets Russes written by Exhibition Design, Dance and Music of the Ballets Russes 1909 - 1929 (1997 - 1998, Hartford, Conn. u.a.) and published by Yale University Press. This book was released on 1997-01-01 with total page 362 pages. Available in PDF, EPUB and Kindle. Book excerpt: Præsentation af en række balletter illustreret med fotografier og tegninger af kostumer og kulisser, ordnet alfabetisk efter designeren
Download or read book Stravinsky written by Eric Walter White and published by Univ of California Press. This book was released on 1984 with total page 664 pages. Available in PDF, EPUB and Kindle. Book excerpt: In the second edition of the definitive account of Igor Stravinsky's life and work, arranged in two separate sections, Eric Walter White revised the whole book, completing the biographical section by taking it up to Stravinsky's death in 1971. To the list of works, the author added some early pieces that have recently come to light, as well as the late compositions, including the Requiem Canticles and The Owl and the Pussycat. Four more of Stravinsky's own writings appear in the Appendices, and there are several important additions to the bibliography.
Book Synopsis Fiammetta/Néméa by : Robert Ignatius Letellier
Download or read book Fiammetta/Néméa written by Robert Ignatius Letellier and published by Cambridge Scholars Publishing. This book was released on 2010 with total page 143 pages. Available in PDF, EPUB and Kindle. Book excerpt: Aloysius Ludwig Minkus (1826-1917), famous for his ballets Don Quixote (1869) and La Bayadére (1877), was born in Bohemia, and grew up in the dance capital Vienna. He hoped to establish a reputation as a violinist and composer, and by 1853 had emigrated to St Petersburg where he became the conductor and solo violinist of the private orchestra of Prince Nikolai Yusupov. In 1861 he was appointed violin soloist and, a year later, conductor of the Moscow Bolshoi Orchestra. He began a happy collaboration with the great French choreographer Arthur Saint-Lèon (1821-1870), who was a real friend and inspiration to Minkus, and more than anyone else, helped to launch his career as a theatrical composer, producing five works in association with him in St Petersburg and Paris. Minkus's first ballet, the three-act Plamya lyubvi, ili Salamandra (The Flame of Love, or the Salamander, also called Fiammetta), was given its premiere on 13 February 1864 at the Bolshoi Kamenny Theater in St Petersburg (with Marfa Muravyeva in the leading role). The scenario and the choreography were by Saint-Lèon, the most important dance master of the day in both Paris and Russia. Saint-Lèon's influence secured this work production in the French capital, and it was perhaps for this occasion that Minkus accompanied Saint-Lèon to Paris to mount the work at the Acadèmie Royale de Musique. Reduced to two acts, and re-christened Nèmèa, ou l'Amour vengè (with a scenario adapted by Henri Meilhac & Ludovic Halèvy), the ballet was performed at the Paris Opèra on 11 July 1864, with considerable success (again with Marfa Muravyeva, and with Eugènie Fiocre as Cupid). It remained in the repertoire for seven years, attaining 53 performances by 1871. Thèophile Gautier remarked on the atmospheric quality of Minkus's music, its "haunting, dreamy quality." Roqueplan singled out Saint-Lèon's choreography for its "imagination and originality, his ability to handle masses." Some of the Airs de Ballet were almost immediately published by Henri Hegel (1865), and are reproduced here. By now Minkus was becoming known internationally. So when five years later the Paris Opèra ordered a new grand ballet from Saint-Lèon to a libretto by Charles Nuitter, Saint-Lèon involved Minkus in the project, securing for him a hand in the composition of the first and fourth scenes of this new work, La Source. The other two scenes were entrusted to the young Lèo Delibes, thirty at the time, who had drawn favourable attention to himself in the preparation of the ballet music for the premiére of Meyerbeer's posthumous L'Africaine in 1865. The first performance of La Source on 12 November 1866 was great success for Delibes, whose bold and colourful composition was praised at the expense of Minkus's subtler contribution. Saint-Lèon immediately began planning another work with Nuitter and Delibes, and one which would crown the young French's composer's success with triumph, Coppèlia. Saint-Lèon nevertheless continued to work with Minkus, despite his busy engagements in Paris. The choreographer's greatest ballet for Russia was his work with Cesare Pugni, Koniok-Gorbunok (The Little Humpbacked Horse) (1864), based on a Russian fairytale. He now tapped into the same folk material in a new work with Minkus, Zolotaya rybka (The Golden Fish), based on Alexander Pushkin's Legend of the fisher and the little fish. On 20 November 1866, for the celebration of the Tsarevitch's wedding, Saint-Lèon oversaw the production of a one-act version of this new ballet, Le Poisson dorè, at the Bolshoi Kamenny Theater in St Petersburg. The work was then developed as a three-act ballet for the same theater a year later (8 October 1867). Minkus's music was very well received. As with La Source, it was carefully adapted in form and mood to the scenario, remarkable for its panache and beautiful writing for solo instruments (violin, flute, cello, cornet), and for reflecting the nature of the fairytale scenario in the appropriation of national folk styles (Polish, Kazak, Cossack). The score was considered worthy of full publication in piano reduction by the St Petersburg house of Stellowsky (c. 1870), and is reproduced here. The last collaboration between Minkus and Saint-Lèon followed two years after that, a partial arrangement of La Source, given in St Petersburg as Liliya (Le Lys) in 1869.
Book Synopsis Grove's Dictionary of Music and Musicians by : George Grove
Download or read book Grove's Dictionary of Music and Musicians written by George Grove and published by . This book was released on 1908 with total page 880 pages. Available in PDF, EPUB and Kindle. Book excerpt:
