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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 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.
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 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.
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 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.
This collection presents music from three of the most important scores of the Golden Age of ballet in Paris from 1830â "1870. The Romantic ballet had been inaugurated by Meyerbeerâ (TM)s opera Robert le Diable (21 November 1831) with its ghostly Ballet of the Nuns, risen from their graves and dancing in the moonlight, led by their spectral Abbess; a role created by Marie Taglioni (1804â "1884) to her fatherâ (TM)s choreography. La Sylphide (1832), inspired by this situation, was the first fully fledged Romantic ballet. Its graceful and atmospheric score was written by the first violinist at the OpÃ(c)ra, Jean Schneitzhoeffer. The story, devised by the great tenor Adolphe Nourrit, similarly introduces spirits and elemental beings, which dominated ballet scenarios for the following decades. Filippo Taglioniâ (TM)s creation provided the fullest realization of the Romantic ideal, especially in the leading character of the story, and its perfect incarnation in the original interpreter, Marie Taglioni, whose stage personality seemed to be made for the part of the Sylphide. The ballet became the source of theatrically romantic fantasies centred around the hopeless and fatal love between a human being and a supernatural creature. It was performed in Paris until 1860, when the work was abandoned. Only in the late 20th century was Taglioniâ (TM)s original version revived in a literal reconstruction by Pierre Lacotte at the Paris OpÃ(c)ra on 7 June 1972. Giselle is a central work in the ballet repertory all over the world. It is regarded as the absolute masterpiece of Romantic dance theatre; a wonderful synthesis of style, technique, and dramatic feeling, with an exceptional score. The ballet was devised in 1841 as a result of the collaboration of some of the major talents in literature, choreography and music in the Paris of the time. The author, critic and poet ThÃ(c)ophile Gautier, overwhelmed by the art of the ballerina Carlotta Grisi (1819â "1899), discovered what he felt would be the perfect theme for her while reading a translation of Heinrich Heineâ (TM)s book on German legend and folklore, Dâ (TM)Allemagne. Here he found the legend of the wilisâ "maidens who die before their wedding day and who come out of their graves at night in bridal dress to dance until dawn. Should any man be caught in the wood while the wilis are about their rituals, he is doomed to dance on and on until he drops dead from exhaustion. The choreography was created by Jean Coralli and Jules Perrot. The first act is on a realistic level, with an evocation of a medieval rusticity and emotional-sentimental intrigue, while the second act conjures up the supernatural, an ethereal world of magic symbolism. Both public and the critics greeted the work as a triumph. The score was praised for its â oeelegance, the freshness and clarity of the melodies, the vigour and novelty of the harmonic combinations, and the vivacity that pervades the musical texture from start to finishâ . The ballet has come down the years in a more-or-less unbroken tradition. Perrot emphasized his own special creative imprint in the productions he supervised in London (1842) and St Petersburg (1856). In Russia he collaborated with Marius Petipa who made his own reconstruction of the ballet in 1884. This version became the model for all later revivals in Russia, as well as for Mikhail Fokineâ (TM)s production for the Ballet Russes in Paris (1910). Byronâ (TM)s famous narrative poem The Corsair inspired several ballets, with Joseph Mazilierâ (TM)s proving the most important (1856). Jules-Henri Vernoy de Saint-Georgesâ (TM)s scenario was of a superior quality. Mazilier was maÃ(R)tre de ballet at the Paris OpÃ(c)ra between 1853 and 1859, the years of his fullest creativity. The solo parts were infused with an intense dramatic expressiveness, and there was a splendid mise-en-scène. But the great success of the work was due primarily to the quality of the chief performers: the ballerina Carolina Rosati (1826â "1905) and the mime Domenico Segarelli (1820â "1860). The spectacular shipwreck finale was a sensational feat engineered by the chief mechanist of the OpÃ(c)ra, Victor SacrÃ(c), and his crowning glory. Adamâ (TM)s scoreâ "consistently rich in melodic inspiration, engaging in the set dances, imaginative in the many extended mime sequences, and more richly symphonic than ever before in his workâ "reached a height of inspiration in this last music he ever wrote for the stage. Mazilierâ (TM)s ballet gained a world-wide popularity, and became a favourite of the leading ballerinas for decades. Marius Petipa produced his own version in St Petersburg in 1868, with additional music by Cesare Pugni and LÃ(c)o Delibes. In 1899 Petipa revived the ballet again, for the Maryinsky Theatre in St Petersburg, this time completely re-choreographing it for Pierina Legnani, with additional music by Riccardo Drigo. Performances in the USSR and contemporary Russia derive from this version. Drigoâ (TM)s music for the spectacular pas de deux in act 2 is still performed all over the world as an independent piece.
Book Synopsis French romantic ballets by : Robert Ignatius Letellier
Download or read book French romantic ballets written by Robert Ignatius Letellier and published by Cambridge Scholars Publishing. This book was released on 2012 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt: This collection presents music from three of the most important scores of the Golden Age of ballet in Paris from 1830â "1870. The Romantic ballet had been inaugurated by Meyerbeerâ (TM)s opera Robert le Diable (21 November 1831) with its ghostly Ballet of the Nuns, risen from their graves and dancing in the moonlight, led by their spectral Abbess; a role created by Marie Taglioni (1804â "1884) to her fatherâ (TM)s choreography. La Sylphide (1832), inspired by this situation, was the first fully fledged Romantic ballet. Its graceful and atmospheric score was written by the first violinist at the OpÃ(c)ra, Jean Schneitzhoeffer. The story, devised by the great tenor Adolphe Nourrit, similarly introduces spirits and elemental beings, which dominated ballet scenarios for the following decades. Filippo Taglioniâ (TM)s creation provided the fullest realization of the Romantic ideal, especially in the leading character of the story, and its perfect incarnation in the original interpreter, Marie Taglioni, whose stage personality seemed to be made for the part of the Sylphide. The ballet became the source of theatrically romantic fantasies centred around the hopeless and fatal love between a human being and a supernatural creature. It was performed in Paris until 1860, when the work was abandoned. Only in the late 20th century was Taglioniâ (TM)s original version revived in a literal reconstruction by Pierre Lacotte at the Paris OpÃ(c)ra on 7 June 1972. Giselle is a central work in the ballet repertory all over the world. It is regarded as the absolute masterpiece of Romantic dance theatre; a wonderful synthesis of style, technique, and dramatic feeling, with an exceptional score. The ballet was devised in 1841 as a result of the collaboration of some of the major talents in literature, choreography and music in the Paris of the time. The author, critic and poet ThÃ(c)ophile Gautier, overwhelmed by the art of the ballerina Carlotta Grisi (1819â "1899), discovered what he felt would be the perfect theme for her while reading a translation of Heinrich Heineâ (TM)s book on German legend and folklore, Dâ (TM)Allemagne. Here he found the legend of the wilisâ "maidens who die before their wedding day and who come out of their graves at night in bridal dress to dance until dawn. Should any man be caught in the wood while the wilis are about their rituals, he is doomed to dance on and on until he drops dead from exhaustion. The choreography was created by Jean Coralli and Jules Perrot. The first act is on a realistic level, with an evocation of a medieval rusticity and emotional-sentimental intrigue, while the second act conjures up the supernatural, an ethereal world of magic symbolism. Both public and the critics greeted the work as a triumph. The score was praised for its â oeelegance, the freshness and clarity of the melodies, the vigour and novelty of the harmonic combinations, and the vivacity that pervades the musical texture from start to finishâ . The ballet has come down the years in a more-or-less unbroken tradition. Perrot emphasized his own special creative imprint in the productions he supervised in London (1842) and St Petersburg (1856). In Russia he collaborated with Marius Petipa who made his own reconstruction of the ballet in 1884. This version became the model for all later revivals in Russia, as well as for Mikhail Fokineâ (TM)s production for the Ballet Russes in Paris (1910). Byronâ (TM)s famous narrative poem The Corsair inspired several ballets, with Joseph Mazilierâ (TM)s proving the most important (1856). Jules-Henri Vernoy de Saint-Georgesâ (TM)s scenario was of a superior quality. Mazilier was maÃ(R)tre de ballet at the Paris OpÃ(c)ra between 1853 and 1859, the years of his fullest creativity. The solo parts were infused with an intense dramatic expressiveness, and there was a splendid mise-en-scène. But the great success of the work was due primarily to the quality of the chief performers: the ballerina Carolina Rosati (1826â "1905) and the mime Domenico Segarelli (1820â "1860). The spectacular shipwreck finale was a sensational feat engineered by the chief mechanist of the OpÃ(c)ra, Victor SacrÃ(c), and his crowning glory. Adamâ (TM)s scoreâ "consistently rich in melodic inspiration, engaging in the set dances, imaginative in the many extended mime sequences, and more richly symphonic than ever before in his workâ "reached a height of inspiration in this last music he ever wrote for the stage. Mazilierâ (TM)s ballet gained a world-wide popularity, and became a favourite of the leading ballerinas for decades. Marius Petipa produced his own version in St Petersburg in 1868, with additional music by Cesare Pugni and LÃ(c)o Delibes. In 1899 Petipa revived the ballet again, for the Maryinsky Theatre in St Petersburg, this time completely re-choreographing it for Pierina Legnani, with additional music by Riccardo Drigo. Performances in the USSR and contemporary Russia derive from this version. Drigoâ (TM)s music for the spectacular pas de deux in act 2 is still performed all over the world as an independent piece.
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 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 2014-11-18 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.
A collection of essays by international writers on the evolution of ballet.
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 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:
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 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:
