The Inception of the Romantic Ballet in Paris
Author : David Brown
Publisher :
Page : 88 pages
File Size : 41,53 MB
Release : 1971
Category : Ballet
ISBN :
Author : David Brown
Publisher :
Page : 88 pages
File Size : 41,53 MB
Release : 1971
Category : Ballet
ISBN :
Author : Ivor Guest
Publisher : Dance Books Limited
Page : 0 pages
File Size : 45,24 MB
Release : 2008
Category : Ballet
ISBN : 9781852731199
Stars of the romantic ballet, as well as the choreographers, composers, designers, and balletomanes of the time are brought to life in a colorful panorama of this great age of French ballet. The age of romanticism in the first half of the nineteenth century was one of the greatest periods in the history of ballet. In a span of three decades (1820 to 1847) ballet became what it had never been before a major theater art, gaining new vitality and meaning from the ideas of the romantic movement which rapidly infiltrated each one of its component parts: scenarios, music, decor, choreography and dance style.
Author : Ivor Forbes Guest
Publisher :
Page : 313 pages
File Size : 44,86 MB
Release : 1980-01-01
Category : Ballet
ISBN : 9780903102452
Author : Ivor Guest
Publisher : Dance Books Limited
Page : 198 pages
File Size : 21,58 MB
Release : 2006
Category : Performing Arts
ISBN :
The cradle of ballet, tracing the origin of ballet as a theatre art back to its foundation by Louis XIV in 1669.
Author : Ivor Guest
Publisher : Wesleyan
Page : 244 pages
File Size : 35,50 MB
Release : 1972
Category : Performing Arts
ISBN :
Author : Robert Ignatius Letellier
Publisher : Cambridge Scholars Publishing
Page : 0 pages
File Size : 27,10 MB
Release : 2012
Category : Ballets
ISBN : 9781443837972
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.
Author : Ivor Guest
Publisher : Princeton Book Company Publishers
Page : 458 pages
File Size : 18,21 MB
Release : 1984
Category : Biography & Autobiography
ISBN :
Author : Lynn Garafola
Publisher : Wesleyan University Press
Page : 287 pages
File Size : 16,11 MB
Release : 1997
Category : Performing Arts
ISBN : 9780819563262
A revisionist look at romanticism in ballet.
Author : Ivor Forbes Guest
Publisher :
Page : 0 pages
File Size : 49,34 MB
Release : 1966
Category : Ballet
ISBN :
Author : Théophile Gautier
Publisher :
Page : 112 pages
File Size : 48,11 MB
Release : 1947
Category : Ballet
ISBN :