Download or read book The Romantic Ballet in Paris written by Ivor Guest and published by Dance Books Limited. This book was released on 2008 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt: 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.
Download or read book The Romantic Ballet in Paris written by Ivor Forbes Guest and published by . This book was released on 1980-01-01 with total page 313 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book The Inception of the Romantic Ballet in Paris written by David Brown and published by . This book was released on 1971 with total page 88 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book The Romantic Ballet in Paris written by Ivor Forbes Guest and published by . This book was released on 1966 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book The Romantic Ballet as Seen by Th ophile Gautier Being His Notices of All the Principal Performances of Ballet Given at Paris During the Years 1837 1848 written by Théophile Gautier and published by . This book was released on 1947 with total page 112 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book The Romantic Ballet in Paris written by Ivor Forbes Guest and published by . This book was released on 1980 with total page 313 pages. Available in PDF, EPUB and Kindle. Book excerpt:
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.
Download or read book The Paris Op ra Ballet written by Ivor Guest and published by Dance Books Limited. This book was released on 2006 with total page 198 pages. Available in PDF, EPUB and Kindle. Book excerpt: The cradle of ballet, tracing the origin of ballet as a theatre art back to its foundation by Louis XIV in 1669.
Download or read book The Romantic Ballet in Paris Etc Illustrated written by Ivor Forbes Guest and published by . This book was released on 1966 with total page 313 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Adolphe Adam Master of the Romantic Ballet 1830 1856 written by Robert Ignatius Letellier and published by Cambridge Scholars Publishing. This book was released on 2023-01-26 with total page 370 pages. Available in PDF, EPUB and Kindle. Book excerpt: The composer Adolphe-Charles Adam (1803-1856) is particularly famous for the Christmas anthem ‘Minuit chrétiens’ (‘O Holy Night’). He was renowned as a composer for the lyric stage. With Boïeldieu, Hérold and Auber, Adam forms one of the quartet of masters that represent the second school of that profoundly French genre of opéra-comique, producing the charming Le Chalet (1834) and the adorable and enduringly popular Le Postillon de Lonjumeau (1836). However, Adam’s greatest originality and most substantial achievement lay in the field of ballet. Giselle (1841) is the quintessence of mystical Romanticism and one of the most enduring works of the dance repertoire. His series of ballets, principally for the Paris Opéra, but also for London, St Petersburg and Berlin, helped to establish this genre as a serious and integral musical form. His last work Le Corsaire (1856) attains sublime heights. This book concentrates on the dance aspect of Adam’s art, examining his 14 works in this genre in the context of the emergence and efflorescence of the Romantic ballet within the vibrant musical scene in Paris from 1830-1860.
Download or read book The Romantic Ballet in Paris written by Ivor Guest and published by . This book was released on 1966 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book French Romantic Ballets written by Robert Ignatius Letellier and published by Cambridge Scholars Publishing. This book was released on 2012-03-15 with total page 240 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 1830–1870. The Romantic ballet had been inaugurated by Meyerbeer’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 (1804–1884) to her father’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 Opéra, 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 Taglioni’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 Taglioni’s original version revived in a literal reconstruction by Pierre Lacotte at the Paris Opéra 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 Théophile Gautier, overwhelmed by the art of the ballerina Carlotta Grisi (1819–1899), discovered what he felt would be the perfect theme for her while reading a translation of Heinrich Heine’s book on German legend and folklore, D’Allemagne. Here he found the legend of the wilis—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 “elegance, 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 finish”. 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 Fokine’s production for the Ballet Russes in Paris (1910). Byron’s famous narrative poem The Corsair inspired several ballets, with Joseph Mazilier’s proving the most important (1856). Jules-Henri Vernoy de Saint-Georges’s scenario was of a superior quality. Mazilier was maître de ballet at the Paris Opéra 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 (1826–1905) and the mime Domenico Segarelli (1820–1860). The spectacular shipwreck finale was a sensational feat engineered by the chief mechanist of the Opéra, Victor Sacré, and his crowning glory. Adam’s score—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 work—reached a height of inspiration in this last music he ever wrote for the stage. Mazilier’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 Léo 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. Drigo’s music for the spectacular pas de deux in act 2 is still performed all over the world as an independent piece.
Download or read book The Pre Romantic Ballet written by Marian Hannah Winter and published by Brooklyn, N.Y. : Dance Horizons. This book was released on 1975 with total page 350 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Romantic Ballet in Paris written by Ivor Forbes Guest and published by . This book was released on 1966 with total page 313 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Rethinking the Sylph written by Lynn Garafola and published by Wesleyan University Press. This book was released on 1997 with total page 287 pages. Available in PDF, EPUB and Kindle. Book excerpt: A revisionist look at romanticism in ballet.
Download or read book Rethinking the Sylph written by Lynn Garafola and published by Wesleyan. This book was released on 2011-03-01 with total page 301 pages. Available in PDF, EPUB and Kindle. Book excerpt: Rethinking the Sylph gathers essays by a premier group of international scholars to illustrate the importance of the romantic ballet within the broad context of western theatrical dancing. The wide variety of perspectives -- from social history to feminism, from psychoanalysis to musicology -- serves to illuminate the modernity of the Romantic ballet in terms of vocabulary, representation of gender, and iconography. The collection highlights previously unexplored aspects of the Romantic ballet, including its internationalism; its reflection of modern ideas of nationalism through the use and creation of national dance forms; its construction of an exotic-erotic hierarchy, and proto-orientalist "other"; its transformation of social relations from clan to class; and the repercussions of its feminization as an art form. This generously illustrated book offers a wealth of rare archival material, including prints, costume designs, music, and period reviews, some translated into English for the first time. Ebook Edition Note: All images have been redacted.
Download or read book The Romantic Ballet in England written by Ivor Guest and published by Wesleyan. This book was released on 1972 with total page 244 pages. Available in PDF, EPUB and Kindle. Book excerpt:
