Download or read book Ballet and Opera in the Age of Giselle written by Marian Smith and published by Princeton University Press. This book was released on 2010-08-29 with total page 329 pages. Available in PDF, EPUB and Kindle. Book excerpt: Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of Giselle at the Paris Opéra (from the 1830s through the 1840s), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opéra during a period long celebrated for its box-office successes in both genres. Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The "divorce" between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score for Giselle. ?
Download or read book The Creation of iGiselle written by Nora Stovel and published by University of Alberta. This book was released on 2019-01-24 with total page 233 pages. Available in PDF, EPUB and Kindle. Book excerpt: The unusual marriage of Romantic ballet and artificial intelligence is an intriguing idea that led a team of interdisciplinary researchers to design iGiselle, a video game prototype. Scholars in the fields of literature, physical education, music, design, and computer science collaborated to revise the tragic narrative of the nineteenth-century ballet Giselle, allowing players to empower the heroine for possible ”feminine endings.” The eight interrelated chapters chronicle the origin, development, and fruition of the project. Dancers, gamers, and computer specialists will all find something original that will stimulate their respective interests. Contributors: Vadim Bulitko, Wayne DeFehr, Christina Gier, Pirkko Markula, Mark Morris, Sergio Poo Hernandez, Emilie St. Hilaire, Nora Foster Stovel, Laura Sydora
Download or read book Music and Fantasy in the Age of Berlioz written by Francesca Brittan and published by Cambridge University Press. This book was released on 2017-09-14 with total page 377 pages. Available in PDF, EPUB and Kindle. Book excerpt: The centrality of fantasy to French literary culture has long been accepted by critics, but the sonorous dimensions of the mode and its wider implications for musical production have gone largely unexplored. In this book, Francesca Brittan invites us to listen to fantasy, attending both to literary descriptions of sound in otherworldly narratives, and to the wave of 'fantastique' musical works published in France through the middle decades of the nineteenth century, including Berlioz's 1830 Symphonie fantastique, and pieces by Liszt, Adam, Meyerbeer, and others. Following the musico-literary aesthetics of E. T. A. Hoffmann, they allowed waking and dreaming, reality and unreality to converge, yoking fairy sound to insect song, demonic noise to colonial 'babbling', and divine music to the strains of water and wind. Fantastic soundworlds disrupted France's native tradition of marvellous illusion, replacing it with a magical materialism inextricable from republican activism, theological heterodoxy, and the advent of 'radical' romanticism.
Download or read book Writings on Ballet and Music written by Fedor Lopukhov and published by Univ of Wisconsin Press. This book was released on 2002 with total page 248 pages. Available in PDF, EPUB and Kindle. Book excerpt: Although little-known in the West, Fedor Lopukhov was a leading figure in Russia's dance world for more than sixty years and an influence on many who became major figures in Western dance, such as George Balanchine. As a choreographer, he staged the first post-revolutionary productions of traditional ballets like Swan Lake and The Sleeping Beauty as well as avant-garde and experimental works, including Dance Symphony, Bolt, and a highly controversial version of The Nutcracker. This first publication in English of Lopukhov's theoretical writings will give readers a clear understanding of his seminal importance in dance history and illuminate his role in the development of dance as a nonnarrative, musically based form. These writings present the rationale behind Lopukhov's attempt to develop a "symphonic" ballet that would integrate the formal and expressive elements of dance and music. They also show his finely detailed knowledge of the classical heritage and his creative efforts to transmit major works to future generations. This edition explains not only the making of his own controversial Dance Symphony but also the issues he saw at stake in productions of Giselle, The Sleeping Beauty, and other key works by Petipa and Fokine. Lopukhov's writings argue the details of choreographic devices with an unusual degree of precision, and his comments on composers and the musical repertoire used by his predecessors and contemporaries are equally revealing. Stephanie Jordan's introduction deftly situates these writings within the context of Lopukhov's life and career and in relation to the theories, aesthetics, and practices of dance in the twentieth century.
Download or read book Cuban Ballet written by Octavio Roca and published by Gibbs Smith. This book was released on 2010 with total page 242 pages. Available in PDF, EPUB and Kindle. Book excerpt: Just as Russian dancers defected from the former Soviet Union in the 1970s, Cuban dancers are now fleeing Castro's regime in droves. Their unique style of ballet is galvanizing the world of dance. This beautifully illustrated book explores the history of Cuban ballet by focusing on the life and career of the indomitable Alicia Alonso. The author also spotlights many of the young dancers who are now part of the growing Cuban Diaspora and who are changing the face of ballet: Lorena Feijoo, Lorna Feijoo, Joan Boada, Taras Domitro, Jose Manuel Carreno, and Carlos Acosta to name but a few.
Download or read book The Viennese Ballroom in the Age of Beethoven written by Erica Buurman and published by Cambridge University Press. This book was released on 2021-12-02 with total page 209 pages. Available in PDF, EPUB and Kindle. Book excerpt: The repertoire of the early Viennese ballroom was highly influential in the broader histories of both social dance and music in nineteenth-century Europe. Yet music scholarship has traditionally paid little attention to ballroom dance music before the era of the Strauss dynasty, with the exception of a handful of dances by Haydn, Mozart and Beethoven. This book positions Viennese social dances in their specific performing contexts and investigates the wider repertoire of the Viennese ballroom in the decades around 1800, most of which stems from dozens of non-canonical composers. Close examination of this material yields new insights into the social contexts associated with familiar dance types, and reveals that the ballroom repertoire of this period connected with virtually every aspect of Viennese musical life, from opera and concert music to the emerging category of entertainment music that was later exemplified by the waltzes of Lanner and Strauss.
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.
Download or read book Bewitching Russian Opera written by Inna Naroditskaya and published by Oxford University Press. This book was released on 2018-11-01 with total page 419 pages. Available in PDF, EPUB and Kindle. Book excerpt: In Bewitching Russian Opera: The Tsarina from State to Stage, author Inna Naroditskaya investigates the musical lives of four female monarchs who ruled Russia for most of the eighteenth century: Catherine I, Anna, Elizabeth, and Catherine the Great. Engaging with ethnomusicological, historical, and philological approaches, her study traces the tsarinas' deeply invested interest in musical drama, as each built theaters, established drama schools, commissioned operas and ballets, and themselves wrote and produced musical plays. Naroditskaya examines the creative output of the tsarinas across the contexts in which they worked and lived, revealing significant connections between their personal creative aspirations and contemporary musical-theatrical practices, and the political and state affairs conducted during their reigns. Through contemporary performance theory, she demonstrates how the opportunity for role-playing and costume-changing in performative spaces allowed individuals to cross otherwise rigid boundaries of class and gender. A close look at a series of operas and musical theater productions--from Catherine the Great's fairy tale operas to Tchaikovsky's Pique Dame--illuminates the transition of these royal women from powerful political and cultural figures during their own reigns, to a marginalized and unreal Other under the patriarchal dominance of the subsequent period. These tsarinas successfully fostered the concept of a modern nation and collective national identity, only to then have their power and influence undone in Russian cultural consciousness through the fairy-tales operas of the 19th century that positioned tsarinas as "magical" and dangerous figures rightfully displaced and conquered--by triumphant heroes on the stage, and by the new patriarchal rulers in the state. Ultimately, this book demonstrates that the theater served as an experimental space for these imperial women, in which they rehearsed, probed, and formulated gender and class roles, and performed on the musical stage political ambitions and international conquests which they would later enact on the world stage itself.
Download or read book Ballet and Opera in the Age of Giselle written by Marian Elizabeth Smith and published by Princeton University Press. This book was released on 2000 with total page 656 pages. Available in PDF, EPUB and Kindle. Book excerpt: Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of Giselle at the Paris Opéra (from the 1830s through the 1840s), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opéra during a period long celebrated for its box-office successes in both genres. Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The "divorce" between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score for Giselle. ?
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 Music of the Sirens written by Linda Austern and published by Indiana University Press. This book was released on 2006-07-21 with total page 440 pages. Available in PDF, EPUB and Kindle. Book excerpt: Whether referred to as mermaid, usalka, mami wata, or by some other name, and whether considered an imaginary being or merely a person with extraordinary abilities, the siren is the remarkable creature that has inspired music and its representations from ancient Greece to present-day Africa and Latin America. This book, co-edited by a historical musicologist and an ethnomusicologist, brings together leading scholars and some talented newcomers in classics, music, media studies, literature, and cultural studies to consider the siren and her multifaceted relationships to music across human time and geography.
Download or read book The Ballets Russes and Beyond written by Davinia Caddy and published by Cambridge University Press. This book was released on 2012-04-26 with total page 255 pages. Available in PDF, EPUB and Kindle. Book excerpt: Belle-époque Paris witnessed the emergence of a vibrant and diverse dance scene, one that crystallized around the Ballets Russes, the Russian dance company formed by impresario Sergey Diaghilev. The company has long served as a convenient turning point in the history of dance, celebrated for its revolutionary choreography and innovative productions. This book presents a fresh slant on this much-told history. Focusing on the relation between music and dance, Davinia Caddy approaches the Ballets Russes with a wide-angled lens that embraces not just the choreographic, but also the cultural, political, theatrical and aesthetic contexts in which the company made its name. In addition, Caddy examines and interprets contemporary French dance practices, throwing new light on some of the most important debates and discourses of the day.
Download or read book Parisian Music hall Ballet 1871 1913 written by Sarah Gutsche-Miller and published by Boydell & Brewer. This book was released on 2015 with total page 385 pages. Available in PDF, EPUB and Kindle. Book excerpt: This pioneering study of ballets staged in Parisian music halls brings to light a vibrant dance culture central to the renewal of French choreography at the fin de siècle.
Download or read book Historical Dictionary of Opera written by Scott L. Balthazar and published by Scarecrow Press. This book was released on 2013-07-05 with total page 564 pages. Available in PDF, EPUB and Kindle. Book excerpt: Opera has been around ever since the late 16th century, and it is still going strong in the sense that operas are performed around the world at present, and known by infinitely more persons than just those who attend performances. On the other hand, it has enjoyed periods in the past when more operas were produced to greater acclaim. Those periods inevitably have pride of place in this Historical Dictionary of Opera, as do exceptional singers, and others who combine to fashion the opera, whether or not they appear on stage. But this volume looks even further afield, considering the cities which were and still are opera centers, literary works which were turned into librettos, and types of pieces and genres. While some of the former can be found on the web or in other sources, most of the latter cannot and it is impossible to have the whole picture without them. Indeed, this book has an amazingly broad scope. The dictionary section, with about 340 entries, covers the topics mentioned above but obviously focuses most on composers, not just the likes of Mozart, Verdi and Wagner, but others who are scarcely remembered but made notable contributions. Of course, there are the divas, but others singers as well, and some of the most familiar operas, Don Giovanni, Tosca and more. Technical terms also abound, and reference to different genres, from antimasque to zarzuela. Since opera has been around so long, the chronology is rather lengthy, since it has a lot of ground to cover, and the introduction sets the scene for the rest. This book should not be an end but rather a beginning, so it has a substantial bibliography for readers seeking more specific or specialized works. It is an excellent access point for readers interested in opera.
Download or read book The Encyclopedia of World Ballet written by Mary Ellen Snodgrass and published by Rowman & Littlefield. This book was released on 2015-06-08 with total page 421 pages. Available in PDF, EPUB and Kindle. Book excerpt: Throughout the centuries, ballet has had a rich and ever-evolving role in the humanities. Renowned choreographers, composers, and performers have contributed to this unique art form, staging enduring works of beauty. Significant productions by major companies embrace innovations and adaptations, enabling ballet to thrive and delight audiences all over the globe. In The Encyclopedia of World Ballet,Mary Ellen Snodgrass surveys the emergence of ballet from ancient Asian models to the present, providing overviews of rhythmic movement as a subject of art, photography, and cinema. Entries in this volume reveal the nature and purpose of ballet, detailing specifics about leaders in classic design and style, influential costumers and companies, and trends in technique, partnering, variation, and liturgical execution. This reference covers: Choreographers Composers Costumers Dance companies Dancers Productions Set designers Techniques Terminology Among the principal figures included here are Alvin Ailey, Afrasiyab Badalbeyli, George Balanchine, Mikhail Baryshnikov, Pierre Beauchamp, Sergei Diaghilev, Agnes DeMille, Nacho Duato, Isadora Duncan, Boris Eifman, Mats Ek, Erté, Martha Graham, Inigo Jones, Louis XIV, Amalia Hernández Navarro, Rudolf Nureyev, Marius Petipa, Jerome Robbins, Twyla Tharp, and Agrippina Vaganova. This work also features dance companies from the Americas, Australia, China, Cuba, Egypt, Iran, Korea, New Zealand, Russia, South Africa, and Vietnam. Productions include such universal narrative favorites as Coppélia, The Nutcracker, The Sleeping Beauty, Scheherazade, Firebird, and Swan Lake. Featuring a chronology that identifies key events and figures, this volume highlights significant developments in stage presentations over the centuries. The Encyclopedia of World Ballet will serve general readers, dance instructors, and enthusiasts from middle school through college as well as professional coaches and performers, troupe directors, journalists, and historians of the arts.
Download or read book Ballet and Opera in the Age of Giselle written by Marian Smith and published by Princeton University Press. This book was released on 2010-08-09 with total page 330 pages. Available in PDF, EPUB and Kindle. Book excerpt: Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of Giselle at the Paris Opéra (from the 1830s through the 1840s), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opéra during a period long celebrated for its box-office successes in both genres. Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The "divorce" between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score for Giselle. ?
Download or read book Dancing Lives written by Karen Eliot and published by University of Illinois Press. This book was released on 2007 with total page 216 pages. Available in PDF, EPUB and Kindle. Book excerpt: The private and performance lives of five female dancers in Western dance history
