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Vaganova Ballet Academy:Behind the Scenes with Eric Conrad part 6 (partnering class)

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Tags: academy, ballerina, ballet, bolshoi, class, conrad, de, deux, eric, kirov, mariinsky, partnering, pas, princess, vaganova
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"Sleeping Beauty" reconstruction 1/17 The Mariinsky Ballet; Obraztsova/Korsakov

Dedication to my friend ketinoa (RussianBalletVideo), may your account rest in peace! Sergei Vikharev's controversial reconstruction of Marius Petipa & Pyotr Ilyich Tchaikovsky's original 1890 production of "The Sleeping Beauty" for the Kirov/Mariinsky Ballet. I have read that the company's new director Fateyev is not fond of any of the recently staged reconstructions (i.e. "La Bayadère", "Le Réveil de Flore" & "The Sleeping Beauty"), & they have been sort of "unofficially" removed from the repertory. The worse crime is that the company has not filmed any of these productions & released them commercially to DVD, & instead has sort of wasted or time with yet another film of "Swan Lake" & "Don Quixote". There is a documentary on DVD called "Sacred Stage" that features part of the vision scene from the reconstruction of "The Sleeping Beauty", but it was filmed from a very poor vantage point in the theatre. **Cast - --Princess Aurora - Eugenia Obraztsova --Prince Désiré - Anton Korsakov --The Lilac Fairy - Anastasia Kolegova (other cast credited in subsequent clips) --Choreography by Marius Petipa (reconstructed by Sergei Vikharev; some soviet-era steps have been retained) --Music by Pyotr Ilyich Tchaikovsky (with minor revisions by Riccardo Drigo) --Décor restored by Andrei Voitenko, Boris Kaminsky & Andrei Sevbo from the original designs of Heinrich Levogt (prologue); Ivan Andreyev (Act I); Mikhail Bocharov (Act I, Act II-scene 1 & Act II-scene 2-panorama); Konstantin Ivanov (Act II-scene 3); & Matvei Shishkov (Act III & apotheosis) --Costumes restored & adapted by Elena Zaitseva from the designs of Ivan Vsevolozhsky **Résumé of pieces for this clip - 1. Introduction 2. March 3. Entrée des fées **Notes - In the late 1990's, the Mariinsky Ballet decided to present a reconstruction of the Imperial Ballet's original 1890 production of "The Sleeping Beauty". Immediately, many in the Russian ballet world were appalled at the notion, as they felt that the company's traditional production (staged by Konstantin Sergeyev in 1952) was just fine. Among the many arguments against the "new/old" production concerned the evolution of not just ballet in general but of the ballet itself. The prologue was one passage that many people felt "needed work" - in the Mariinsky's traditional production the choreographic text was almost entirely by Sergeyev (&, in my opinion, is ghastly to say the least). Restoring the décors, costumes, props etc. would be the easiest part. Reconstructing the choreography, the most fallible yet important element of a ballet, would be the most difficult. In the late 19th century the Imperial Ballet began documenting thier repertory in the Stepanov method of choreographic notation. Several ballets were notated, primarly by the company's régisseur Nicholas Sergeyev & his team of notators (who, it seems, did most of the work). Among the ballets that were notated were Petipa's "La Bayadère", "Harlequinade", "Raymonda" & "The Sleeping Beauty"; as well as the Petipa/Ivanov "Swan Lake" & "The Nutcracker", the Petipa/Cecchetti "Coppélia" & Petipa's definitive "Giselle". After the Russian revolution of 1917 Sergeyev took the notations with him to the west, & used them to stage "Giselle", "Coppélia", "Swan Lake", "The Sleeping Beauty" & "The Nutcracker", primarily for the Vic-Wells Ballet (precurssor of today's Royal Ballet). It is from these stagings that all modern versions are now based. A list of the collection of notation, etc. can be viewed here - http://oasis.lib.harvard.edu/oasis/deliver/deepLink?_collection=oasis&uniqueId=hou01987 Although it has been sited as being a "to the letter" reconstruction, this production presents a choreographic text that is an odd mixture of Imperial & Soviet-era steps. There are even passages in the notation that were ingnored & even mis-read (according to the Stepanov notation expert Doug Fullington). Even some of the musical alterations done for the original production have not been restored. I'm not sure what the company's m.o. was behind such things. But, all my nit-picking aside, the production is glorious. It is typical of the Imperial Ballet - a lavish production with marvelously detailed décor & costumes. For most of the 19th century, narrative took precedence over dancing, but as ballet technique began to evolve & improve the dancing essentially swallowed up all else, & ballets became big excuses for dances (Petipa's original "Raymonda" is one such work). I firmly believe that this is why ballet - at least as a theatrical presentation - started to die a sort of "slow death" over the course of the 20th century, & today we now have what has become, in many ways, a circus, or a sport. In our pursuit for perfection of academic technique I really feel that we have lost something. I think this is why the ballet world was so suprised by this production. Perhaps we had almost forgotten what a ballet IS.

Tags: Beauty, Imperial, Korsakov, Mariinsky, Obraztsova, Petipa, Russia, Sleeping, Tchaikovsky, ballet, kirov
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