STRAVINSKY VIOLIN CONCERTOr Notes

STRAVINSKY VIOLIN CONCERTO Choreography:

Music: , Concerto for Violin and Orchestra in D Major (1931) lighting design: christopher dennis

Used by arrangement with European American Music Distributors Corporation LLC, sole Canadian and U.S. agent for Schott Musik International, publisher and copyright owner.

Stravinsky Violin Concerto is presented by Walter Carsen, O.C.

The performance of Stravinsky Violin Concerto, a Balanchine® Ballet, is presented by arrangement with The George Balanchine Trustsm and has been produced in accordance with the Balanchine Style®‚ and Balanchine Technique®‚ Service standards established and provided by the Trust. GISELLE Choreography and Production: Peter Wright

after the choreography of , Jules Perrot and .

based on the book by: Vernoy de Saint-Georges, Théophile Gautier and Jean Coralli

Music: Adolphe Adam, revised by Joseph Horovitz

Set and Costume Design: Desmond Heeley

Lighting Design: Gil Wechsler

Giselle was produced as a memorial to the late William P. Walker and was made possible through the courtesy of many generous friends of the National Ballet.

BALLET Notes

COVER: GRETA HODGKINSON WITH ARTISTS OF THE BALLET IN GISELLE. PHOTOGRAPHER: CYLLA VON TIEDEMANN ABOVE: CHAN HON GOH IN GISELLE. PHOTOGRAPHER: ANDREW OXENHAM repository of Balanchine’s works, his are also in the A NOTE ON STRAVINSKY repertoires of more companies than any other choreogra- VIOLIN CONCERTO pher’s. Balanchine’s ballets not only add diversity to a company’s repertoire, but also challenge dancers to a new The longstanding collaboration between choreographer level of technical brilliance. George Balanchine and composer Igor Stravinsky resulted in many incomparable ballets - among the finest was Balanchine was born in St. Petersburg, Russia, and Stravinsky Violin Concerto. pre- received his dance training at the Imperial Ballet School. miered this ballet under the title Violin Concerto on June Nurtured in the ballet traditions of the turn of the century, 18, 1972 by as part of the Stravinsky Festival at New York particularly the ballets and pedagogy of the Russian ballet State Theater, starring Karin von Aroldingen, , master Marius Petipa, Balanchine received a classic edu- Jean-Pierre Bonnefous and Peter Martins among the cast cation. After leaving Russia in 1924, Balanchine became of twenty. The ballet became known as Stravinsky Violin exposed to the work of Serge Diaghilev’s , Concerto in 1973. and in turn created works for Diaghilev’s company. The artistic milieu of the Ballets Russes was highly stimulat- With its astringent and witty double pas de deux at the ing, as Diaghilev brought his choreographers into centre, Stravinsky Violin Concerto has a sense of play as collaboration with the composers Igor Stravinsky, Sergei well as an undercurrent of sexiness. In Stravinsky's vibrant Prokofiev, Erik Satie and Maurice Ravel and such visual and emotionally suggestive composition Balanchine had artists as Pablo Picasso, Jean Cocteau and Marc Chagall. the perfect platform for his stylist experiments. In 1933, with his own company, Les Ballets, Balanchine collaborated with such leading artistic figures as Bertolt Brecht, Kurt Weill, Pavel Tchelitchev and composers Darius Milhaud and Henri Sauget.

In 1933, at the invitation of Lincoln Kirstein, Balanchine travelled to the United States, where he and Kirstein established the School of American Ballet in 1934 and New York City Ballet in 1948. Through the creation of these two institutions, Balanchine was able to create of very distinct style of American dance. Writes dance critic Marilyn Hunt: “When Balanchine first came to the United States, he devised a way for Americans to appear on stage without feeling weighed down by traditions of court and ballet that they weren’t born to.”

Balanchine’s style has been described as neoclassic, a reaction to the Romantic anti-classicism (which had turned into exaggerated theatricality) that was the pre- vailing style in Russian and European ballet when he had begun to dance. The beauty of Balanchine’s dances is to be found in their patterning, structure and in their rela- tionship to the music. Balanchine was the creator of abstract, one-act ballets. But for a handful, most of his works are non-narrative, the music and the dance convey- ing all necessary meaning. Some of Balanchine’s ballets pay homage to his Russian heritage, including Ballet Imperial (1941) and the Diamonds section of the three-act, work (1967). While others proved provocative ( in 1946 and in 1957), romantic ( in 1934) and spectacular audience pleasers BALANCHINE’S STYLE (Stars and Stripes in 1958, in 1976 and in 1977), all were achieved within his extended To fully appreciate Stravinsky Violin Concerto, it is best to framework of classical ballet. begin with some information about the great choreogra- pher, George Balanchine. Balanchine, co-founder and “Dance can be enjoyed and understood without any verbal director of New York City Ballet until his death in 1983, is introduction or explanation,” Balanchine said. “The impor- one of the most renowned and prolific choreographers of tant thing in ballet is the movement itself, as it is sound the 20th century. Balanchine created a new genre of clas- which is important in a symphony. A ballet may contain a sical ballet that is synonymous today with New York City story, but the visual spectacle, not the story, is the essen- Ballet. Though that company is without doubt the greatest tial element.”

GEORGE BALANCHINE WITH IGOR STRAVINSKY IN REHEARSAL, CA. 1957. PHOTO BY MARTHA SWOPE. Balanchine’s use of movement seems organically linked dancing.” Balanchine’s relationship with music with the music and the dancers’ bodies. His work is stemmed from his early childhood, when his musical always inventive and nothing superfluous is ever studies were as important as his dance training. His included. It is as if no other step than the one choreo- understanding of musical theory, composition and play- graphed could possibly work within the structure of the ing enabled him to develop intimate working piece. relationships with his composers. The National Ballet of Canada’s late Artistic Director, Erik Bruhn, once noted: Balanchine created a distinctive vocabulary and style of “He unravelled the intricate structure and emotional movement that closely reflects the structure of the music texture of music. Using the music of Bach, Mozart, he used. Commenting on Balanchine’s use of music, Tchaikovsky, and, of course, his close friend Igor dance critic Kenneth LaFave has noted: “Balanchine has Stravinsky, Balanchine actually made ballet more aware explored the interactions of music and dance with almost of its musical potential.” every ballet, and has approached their combination afresh countless times. Look at his ballets superficially Balanchine’s understanding of music allowed him to and they may seem to be illustrations of the music. Look reach into the inner life of the music. It is not the obvi- at them closely and they appear as they really are: works ous beat but the harmony in the music that motivates that dance in the music, not merely to the beat.” the dance. Said Balanchine of his use of music previ- ously untouched by ballet choreographers: “If the dance Watching a Balanchine ballet is like watching and hear- designer sees in the development of classical dancing a ing a beautifully phrased conversation between dance counterpart in the development of music and has stud- and music. The most exciting moment of a Balanchine ied them both, he will derive continual inspiration from ballet is when you begin to “see the music and hear the great scores.” A NOTE ON GISELLE

One of the greatest and most revered choreographic was specially composed for the ballet by Adolphe Adam. accomplishments of the Romantic era of ballet, Giselle has Following its Paris premiere, Giselle was performed enthralled audiences for generations and provided a throughout Europe and the United States and also wealth of dramatic and technical challenges for many of inspired a number of theatrical productions. the world’s greatest ballerinas, for whom the title role is one of the most demanding and fulfilling in the canon. The National Ballet of Canada has had Giselle in its reper- toire since the company was founded in 1951. At the Giselle received its premiere at the Paris Opera on June company’s very first performance on November 12, 1951, 28, 1841. The title role of Giselle was performed by the Lois Smith and David Adams performed the Peasant Pas famous Romantic ballerina , who that De Deux from Act I of Giselle. During the 1969/70 National evening celebrated her 22nd birthday. Lucien Petipa Ballet season, Peter Wright was invited by Celia Franca to (brother of the choreographer Marius) performed the role mount a new version of Giselle for the company. This new of Albrecht. The ballet proved an instant success, and was production premiered on April 16, 1970 at Toronto’s quite spectacular, with the Duke and Albrecht’s fiancée, O’Keefe Centre (now renamed the Hummingbird Centre) Bathilde, arriving at the village stage setting on horse- starring guest artists Lynn Seymour and Egon Madsen. back. This highly praised production, with beautiful costumes The original scenario was conceived by Jules Henri and scenery by famed designer Desmond Heeley, has Vernoy de Saint-Georges, a prolific librettist of the period, remained in the National Ballet’s active repertoire and has and Théophile Gautier, a noted critic and poet. The chore- been performed across Canada and around the world. In ography was attributed to the Paris Opéra’s chief ballet 1975, Giselle was filmed by director Norman Campbell for master, Jean Coralli, though dances for the leading role of the Canadian Broadcasting Corporation. The programme Giselle have since been accredited to the choreographer featured Karen Kain and Frank Augustyn in the roles of Jules Perrot, who was Carlotta Grisi’s lover. The music Giselle and Albrecht.

FROM LEFT: ALEKSANDAR ANTONIJEVIC. PHOTOGRAPHER: CYLLA VON TIEDEMANN, SONIA RODRIGUEZ IN GISELLE. PHOTOGRAPHER: CYLLA VON TIEDEMANN, CHAN HON GOH IN GISELLE. PHOTOGRAPHER: ANDREW OXENHAM, ARTISTS OF THE BALLET IN GISELLE. PHOTOGRAPHER: CYLLA VON TIEDEMANN, Challenging Loys to a fight, Hilarion notices that Loys GISELLE SYNOPSIS immediately clasps his right hand to his left hip, as if he were about to draw a sword. The astute Hilarion notes that Act I such an action would be the instinctive reaction of a noble- man. Hilarion tries to warn Giselle that there is something The first act is set in a Rhineland valley surrounded by suspicious about Loys but she refuses to believe him. vine-clad hills in medieval Germany. A majestic castle looms in the distance over the valley. It is autumn and the Soon a royal hunting party appears in the village, led by peasants are enjoying a rich harvest. Among the many Albrecht’s father the Duke of Silesia and Countess happy festivities is the crowning of the Queen of the Bathilde, who is engaged to Albrecht. The village Vintage. welcomes the noble visitors. Giselle presents flowers to the beautiful Bathilde. When it is revealed that Giselle is Giselle is a young peasant girl who lives with her mother, engaged to be married, Bathilde gives Giselle a necklace Berthe. Their cottage is opposite one that has recently as a gift. While Bathilde and the Duke go to rest in been occupied by the handsome but mysterious Loys, a Giselle’s cottage, Hilarion breaks into Loys’ cottage and peasant farmer. Loys is really Count Albrecht of Silesia, discovers his sword, which bears the family crest of the who has disguised himself as a peasant in Duke of Silesia. He now has proof of Loys’ true identity. order to win Giselle’s affections. Giselle has fallen in love with Loys, but the local forester Hilarion loves Giselle and has always planned to marry her. Hilarion is suspicious of Loys and thinks he is hid- ing some secret.

During the festivities that follow, when Giselle is crowned path between midnight and dawn to dance to his death. Queen of the Vintage, Hilarion challenges Loys and, The Wilis are gathering this night to prepare for the summoning the royal party, reveals Loys’ true identity. initiation of Giselle into their ranks. Everyone is shocked and confused as they realize that Loys is really Count Albrecht. Bathilde is shocked to see The Wilis momentarily leave the scene, and the melan- her fiancé dressed as a peasant. She then tells everyone cholic Albrecht arrives at Giselle’s grave to plead for that she is herself engaged to be married to the forgiveness. To his amazement, the ghost of the dead duplicitous Albrecht. Giselle appears before him and he follows her into the forest. Hilarion returns to Giselle’s grave, this time to be When Giselle realizes that she has been deceived by entrapped by the Wilis, who show him no mercy. After Albrecht, she is overcome by grief and quickly loses her forcing him to dance until he is exhausted, Myrtha reason. Giselle recalls her moments of innocent happiness commands the Wilis to fling Hilarion into the nearby lake. with Albrecht, but then, in a frenzy of madness, she When Albrecht returns, the Wilis surround him and try to thrusts Albrecht’s sword toward her heart and dies in her doom him to the same fate as Hilarion. Giselle attempts to mother’s arms. Albrecht runs off, filled with guilt and save Albrecht, warning him that he will be able to despair for what he has done. Hilarion and the village the Wilis if he clings to the cross on her grave, which he grieve for Giselle. does.

Act II To have her revenge, the Queen of the Wilis forces Albrecht and Giselle to dance on and on into the night, The scene opens in a moonlit forest glade near the grave until they are extremely exhausted. Albrecht collapses. where Giselle has been buried. Since she took her own Knowing that the power of the Wilis is destroyed by life, Giselle has been laid to rest in un-hallowed ground, daylight, Giselle manages to sustain Albrecht until the unprotected from evil spirits. It is midnight and Hilarion chimes of a distant church bell announce the arrival of is keeping vigil, but when the forest becomes haunted by dawn. Wilis (pronounced will-eez) he flees in terror. The Wilis are the spirits of betrothed young women who have died The Wilis vanish and Giselle must return to her grave. But from grief after being as her love has transcended death, her spirit has now betrayed by faithless been freed from the power of the Wilis. As the curtain lovers. Malicious in falls, Albrecht, forlorn and reflective, is left alone in his nature, these ghostly, sorrow. nocturnal creatures are ruled over by their queen, Myrtha, and seek revenge by forcing any man who crosses their

GRETA HODGKINSON AND ALEKSANDAR ANTONIJEVIC IN GISELLE . PHOTOGRAPHER: CYLLA VON TIEDEMANN Flower theme LEITMOTIFS IN GISELLE The flower theme in which Giselle plucks the petals of a daisy (“he loves me, he loves me not”) is performed twice, A leitmotif is a theme used recurrently to denote a once in a happy duet with Albrecht, and again in the mad specific person, object or feeling, either through music or scene, as Giselle recalls her lover. movement. Giselle composer Adolphe Adam ingeniously used musical leitmotifs in his score. Adam’s leitmotifs Huntsmen’s theme were complemented by dance movement leitmotifs cre- The huntsmen’s theme is the sound of horns that always ated by choreographers Jules Perrot and Jean Coralli that precedes the arrival of the nobles and their hunting party are still incorporated in the ballet today. The first act, on to the stage. with its many mime scenes, is rich with accompanying leitmotifs to assist in the plot development. A study of Wili theme the layers of themes and motifs in the dancing and music The wili theme is first heard in Act I when Berthe, in Giselle leads to a fascinating discovery of the nuances Giselle’s mother, warns her about dancing too much; it that shape both the drama and mood of the ballet. acts as a premonition of the tragedy that is to follow. The theme is reintroduced in the second act with the arrival Giselle’s theme of the wilis, who surround Hilarion on his visit to There is one sequence of steps with accompanying music Giselle’s grave. that Giselle repeats at various key moments in the drama. This series of ballonnes, piques and pas de basque Hilarion’s theme denotes Giselle’s love for dance. They are very simple You will know each time Hilarion is about to come on steps, light and airy, that reflect Giselle’s simple peasant stage, because his entrance is heralded by his own background and carefree existence. When Bathilde asks distinct musical theme. For this music, Adolphe Adam Giselle what her favorite pastime is, Giselle executes this used an excerpt from the Fate theme of Ludwig van series of steps, telling Bathilde, and the audience, that Beethoven’s Fifth Symphony. she loves to dance.

CHOREOGRAPHER SIR PETER WRIGHT REHEARSING ALEKSANDAR ANTONIJEVIC AND GRETA HODGKINSON IN GISELLE. PHOTOGRAPHER: CYLLA VON TIEDEMANN

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