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Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op
Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 Item Type text; Electronic Dissertation Authors Stavrianou, Eleni Persefoni Citation Stavrianou, Eleni Persefoni. (2021). Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 (Doctoral dissertation, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 04:39:03 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/660266 ADAPTING PIANO MUSIC FOR BALLET: TCHAIKOVSKY’S CHILDREN’S ALBUM, OP. 39 by Eleni Persefoni Stavrianou ____________________________________ Copyright © Eleni Persefoni Stavrianou 2021 A DMA Critical Essay Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2021 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Creative Project and Lecture-Recital Committee, we certify that we have read the Critical Essay prepared by: titled: and recommend that it be accepted as fulfilling the Critical Essay requirement for the Degree of Doctor of Musical Arts. _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ submission of the final copies of the essay to the Graduate College. I hereby certify that I have read this Critical Essay prepared under my direction and recommend that it be accepted as fulfilling the Critical Essay requirement. -
Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)
DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Nicolle Mitchell Greenhood Major paper submitted to the faculty of Goucher College in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration 2016 Abstract Title of Thesis: DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Degree Candidate: Nicolle Mitchell Greenhood Degree and Year: Master of Arts in Arts Administration, 2016 Major Paper Directed by: Michael Crowley, M.A. Welsh Center for Graduate and Professional Studies Goucher College Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters. -
Ballets Russes Press
A ZEITGEIST FILMS RELEASE THEY CAME. THEY DANCED. OUR WORLD WAS NEVER THE SAME. BALLETS RUSSES a film by Dayna Goldfine and Dan Geller Unearthing a treasure trove of archival footage, filmmakers Dan Geller and Dayna Goldfine have fashioned a dazzlingly entrancing ode to the rev- olutionary twentieth-century dance troupe known as the Ballets Russes. What began as a group of Russian refugees who never danced in Russia became not one but two rival dance troupes who fought the infamous “ballet battles” that consumed London society before World War II. BALLETS RUSSES maps the company’s Diaghilev-era beginnings in turn- of-the-century Paris—when artists such as Nijinsky, Balanchine, Picasso, Miró, Matisse, and Stravinsky united in an unparalleled collaboration—to its halcyon days of the 1930s and ’40s, when the Ballets Russes toured America, astonishing audiences schooled in vaudeville with artistry never before seen, to its demise in the 1950s and ’60s when rising costs, rock- eting egos, outside competition, and internal mismanagement ultimately brought this revered company to its knees. Directed with consummate invention and infused with juicy anecdotal interviews from many of the company’s glamorous stars, BALLETS RUSSES treats modern audiences to a rare glimpse of the singularly remarkable merger of Russian, American, European, and Latin American dancers, choreographers, composers, and designers that transformed the face of ballet for generations to come. — Sundance Film Festival 2005 FILMMAKERS’ STATEMENT AND PRODUCTION NOTES In January 2000, our Co-Producers, Robert Hawk and Douglas Blair Turnbaugh, came to us with the idea of filming what they described as a once-in-a-lifetime event. -
Dance Program and Ephemera Collection, 1909-1987
http://oac.cdlib.org/findaid/ark:/13030/kt1b69p38p No online items Guide to the Dance Program and Ephemera Collection, 1909-1987 Processed by Processed by Linda Akatsu, Emma Kheradyar, William Landis, and Maria Lechuga, 1997-2001. Guide completed by Adrian Turner, 2002. © 2003 The Regents of the University of California. All rights reserved. Guide to the Dance Program and MS-P026 1 Ephemera Collection, 1909-1987 Guide to the Dance Program and Ephemera Collection, 1909-1987 Collection number: MS-P26 Special Collections and Archives The UCI Libraries University of California Irvine, California Processed by: Processed by Linda Akatsu, Emma Kheradyar, William Landis, and Maria Lechuga, 1997-2001. Guide completed by Adrian Turner, 2002. Date Completed: 2002 Encoded by: Andre Ambrus © 2003 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Dance program and ephemera collection, Date (inclusive): 1909-1987 Collection number: MS-P026 Extent: 10.3 linear feet (25 boxes and 5 oversize folders) Repository: University of California, Irvine. Library. Special Collections and Archives. Irvine, California 92623-9557 Abstract: This collection comprises printed materials, primarily dance programs, documenting significant international dancers, dance companies, festivals, performances, and events. The bulk of this collection comprises materials on 20th century American and European ballet performers and companies, such as the American Ballet Theatre, Ballet Russes and related companies. The collection also contains dance programs documenting world and folk genres, and international dance styles, primarily Indian, Japanese, and Spanish. A small group of printed ephemera documents various dance festivals, dance companies, and individuals such as Isadora Duncan, George Balanchine, Mary Wigman, and others. -
Ballet Notes
Ballet Notes Mozartiana & Other Dances & In The Upper Room June 15 - 19, 2011 Aleksandar Antonijevic in In The Upper Room. Photo by Bruce Zinger. Orchestra Violins Bassoons Benjamin BoWman Stephen Mosher, Principal Concertmaster JerrY Robinson LYnn KUo, EliZabeth GoWen, Assistant Concertmaster Contra Bassoon DominiqUe Laplante, Horns Principal Second Violin Celia Franca, C.C., Founder GarY Pattison, Principal James AYlesWorth Vincent Barbee Jennie Baccante George Crum, Music Director Emeritus Derek Conrod Csaba KocZó Scott WeVers Karen Kain, C.C. Kevin Garland Sheldon Grabke Artistic Director Executive Director Xiao Grabke Trumpets David Briskin Rex Harrington, O.C. NancY KershaW Richard Sandals, Principal Music Director and Artist-in-Residence Sonia Klimasko-LeheniUk Mark Dharmaratnam Principal Conductor YakoV Lerner Rob WeYmoUth Magdalena Popa Lindsay Fischer JaYne Maddison Trombones Principal Artistic Coach Artistic Director, Ron Mah DaVid Archer, Principal YOU dance / Ballet Master AYa MiYagaWa Robert FergUson WendY Rogers Peter Ottmann Mandy-Jayne DaVid Pell, Bass Trombone Filip TomoV Senior Ballet Master Richardson Tuba Senior Ballet Mistress Joanna ZabroWarna PaUl ZeVenhUiZen Sasha Johnson Aleksandar AntonijeVic, GUillaUme Côté*, Violas Harp Greta Hodgkinson, Jiˇrí Jelinek, LUcie Parent, Principal Zdenek KonValina, Heather Ogden, Angela RUdden, Principal Sonia RodrigUeZ, Piotr StancZYk, Xiao Nan YU, Theresa RUdolph KocZó, Timpany Bridgett Zehr Assistant Principal Michael PerrY, Principal Valerie KUinka Kevin D. Bowles, Lorna Geddes, -
Lynn Garafola Most Fruitful Experiments in His Company's History
• ON 11 JANUARY 1916 DIAGHILEV and his Ballets Russessteamed into New York harbor for the first of two lengthy tours of the United States. Both began in New York, THE then crisscrossed the country, giving Americans in no fewer than fifty-one cities a taste of Diaghilev's fabled entertainment. The company that made these 1916-1917 tours was BALLETS RUSSES different from the one Europeans knew. There were few stars and many new faces and a repertory that gave only a hint of Diaghilev's growing experimentalism. The Ballets Russes IN AMERICA never triumphed in the United States, as it had in Europe, nor did it immediately influence the course of American ballet. But the tours set in motion changes within the Ballets Russes itself that had lasting consequences. Thanks to American dollars, Diaghilev rebuilt the company temporaril y disbanded by World War I while conducting some of the Lynn Garafola most fruitful experiments in his company's history. Those sa me dollars paid for the only ballet to have its premiere in the New World-Vaslav Nijinsky's Till Eulenspiegel. In size, personnel, and social relations, the Ballets Russes of the American tours marked the bi rth of Diaghilev's postwar company. Diaghilev had long toyed with the idea of an American tour. But only in 1914, when debt threatened the very life of his enterprise, did he take steps to convert the idea into a reality. "Have had several interviews ... Diaghileff about Ballet for New York," Addie Kahn wired her husband, Otto, chairman of the Metropolitan Opera's board of directors, from London on 18 July 1914: [Is] most insistent troupe shou ld go America this winter for urgent reasons too complicated to cable upon which largely depend continuance of organization. -
Millicent Hodson, Kenneth Archer Landmarks in the Life of the Reconstructed "Sacre"
Millicent Hodson, Kenneth Archer Landmarks in the Life of the Reconstructed "Sacre" Avant : pismo awangardy filozoficzno-naukowej 4/3, 19-20 2013 AVANT, Special Issue, Vol. IV, No. 3/2013 www.avant.edu.pl/en AVANT, Vol. IV, No. 3/2013 ISSN: 2082-6710 avant.edu.pl/en Landmarks in the Life of the Reconstructed Sacre Millicent Hodson & Kenneth Archer In the midst of the centenary year of Le Sacre du Printemps, when Avant asked us to contribute something about our reconstruction of this legendary ballet, we knew the pace of our peripatetic lives would not allow us to write a new text. Much of the year we are away from our London base to stage the works that we have reconstructed or created through Ballets Old & New, our dance and design partnership. But we travelled even more during the Sacre centenary, participating in con- ferences, festivals, exhibitions and lecture series as well as staging our produc- tions. So we suggested that Avant publish in Polish the diary we wrote while first producing Sacre in St. Petersburg at the Mariinsky, the theatre which gave the world this ballet’s original creators: the composer, Igor Stravinsky; scenar- ist and designer, Nicholas Roerich and choreographer, Vaslav Nijinsky. The Mariinsky production and diary marked a turning point in our work. That was 2003, about halfway through the twenty-five years between our 1987 world premiere of the reconstruction with the Joffrey Ballet in the United States and the far flung celebrations of the Sacre centenary. Now 2013 has come and gone. Perhaps the ghosts from the riotous Parisian Sacre of 1913 are glad for some peace and quiet. -
Diaghilev's Ballet Russes Sanatsal Bir Devrim Fenomeni
_____________________________________________________ ART-SANAT 5/2016 _____________________________________________________ AN ARTISTIC REVOLUTION PHENOMENON: DIAGHILEV’S BALLET RUSSES SEDA AYVAZOĞLU Ass.Prof., Adana Çukurova University State Conservatory Performing Arts Department [email protected] ABSTRACT The Ballet Russes (1909-1929) was the revolutionary Russian ballet company under the direction of Russian impresario Serge Diaghilev (1872-1929). The Ballet Russes took an important role as a new art form as rarely taking the old traditions. Before the Ballet Russes, the costumes were nearly uniformity. Not only costumes and scenery newly designed but the music was composed as a new music by commissioned composers such as Stravinsky, Debussy and Ravel. The ballet technique was limited as well. The revolutionary choreographs of Ballet Russes’, such as Fokine and Nijinsky were employed and they no longer limited body movements in dance. The choreographers extended those innovations and brought their modern spirit to large ensemble productions. Ballet Russes wasn’t just a new type and level of ballet performances that surpassed contemporary European ballet, but also a unique artistic phenomenon that shaped the development of Western European in the 20th century. The legacy left by Diaghilev and the Ballets Russes still has an influence on modern ballet companies today. Keywords: Diaghilev, Ballet Russes, choreography, Russian Art, The World of Art. SANATSAL BİR DEVRİM FENOMENİ: DİAGHİLEV’İN RUS BALESİ ÖZ Ballet Russes (1909-1929) Rus menejer Sergei Diaghilev’in (1872-1929) yönetiminde devrimci bir Rus balesi grubuydu. Bale Russes eski geleneklere nadir olarak yer veren yeni bir sanat formu olarak önemli bir rol aldı. Ballet Russes öncesinde kostümler neredeyse tekdüzeydi. -
RCEWA – Nijinsky Before the Curtain by Glyn Philpot Statement of The
RCEWA – Nijinsky before the Curtain by Glyn Philpot Statement of the Expert Adviser to the Secretary of State that the painting meets Waverley criteria one and three. Further Information The ‘Applicant’s statement’ and the ‘Note of Case History’ are available on the Arts Council Website: www.artscouncil.org.uk/reviewing-committee-case-hearings Please note that images and appendices referenced are not reproduced. EXECUTIVE SUMMARY 1. Brief Description of item(s) • What is it? A painting of the Russian ballet dancer Vaslav Nijinsky taking a curtain call • What is it made of? Oil on canvas • What are its measurements? 755 x 625 mm • Who is the artist/maker and what are their dates? Glyn Philpot (1884-1937) • What date is the item? 1913 • What condition is it in? Good 2. Context • Provenance Sir Philip Sassoon by March 1914; Bequeathed in 1939 to his cousin Hannah Gubbay (d. 1968); [….]; Acquired by a UK private collector in the 1980s and by descent to 2017. • Key literary and exhibition references Catalogue of an Exhibition of Portraits of Nijinsky by Various Artists, exhibition catalogue, The Fine Art Society, March 1914, no. 29 Cyril Beaumont, Bookseller at the Ballet: Memoirs 1891-1921, London, 1975, p. 152 Glyn Philpot (1884-1937), exhibition catalogue, National Portrait Gallery, 1984, p. 16 (as lost work) J.G.P Delaney, Glyn Philpot his Life and Art, Aldershot: Ashgate Publishing Ltd, 1999, p. 56 (as destroyed when Sir Philip Sassoon’s house was bombed in the Blitz) 3. Waverley criteria • Which of the Waverley criteria does the item meet? (If it is of ‘outstanding significance for the study of some particular branch of art learning or history’ which area of art learning or history). -
A Ballets Russes Collection, Gathered in London by Boris Yeltsin's Right Arm, Boris Berezovskiy
SERGE DIAGHILEV AND THE BALLETS RUSSES Including a collection from Boris Berezovsky’s library 32 St. George Street Shapero London W1S 2EA t: +44 20 7493 0876 RARE BOOKS shapero.com Some theatrical performances can be likened to great battles which live on in the memory of peoples. The stories of eye- witnesses, passed on to their children and grandchildren, become legends. Their tremendous, sensational success, which reveals important undercurrents in the life of art, makes them landmarks in the history of the theatre. In the list of such events one can rightfully enter the guest performances of the Russian opera and ballet in Paris, in 1908 and 1909. Repeated in the subsequent years they became known as the Russian Seasons. Their initiator, members of the group “The World of Art” with Alexander Benois at the head, were inspired by the idea of making Russian art better known to the public abroad. They succeeded in winning the support of many progressive artists and intellectuals. The results of their efforts proved to be more tangible, significant and far-reaching than they had ever expected. M.Pozharskaya. The Russian Seasons in Paris (Moscow, 1988) SERGE DIAGHILEV AND THE BALLETS RUSSES Including a collection from Boris Berezovsky’s library 1. BAKST, Leon. Фея кукол. La fée des poupées. 4 16. [OPERA RUSSE A PARIS] - Programme. 12 2. [RUSSIAN SEASONS] - Official programme for “Concerts 4 17. Holme, C. G. (Editor) & C. W. Beaum ont. Design for the Ballet. 12 Historiques Russes”. 18. ЛИФАРЬ, Сергей [LIFAR, Sergey]. История русского балета от 12 3. [RUSSIAN SEASONS] - Official programme for “Boris Godounov”. -
Serge Grigoriev/Ballets Russes Archive Consists Primarily of Photographs, Photo Albums, and Notes and Manuscript Drafts for Grigoriev’S S.P
Guides to Special Collections in the Music Division of the Library of Congress SERGE GRIGORIEV / BALLETS RUSSES ARCHIVE Finding aid URL: http://hdl.loc.gov/loc.music/eadmus.mu2007.wp.0010 LIBRARY OF CONGRESS WASHINGTON 2007 Table of Contents Introduction ........................................................................iii Biographical Sketch ..................................................................iv Scope and Content Note ..............................................................ix Description of Series ................................................................. x Container List ...................................................................... 1 WRITINGS B Y SERGE GRIGORIEV ............................................ 1 PHOTOGRAPHS ............................................................. 2 PHOTO ALBUMS ............................................................ 6 PROGRAMS ................................................................. 7 WRITINGS ABOUT THE BALLET RUSSES ...................................... 8 BALLETS RUSSES: COMPANY MEMBERS, CLIPPINGS, TOUR INFORMATION, AND DRAWINGS .......................................................... 9 APPENDIX A: RELATED NAMES .................................................... 10 APPENDIX B: RELATED CHOREOGRAPHIC WORKS .................................. 12 ii Introduction The Serge Grigoriev/Ballets Russes Archive consists primarily of photographs, photo albums, and notes and manuscript drafts for Grigoriev’s S.P. Diaghilev i ego ‘Russkii Balet’ 1909-1929, -
Denise Richardson Talks to Its Artistic Hamburg!Director and Patriach, John Neumeier
Hail the For the first time in its long history, the Hamburg Ballet is coming to Australia. Denise Richardson talks to its artistic Hamburg!director and patriach, John Neumeier. W o GER BADEK L HO Photo: 14 dance australia | AUGUST/SEPTEMBER 2012 www.danceaustralia.com.au o pposite: alexandre riabko (with silvia azzoni) in the title role of ‘nijinksky’, choreographed W by neumeier. o left: Here ballerina alina cojocaru GER BADEK L performs in HO ‘a midsummer night’s dream’ Photo: with the ensemble. he hamburg balleT has press conference and rehearsals, the era, like Jean baptiste lully and georg performed at the bolshoi Theatre, very busy Neumeier admits that he Telemann, may have often been staged, Tthe mariinsky Theatre and the never intended to remain this long. but ballet performances were spasmodic Opéra garnier in Paris. In august this “I still don’t,” he laughs. and rather crude. celebrated german company will for the Neumeier relates his main reason for and while the new opera house became first time be performing in australia, staying to the concept of “movement” a drawcard for big names of both opera along with the hamburg State Opera and (also the focus of a collection of his and ballet in the first half of the 19th the hamburg Philharmonic Orchestra, at essays called In Movement). “although century, with guest stars like marie the Queensland Performing arts Centre I have been in hamburg almost 40 Taglioni, Fanny elssler (who later made in brisbane. years, I still feel that I am ‘in movement’ hamburg her home) and lucile grahn The hamburg State Opera and because not only does the hamburg receiving critical acclaim, the poetic hamburg ballet, like many other ballet tour a lot, but I also work in many scribing of one hamburg critic that companies in europe, are historically different companies around the world,” “the garlands one throws to (elssler) will tied to the building in which they usually he explains.