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Titre Construit 1Er Responsable Série Edith Piaf
Titre construit 1er responsable Série Edith Piaf (1963-2003) (20) : Volume 20 : Carnegie Hall 1956-1957 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Edith Piaf (1963-2003) (19) : Volume 19 : Carnegie Hall 1956 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Edith Piaf (1963-2003) (18) : Volume 18 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Edith Piaf (1963-2003) (17) : Volume 17 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Léo chante Ferré (16) : Léo chante l'espoir Ferré, Léo (1916 - 1993) Léo chante Ferré / Léo Ferré [Universal Music S.A.] Edith Piaf (1963-2003) (16) : Volume 16 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Intégrale 1965-1995 (16) : Disque 16 Sardou, Michel Intégrale 1965-1995 / Michel Sardou [Universal Music France S.a] Léo chante Ferré (15) : Léo chante Et ... basta ! Ferré, Léo (1916 - 1993) Léo chante Ferré / Léo Ferré [Universal Music S.A.] Edith Piaf (1963-2003) (15) : Volume 15 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] L'Intégrale (15) : Les Marquises Brel, Jacques L'Intégrale / Jacques Brel [Universal Music France S.a] Intégrale 1965-1995 (15) : Disque 15 Sardou, Michel Intégrale 1965-1995 / Michel Sardou [Universal Music France S.a] L'Intégrale studio de Claude Nougaro (14) : Embarquement immédiat Nougaro, Claude L'Intégrale studio de Claude Nougaro / Claude Nougaro [Mercury France] Intégrale 1965-1995 (14) : Disque 14 Sardou, Michel Intégrale 1965-1995 / Michel Sardou [Universal Music France S.a] Edith Piaf (1963-2003) -
Volume 60, Number 07 (July 1942) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1942 Volume 60, Number 07 (July 1942) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 60, Number 07 (July 1942)." , (1942). https://digitalcommons.gardner-webb.edu/etude/237 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. — . UNITED WE IMP SUMPS DR. ALFRED HOLLINS, eminent blino the organist and composer, who had held West position as organist at St. George's Church, Edinburgh, since 1337, died there Sep- on May 17. Dr. Hollins was bom He tember 11, 1865, in Hull, England. had made many concert appearances Li the United States and Canada. DR. CHARLES HF.1N- ROTH, Chairman of the Music Department of City College, New York, and for twenty-five years JAe M/ot£d o/Mmie organist and director of music at Carnegie In- stitute of Technology, Pittsburgh, has retired. Chaubs HERE, THERE. AND EVERYWHERE A former president of Hunkoth the American Associa- IN THE MUSICAL WORLD tion of Organists, Prof. Heinroth is said to be the first man to play organ music artists very active In great influence in Orchestra was assisted by visiting over the radio. -
Pantomime-Ballet on the Music-Hall Stage: the Popularisation of Classical Ballet in Fin-De-Siècle Paris
Pantomime-Ballet on the Music-Hall Stage: The Popularisation of Classical Ballet in Fin-de-Siècle Paris Sarah Gutsche-Miller Schulich School of Music McGill University A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Ph.D. in musicology April 2010 © Sarah Gutsche-Miller 2010 TABLE OF CONTENTS Abstract and Résumé iii Acknowledgements iv Introduction 1 Chapter 1. The Origins of Parisian Music-Hall Ballet 19 Opéra Ballet 19 The Legal Backdrop 24 Ballet in Popular Theatres 26 English Music-Hall Ballet 37 Chapter 2. Elegant Populism: The Venues and the Shows 45 The Folies-Bergère, 1872-1886 47 Marchand’s Folies-Bergère, 1886-1901 54 The Casino de Paris 81 The Olympia 92 Chapter 3. Music-Hall Ballet’s Creative Artists 105 Librettists 107 Composers 114 Choreographers 145 Chapter 4. The Music-Hall Divertissement 163 The 1870s: The Popular Divertissement 164 The 1880s: From “Divertissement” to “Ballet” 171 The 1890s: From Divertissement to Pantomime-Ballet 189 Chapter 5. Popular Ballet’s Conventions 199 A Traditional Structure 200 Music as Storyteller 229 Chapter 6. Up-to-Date Popular Spectacles 253 Pantomime-Ballet Librettos: Conventions and Distortions 254 The Popular Surface 275 Chapter 7. The Music of Popular Ballet 319 Popular Ballet Music at its Height 348 Conclusion 363 Appendix A 371 Appendix B 387 Bibliography 403 ii ABSTRACT This dissertation explores the history and aesthetic of ballet in Parisian music halls at the turn of the twentieth century. Although the phenomenon is now long forgotten, ballet was for more than four decades a popular form of entertainment for a large audience. -
Audience Production Guide Production Audience
Audience Production Guide 1 Audience Production Guide Choreography by Marius Petipa and Alexander Gorsky Staged and Directed by Terrence S. Orr Costumes and Scenic Design by Santo Loquasto Music by Ludwig Minkus April 11-13, 2014 The Benedum Center for the Performing Arts Student Matinee Sponsor Free Ticket Program The Pittsburgh Ballet Theatre Education Department is grateful for the support of the following organizations: Allegheny Regional Asset District Net Health Systems Allegheny Technologies, Inc. Peoples Natural Gas Buncher Family Foundation Pennsylvania Council on the Arts Anne L. and George H. Clapp Charitable and Pennsylvania Department of Community and Educational Trust Economic Development Claude Worthington Benedum Foundation PNC Bank Cleveland Brothers Equipment Co., Inc. PPG Industries, Inc. Direct Energy Business Richard King Mellon Foundation Dominion Foundation James M. and Lucy K. Schoonmaker Eat ‘n Park Restaurants, Inc. Foundation ESB Bank Edith L. Trees Charitable Trust First Commonwealth Bank UPMC Health Plan Henry C. Frick Educational Fund of The Buhl Hilda M. Willis Foundation Foundation The Huntington National Bank Cover photo by Duane Rieder, 2014. Artists: Christine GENCO Supply Chain Solutions Schwaner and Alexander Silva. Production Guide created The Grable Foundation by PBT’s Department of Education and Community Hefren-Tillotson, Inc. Engagement, 2014. Many thanks to Laura Bouffard for The Heinz Endowments content and editorial. 2 Contents 4 About the Novel 4 The Author: Don Miguel de Cervantes Saavedra 3 About the Ballet 6 The Setting and Characters 7 The Synopsis 8 The Composer: Ludwig Minkus 9 The Music: Listening Guide 11 The Choreographers 12 The Choreography 13 The Language of the Fan 14 The Costumes 15 Don Quixote in Arts and Culture 16 How the Critics Responded Resources and References 17 The Benedum Center Accessibility 3 About the Novel The ballet Don Quixote is based on an episode taken from the famous novel Don Quixote de la Mancha by Miguel de Cervantes Saavreda. -
Choreography#3 : Performance Ed
de - archiving movement research : choreography#3 : performance ed. by Rose Breuss and Claudia Jeschke in cooperation with IDA research lab Claudia Jeschke DANCING WOMEN WRITING – MARGITTA ROSÉRI: LE TOUR DU MONDE DE LA DANSE Claudia Jeschke CHOREO-GRAPHING SPECTACULARITY ISBN 978-3-940388-60-5 © Rose Breuss, Claudia Jeschke, epodium (München) Website: www.epodium.de E-Mail: [email protected] Alle Rechte vorbehalten/All rights reserved Covergestaltung: Drahtzieher Design & Kommunikation, Wien Satz: Frankowsky – Grafik & Kommunikation, Gernlinden epodium ist eine eingetragene Marke ISBN 978-3-940388-60-5 Germany 2017 Reihe de-archiving movement Herausgeber: Rose Breuss, Claudia Jeschke Bibliografische Informationen Der Deutschen Nationalbibliothek. Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.ddb.de abrufbar. Claudia Jeschke DANCING WOMEN WRITING – MARGITTA ROSÉRI: LE TOUR DU MONDE DE LA DANSE Autobiographische Memorabilia aus dem Bereich des Tanzes dienen gemeinhin der historio- graphischen und chronologischen Re-Konstruktion von Lebenswegen. Im 19. Jahrhundert, in dem die ‚großen Ballerinen‘ ebenso wie eine Reihe weniger dem Ballett zugehöriger, aber dennoch erfolgreicher Tänzerinnen einen Platz in der Tanzszene beanspruchen, beginnen die- se Künstlerinnen über ihre berufliche Situation zu schreiben. Zunehmend werden Autobiogra- phien zu einem weiblichen Aktionsfeld, das sich gegenüber der bislang männlichen Deu- tungshoheit -
Marius Petipa
Marius Petipa From Wikipedia, the free encyclopedia See also: Category:Ballets by Marius Petipa Marius Petipa Birth Marius Alphonse Petipa name March 11, 1822 Born Marseille, France July 14, 1910 (aged 88) Died Gurzuf, Crimea (modern-day Ukraine) Field Ballet dance and choreography Marius Ivanovich Petipa (Russian: Мариус Иванович Петипа) (born Victor Marius Alphonse Petipa on 11 March 1822 in Marseille, France — died in Gurzuf in the Crimea, Russian Empire, in what is now Ukraine, on 14 July [O.S. 1 July] 1910) was a french ballet dancer, teacher, and choreographer. Marius Petipa is cited nearly unanimously by the most noted artists of the classical ballet to be the most influential balletmaster and choreographer that has ever lived (among them George Balanchine, who cited Petipa as his primary influence). Marius Petipa is noted for his long career as Premier Maître de Ballet of the St. Petersburg Imperial Theatres, a position he held from 1871 until 1903. Petipa created over fifty ballets, some of which have survived in versions either faithful to, inspired by, or reconstructed from the original — The Pharaoh's Daughter (1862); Don Quixote (1869); La Bayadère (1877); Le Talisman (1889); The Sleeping Beauty (1890); The Nutcracker (which was most likely choreographed by Lev Ivanov, with Petipa's counsel and instruction) (1892); Le réveil de Flore (1894); Le Halte de Cavalerie (1896); Raymonda (1898); Les Saisons (1900), and Les millions d’Arlequin (a.k.a. Harlequinade) (1900). Petipa also revived a substantial number of works created by other Ballet Masters. Petipa's productions would become the definitive versions from which nearly all subsequent revivals would be based — Le Corsaire, Giselle, La Esmeralda, Coppélia, La Fille Mal Gardée (with Lev Ivanov), The Little Humpbacked Horse and Swan Lake (with Lev Ivanov). -
Cesare Pugni: Music from Five Ballets Ondine Esmeralda Pas De Quatre Catarina, Ou La Fille Du Bandit Théolinda, Ou Le Lutin De La Vallée
Cesare Pugni: Music from Five Ballets Ondine Esmeralda Pas de Quatre Catarina, ou La Fille du bandit Théolinda, ou Le Lutin de la vallée Cesare Pugni: Music from Five Ballets Ondine Esmeralda Pas de Quatre Catarina, ou La Fille du bandit Théolinda, ou Le Lutin de la vallée Edited and Introduced by Robert Ignatius Letellier Cesare Pugni: Music from Five Ballets Ondine Esmeralda Pas de Quatre Catarina, ou La Fille du bandit Théolinda, ou Le Lutin de la vallée Edited and Introduced by Robert Ignatius Letellier This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Edited and Introduced by Robert Ignatius Letellier All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3710-5, ISBN (13): 978-1-4438-3710-1 Cesare Pugni (St Petersburg, c. 1860) TABLE OF CONTENTS Introduction ........................................................................................................................................... ix Ondine .................................................................................................................................................... 1 Pas de Séduction....................................................................................................................................