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La Era Diaghilev Pertenece a La Sección: the Ballet Russes La Compañía De Ballet Más Influyente Del Siglo XX. El Legendari

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La Era Diaghilev Pertenece a La Sección: the Ballet Russes La Compañía De Ballet Más Influyente Del Siglo XX. El Legendari La era Diaghilev Pertenece a la sección: The Ballet Russes La compañía de ballet más influyente del siglo XX. El legendario empresario Diaghilev, el genio de Nijinksy y la modernidad de Igor Stravinski. Los Ballets Clásicos Russes fueron fundados en París en 1909, pero traían tras de sí una larga historia, luego de haber atravesado varios continentes, abarcando los cursos de la vida de muchos de los bailarines más grandes de su historia. Presentamos a continuación todas sus producciones y sus principales bailarines. Por Carolina de Pedro Pascual Esta película-documental realizada con material de archivo único y nunca mostrado: contiene entrevistas donde evoca a los bailarines en sus ochenta y noventa años, que recuerdan sus días de gloria al viajar por el mundo, trabajando con los grandes del ballet como Balanchine, Massine, Fokine y músicos como el gran Stravinsky, Debussy, con Picasso y Matisse. Irina Baronova, Frederic Franklin, Dama Alicia Markova, Orujo Platt, Maria Tallchief y George Zoritch son algunos de los artistas extraordinarios que verán en la pantalla. www.balletsrussesmovie.com Los Ballets Rusos fue una célebre compañía de ballet creada en 1907 por el empresario ruso Sergei Diaghilev, con los mejores integrantes del Ballet Imperial del Teatro Mariinsky de San Petersburgo, dirigidos por el gran coreógrafo Marius Petipa. Desde 1909, la compañía comienza sus giras internacionales y en 1911 se independiza de los Ballets Imperiales. Se convierte en una compañía independiente, residente primero en el Théâtre Mogador de París y luego en Monte Carlo, París y Londres. Causó sensación en Europa Occidental gracias a la gran vitalidad de la escuela rusa comparada con el ballet que se hacía en Francia en aquella época. Se convirtió en la compañía de ballet más influyente del siglo XX, que de una u otra manera, perdura hasta el día de hoy, conservándose el espíritu más adelante en los Ballets del marqués de Cuevas. Irek Mukhamedov, Gary Avis and Lesley Collier – 1995 - Robbie Jack Photography Las giras La primera temporada de los Ballets Russes tuvo lugar en el Théâtre du Châtelet, del 18 de mayo al 18 junio de 1909. Cada año, más o menos por las mismas fechas, la compañía volvió a París, al principio al Théâtre du Châtelet, más tarde a otros teatros. A partir de 1911, la troupe da también representaciones en Roma, Viena, en el «Grand Théâtre» de Ginebra, Barcelona y Madrid. Baila igualmente en América del Sur desde 1913; en los Estados Unidos desde 1915; tras la Primera Guerra Mundial, actúan en Bélgica entre 1922 y 1928; en Lausana y Berna en 1923; en los Países Bajos en 1924. La última representación de la compañía se dio en Vichy el 4 de agosto de 1929. • 1909 - París. • 1910 - Bruselas - París. • 1911 - París - Londres - Monte Carlo - Roma. • 1912 - Berlín - Budapest - Londres - París - Viena. • 1913 - América del Sur - Londres - Lyon - Monte Carlo - París - Viena. • 1914 - Londres - París. • 1915 - Estados Unidos - Ginebra - Italia. • 1916 - Estados Unidos. • 1917 - América del Sur - Barcelona - Estados Unidos - París - Roma. • 1918 - Barcelona - Madrid. • 1919 - Londres - París. • 1920 - París - Roma • 1921 - Ginebra - Lyon - París - Roma. • 1922 - Amberes - Bruselas - Ginebra - Ostende - París- Viena. • 1923 - Amberes - Berna - Ginebra - Lausana - Monte Carlo - París. • 1924 - Amsterdam - La Haya - Monte Carlo - París- Rotterdam. • 1925 - Barcelona - París. • 1926 - Londres - Monte Carlo - París - Viena. • 1927 - Londres - Monte Carlo - París • 1928 - Bruselas - París. • 1929 - Londres - París - Vichy. Léon Bakst: El pájaro de fuego, bailarina, 1910 El fin de la era Diaghilev Nacido en Novgorod en 1872, este hombre que había de tener una gran importancia en el desarrollo del ballet, se estableció en San Petersburgo alrededor de los diecisiete años de edad, para completar los estudios de derecho. Allí fue introducido en el grupo ya mencionado. Pronto Diaghilev, a pesar de no ser pintor, ni músico, ni escritor, se vio llevado a dirigir aquel cenáculo de artistas. Al raro don de saber descubrir el talento de los otros unía una sed apasionada de conocimientos, una singular tenacidad y una potencia animadora de primer orden. Empezó organizando una exposición de pintores impresionistas (1899), después otra de retratos históricos (1905) y por último intentó la conquista de París con una exposición de pintores rusos en la que reunió lienzos de todo género: desde los antiguos iconos hasta cuadros de jóvenes desconocidos de San Petersburgo. Al año siguiente organizó en la Opera una serie de conciertos en los que dio a conocer la música de «Los Cinco» y en 1908 hizo representar Boris Godunov interpretado por Chaliapin, que produjo enorme impresión. Secundando las tendencias de los amigos artistas, volvió su atención hacia la música y los decorados que, considerados hasta entonces elementos secundarios, saltaron a primer plano colaborando a la par con la coreografía. Ya no se trató de baile acompañado de música, o de música interpretada por la danza, sino de una forma nueva en la cual «la plástica del gesto y la rítmica del sonido eran como generadas la una por la otra» (Champigneulle). En una palabra: la historia del Ballet Ruso que durante veinte años dominó los escenarios de todos los teatros del mundo, no sólo es la historia del ballet en aquel periodo sino la historia de todo un movimiento estético. Después de la muerte de Diaghilev (Venecia, 19 de agosto de 1929) la propiedad de la compañía fue reclamada por los acreedores, y los bailarines se dispersaron. En los años siguientes, la compañía (sólo de nombre) fue revivida como el Ballet Ruso de Monte Carlo, con la que se asociaban los nombres de George Balanchine y Tamara Toumanova, y como el Original Ballet Russe. Pese a todas las tentativas de Serge Lifar y de Boris Kochno, la troupe no sobrevivió a su fundador. Ballet Ruso, de August Macke (1912). Los bailarines Los principales bailarines y bailarinas de la compañía fueron: • George Balanchine (también coreógrafo). • Adolphe Bolm (también coreógrafo). • Carlotta Brianza • Enrico Cecchetti • Anton Dolin • Lubova Egorova • Michel Fokine (también coreógrafo). • Vera Fokine • Stanislas Idzikowski • Tamara Karsavina • Mathilde Kschessinska • Serge Lifar (también coreógrafo). • Lydia Lopokova • Alicia Markova • Léonide Massine (también coreógrafo). • Vaslav Nijinski (también coreógrafo). Los otros artistas Los espectáculos revelaron también al público el talento de grandes compositores: • Compositores rusos: Módest Mussorgski, Piotr Ilich Chaikovski Alexander Borodin, Serguéi Prokófiev, Igor Stravinsky, Nikolái Rimski-Kórsakov, Anton Arenski, Nikolai Tcherepnin, Maximilien Steinberg, Anatoli Liadov y Mily Balakirev. • Compositores franceses: Maurice Ravel, Claude Debussy, Francis Poulenc, Erik Satie, Darius Milhaud, Georges Auric, Reynaldo Hahn, Florent Schmitt, Gabriel Fauré y Henri Sauguet. • Otros Compositores: Richard Strauss, Manuel de Falla, Ottorino Respighi y Vittorio Rieti Para realizar la escenografía —decorados y vestuario— Diaghilev trabajo fundamentalmente con Léon Bakst y Alexandre Benois, pero, tras la Primera Guerra Mundial, prefirió colaborar con otros artistas, como los pintores Pablo Picasso, Henri Matisse, Georges Braque, André Derain, Maurice Utrillo, Georges Rouault, Marie Laurencin, Odilon Redon, Giorgio de Chirico, José Maria Sert, Nicholas Roerich, Natalia Goncharova, Ivan Bilibin, Alexandre Golovin y Pavel Tchelitchev. Toumanova, Leon Woizikovsky, and David Lichine in Petrouchka – 1934 - Anton Bruehl Photography Repertorio Fecha - Título - Compositor - Teatro Coreógrafo Escenografía y diseño Dirección 1909 Danzas Polovetsianas del Príncipe Igor - Alexander Borodin - París, Le Châtelet (19 mayo) Michel Fokine - Nicholas Roerich Emile Cooper 1909 Le Festin Suite de danses (extractos de ballets del repertorio) Rimski, Glinka, Tchaikovski, Glazunov, Mussorgski - París, Le Châtelet (19 mayo) Michel Fokine y Marius Petipa Léon Bakst y Alexandre Benois (y otros) Emile Cooper 1909 Le Pavillon d'Armide - Nikolai Tcherepnin - París, Le Châtelet (19 mayo) Michel Fokine - Alexandre Benois Nikolai Tcherepnin 1909 Les Sylphides (Rêverie romantique en un acto) - Frédéric Chopin (orch.: Stravinski, Glazunov, Liadov, Sokolov, Tanaeiev) - París, Le Châtelet (2 junio) Michel Fokine Alexandre Benois Nikolai Tcherepnin 1909 Cléopâtre - Anton Arenski, Taneiev, Rimski, Mussorgski, Glinka, Tchrepenine - París, Le Châtelet (2 junio) Michel Fokine Léon Bakst Nikolai Tcherepnin 1910 Carnaval - Robert Schumann (orch.: Rimski, Liadov, Tchepepine, Glazunov) - París, Opera (20 mayo) Michel Fokine Léon Bakst Nikolai Tcherepnin 1910 Schéhérazade - Nikolái Rimski-Kórsakov - París, Opera (4 junio) Michel Fokine Léon Bakst Nikolai Tcherepnin 1910 Giselle - Adolphe Adams - París, Opera (18 junio) Michel Fokine Alexandre Benois - Paul Vidal 1910 El pájaro de fuego - Igor Stravinski - París, Opera (25 junio) Michel Fokine Alexandre Golovin, Léon Bakst Gabriel Pierné 1910 Les orientales - Glazunov, Sinding, Arensky, Grieg, Borodin - París, Opera (25 junio) Michel Fokine Léon Bakst Nikolai Tcherepnin 1911 Le spectre de la rose - Carl Maria von Weber - Monte Carlo, Casino (19 abril) - París, Le Châtelet (6 junio) Michel Fokine Léon Bakst Nikolai Tcherepnin 1911 Narcise - Nikolai Tcherepnin - Monte Carlo, Casino (26 abril) - París, Le Châtelet (6 junio) Michel Fokine Léon Bakst Nikolai Tcherepnin 1911 Sadko au royaume sous-marin - Nikolái Rimski-Kórsakov - París, Le Châtelet (6 junio) Michel Fokine Boris Anisfeld Nikolai Tcherepnin 1911
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