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Cran Ballet De Montecarlo Compañía, Del Marques De Cuev As Medjcamentos Con La

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Cran Ballet De Montecarlo Compañía, Del Marques De Cuev As Medjcamentos Con La GRAN TEATRO DEL LICEO TERPORADA DE PRIBA 't'Jo;RA 1950 EMPRESA : JOSE F . ARQUER BABC¡¡;LONA CRAN BALLET DE MONTECARLO COMPAÑÍA, DEL MARQUES DE CUEV AS MEDJCAMENTOS CON LA I.A -~CA Of CONFIANZA LA QUÍMICA COMERCIAL Y FARMACÉUTICA, S. A. BARCELONA lo'AOJIO - ti\IAO - SEVIllA - v¡.UNCIA - VIGO Nombre• y Morc'ot reghttodot I GRAN TEATRO DFL UCEO El tono de Elegancia B & R CELOIW& EMPRBSA : DESU DISTINCION PE~SONAL JOSÉ F. ARQUER EXTIENDALO AL HOG~ EMBE­ DIRECCIÓ~ ARTÍSTICA : LLECIENDO SU AMBIENTE CON tA NAPOLEONE ANNOVAZZI Lencerla Arltslica Bordada TEMPORADA CALASANZ DE PRIMAV ERA DE 1950 q_UIEN LE OF&ECB DESDEt.ADE USO COR,&IENTE HASTA LAS GRAN BAL L ET MAS SELfCTAS CREA CI ONES PR.ESENTADAS EN EL MARCO DE MONTECA RLO UN ICO DESUS NUEVOSSA.l.ONES ~ RAMBLA DE CATALUÑA 1~1•Tet 27 9078 COMPAÑÍA DEL BAR e E L.,QNA MARQUÉS DE CUEVAS ORQUESTA SINFÓN1CA DEL GRAN TEATRO DEL LICE.O GRAN BALLET DE MUNIECARLD CDMPARIA DEL MARQUÉS llf CUEVAS Como el ba· llet es un arte expresivo <:n el que no existen obstaou)os d e i di om a, su aprcciación e s universal, y por ello es un arte de gt·an acepta.­ oión en estos mementos. La significación del ballet consiste en que no es un pretexto pa­ ' u bttilar, si no que la danza en un bulkt es el medio para ex­ pre:;ur una ides, o lo que es lo mismo, un arte rítmico y plas­ tico a la vez, nn movirniento en simbiosis completa con el rit­ mo, y con la música, y t·esultado o sumn de tres clementos: la música, la coreografia y PI dt>corado a través del movirniento y de la plastica. Todo esto significa la agrupllCión coreognifioa de fama. mun­ dial, GRAN BALLET D:E MONTECARLO, la Compañía. del Murqués de Cuevas que vuelve a reaparecer este año en el Grau 1'~>atro del LicPo, pnra repetir los grandt>s éxitos obtenidos en el pasado año ; y con ella, sus primerísimos bailgrines estrelles y :<oliFtas y el conjunto de su meritísimo cuerpo dc baile, y a su ft·ente el gran mecenas del · ballet, el Murqués do Cuevas, quien gracias a sus enormes y cuantiosos esfucrzos, ha logr~do un ('onjunt:J tan perfecte como éste, de renombre y fama umversal, qnt· cultiva ~on su:; ballets, In tmdición del bue~1 gusto, del refi· nurniento. del ar·te exq\lisito y de la. elegancia. ROSELLA HIGHTOWER ANDRE EGLEVSKY GEORGE SKIBINE MAR]ORIE TALLCHIEF ETHERY PAGAVA MARIE-]EANNE ANA RICARDA Con la especial colaboración de TATIANA RIABOUCHINSKA 11 DAVID LICHINE ANNA CHESELKA RENE BON TANIA KARINA, HELGA MONSON RAOUL CELADA, JOHN GILPIN HARRIE1' TOBY SERGE GOLOVINE EVARYSTE MADEJSKY WLADIMIR OUK.HTOMSKY - MICHEL REZNIKOFF- OLEG SABLINE; Maria Baroncelli. Arlette Castanier, Cherry Clark, Anne-Marie Coralli, ·Taina Elg, Solange Golovina, Josette Laporte,' Christiane Michou; .TunetMorris, .Nini Norina, Lilli-Anna Oka, Tonia Ouspemka, Xenia Palley, Gayle Spear, Natacha Tarova, Richard Adama, Joseph van Alien, Nathan Baker, Wladimir Brosko, Roland Casenave. René Chomette, .Tean Fananas, José Ferran, Alezandre Rodsrianko. Frédéric Stebler. Kiryl Vassilkovsky DIRECTOR CBNEEUL DP.. MÚSICA : G u sTA vE CL o E z MAESTRODE BAIU: JOHN TARAS Director d~ orq.u1ta : CHARLES BOISARD R~dor g .. neral¡: ALEXIS TCHERKASSKY Regidor auudante: Regidor de uuna: Repru~ntante : NICOLAS MOYSEENKO CLAUDE GIRAUD EVARISTE MADEJSKY Dlbu}ante : Pianista : lltbu}ante : JOHN PETER SIDNEY JEAN ROBIER YVONNE AUDIGE SODERLAND P.ncargacla de oe1tuarlo: Secrclarjo Admln~tralloo: TAMARA GOUREVJTCH MADELEINE MILLO Representante e:fclusivo pard España.: L. LEONIDOFF PELETERIA ROSELLA HIGHTOWER RAMBLA DE CATALURA, 15 • TELÉF. 21 03 73 · BARCELONA ANDRE EGLEVSKY PROGRAMA PARA HOY Domingo, 14 de mayo de 1950 Tarde, a las 6 1. a de propiedad ¡¡ abono a Tardes I LAS SILFIDES Ballet romantico de Michel Fokine. Música de Chopin orquestada por Maurice Baron. Coreografia de Michel Fokine. Decorados por Eugène Dunkel. sobre bocetos de Corot. 11 LA SONAMBULA Mt'lsica de Bellini, arreglada. e msLrumentnda poz· Vittorio Rietti. Coreografía de George Balanchine. Decorada y vestuario de' Jean Robie1·, ejeoutado a.quel por Cicoalini III EL CISNE NEGRO Paso a dos del tercer acto de cEl Lago de los Cisnes». Música de Tchaikowsky. Coreografia de Marius Petipa. Vcstuario de Jean Robier. IV ''PERSEPHONE '' (estreno en España) Música de Schumann. Coreografia de John Taras. Decorados y vestuario de Nobih. ORQUESTA SINFÓNICA DEL GRAN TEATRO DEL LICEO Dirigida por los Maestros: GUSTAVE CLOEZ y INDUSTRIAS RIERA-MARSA CHARLES BOISARD LENCERÍA A L T A E-scena del ballet "LA SON AMBULA " FANTASÍA ~ • Fabrica de T ejido y Bordada Avenida Generalisimo Franco, 449 (Muntaner-Casanova) ..., ....... _. I ~-¡¡¡¡;r--· ' Q . --.J - LAS SÍLFID ES Música de Chopin, orquestada por i.\1amice Baron a;........ •."'-' . I .·. -·'.'· . FI CHE Coreografia de :llichel Fokine CASPE, 40 ... I . Decorados por Eugène Dunkel, sobre bocetos de Corot REPA.RTO • tf~~;:-- . Nocturno ................... illarjorie Tallchief, Tatiana Ria­ ~~ : . bCYUchinska, Ethery Pagava, FJGHEROS George Skibine, Tania Karina, flclga .Monson y el Cuerpo de ARGHIVAOORES Baíle. AI\MAIHOS lt~s Vals ......... .. ... ......... E thery Pauava - ~.".·l:·.-~-.-- ' . Mazurca ..... Marj01ie Tallchief ..;. MUEHLES t.'Iazurca . ·. .. .. .. .. .. GeO?·ge Skibine Preludio . ... .. .. , .. .. .. 'l'atiana Riabcruchinska METALJCUB ·,. ,-~ ;.· . Vals ... ... ... .. ... .. .. ..... J!a1·jorie 7'allchief, George Ski­ ., -· "' :~... ..~. bine 1 LA 11\lMERA MAHCA MliNIJJAI.. Vals ... ......... .. Marjorie Tallchie>f, Tatüma R~ 1 Ethe1•y Paaava, bou.chinska, LAS ME.IOllES llCFEBENCJAS George Slcibine, Tanià Ka1•ina, H elaa M onsoh y el Cuerpo de Bai/e. C A JA S DES DE DE OBRAS 900 PTAS. CONSTRUCTOR INGENI EROS: JUA.N PLANA.S AMIEL BENITO CORTÉS VILLA VECCHIA • RAFAEL AMAT CA.RRERAS PASEO DE GRACIA, 73 - TELÉFONO 28 23 83 U Clll\tPRA OE UNA CAJI\ llE CAUOALES ES UNA COSA MUY SEI_UA. CliANTOS HAN 111\lii\ltiJ MUY CARA ~U EOUIVOCACIÓNU MOTÍV O también como obertura; uVals» opus 64, núm. 2; y eVals» opus 18, núm. 1, de Chopin), no es un ad.ivertíssement», pues posee gran cLas Slliides~ el mas conocido y mó.s frecuentement~ represen­ unidad. El uso del ucuerpo de baile», convertida en un conjunto tada do todos los ballets, fué una reacción de Folrine contra las do artístas -expresivos en lugar de ser un fondo mecanico, no sola­ artüiciosidades del clasicísmo. No fué una reacción con~r.1 la téc­ menta da conexión a la totalidad, sino que distingue el nuevo ballet níca ahísica, sina contra los accesorios que la rodean. Es una vuelto. romantíco de los ballets clasicos y romanticos del pasado. al romanticisme, a su verdadera espíritu, porque el esp1rítu ro­ Su vísión escénica y percepción auditiva podia descnòirse así : mantico sobrevivo a todos los períodes y a t odas las manifesta­ ciones artísticas. Un pa.i.saje nocturna de suaves claridades lunares acariciadas por la melodiosa inspi.ración de Chopin ; aparecen las danzarinas imitan­ cLas Slliides», tal como lA concibiera originalmente Fokine, era do con el gesto, con la actitud y con el rit.mo de sus alades cuer­ una concepción romantíca común, la corporización de imàgenes sa­ pas, el ensueño romantico ideado por el compositor. Las amplias bdas en la menta afiebrada del compositor. Mas tarde, on 1908, se faldas de gasa blanca flotan en el aire como cendales de tenue convirtió en la •suite» de danzas que conocemos boy, y Diaghileíf ne­ blioa, al vaivén de los nocturnes soñadores, de los valses lé.nguidos cambió el tftulo original de uChopiniana» por el de uLas Sílfides», y de las m82urcas violentas; piernas agiles, pies prestísimos, para su presento.ción durante su primern temporada en Europa di­ bujan con adorable donosura, toda la gracia, el encanto y el ritmo Occidental el año 1909. de la melodia. Arquéanse los brazos de las bail&rinas isocrónamente El lítulo, suget·ido por el famoso ballet de Taglioni, ~ La Sílfi• con las piernas, mientras las seductoras cabecitas, coronaclas de d.i­ de», es partioularmente adecuado, porque en este ballet. se con­ minutas flores, se agitan en romanticos ensuefios de amor. suruer­ sel'va toda lo que ael ballet blanoon tiene de major. Aunque la obra giéndose en -el ambiente aca.rioiante de la placida noche, en la q{¡e esta compuesta pot· varias danzas inconexas entre sí (uNocturno~> bl"illan, como los luceros, sus ojos inefables. opus 32; crVnlsll opus 70, mím. 1 ; uMazurkan opus 67 , núm. 3; ~tMazurka» opus 33, núm. 3 ; uP.reludion opus 28, núm. 7 utilizado PARA SU TORRE : CRETONAS- CHINTZ TAP/CER/AS DE VERANO DIBlJ.TOS ~CLlJ SJVOS BARCEl.OI'fA S . A. RBLA. OATA LU~A. 32 AV. GENERALÍSIMO, !568 'l':ELÉll'ONO 217476 • T.280S06(JO'NTOAMUNTAN:SR) PARA BODAS, F I ESTAS Y BANQUET.l~S VINOS PATERNINA LOS j\f EJORES DI<.: LA RIOJA 11 EL CISNE NEGRO Pasq a dos del tercer acto dc aEl Lago de los Cisnes» Música de Tchaikowsky Coreografía de Marius Petipa a) Entrada; b) Adagio; e) Variaoión; d) Vo.riación; e) Coda por Rosella 1-Jigfltower - André Eg l evs~ll_ u :¡e Golovltt USE PRENDAS INTERIORES DE TEJIDO SUA·WEX (INTF:IlLOCJi) PUNTO CRUZADO -MA LLA FINISIMA .MAI\C:.A ELEFA.NTE EL LICOR CRISTALINO DE VENTA EN LOS MEJORES• ESTABLEC IMIENTOS III LA SONAMBULA 1\lúsica de Bellini, aneglnda a iostl·umeotada por Yittorio Rietti C::reograüa de ~rge Balunchine Decor:1do y Yestuario de J euo Robier, ejecutado el primet·o por Cicca !ini REP..l.RTO El Barón ........ .. Euarystc Madejsky La Somimbula .. .... ... ... .. Elhery Pagava El poeta ..... Gcol'ge Skíbinc La coqueta .. illal'jorie Tallchief Los invitados . .. El Çucrpo de bai7c Pastoral ... B elga !tlonso11, Nataclu;t Taroua, Wladimi1· Oukhtomsky y Wla­ dinli¡· B1·osko Los negl'i tos ... Solange Oolouina, Raoul Gelada Los acróbatas ... .. ... .. René Bon, Roland fJa'8enave, J ecm li'an.afl'!as El>cena del ballet " LA SONÀMBULA" ~.
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