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Raymonda
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Автор:  Octavia [ 07 фев 2016, 19:43 ]
Заголовок сообщения:  Raymonda

    Choreography: MARIUS PETIPA
    Music: ALEXANDER GLAZUNOV
    Libretto: Ivan Vsevolozhsky and Lidiya Pashkova

    Original cast
      Raymonda - Pierina Legnani
      Jean de Brienne - Sergei Legat
      Abderakhman - Pavel Gerdt

    World Premiere: Mariinsky Theatre, St. Petersburg, Russia. 19 January, 1898
    Conductor: Riccardo Drigo
    Designers: O. Allegri, K. Ivanov, Pyotr Lambin
Автор:  Octavia [ 07 фев 2016, 20:32 ]
Заголовок сообщения:  Raymonda

    Dramatis Personae

    Raymonda, young French noblewoman

    Изображение
    Irina Kolpakova. Mariinsky, St. Petersburg

    Jean de Brienne, French knight and Raymonda's fiance

    .........Изображение
    .........Nikolai Tsiskaridze. Bolshoi, Moscow.

    Abderakhman, Saracen knight

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    Countess Sybille, Grand lady of the castle and Raymonda's aunt
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    Martine van Hamel. ABT.

    Henrietta, Raymonda's companion

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    .........Olga Preobrazhenskaya, Mariinsky.

    Clémence, another Raymonda's companion

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    Kristina Shapran, Mariinsky.

    King Andre II of Hungary, who leads the crusade and for whom Jean de Brienne fights.

    Изображение
    Latvian National Opera and Ballet.
Автор:  Octavia [ 15 фев 2016, 00:06 ]
Заголовок сообщения:  Raymonda

    Act I. Land of Dreams

    Jean de Brienne arrives to the castle to say good-bye to his beloved Raymonda. He is joining King of Hungary, Andrei II who leads the crusade to the holy land.

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    Olesya Novikova. La Scala.

    Nightfall. Raymonda is carried away to the mystical kingdom of dreams where she is reunited with Jean de Brienne.

      .....Изображение
      .....Oksana Skorik & Andrey Ermakov. Mariinsky.

      .........Изображение

      Suddenly the image of her beloved is replaced by that of an Eastern warrior, who proclaims his love for Raymonda.

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    Raymonda is convinced that the dream is a sign of things to come.

    ...............Изображение
    ...............Svetlana Zakharova. Bolshoi.
Автор:  Octavia [ 16 фев 2016, 22:07 ]
Заголовок сообщения:  Raymonda

    Act II. Combat

    The Dayrice castle. Many guests arrive to take part in festivities.

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    San Francisco Ballet.

    Among the guests is Abderakhman with his suite. Raymonda immediately recognizes the strange man from her dream.

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    Bolshoi.

    Abderakhman is enchanted by Raymonda's beauty and offers her hand in marriage.

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    Mariinsky.

    Raymonda rejects Abderakhman.

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    La Scala.

    Abderakhman tries to kidnap her.

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    Mariinsky.

    At that hour king Andrei of Hungary returns from the crusade in victory. Among the returning nights is Jeanne de Brienne.

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    Bolshoi.

    Jeanne de Brienne challenges Abderakhman to a duel, in which he prevails.

    ....................Изображение

    Raymonda is saved and the lovers are re-united.


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    La Scala.

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    ROH.
Автор:  Octavia [ 20 фев 2016, 20:01 ]
Заголовок сообщения:  Re: Raymonda

    Act III. The Wedding

    Raymonda's and Jean's wedding day. In honor of Andrei II of Hungary, the guests perform Hungarian dances.

    Is that all?

    Yes, as far as the plot is concerned. But then there is Petipa's ingenious choreography and that's exactly what makes classical ballet so very attractive to us, inhabitants of the third millennium, well over a century after the great choreographer took his last repose at the Alexander Nevsky Monastery in St. Petersburg, Russia.

          Изображение

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Автор:  Octavia [ 27 фев 2016, 00:58 ]
Заголовок сообщения:  Polyphony in Raymonda

    I always wondered what exactly sets music of JS Bach apart from that of any other composer? Somehow it’s richer, fuller, more complex if you will. Take any of his concerti or suites - you can listen to it hundreds of times and still hear something new.

    Later, in my Music Appreciation course 101 I discovered that there is a name for this "something" - polyphony. Just like music of Bach, Petipa’s choreography is polyphonic. And right away comes to mind his sublime Kingdom of the Shades where corps-de-ballet not merely serves as a background and not just dances in unison (that would be monophony), but has its own separate tune, similar yet different, sometimes couple of choreographic “notes” higher, sometimes lower, sometimes falling a step behind, and sometimes rushing it forward, and at times it moves to a new direction all together.

    In Raymonda's Hungarian Grand pas de deux, Petipa takes this form to a new level. I watch in awe... sheer mathematical brilliance of his choreographic thought, both serene and vibrating with genuine passion. Behold Grand Pas parade:


              Mariinsky
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              La Scala
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              Bolshoi
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              Mariinsky circa 1976 - SUPER!
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Автор:  Olga K [ 01 мар 2016, 00:29 ]
Заголовок сообщения:  Re: Raymonda
Октавия, продолжайте...
Автор:  Octavia [ 19 мар 2016, 23:21 ]
Заголовок сообщения:  Exhibition of M. Petipa's artifacts at the Vaganova Academy

    This silver framed mirror belonged to Marius Petipa

    Изображение

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    Marius Ivanovich Petipa
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