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  1. Regarding Royal Ballet “style” we know Diaghilev was most impressed by de Valois when she danced this variation in the 1920s, and asked for her specifically in the role. By way of comparison here is the Kirov’s famous 1964 feature film of the ballet: https://www.ivi.tv/watch/34369 The variation - across the globe from Ashton and behind the iron Curtain - starts around 15:18.
  2. Thank you Angela, thank you Irmgard. I bow to Tim Scholl (though one point on which we differ is elaborated on in the piece I wrote for Covent Garden last year and which is linked to on this site). However, just to be tidy:- - It was as you know Sergeyev who brought the Stepanov notations to the west, so they are only "Sergeyev's notations" in the sense that he had possession of them at the time, rather than that he had done the notations himself. - Even the original Stepanov notations are not uncontroversial (not recorded until some years after 1890, incomplete and so on).
  3. There is a further issue, the question of authenticity to the Sleeping Beauty as Petipa, Vsevolozhsky and Tchaikovsky created it, ie how much of what we see now goes back to 1890, in style as well as detail, even in those sections where there is no new (interpolated) choreography. This goes beyond questions of what was (and was not) notated by Stepanov and bleeds quickly into more general questions about, for example, the tempi the work gets conducted at, something which has been discussed here a number of times in the past. The production you ask about - the Sleeping Beauty we kno
  4. Maybe you like this work-in-progress from Ratmansky, li tai po? The Blue Bird starts around 3:15 in:— https://youtu.be/ZVQTJFPqvjE
  5. Far be from me to quarrel with Wikipedia (however as it happens French Wikipedia gives the other date). The year is crucial, at least in the rather heated academic field of fairy tale scholarship, because of determining whether or not Perrault produced his collection before d’Aulnoy issued hers (as is now broadly accepted). There were also other writers working at around the same time, but none who had an impact on the Sleeping Beauty. So far as the Blue Bird in the ballet is concerned you might like to look at this PhD from 2017, as it has a whole section on this (pretty good thou
  6. What a good subject jonac, thank you for raising it. You might like to read yourself further into the stories: other d’Aulnoy characters appear in the ballet (the White Cat, for example). Not sure you have the dates exactly right though (1698 is the publication date more usually given for her work). Christine A. Jones's scholarly introduction to "Mother Goose Refigured" (2016) is well worth searching out as it is up-to-date and deals with far more than just Perrault.
  7. The critic Mark Ronan has posted my 2019 article about The Sleeping Beauty on his website (with permission from the Royal Opera House: the piece appeared in their programme for the latest revival). Perhaps people might like to have the link:- https://www.markronan.com/2020/06/sleeping-beauty/ The article focuses on the first production in order to try and rediscover the original intentions of Petipa, Vsevolozhsky and Tchaikovsky. Although not mentioned in this short piece I also have a personal interest in such issues as tempi and choreographic style, the key research question for me being
  8. In case anybody might be using this unusual period to declutter, I am looking for a few magazines for my research collection: Dance & Dancers: 1956: February 1957: July / Sept / Nov 1958: Jan / Feb / March / April / May / June / Sept / Nov 1959: July / Sept / Oct and various issues from 1960, 1961, 1962, 1963 and 1964 Dance Now: 1/4, 9/1, 9/2, 12/1, 17/1, 17/2, 17/3 If anyone might be able to help - even just with a single copy they don't need - please feel free to send me a PM. Many thanks.
  9. This has been discussed before but if one goes by the text of the novel, Olga is 19, Tatiana 20, Onegin 26, and Lensky 18 when we first see them. Four years later we have the ball where Tatiana is married to Prince Gremin: he shares memories of their youthful pranks and adventures with Onegin (who by then is 30). This makes Gremin maybe a bit older (nobody says exactly by how much), maybe something like 35-40. So perhaps a ten year gap or so between him and Tatiana. Tchaikovsky on the other hand needed a lower voice for the operatic Gremin, so people usually assume he is much older.
  10. Two tickets for Friday 28th February 7.30pm for sale. Amphitheatre C34 and 35, £12 each. Please PM if interested.
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