檀香木
檀香木，惊堂木，惊唐木，木木木成林。Renaissance4now@yahoo.com
【檀香木芭蕾】“雷蒙达”：一位舞者的理想 - 芭蕾明星鲁道夫·紐瑞耶夫
【Santal Ballet】Rêve d'Danseur : Les grands ballets de Rudolf Noureev - «Raymonda»
【Sandalo Ballet】Dancer Sogno : Les grandi balletti di Rudolf Nureyev - "Raymonda"
【Sandal Ballet】Dancer's Dream: The Great Ballets of Rudolf Nureyev -"Raymonda"
"Dancer's Dream: The Great Ballets of Rudolf Nureyev -"Raymonda". 1999
Репетиция балета Раймонда, отрывки из балета. В фильме рассказывается о репетиционном процессе постановки балета "Раймонда" в Парижской Опере и события из жизни великого танцовщика. Есть довольно редкие кадры и интервью, которые дадут большее представление о том, как жил и работал Р.Нуреев за границей.
影片采访了芭蕾舞剧“Raymonda”那些优秀的舞者在巴黎歌剧院排练过程中的活生生的事件，有许多巴黎芭蕾舞团排演“雷蒙达”的选段，有许多是相当难得的画面和采访，所有这些向观众展示了纽瑞耶夫在国外是如何生活和工作的，从而对纽瑞耶夫有更深入的了解。
3:40 (with humble smile) Being lazy.
5:10 There is no revolution. I am more like a doctor, helping dancers.
8:10 You see, there are many modern (dance) companies, but they can't do "Raymonda". But Paris Opera CAN do "Raymonda", they CAN do classics. We should move the basic, the center of the repertoire, should be very solid classical work.
13:00 - 13:30 (with elegant smile) C'era una certa sofferenza. (There was some pain.)
25:30 - 26:10 (flying dance, with Renaissance-style dress, sooooo cheerful)
27:30 - 28:00 (with witty smile) la mia esperienza di ballerina "di una certa eta" (my experience as a dancer "of a certain age")
30:40 - 31:30 (heroic dance? masculine dance? or both?)
37:20 When I came to the West, I didn't say "Here I come". No. I came here and say "How do they dance here? How do they move? What is their classics? What is modern dance? ... Ever since 1961, I was curious ...
～～～～～～～～～～～～～～～～～～～～～
Raymonda
| Important Ballets & *Revivals of Marius Petipa |
|---|
 *Paquita (1847, *1881) |
Raymonda (Russian: Раймонда) is a ballet in three acts, four scenes with an apotheosis, choreographed by Marius Petipa, with music by Alexander Glazunov, his opus 57. First presented by the Imperial Ballet at the Imperial Mariinsky Theatre on 19 January [O.S. 7 January] 1898 in St. Petersburg, Russia. Among the ballet's most celebrated passages is the Pas Classique hongrois or Raymonda Pas de dix from the third act, which is often performed independently.
Contents[hide] |
[edit] History
[edit] Composition history
Raymonda was the creation of Marius Petipa, the renowned Maître de Ballet to the St. Petersburg Imperial Theatres, the composer Alexander Glazunov, the director of the St. Petersburg Imperial Theatres Ivan Vsevolozhsky, and the author and columnist Countess Lidiya Pashkova.
[edit] Performance history
St. Petersburg Premiere (World Premiere)
- Date: 19 January [O.S. 7 January] 1898
- Place: Mariinsky Theatre, St. Petersburg
- Balletmaster: Marius Petipa
- Conductor: Riccardo Drigo
- Scene Designers: O. Allegri, K. Ivanov, Pyotr Lambin
Moscow Premiere
- Date: 5 February [O.S. 23 January] 1900
- Place: Bolshoi Theatre, Moscow
- Balletmaster: Ivan Khlyustin, Aleksandr Gorsky
- Conductor: Andrey Arends
- Scene Designers: Karl Valts (Waltz), Lütke-Meyer, P. Isakov
Other Notable Productions
- 1908, Moscow, Bolshoy Theatre, Balletmaster Gorsky, conductor Arends, décor by Konstantin Korovin
Original Interpreters
| Role | St. Petersburg 1898 | Moscow 1900 | Moscow 1908 |
|---|---|---|---|
| Raymonda | Pierina Legnani | Adelaide Giuri | Yekaterina Geltser |
| Jean de Brienne | Sergey Legat | Mikhail Mordkin | Vasiliy Tikhomirov |
| Henrietta | Olga Preobrajenska | ||
| Cléménce | Klavdiya Kulichevskaya | ||
| Abderakhman | Pavel Gerdt | Aleksey Yermolayev | M. Shchipachov |
The full-length Raymonda has been revived many times throughout its performance history, the most noted productions being staged by Mikhail Fokine for the Ballet Russe (1909); Anna Pavlova for her touring company (1914); George Balanchine and Alexandra Danilova for the Ballet Russe de Monte Carlo (1946); Konstantin Sergeyev for the Kirov Ballet (1948); Rudolf Nureyev for American Ballet Theatre (1975), and for the Paris Opera Ballet (1983); Yuri Grigorovich for the Bolshoi Ballet (1984); Anna-Marie Holmes (in a 2-act reduction) for the Finnish National Ballet (2004), a version which was then staged for American Ballet Theatre (2004) and the Dutch National Ballet (2005).
There have been many productions around the world of only extracts from the full-length Raymonda, being for the most part taken from the Grand Pas Classique Hongrois from the third Act, which is considered to be among Marius Petipa's supreme masterworks. The most noted of these productions have been staged by George Balanchine for the New York City Ballet (1955, 1961, 1973); Rudolf Nureyev for the Royal Ballet Touring Company (1964); and Mikhail Baryshnikov for American Ballet Theatre (1980, 1987).
In 2005 the Australian Ballet Company performed a modern version of Raymonda, set in the 1950s, where Raymond is a Hollywood star and has filmed her last film before marrying a European prince. It was choreographed by Stephen Baynes and bears no resemblance to the original ballet.
[edit] Structure
Act I (scene 1) — La fête de Raymonde
- no.01 Introduction
- no.02 Jeux et danses
- —a. La traditrice
- no.03 Entrée de Raymonde
- no.04 Scène
- interpolation: Entrée d'Abdéràme
- no.05 Entrée des vassals et des esclaves
- no.06 Pas d'ensemble —
- a. Valse provençale
- b. Pizzicato – Variation de Raymonde
- c. Coda
- no.07 Départ des invitées
- no.08 La romanesque —
- a. La Romanesque
- b. Une fantaisie – Variation de Raymonde
- no.09 Clémence joue du luth
- no.10 Entrée de la Dame Blanche
- no.11 Entr'acte symphonique
Act I (scene 2) — Visions
- no.12 Grand scène du rêve
- no.13 Entrée de Jean de Brienne
- no.14 Grand Pas d'action —
- a. Grand adage
- b. Valse fantastique
- c. Variation I
- d. Variation II
- e. Variation de Raymonde (cut by Petipa from the original production)
- interpolation: Variation pour Mlle. Legnani (arranged by Glazunov from the Valse of his 1894 Scènes de Ballet, op. 52)
- f. Grand coda
- no.15 Scène dramatique
- no.16 Ronde des follets et des farfadets
Act I (scene 3) — L'aurore
- no.17 Scène finale
Act II — Cour d'amour
- no.18 Ouverture
- no.19 Marche
- no.20 Entrée d'Abdéràme
- no.21 Pas d'action —
- a. Grand adage
- b. Variation
- c. Variation
- d. Variation de Raymonde
- e. Grand coda
- Grand divertissement —
- no.22 Entrée
- no.23 Pas des esclaves sarrasins
- no.24 Pas des mariscos
- no.25 Danse sarrasine
- no.26 Pandéros
- no.27 Danse orientale (transformed by Petipa into the scene Les échansons)
- no.28 Coda générale / Bacchanalia
- no.29 L'arrivée de Jean de Brienne et Roi André II
- no.30 Le combat
- no.31 Dénouement et final
Act III — Le festival des noces
- no.32 Entr'acte
- no.33 Grand cortège hongrois
- no.35 Rapsodie
- no.34 Palotás
- interpolation: Mazurka (Insertion from Glazunov's 1894 Scènes de Ballet, op. 52)
- no.36 Pas classique hongrois —
- a. Entrée
- b. Grand adage (a.k.a. Pas de dix)
- c. Variation I
- d. Variation II (cut by Petipa from the original production)
- e. Variation pour quatre danseurs
- f. Variation de Raymonde
- interpolation: Variation (taken from the Act II Pas d'action, 1948 by Konstantin Sergeyev)
- g. Grand coda
- no.37 Galop générale
- no.38 Apothéose – Tourney
[edit] External links
 | Wikimedia Commons has media related to: Raymonda |
- Who’s who in classical performing arts: The Petipa Code or Searching for Raymonda Part 1, Part 2, Part 3, Part 4, Part 5
