Podcasts about ballet russe

In 2015, Misty Copeland became the first Black woman to become principal dancer at the American Ballet Theatre. Her heartfelt memoir “The Wind at My Back” pays tribute to her mentor and fellow dance pioneer Raven Wilkinson, who performed in the segregated South as a member of the Ballet Russe de Monte Carlo in the 1950s. A few years back, Misty joined guest host Talia Schlanger to talk about Raven's incredible life and legacy.

Opinions were divided on some aspects of our newest release, Abigail, but there is one thing we agreed on: this movie is very entertaining. We liked how this movie poked fun at vampire lore while giving us a gory take on modern vampirism (love the fangs). Abigail should be watchable even if you're horror-shy, but there is a lot of gore so beware if that's not your thing. At the end of this movie we were left with two main questions: who is the biggest villain and is there a vampire movie out there that's actually scary??? Paired with a nasty Ballet Russe cocktail. Rate! Review! Follow! Email us at toasttoromcoms@gmail.com Follow us on Instagram and Letterboxd @toastyhorror Check out our website toasttoromcoms.com

The En Avant series, narrated by Fort Wayne Ballet Artistic Director Karen Gibbons-Brown, airs Saturdays on 89.1 WBOI during the Classical Connections Review. This episode of the Kinetic Conversations Podcast is a supercut of Karen's six-part series on the history of the Ballet Russe, from its post-classical beginnings in Russia to its influence on the American ballet renaissance.Fort Wayne Ballet's first of a 3-part series, Ballet Russe Reimagined, will be performed on March 21 and 22 at the Pearl Street Arts Center. The first performance features Les Sylphides and The Rite of Spring.

On March 21, Fort Wayne Ballet is presenting Le Sacre du printemps, otherwise known as Stravinsky's Rite of Spring, as part of the Ballet Russe Reimagined series. It will be presented as a world premiere, with new choreography by famed choreographer, Mark Godden. Artistic Director Karen Gibbons-Brown sat down with Mark to discuss the process of creating a new show and working in tandem with the dancers to bring new life to this Ballet Russe classic.

The Ballet Russe finds new life in America after Diaghilev's death.

After getting his start in the Ballet Russe, George Balanchine makes a name in New York.

Stravinsky's unnerving music meets backdrops by... Picasso? As we move into our Spring season, we look ahead to our three stagings of the Ballet Russe Reimagined.  Jim and Karen sit down and discuss what the Ballet Russe means historically to ballet, and how our performances bring back the traditions of the roving dance company of the early 20th century. 

The Ballet's repertoire expands during a successful tour of South America.

Diaghilev brings together the greatest artists, composers, and choreographers of the day to create innovative and sometimes controversial works.

The Bolshevik revolution makes artistic expression a dangerous undertaking in Russia, and Diaghilev takes the Ballet to the West instead.

Diaghilev takes the reigns and showcases Russian dance to the rest of the world.

While eating pomegranate syrup cake with Andy's own pomegranates, Rob and Andy discuss the most controversial piece in the 20th century – Stravinsky's 1913 Rite of Spring written for Diaghilev and the Ballet Russe. Hosted on Acast. See acast.com/privacy for more information.

Thank you for listening. Send us a text message. In this episode of Intentionally Overheard, I have a conversation with Founding Artistic Director of Dance Happens, Inc, Paula LeVere.  Introduced to the art form of ballet 45 years ago, Paula shares her life's journey through the world of dance, and how she is embracing living a life of purpose on purpose.  Paula recalls the moment in life areer when she decided move from performing to teaching in order to give   Over the course of her career, Paula has studied with some of the well known names of the ballet world: Sylvester Campbell with The Baltimore School for the Arts, Laura Alonzo with the Cuban Ballet Company in Cuba, Arthur Mitchell with Dance Theatre of Harlem, and Fredrick Franklin of the Ballet Russe. Through her intense studies, Paula was able to perform major ballets such as Giselle, TheNutcracker, Swan Lake, Firebird, and other notable ballets. Paula also appeared asa guest soloist on a PBS TV Series, Mr. Roger's Neighborhood.In 1993, she earned a B.A. in dance from Point Park University where she was apositive influence in the lives of toddlers, children, and young adults through herteachings of ballet. Most importantly, Paula has found a love in being a positiverole model to the children she has guided and instructed throughout herprofession, and she has shared her knowledge and passion for the art of balletthrough volunteer work with the inner city.Furthering Paula's accomplishments, she formed a youth ensemble, Union CityYouth Ensemble, for the inner-city kids of New Jersey. Paula's love for dancebrought her back where it all began in Baltimore, Maryland. Prior to creatingDance Happens, Inc., she was given a great opportunity to build the danceprogram at Meade Senior High School where she was Director of the dancecompany. Currently, Paula is Founding Artistic Director of Dance Happens, Inc.,which is a thriving 501c3 nonprofit organization that caters to Baltimore's Citykids.Support the show

In May 1940 the Sadler's Wells Ballet Company took the brave, or as some might think foolhardy, decision to go on tour to mainland Europe, several months after the outbreak of World War Two. The result was a hasty retreat from the Netherlands as the Germans invaded. Lucy Ashe joins to talk about the evolution of Ballet from the royal courts of Europe to Versailles and the Sun King, Louis XIV, to the Ballet Russe as the Russians came to dominate. Margot Fonteyne, Ninette de Valois and Rudolf Nureyev all feature. Lucy Ashe Links Sleeping Beauties Clara & Olivia Documentary on BBC iPlayer: The Magic of Dance Lucy on X Lucy on Instagram Ollie Links Aspects of History - Annual Subscription under £10 Ollie on X Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Paul Herwig has been working for over 40 years as a professional visual and performing artist. Paul is the founding Co-Artistic Director/Manager of Off-Leash Area, a dance and theater company creating original interdisciplinary performance work, located in Minneapolis, Minnesota USA, which is now in its 25th year, and has presented 30 original productions. Paul is a graduate of the Ecole Jacques Lecoq (1981-1983), and regularly performs lead and ensemble roles in the company's productions, as well as having designed and built sets for all its 30 productions. Paul is a self-taught visual and digital artist, working in live animated projection art, and projection mapping. Paul has received many awards, including a McKnight Theater Fellowship, 5 MN State Arts Board individual artist grants, a Jerome Travel grant, among others. His set designs and performances have been listed in the Minneapolis press' Best of the Year lists eighteen times since 2002. In 2019, Paul was chosen among a group of US designers to exhibit at the Prague Quadrennial of Performance and Design. Recently, Paul has been working in public art. Earlier this year he presented Facing the Fire (2), a public art project that wrapped the ruins of the former 3rd Police Precinct building with projections and sound. This building is located in the heart of the Minneapolis neighborhood where Paul has had a home for twenty years, and formerly housed the officers who murdered George Floyd, a traumatic event which set off an international movement for racial justice. Most recently, Paul was commissioned by the MN State Fair, and created Canopy/Calliope, a fantasia of carnival rides, farm animals, and musical instruments.Jennifer Ilse grew up in rural northern Wisconsin, and first studied dance in a professional setting in Duluth, Minnesota. She then moved to Eugene, Oregon to continue her studies at the University of Oregon. In Eugene she also studied with the Eugene Ballet under Susan Zadoff of Ballet Russe, at the Musical Feet school of tap, and performed four seasons with the Dance Theatre of Oregon. After moving to Minneapolis in 1997 she co-founded the dance/theater/visual art hybrid company Off-Leash Area, for which she has performed lead roles, choreographed and directed most of its 30 original full-length interdisciplinary productions. She was a City Pages Artist of the Year, has been featured on TPT's MN Original, received 5 Arts Board Artist Initiative grants, was chosen among a group of local choreographers to participate in the NEFA RDDI Dance initiative, and her production work with OLA has garnered 2 Ivey Awards.  Her work as a dance educator has included professional and pre-professional programs at Zenon and TU Dance, to children community education programs in Oregon and Minneapolis, and at studios throughout the Twin Cities. 

London, Tokyo, Paris, New York, Berlin. Andreas Boyde knows the world's best concert halls from the inside. Originally from Oschatz in Saxony, the concert pianist has been living in Melbourne for some time. When he is not on tour, he is working on an exciting project regarding the famous Ballet Russe. He tells us more about it in the interview. - London, Tokio, Paris, New York, Berlin. Andreas Boyde kennt die weltbesten Konzerthäuser von innen. Der usrpünglich aus Oschatz in Sachsen stammende Konzertpianist lebt seit einiger Zeit in Melbourne. Wenn er nicht gerade auf Tournee ist, arbeitet an einem spannenden Projekt zum berühmten Ballet Russe. Im Interview erzählt er mehr davon.

In 2015, Misty Copeland became the first Black woman to become principal dancer at the American Ballet Theatre. Her heartfelt memoir “The Wind at My Back” pays tribute to her mentor and fellow dance pioneer Raven Wilkinson, who performed in the segregated South as a member of the Ballet Russe de Monte Carlo in the 1950s. Copeland joins guest host Talia Schlanger to talk about Wilkinson's incredible life and legacy.

SynopsisIn London on today's date in 1938, the Ballet Russe of Monte Carlo presented a brand-new work by the German composer Paul Hindemith based on the life of Saint Francis of Assisi entitled Nobilissima Visione. The idea may have been suggested by Hindemith's wife, who had recently converted to Catholicism. The Hindemiths had visited the Church of Santa Croce in Florence were deeply impressed by its frescoes depicting scenes from the life of St. Francis.  Hindemith originally intended to incorporate melodies by the 14th century French composer Machaut into his ballet but ended up writing original themes in an archaic style. As a staged ballet or as a concert suite,  Nobilissima Visione proved to be one of Hindemith's most popular works.“My ballet is not an eye-catcher in the old style,” wrote Hindemith in 1938, “It is not exactly full of sparkling wit, but all the same it makes a fine impression, with all the trappings of success that a composer greedy for recognition could wish. Even the earthshaking impresario Sol Hurok was so impressed that he pressed me to his smart businessman's heart and is insisting on my conducting the piece myself in New York and surrounding villages.”Music Played in Today's ProgramPaul Hindemith (1895 - 1963) Nobilissima Visione San Francisco Symphony; Herbert Blomstedt, conductor. London 433 809On This DayBirths1896 - French composer Jean Rivier, in VillemombleDeaths1838 - German inventor of the metronome, Johann Nepomuk Maelzel, age 65, on board the brig Otis in the harbour of La Guiara, Venezuela, en route to Philadelphia; Beethoven's orchestral battle-symphony, "Wellington's Victory," was originally written for one of Maelzel's mechanical music-machinesPremieres1733 - Handel: oratorio "Athalia," in Oxford (Julian date: July 10)1938 - Hindemith: ballet, "St. Francis," at Covent Garden in London, with composer conducting (the suite titled "Nobilissima Visone" is drawn from this score)1971 - William Bolcom: “Frescoes” in Montreal, with Bruce Mather (piano and harmonium) and Pierrette LePage (piano and harpsichord);1983 - Thomas Oboe Lee: "Morango …almost a tango" for string quartet, at the Sanders Theater in Cambridge, Mass., by the Composers in Red Sneakers ensemble Links and Resources On Paul Hindemith

This is the tale of how textiles played a central part in one of the great cultural and artistic upheavals of the last century, helping to bring about a change that was to reach deep into many lives, influencing fashion, interior design, illustration, art, and dance.   The Ballet Russe, gathered together by the mercurial figure of Serge Diaghilev in the early part of the twentieth century, was revolutionary in almost everything it did. The dancers, the music, the choreography, the sets, and the costumes astonished audiences – no one had seen anything like it before. The ballets became so popular that the costumes were copied by fashion designers and began to appear on the street.   The Ballet Russe was such a phenomenon that artists like Matisse and Picasso were happy to design for it, joining in-house artists like Bakst and Goncharova. Today, over a hundred years later, very little survives of the incredible performances given across Europe and America by the company, except the glorious music and the wonderful costumes.   These are often battered and bruised by a life on the road – they are far from pristine, stained with sweat and makeup, repaired and remade, but they have extraordinary power and wonderful stories to tell us, of where they were made and how they were used to change our ideas about dance and culture.    For more information, a full transcript, and further links, https://hapticandhue.com/tales-of-textiles-series-5/  

 My guest again this week is Sunny Stalter-Pace whose fascinating new book is titled: Imitation Artist — Gertrude Hoffmann's Life in Vaudeville and Dance. Choreographer, producer, director, and dancing star, Gertrude Hoffmann was a close colleague and key collaborator with neatly all the legendary figures of early Broadway including Florenz Ziegfeld, Oscar Hammerstein I, the Shubert Brothers, and George M. Cohan. But, unfortunately Gertrude Hoffmann has been left out of most of the history books, at least until this book came out.   On the last episode Sunny shared the story of Hoffmann's journey from teenage dancing star in San Francisco, to her marriage to arranger and composer Max Hoffmann, and her early success in the roof garden theaters of New York where she become the first woman to receive billing for choreographing a Broadway musical.  As we left off, Gertrude's star was rising and she was capitalizing on her skill for mimicry by doing impressions the greatest stars of her day, both female and male, and sometimes impersonating them in the same show with those stars. But it was her next venture that makes her one of the most famous women in America when she takes on the role of “Salome” and performs her scandalous dance of the seven veils. That's where we pick up our conversation today.  As you will hear, following this “succès de scandale,” Gertrude Hoffman's amazing career will include introducing the dances of the famed Ballet Russe to America (without their permission!), becoming a headlining vaudeville star, creating her own troupe of dancers —The Gertrude Hoffmann Girls — who become an international sensation, as well as starring in and/or choreographing a string of hit 1920's Broadway musicals that include From Broadway to Paris, Artists & Models, A Night in Paris, and A Night In Spain. And as Sunny Stalter-Pace tells us her one of her legacies is to demonstrate that women were involved in the creation of the Broadway musical from the very beginning. Become A PATRON of Broadway Nation! If you are a fan ofBroadway Nation, I invite you to become a PATRON! For a just $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

AFRTS transcription August 5, 1946 Ballet Russe de Monte Carlo and music of Tchaikovsky, Stravinsky and Bach.

Synopsis London might seem an unlikely venue for the premiere of this quintessentially Spanish music—but it was a decidedly international affair when Manuel de Falla's ballet “The Three-Cornered Hat” received its premiere performance at the Alhambra Theatre in London on today's date in 1919. The ballet was choreographed by the Russian dancer Leonide Massine, who performed in the premiere with the Ballet Russe company headed by Serge Diaghilev, who had commissioned de Falla to write the work in the first place. The conductor for the premiere, Ernest Ansermet, was Swiss, but the scenery, costumes and curtain, at least, were designed by de Falla's countryman, the famous Spanish artist Pablo Piccasso. Andalucian by birth, but living in Paris, de Falla must have found it frustrating that during this time his music was sometimes snubbed in Spain as sounding too cosmopolitan, and then pigeon-holed abroad as sounding too Spanish! The career of Latino-American composer Roberto Sierra has also turned out to be similarly cosmopolitan. Born in Puerto Rico in 1953, Sierra studied in Europe—with the Hungarian composer György Ligeti among others—before returning to the United States where he now lives and works. His music has been performed by leading American ensembles and orchestras—including the Philadelphia Orchestra, where Sierra served as composer-in-residence. This chamber work by Sierra, titled “Eros,” was written for flutist Carol Wincenc. Music Played in Today's Program Manuel de Falla (1876-1946) – The Three-Cornered Hat (Ballet Suisse Romande Orchestra; Ernest Ansermet, cond.) London 414 039 Roberto Sierra (b. 1953) – Eros (Jeani Foster, flute; Stefanie Jacob, piano) Fleur de son Classics 57950

Die Stadt München hat den Chefdirigenten der Münchner Philharmoniker am 01.03. 2022 entlassen - war das zu spät? Hat uns hier unser Bild von Russland getrügt? Wir fragen uns, wie es zu dem Rauswurf kommen konnte, wie lange Gergiev schon an der Seite Putin's steht und ob man den Dirigenten nicht früher hätte entlassen müssen. Aber wir wollen auch tiefer eintauchen und schauen uns an, welche Macht Russland über uns hat, wenn wir an klassische Musik denken. Dazu gehen wir zurück in die Ballette der Zarenzeit, bevor wir uns auch der sowjetische Kulturpolitik widmen. Warum der Stadtrat damals für Valery Gergiev als Dirigenten gestimmt hat, erzählt uns Dr. Florian Roth, Stadtratsmitglied für Die Grünen/ Rosa Liste und Experte für die Münchner Kulturpolitik. Unser europäisches Russlandbild bei klassischer Musik, deckt Dr. Helena Holzberger, wissenschaftliche Mitarbeiterin für die Geschichte Ost- und Südosteuropas an der LMU, auf. Dazu, wie wir künftig mit Künstler:innen umgehen können, die sich für Autokratien verwenden, hat Helge Lindh, Kulturpolitischer Sprecher der SPD-Bundestagsfraktion, einen Vorschlag. ----------- **Fußnoten** ist ein M94.5-Podcast. © [M94.5 - ein Angebot der MEDIASCHOOL BAYERN.](https://www.m945.de/) Lust auf mehr junge & frische Formate?

Synopsis It was on today's date in 1913 that Igor Stravinsky's ballet “The Rite of Spring” premiered at the Théâtre des Champs-Élysées in Paris, provoking catcalls and fisticuffs from some in the audience. Most scholars suggest it was the ungainly, deliberately primitive choreography of Vaslav Nijinsky, more than Stravinsky's score, that provoked the most negative response. Pierre Monteux's concert performance—without the dancing—at the Casino de Paris the following Spring marked the start of the score's success as pure music. On that occasion, Stravinsky was carried in triumph from the hall on the shoulders of his admirers. Shortly before his death in 1929, Sergei Diaghilev, who had commissioned Stravinsky's score, was enthusiastically quoting a review in the London Times that suggested (perhaps ironically) that the “Rite of Spring” would be for the 20th century what Beethoven's Ninth Symphony was for the 19th. Well, that has rather turned out to be the case, in fact, and by 2013, a piece of orchestral music that in 1913 was considered almost unplayable is routinely programmed as a classic orchestral showpiece. One New York Times critic even wrote “… now everybody knows “The Rite.” [It's] an audition piece that every music student practices, so that now any conservatory orchestra can give a fleet and spiffy performance of what used to stump their elders, and professional orchestras can play it in their sleep, and often do…” Music Played in Today's Program Igor Stravinsky — The Rite of Spring (Cleveland Orchestra; Pierre Boulez, cond.) DG 435 769 On This Day Births 1860 - Spanish composer Isaac Albéniz, in Camprodón; 1873 - Estonian composer Rudolf Tobias, in Kaina on Haiiumaa Island; 1897 - Austrian composer Eric Wolfgang Korngold, in Brno; 1922 - Greek composer Iannis Xenakis, in Braila, Roumania; 1948 - English composer Michael Berkley, in London; He is the son of English composer, Sir Lennox Berkeley (1903-89); Deaths 1910 - Russian composer Mily Balakirev, age 73, in St. Petersburg (Julian date: May 16); 1911 - British lyricist Sir William S. Gilbert (of "Gilbert & Sullivan" fame), age 74, from a heart attack after rescuing a drowning woman, at Harrow Weald, England; 1935 - Czech composer Josef Suk, age 61, in Benesov; 1951 - Czech composer Josef Bohuslav Foerster, age 91, in Vestec, near Stará Boleslav; Premieres 1901 - Paderewski: "Manru," in Dresden; Also staged at the Metropolitan Opera in 1902; 1905 - Scriabin: Symphony No. 3 ("'Divine Poem"), in Paris, Arthur Nikisch conducting; 1913 - Stravinsky: "Le Sacre du printemps" (The Rite of Spring), in Paris, by Diaghilev's Ballet Russe, Pierre Monteux conducting; 1954 - Cowell: Symphony No. 11 ("Seven Rituals"), by the Louisville Orchestra, Robert S. Whitney conducting; 1970 - Rautavaara: Piano Concerto, in Helsinki, with composer as soloist, and the Finnish Radio Symphony, Paavo Berglund conducting; Others 1873 - American premiere of Brahms's Serenade No. 1 in D, at Steinway Hall, by the New York Symphony, Theodore Thomas conducting; 1963 - The New York Philharmonic "Promenade" concert series is inaugurated. Links and Resources On Igor Stravinsky More on "The Rite of Spring" Video of recreated original 1913 choreography for "The Rite of Spring"

Episode 12 recorded for AFRTS July 22, 1946. Featuring the Ballet Russe de Monte Carlo. CHOPIN Concerto in e, DEBUSSY Afternoon of a Faun, GLAZUNOV Snow Maiden. Ivan Butnikoff was a Russian born conductor and composer (1893 - 1972). In 1923 he was appointed as chief conductor of the orchestra of the Conservatory of Athens. With his excellent technique he directed the orchestra with great success, showing the Athenian audience several performances of symphonic works, particularly those of Scriabin. He also taught at the Athens Conservatory. Moreover, from the 1923 to 1929 period, he taught at the Conservatory of Athens.

When Raven Wilkinson joined Ballet Russe de Monte Carlo in 1955, she became the first African American woman to dance with a major ballet company in the United States. Wilkinson blazed the trail taken up by several Black ballerinas, most famously Misty Copeland, who in 2015 became the first African American principal dancer at an elite ballet company.Sources to learn more about Wilkinson:2016 documentary Black Ballerina in which Wilkinson is featuredStillness Broken, the Columbia University School of Journalism student film about Wilkinson2018 picture book based on her life titled Trailblazer: The Story of Ballerina Raven Wilkinsonhttps://www.nytimes.com/2018/12/20/obituaries/raven-wilkinson-dead.htmlhttps://pointemagazine.com/remembering-raven-wilkinson-trailblazing-black-ballerina/http://blackballerinadocumentary.orghttps://youtu.be/D9vKcxlNkq4 (Misty Copeland tribute by The Root)Daily drops of Good Black News are based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing, and available at workman.com, Amazon, Bookshop and other online retailers.For more Good Black News, check out goodblacknews.org or search and follow @goodblacknews anywhere on social.

Professional dancer and twice winner of Strictly Come Dancing, Oti Mabuse, continues her journey into the dancers and choreographers who have made a huge impact on dance. In this episode, Oti sits down with one of the most recognisable faces of modern ballet – Misty Copeland. Misty became the first African American female Principal Dancer at the American Ballet Theatre company. She reflects on her inspiration, Raven Wilkinson, who danced fifty years before her during the time of the civil rights movement in America. Raven was a member of the Ballet Russe de Monte Carlo company and routinely danced the waltz solo in Les Sylphides. Misty and Oti explore Raven's extraordinary story with archive clips and expert help from Dr Nya McCarthy Brown, Assistant Professor of Dance Pedagogy at Ohio State University. Oti wants to capture Raven's dancing style for herself, so she puts on ballet shoes and meets teacher Reena Bhattacharjee for a ballet tutorial. Presenter: Oti Mabuse Producers: Emily Knight and Candace Wilson Production Team: Rema Mukena Editors: Kirsten Lass and Chris Ledgard A BBC Audio Bristol production for BBC Radio 4

“Every holiday season, throughout the land, Mirlitons, Candy Canes, and other treats bounce briskly through The Nutcracker's Kingdom of the Sweets.” (_The Ballet Companion_ p.158) “The Nutcracker” ballet is such an epic part of Christmastime, and though I can't possibly provide an exhaustive account of such a dancing phenomenon, I'd like to share some of the history and my own fascination with the music, dancing, costumes, and magical story. Hopefully it sparks a bit of your own childlike wonder, dreams, and fantasies as well as your grown-up appreciation of music, storytelling, and the art of dance. “The Nutcracker is a Christmas holiday favorite and the most popular ballet in America. There are more than 2,000 performances of it every year around the country. You will probably have a chance to see it someday–and maybe even dance in it yourself, since it has a lot of roles for young dancers.” (_A Child's Introduction to Ballet_ p.47) I share insights from George Balanchine on "The Nutcracker," the literature origins of the story, authors ETA Hoffmann and Alexandre Dumas, The Dance Channel's "History of the Nutcracker Ballet" video on YouTube, psychological elements in Barishnikov's "Nutcracker," themes of vengeance, Matthew Donnell's _The Boy with the Patch_ children's book about Drosselmeier's story, the ballet's debut in 1892 at the Mariinsky Theatre, Petipa and Ivanov, Tchaikovsky, Sadler's Wells, Ballet Russe, San Francisco Ballet, NYCB... Here are some music favorites, and those I use in creative dance interpretations of the story are included in the'Nutcracker' Story for Creative Dance playlist on Spotify: Scene 1: Overture, Party Scene, Children's Dance Scene 2: Godfather Drosselmeier's arrival, Dolls dance Scene 3: All go to bed, Battle Scene, Marie/Clara's role in winning Scene 4: Snowy Forest, Waltz of the Snowflakes Scene 5: Kingdom of the Sweets, Sugarplum Fairy/Pas de Deux, Waltz of the Flowers, Arabian, Chinese, Russian, Spanish, Mirlitons/Marzipan, Mother Ginger/Polichinelles/Candy Canes divertissements. Scene 6: Marie's return home, Finale For a full ballet or dance class, I have arranged tracks from the ballet in my “Nutcracker” Ballet Class playlist Questions for reflection: What versions of “The Nutcracker” have you seen? Which is your favorite? Have you performed in “The Nutcracker” ballet or other wintertime productions? What holiday traditions will you enjoy this year? What music fills you with the spirit of the season? More resources will linked in the blog :) Thanks for listening and happy holidays! Blythe Stephens, MFA she/her or they/them A Blythe Coach: ablythecoach.com @ablythecoach move through life with balance, grace, & power

Synopsis On today's date in 1903, a baby boy was born in the Russian railroad station of Parfianovka. The proud parents of little Vladimir Dukelsky were both musical, and so lulled him to sleep with Italian opera arias – presumably the SLOW ones! Not surprisingly, little Vladimir grew up to become a composer. After the Russian Revolution, Dukelsky ended up playing the piano at movie theaters and cabarets in Constantinople. It was there that he first heard the music of George Gershwin. In 1921, Dukelsky came to the United States and thereafter pursued a remarkable dual career: as Vladimir Dukelsky, he composed concert music for the likes of the Ballet Russe and the Boston Symphony; as “Vernon Duke,” following Gershwin's example, he composed popular songs for Broadway and Hollywood. Some of his songs, like “April in Paris” and “Autumn in New York,” became pop standards. Said Vladimir Dukelsky, “There isn't a note of jazz in my serious music, and there are no symphonic overtones in my musical-comedy output. My versatility, far from being a boon, has in reality been infuriating… The critical boys seem to think there is something monstrous about a composer writing two different kinds of music under two different names.” Music Played in Today's Program Vladimir Dukelsky (1903 – 1969) — Zephyr et Flore Ballet (Hague Orchestra; Gennady Rozhdestvensky, cond.) Chandos 9766 Vernon Duke (1903 – 1969) — Autumn in New York (Dawn Upshaw, soprano; orchestra; Eric Stern, cond.) Nonesuch 79531

Constance Scheurer grew up in an exceptionally talented family of professional musicians. Constance, a former Ballerina at Pittsburgh Ballet Theater later became a Bluebell in Hello Hollywood Hello in Reno Nevada. As she is struggling to recover from life altering effects of Covid-19, she finds comfort and hope in listening to recordings of her father, Principal Bass of Ballet Russe, and National Symphony in Washington DC and her Grandfather in Berlin Philharmonic. Check out the Patreon www.patreon.com/bluebellsforeverpod Follow us on Instagram and Facebook to see photos and updates www.instagram.com/bluebells_forever/ www.facebook.com/Bluebells-Forever-100660515010096

For Video Edition, Please Click and Subscribe Here:  https://youtu.be/rGY4nOMV3s4 Sharon Wendrow was born, raised and started her dance career in Southern California. Her early teachers Maria Bekeifi, Paul Petroff, Nana Gollner, David Lichine, and Tania Raiboushinska  gave her the best early training she could have hoped for. Imagine learning partner work, along with Larry Long, who later was with Ruth Page, from Paul Petroff, of whom many ballerinas have said,  was the best partner ever. I She came to NYC at 16 and received a scholarship to Ballet Russe, where her training continued with Anatole Villzak, Leon Danilian , Maria Swoboda, Fredrick Franklin, and eventually went to audition for Radio City's Corps de Ballet at 18, because a friend wanted company. It was a very difficult audition, but she made it at a time when no one was being hired because so many companies were going under and the Music Hall was one of very few places to work. Sharon then married a house manager at the Hall, had two beautiful children, and when her daughter was six, took her to the Hannah Kroner School of Dance to begin her dance training. Sharon went back to class, choreographed a few dinner theater musicals, helped out at public schools with their shows, and assisted Ms. Kroner with her school, and all that that entailed. She subsequently became director of the HK School, which became Ballet to Broadway. For the next twenty years, Sharon continued to choreograph many dances for the end of year shows. She then went to the sister school and for the last 19 years, under the direction of Carol Riley, taught, choreographed and performed.  https://dancersover40.org/

Synopsis On today's date in 1910, one week after his 28th birthday, the Russian composer Igor Stravinsky attended the premiere performance of his ballet, “The Firebird” at the Paris Opéra, staged by the famous Ballet Russe ensemble of Serge Diaghilev. Recalling the premiere, Stravinsky wrote: “The first-night audience glittered indeed, but the fact that it was heavily perfumed is more vivid in my memory . .  . I sat in Diaghilev's box, where, at intermission, a path of celebrities, artists, Dowagers, writers, and balletomanes appeared . . . I was called to the stage to bow at the conclusion … I was still on stage when the final curtain came down and saw coming toward me Diaghilev and a dark man with a double forehead whom he introduced as Claude Debussy.  The great composer spoke kindly about the music and invited me to dine with him. [Later,] I asked him what he had really thought of ‘The Firebird.”  He said: ‘Well, one has to start somewhere . . .'” Stravinsky himself had feared his ballet score would be thought a poor imitation of the music of Rimsky-Korsakov, his great teacher.  Nevertheless, “The Firebird” was Stravinsky's first big success, and remains one of his best-loved scores. Music Played in Today's Program Igor Stravinsky (1882-1971) — The Firebird Ballet (Russian National Orchestra; Mikhail Pletnev, cond.) DG 453 434

Synopsis On today's date in 1910, one week after his 28th birthday, the Russian composer Igor Stravinsky attended the premiere performance of his ballet, “The Firebird” at the Paris Opéra, staged by the famous Ballet Russe ensemble of Serge Diaghilev. Recalling the premiere, Stravinsky wrote: “The first-night audience glittered indeed, but the fact that it was heavily perfumed is more vivid in my memory . .  . I sat in Diaghilev's box, where, at intermission, a path of celebrities, artists, Dowagers, writers, and balletomanes appeared . . . I was called to the stage to bow at the conclusion … I was still on stage when the final curtain came down and saw coming toward me Diaghilev and a dark man with a double forehead whom he introduced as Claude Debussy.  The great composer spoke kindly about the music and invited me to dine with him. [Later,] I asked him what he had really thought of ‘The Firebird.”  He said: ‘Well, one has to start somewhere . . .'” Stravinsky himself had feared his ballet score would be thought a poor imitation of the music of Rimsky-Korsakov, his great teacher.  Nevertheless, “The Firebird” was Stravinsky's first big success, and remains one of his best-loved scores. Music Played in Today's Program Igor Stravinsky (1882-1971) — The Firebird Ballet (Russian National Orchestra; Mikhail Pletnev, cond.) DG 453 434

Synopsis Crossword puzzle solvers know the three-letter answer to the clue “Composer Brian” is: E-N-O. But even fans of this British composer, performer, and producer might not know his full name, which is Brian Peter George St John le Baptiste de la Salle Eno. Brian Eno was born in Suffolk, England, on today’s date in 1948. He studied painting and music, and in his early 20s played synthesizer with the glam rock band Roxy Music before embarking on a solo career. In 1978, he released an album entitled “Music for Airports,” which was, quite literally, meant as calming music that could be played in airports, since Eno was so annoyed by the inane, perky muzak he usually heard there. Eno coined the term “ambient music” to describe his album, whose release coincided with the early days of minimalist movement, itself a reaction to music deemed too complex and complicated. “I was quite sick of music that was overstuffed,” said Eno, commenting, “In the late ’60s and early ’70s, recording went from two track to four track to eight track to 16 track to 32 track, and music got more and more grandiose, sometimes with good effect, but quite often not.” Music Played in Today's Program Brian Eno (b. 1948) — Music for Airports (Brian Eno, synthesizers)Polydor 2310 647 On This Day Births 1567 - Baptismal date of Italian composer Claudio Monteverdi, in Cremona; 1808 - Irish composer Michael William Balfe, in Dublin; 1908 - Swedish composer Lars-Erik Larsson, in Akarp (near Lund); 1941 - American composer and pianist Richard Wilson, in Cleveland; Premieres 1913 - Debussy: ballet "Jeux" (Games), at the Théâtre des Champs-Elysées by the Ballet Russe, Pierre Monteux conducting; 1920 - Stravinsky: ballet "Pulcinella," by Ballet Russe; at the Paris Opéra, with Ernest Ansermet conducting; 1939 - Douglas Moore: opera "The Devil and Daniel Webster," in New York City; 1949 - Hindemith: Concerto for Winds, Harp and Orchestra, in New York; 1949 - Randall Thompson: Symphony No. 3, Columbia University, in New York, Thor Johnson conducting; 1958 - Cage: Piano Concerto, in New York City; 1960 - Shostakovich: String Quartet No. 7, in Leningrad, by the Beethoven Quartet; 1972 - Rochberg: String Quartet No. 3, at Tully Hall in New York City, by the Concord Quartet; 1992 - Stephen Paulus: "Air on Seurat (The Grand Canal)", for cello and piano, at the National Cello Competition at Arizona State University in Phoenix, Ariz.; 1993 - Steve Reich: opera "The Cave," in Vienna at the Wiener Festspielhaus; Others 1750 - First documented report of an audience standing during the "Hallelujah" chorus of Handel's "Messiah"; On May 1 and 15 in 1750, "Messiah" had been performed as a benefit for the Foundling Hospital charity (Gregorian dates: May 12 and 26, respectively).

Synopsis Crossword puzzle solvers know the three-letter answer to the clue “Composer Brian” is: E-N-O. But even fans of this British composer, performer, and producer might not know his full name, which is Brian Peter George St John le Baptiste de la Salle Eno. Brian Eno was born in Suffolk, England, on today’s date in 1948. He studied painting and music, and in his early 20s played synthesizer with the glam rock band Roxy Music before embarking on a solo career. In 1978, he released an album entitled “Music for Airports,” which was, quite literally, meant as calming music that could be played in airports, since Eno was so annoyed by the inane, perky muzak he usually heard there. Eno coined the term “ambient music” to describe his album, whose release coincided with the early days of minimalist movement, itself a reaction to music deemed too complex and complicated. “I was quite sick of music that was overstuffed,” said Eno, commenting, “In the late ’60s and early ’70s, recording went from two track to four track to eight track to 16 track to 32 track, and music got more and more grandiose, sometimes with good effect, but quite often not.” Music Played in Today's Program Brian Eno (b. 1948) — Music for Airports (Brian Eno, synthesizers)Polydor 2310 647 On This Day Births 1567 - Baptismal date of Italian composer Claudio Monteverdi, in Cremona; 1808 - Irish composer Michael William Balfe, in Dublin; 1908 - Swedish composer Lars-Erik Larsson, in Akarp (near Lund); 1941 - American composer and pianist Richard Wilson, in Cleveland; Premieres 1913 - Debussy: ballet "Jeux" (Games), at the Théâtre des Champs-Elysées by the Ballet Russe, Pierre Monteux conducting; 1920 - Stravinsky: ballet "Pulcinella," by Ballet Russe; at the Paris Opéra, with Ernest Ansermet conducting; 1939 - Douglas Moore: opera "The Devil and Daniel Webster," in New York City; 1949 - Hindemith: Concerto for Winds, Harp and Orchestra, in New York; 1949 - Randall Thompson: Symphony No. 3, Columbia University, in New York, Thor Johnson conducting; 1958 - Cage: Piano Concerto, in New York City; 1960 - Shostakovich: String Quartet No. 7, in Leningrad, by the Beethoven Quartet; 1972 - Rochberg: String Quartet No. 3, at Tully Hall in New York City, by the Concord Quartet; 1992 - Stephen Paulus: "Air on Seurat (The Grand Canal)", for cello and piano, at the National Cello Competition at Arizona State University in Phoenix, Ariz.; 1993 - Steve Reich: opera "The Cave," in Vienna at the Wiener Festspielhaus; Others 1750 - First documented report of an audience standing during the "Hallelujah" chorus of Handel's "Messiah"; On May 1 and 15 in 1750, "Messiah" had been performed as a benefit for the Foundling Hospital charity (Gregorian dates: May 12 and 26, respectively).

For Video Edition, click and subscribe here: https://youtu.be/PXUcA3xjmuc https://www.actorsguild.org Robert Pagent was a dancer and choreographer who appeared in the original productions of ''Oklahoma!'' and ''Carousel'' and a pioneering director of dance for television during its early years. Mr. Pagent's career took him from stage productions of European classical ballet troupes in the 1930s to televised Miss America pageants in the 1960s. Born Robert Weisser in Pittsburgh, he moved with his family to Gary, Indiana, where he was recruited to partner women at a ballroom dance studio because of his height, 6 feet 2 inches. Unusual for a male dancer at the time, his height helped him land a job with the Ballet Russe, where he appeared from 1937 to 1941. After losing his job by participating, along with 15 other company dancers, in a strike in Havana for better wages, Mr. Pagent was invited to join the Ballet Russe de Monte Carlo. In 1942 he adopted the stage name Robert Pagent and was the square-dance caller in the premiere of Agnes de Mille's cowboy-themed ballet, ''Rodeo,'' one of the first attempts to introduce the imagery of the West into classical dance. He became a close friend of de Mille and the choreographer Jerome Robbins. In 1943 he replaced an injured dancer in the original cast of ''Oklahoma!'' one night after the show opened, and two years later danced the Carnival Boy in the premiere of ''Carousel,'' both choreographed by de Mille. . In 1999 he was invited by the University of Minnesota to reconstruct de Mille's 1943 ballet, ''One Touch of Venus,'' for a video recording.   

For Video Edition, click and subscribe here: https://youtu.be/PXUcA3xjmuc https://www.actorsguild.org Robert Pagent was a dancer and choreographer who appeared in the original productions of ''Oklahoma!'' and ''Carousel'' and a pioneering director of dance for television during its early years. Mr. Pagent's career took him from stage productions of European classical ballet troupes in the 1930s to televised Miss America pageants in the 1960s. Born Robert Weisser in Pittsburgh, he moved with his family to Gary, Indiana, where he was recruited to partner women at a ballroom dance studio because of his height, 6 feet 2 inches. Unusual for a male dancer at the time, his height helped him land a job with the Ballet Russe, where he appeared from 1937 to 1941. After losing his job by participating, along with 15 other company dancers, in a strike in Havana for better wages, Mr. Pagent was invited to join the Ballet Russe de Monte Carlo. In 1942 he adopted the stage name Robert Pagent and was the square-dance caller in the premiere of Agnes de Mille's cowboy-themed ballet, ''Rodeo,'' one of the first attempts to introduce the imagery of the West into classical dance. He became a close friend of de Mille and the choreographer Jerome Robbins. In 1943 he replaced an injured dancer in the original cast of ''Oklahoma!'' one night after the show opened, and two years later danced the Carnival Boy in the premiere of ''Carousel,'' both choreographed by de Mille. . In 1999 he was invited by the University of Minnesota to reconstruct de Mille's 1943 ballet, ''One Touch of Venus,'' for a video recording.   

http://annettbone.com/episode/212 ()All of us are part of a beautiful pageantry of human experience. Let us make the most of this life in all we do.― Laurence OvermireMy lovely guest today has colorfully and beautifully amplified the human experience, through her extensive work in film, television, animation and theater.  https://www.melissagreenspan.com (Melissa Greenspan) has been on notable shows such as Desperate Housewives, NCIS, and Modern Family to name a few and over 300 appearances for companies including FOX, NBC, TD Ameritrade, Discover Card, Capital One, Gerber, Dairy Queen, Hallmark,Chevron, Marshalls, Diet Pepsi and many more. According to The Tolucan Times, one of many wonderful testimonials “The diminutive Melissa Greenspan is infectiously lovable.” What I didn't know is that Melissa danced in a company when she was younger, has a teenage daughter that is dancer and a gymnast, worked on “Dancing 4 Democracy” with some Broadway stars and dancers for the Biden/Harris campaign, and is playing the role of Ida Rubinstein a Russian dancer with Ballet Russe in the online work called “Unravelled” where art, music and science intersect. Links/Information from this session: MelissaGreenspan.com UnRavelledPlay.com https://www.dance4democracy.org/ (Dance 4 Democracy) Photo courtesy of https://www.lucypr.com/ (Lucy Pollak Public Relations) and captured by Corwin Evans Have questions on mindset and motivation? Feel free to contact me at annett@annettbone.com or http://annettbone.com/contact (CLICK HERE) to complete a contact form. I look forward to hearing from you.   

Seizoen 4. Muziekverhalen . Alle afleveringen van Dik Trom, staan onder seizoen 4. Zodat je snel kunt vinden, waar je gebleven bent. En makkelijk kunt kiezen voor een sprookje of ander verhaaltje. Vandaag Muziekverhaal , deel 2. De vuurvogel. Phoenix verrijst uit de as. De vuurvogel is een Egyptische mythe en Stravinsky schreef er muziek op. Speciaal voor het ballet de Vuurvogel bij het Ballet Russe van Sergei Diaghilev? Mijn kleinkinderen (4-10 jaar)  vinden het leuk om naar mijn verhalen te luisteren voor het slapengaan. Als hobby lees ik deze verhalen voor. Voor het slapen gaan. Spannende of leuke verhalen. Ik raad ze altijd aan om met hun ogen dicht onder de dekens te luisteren. Want als je je ogen dicht hebt kun je er van alles bij verzinnen. De ouders adviseer ik kleine bleutooth speaker, die kan je makkelijk in bed leggen. Of gewoon je telefoon naast het kussen. Ik hoop dat jullie het leuk vinden en geef me wat commentaar want dan maken we het samen beter en nuttiger. Met muziek verhalen wil ik kinderen graag kennis laten maken met klassieke muziek. Want hoe klein ook, ze kunnen daar zo van genieten.  

Maria Tallchief was born Elizabeth Marie Tall Chief in 1925 in Fairfax, Oklahoma, where her grandfather had served as chief in the Osage Nation. Seventeen years later, she found her way to New York and became one of the most famous American ballerinas of the 20th century.She rejected suggestions that she change her name to Tallchieva, at the time when many American dancers adopted Russian stage names, Tallchief would become forever linked to some of George Balanchine's most transformational ballets. (Not only was she his prinicipal muse, but she was married to him for six years). In 1949, when she danced the title role of Igor Stravinsky's Firebird to Balanchine's incredibly complex choreography, she caused a sensation. No one had seen anything like it. At the height of her career, Tallchief was considered the most technically brilliant ballerina the U.S. had ever produced.I spoke with Maria Tallchief's daughter, the renowned poet Elise Paschen, about her mother's childhood, her devotion to Balanchine, her hard work and self discipline, her marriages, and the ways in which she expressed her love for her daughter. Elise read two poems she wrote about her mother.And in the Department of Odd Coincidences, there's this: For years, every time I've moved (and I've moved a lot), I've taken with me a much loved book I own, titled Poetry Speaks. I bought it for the written poems, but also for the three CD's it came with, filled with spoken poetry. For years I kept the discs in my car and listened to those CD's while driving, soothed by verse read by the poets themselves: Walt Whitman, T.S. Eliot; Dorothy Parker; Langston Hughes, Allen Ginsberg, Sylvia Plath. At some point after Spotify had taken the steering wheel of my listening habits, I lost the poetry CD's. But the book remains in my possession. And I keep it close at hand on the bookshelf next to my desk. Occasionally, I take it down, open it, and read whatever poem I happen upon. Then, a few weeks ago, just before Elise and I were set to talk, I glanced at the shelf, and my eyes lingered just long enough on Poetry Speaks to take in the names of the volume's editors: Elise Paschen. How strange that I'd never bothered to read the name. Yet now, how fitting. And thirty minutes later, there she was, reading poetry -- her own -- aloud.Artwork by Paula Mangin (@PaulaBallah)Music composed and performed by Andrea PerryProducer: Alice HudsonSocial Media: Sophie McNultyMother Word Cloud: Please contribute the one word that best describes your mother to the Mother Word Cloud at www.ourmothersourselves.com

On today's date in 1938, the Ballet Russe of Monte Carlo presented in London a brand-new work based on the life of Saint Francis of Assisi entitled "Nobilissima Visione." The choreography was by Leonide Massine, and the music by Paul Hindemith. The idea of a ballet based on St. Francis may have been suggested by Hindemith's wife, who had recently converted to Catholicism. The Hindemiths had visited the Church of Santa Croce in Florence, and had been deeply impressed by its Renaissance frescoes depicting scenes from the life of St. Francis. In the 1930's, Hindemith was increasingly fascinated by music of the past, and originally intended to incorporate melodies from the French medieval composer Machaut into his St. Francis ballet, but ended up writing original themes in an archaic style. Whether presented as a staged ballet or in the composer's own concert suite arrangement, "Nobilissima Visione" proved to be one of Hindemith's most popular works, and a work that he often conducted himself. "My ballet is not an eye-catcher in the old style," wrote Hindemith in 1938, "It is not exactly full of sparkling wit, but all the same it makes a fine impression, with all the trappings of success that a composer greedy for recognition could wish. Even the earthshaking impresario Sol Hurok was so impressed that he pressed me to his smart businessman's heart and is insisting on my conducting the piece myself in New York and surrounding villages."

Serge Diaghilev was turned down by four composers before turning to Igor Stravinsky to write the music for a new production by the Ballet Russe.   Luckily, Stravinsky, eager to try his hand at a ballet, had already been working on the music for a month, and their artistic relationship went on to produce Petrushka and The Rite of Spring.

In this episode of the Road To Growth podcast, we are pleased to introduce you to Mariaelena Ruiz. Mariaelena was born in Caracas Venezuela where she recieved her training with Ballet Russe de Monte Carlo’s Prima Ballerina Nina Novak.  Mariaelena was a finalist at the Jackson USA IBC competition, earning a scholarship to one of the most prestigious schools in the world, the School of American Ballet where she trained for 3 years. She was also awarded the 3rd place and Best Couple Award at Varna International Ballet Competition. Mariaelena danced professionally since age 14,  dancing principal and soloist roles in classical and contemporary repertoire with Ballet Nacional de Caracas, Cleveland San Jose Ballet and the Suzanne Farrell Ballet directed by Balanchine's muse, Suzanne Farrell. Mariaelena was  Ballet Master and coach at the Rock School for Dance Education from 2001- 2015 There, she trained some of the brightest stars in ballet today and was art of the awrd winning Documentary “ First Position”  In 2015, Mariaelena and her husband became part owners of Cary Ballet Conservatory where she is   She has been responsible for creating one of the best Professional Training Programs not only in the area but recognized nationally and internationally, earning the YAGP Outstanding School Award since 2017 as well as ADC IBC's Outstanding School Award in 2017 and 18. For her incredible and fast transformation of the Conservatory as well as all her work previously, she landed the Cover of Dance Teacher Magazine in 2017, and, in 2019, she was recognized with the Youth America Grand Prix NY Finals Outstanding Teacher Award. Learn more and connect with Mariaelena Ruiz by visiting her on Twitter: @caryballet  on Facebook: @caryballet  on Instagram: @caryballet  on Website: www.caryballet.com   Be sure to follow us on Twitter: Twitter.com/to_growth  Facebook: facebook.com/Road2Growth  Subscribe to our podcast all across the web: Spotify: https://spoti.fi/2Cdmacc iTunes: https://apple.co/2F4zAcn Castbox: http://bit.ly/2F4NfQq Google Play: http://bit.ly/2TxUYQ2

Upon visiting Stravinsky in late 1910, expecting to find him immersed in composing the Rite of Spring, Serge Diaghilev, director of the Ballet Russe, was quite surprised to find him instead composing the ballet of an anthropomorphized puppet.  The story recounts the rise and fall of mischievous Petrushka, a puppet brought to life by a magician as he courts the Ballerina and fights the Charlatan.  The work was premiered one hundred years ago, with Nijinsky dancing the title role. Former SFS Music Director Pierre Monteux conducted the work’s world premiere.

Serge Diaghilev was turned down by four composers before turning to Igor Stravinsky to write the music for a new production by the Ballet Russe.  Luckily, Stravinsky, eager to try his hand at a ballet, had already been working on the music for a month, and their artistic relationship went on to produce Petrushka and The Rite of Spring.

Serge Diaghilev was turned down by four composers before turning to Igor Stravinsky to write the music for a new production by the Ballet Russe. Luckily, Stravinsky, eager to try his hand at a ballet, had already been working on the music for a month, and their artistic relationship went on to produce Petrushka and The Rite of Spring.

Upon visiting Stravinsky in late 1910, expecting to find him immersed in composing the Rite of Spring, Serge Diaghilev, director of the Ballet Russe, was quite surprised to find him instead composing the ballet of an anthropomorphized puppet.  The story recounts the rise and fall of mischievous Petrushka, a puppet brought to life by a magician as he courts the Ballerina and fights the Charlatan.  The work was premiered one hundred years ago, with Nijinsky dancing the title role. Former SFS Music Director Pierre Monteux conducted the work’s world premiere.