Podcasts about Ballets Russes

Highlights from a 2022 PillowTalk with Lynn Garafola, author of the biography La Nijinska: Choreographer of the Modern speaking with scholar-in-residence Brian Schaefer. Garafola illuminates Bronislava Nijinska's life as a Russian born dancer, sibling to Vaslav Nijinsky, and groundbreaking 20th century ballet choreographer. Garafola also shares some fascinating documentation of Nijinska's pivotal connections to Jacob's Pillow.

Même si sa carrière n'a duré que cinq ans, le danseur virtuose et chorégraphe Vaslav Nijinski a bousculé les codes et inventé le ballet moderne. L'historienne de la danse Marie Beaulieu raconte comment ce passage éclair a suffi à le faire entrer dans la légende.

Dans cet épisode, je vous emmène au cœur d'un atelier pas comme les autres, où la danse devient un véritable outil thérapeutique. À l'hôpital de la Pitié-Salpêtrière, des patients atteints de la maladie de Parkinson se retrouvent chaque semaine pour explorer la danse rythme thérapie, une méthode développée par France Schott Billmann.Guidés par Svetlana Panova, ancienne danseuse des Ballets Russes, ils réapprennent à se mouvoir, à exprimer leurs émotions et à retrouver du plaisir dans le mouvement. Entre témoignages bouleversants et moments de partage, cet épisode vous plonge dans une expérience humaine et artistique unique, où la danse transcende la maladie.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Os universos de três coreógrafos que trabalham em Moçambique, França e Estados Unidos juntaram-se em “Plenum / Anima”, uma composição coreográfica apresentada na Philarmonie de Paris, este fim-de-semana. Este é um espectáculo feito “em contra-mão do que se passa no mundo”, descreve Ídio Chichava, o coreógrafo moçambicano que revisitou a “Sagração da Primavera” de Igor Stravinsky e que mostrou que a "escola moçambicana de dança" deve reivindicar o seu lugar nos palcos internacionais.  Este sábado e domingo, na Philarmonie de Paris, o coreógrafo moçambicano Ídio Chichava revisitou a “Sagração da Primavera” de Igor Stravinsky num espectáculo em que foram apresentadas mais duas obras dos coreógrafos Benjamin Millepied e Jobel Medina. Foi uma composição de três peças coreográficas de três criadores que têm escrito a sua história no mundo da dança graças às suas experiências migratórias: Chichava vive entre Moçambique e a França, Millepied entre a França e os Estados Unidos e Medina nasceu nas Filipinas e vive e trabalha em Los Angeles.Numa altura em que se erguem muros e fronteiras, os universos dos três criadores juntaram-se na composição “Plenum / Anima”, um espectáculo feito “em contra-mão do que se passa no mundo”, nas palavras de Ídio Chichava, que falou com a RFI no dia da estreia.O espectáculo tem um sentido muito forte que vai em contra-mão do que está a acontecer hoje no mundo. Na verdade, há estes três universos que se vão cruzar e que vão estar abertos à exposição e à compreensão e ao olhar mais outras pessoas. Para mim, este lugar que é muito mais humano, mas, por detrás disso, a interligação e o espaço em que todos nós podemos coexistir, com pensamentos totalmente diferentes, com ideias totalmente diferentes, com apreciações totalmente diferentes, com aquilo que é a dança e ainda mais pela forma como cada um vê a dança e onde a dança é criada. Estamos a falar de um olhar que é muito mais cultivado pela França, um lugar que é muito cultivado pelos Estados Unidos e outro que é muito mais cultivado por Moçambique. Então, esta noite, para mim, é uma sagração desse encontro de pensamentos totalmente diferentes, mas que, de certa forma, fluem e mostram um lugar de harmonia.A composição “Plenum / Anima” começou com a obra coreográfica do francês Benjamin Millepied e da sua companhia baseada em Los Angeles, L.A. Dance Project, que dançou ao som de uma composição de Johann Sebastian Bach, “Passacaille et Fugue en ut mineur", composta entre 1706 e 1713. Seguiu-se a criação de Jobel Medina, a partir das “Danças Polovtsianas”, compostas em 1869 por Alexander Borodin. A fechar, Ídio Chichava apresentou a sua versão de “A Sagração da Primavera”, composta entre 1910 e 1913 por Igor Stravinsky, com bailarinos da companhia moçambicana Converge + (Osvaldo Passirivo, Paulo Inácio e Cristina Matola) e da companhia americana L.A. Dance Project.As músicas intemporais dos séculos XVIII, XIX e XX foram interpretadas pelos organistas francês Olivier Latry e sul-coreana Shin-Young Lee, que criaram um novo olhar sobre as obras de Borodin e Stravinsky, já que apenas a partitura de Bach foi pensada originalmente para ser tocada num órgão de tubos.Foi a partir deste lugar musical, descrito por Ídio Chichava como “mais orgânico e visceral”, que o coreógrafo desafiou um século de interpretações de “A Sagração da Primavera”. A sua proposta junta movimentos coreográficos de entrega, de luta e de resistência, a sons de cânticos de trabalho e de guerra, mas também afirma a escola moçambicana da dança como um lugar feito não apenas para se encaixar, mas também para se impor.A primeira vez que escutei ‘A Sagração da Primavera' de Stravinsky, sinceramente, fiquei completamente na selva porque a composição é muito eclética e, sinceramente não via a minha experiência como bailarino tradicional dentro daquela composição. Mas, mesmo assim, entrámos no desafio de desafiar o próprio tempo da música, o próprio ritmo da música e isso é que foi o primeiro chamativo para mim. Com a forma como nós aprendemos a dança em Moçambique podemos criar um contraponto, enriquecer mais a composição, trazer um outro olhar, uma outra apreciação diferente das que já têm sido apresentadas."A Sagração da Primavera” foi criada para um bailado apresentado pela primeira vez, em Paris, em 1913, no Teatro dos Campos Elísios, pela companhia Ballets Russes de Serge Diaghilev e coreografada por Nijinski,  tendo, então, sido apontada como um escândalo. Porém, foi-se tornando uma referência e, ao longo do século XX, foi trabalhada por diferentes coreógrafos, como Maurice Béjart (1959), Pina Bausch (1975), Martha Graham (1984), Angelin Preljocaj (2001), Xavier Le Roy (2007), Heddy Maalem (2004), entre muitos outros. A assinatura de Ídio Chichava foi defender "a escola moçambicana de dança" e “desafiar as leituras pré-concebidas para esta obra”.Eu venho sempre defendendo o lugar da nossa escola moçambicana de dança e de que forma ela se pode afirmar. Este foi o desafio, foi uma porta claríssima para desafiar, por um lado, as leituras que já são pré-concebidas para esta obra, e, de certa forma, foi também encaixar e partilhar com os outros bailarinos, que são americanos, a forma como nós aprendemos a música e a dança.Sobre o que é essa “escola moçambicana de dança”, Chichava explica que é “marcar o tempo e, de certa forma, fazer contratempos no contratempo da música.” Para isso, também contribuiu o facto de a música ser tocada, pela primeira vez num espectáculo de dança, em órgãos de tubos.O órgão já tem esse lugar que é muito orgânico. Ele dilui completamente aquele lugar mecânico da execução técnica da própria música. Depois, a forma como os dois músicos tocam, a sensibilidade, a escuta, isso cria uma segurança para nós em palco porque cria realmente esse lugar mais orgânico, mais de convivência. Tanto que não resisti, no final, em acabar a peça próximo dos músicos.Os bailarinos dançam, batem com os pés de forma sonante, marcham, levantam-se, entoam cânticos e deixam sair sons gerados pelos movimentos. Os corpos prendem-se e desprendem-se em busca de liberdade, mas também se deixam levar, por uma qualquer força telúrica, que os empurra para a terra-mãe ou para a força matricial do palco. Os figurinos são aparentemente simples, com cores associadas à natureza e à “adoração da Terra”, em referência à própria história da “Sagração da Primavera”, na qual uma jovem seria sacrificada como oferenda a uma entidade divina, conforme um ritual de Primavera. Um mote violento que - admite Ídio Chichava - o fez pensar na história contemporânea de Moçambique e que também fez da peça um “espelho e um reflexo da situação” no seu país.

Os universos de três coreógrafos que trabalham em Moçambique, França e Estados Unidos juntaram-se em “Plenum / Anima”, uma composição coreográfica apresentada na Philarmonie de Paris, este fim-de-semana. Este é um espectáculo feito “em contra-mão do que se passa no mundo”, descreve Ídio Chichava, o coreógrafo moçambicano que revisitou a “Sagração da Primavera” de Igor Stravinsky e que mostrou que a "escola moçambicana de dança" deve reivindicar o seu lugar nos palcos internacionais.  Este sábado e domingo, na Philarmonie de Paris, o coreógrafo moçambicano Ídio Chichava revisitou a “Sagração da Primavera” de Igor Stravinsky num espectáculo em que foram apresentadas mais duas obras dos coreógrafos Benjamin Millepied e Jobel Medina. Foi uma composição de três peças coreográficas de três criadores que têm escrito a sua história no mundo da dança graças às suas experiências migratórias: Chichava vive entre Moçambique e a França, Millepied entre a França e os Estados Unidos e Medina nasceu nas Filipinas e vive e trabalha em Los Angeles.Numa altura em que se erguem muros e fronteiras, os universos dos três criadores juntaram-se na composição “Plenum / Anima”, um espectáculo feito “em contra-mão do que se passa no mundo”, nas palavras de Ídio Chichava, que falou com a RFI no dia da estreia.O espectáculo tem um sentido muito forte que vai em contra-mão do que está a acontecer hoje no mundo. Na verdade, há estes três universos que se vão cruzar e que vão estar abertos à exposição e à compreensão e ao olhar mais outras pessoas. Para mim, este lugar que é muito mais humano, mas, por detrás disso, a interligação e o espaço em que todos nós podemos coexistir, com pensamentos totalmente diferentes, com ideias totalmente diferentes, com apreciações totalmente diferentes, com aquilo que é a dança e ainda mais pela forma como cada um vê a dança e onde a dança é criada. Estamos a falar de um olhar que é muito mais cultivado pela França, um lugar que é muito cultivado pelos Estados Unidos e outro que é muito mais cultivado por Moçambique. Então, esta noite, para mim, é uma sagração desse encontro de pensamentos totalmente diferentes, mas que, de certa forma, fluem e mostram um lugar de harmonia.A composição “Plenum / Anima” começou com a obra coreográfica do francês Benjamin Millepied e da sua companhia baseada em Los Angeles, L.A. Dance Project, que dançou ao som de uma composição de Johann Sebastian Bach, “Passacaille et Fugue en ut mineur", composta entre 1706 e 1713. Seguiu-se a criação de Jobel Medina, a partir das “Danças Polovtsianas”, compostas em 1869 por Alexander Borodin. A fechar, Ídio Chichava apresentou a sua versão de “A Sagração da Primavera”, composta entre 1910 e 1913 por Igor Stravinsky, com bailarinos da companhia moçambicana Converge + (Osvaldo Passirivo, Paulo Inácio e Cristina Matola) e da companhia americana L.A. Dance Project.As músicas intemporais dos séculos XVIII, XIX e XX foram interpretadas pelos organistas francês Olivier Latry e sul-coreana Shin-Young Lee, que criaram um novo olhar sobre as obras de Borodin e Stravinsky, já que apenas a partitura de Bach foi pensada originalmente para ser tocada num órgão de tubos.Foi a partir deste lugar musical, descrito por Ídio Chichava como “mais orgânico e visceral”, que o coreógrafo desafiou um século de interpretações de “A Sagração da Primavera”. A sua proposta junta movimentos coreográficos de entrega, de luta e de resistência, a sons de cânticos de trabalho e de guerra, mas também afirma a escola moçambicana da dança como um lugar feito não apenas para se encaixar, mas também para se impor.A primeira vez que escutei ‘A Sagração da Primavera' de Stravinsky, sinceramente, fiquei completamente na selva porque a composição é muito eclética e, sinceramente não via a minha experiência como bailarino tradicional dentro daquela composição. Mas, mesmo assim, entrámos no desafio de desafiar o próprio tempo da música, o próprio ritmo da música e isso é que foi o primeiro chamativo para mim. Com a forma como nós aprendemos a dança em Moçambique podemos criar um contraponto, enriquecer mais a composição, trazer um outro olhar, uma outra apreciação diferente das que já têm sido apresentadas."A Sagração da Primavera” foi criada para um bailado apresentado pela primeira vez, em Paris, em 1913, no Teatro dos Campos Elísios, pela companhia Ballets Russes de Serge Diaghilev e coreografada por Nijinski,  tendo, então, sido apontada como um escândalo. Porém, foi-se tornando uma referência e, ao longo do século XX, foi trabalhada por diferentes coreógrafos, como Maurice Béjart (1959), Pina Bausch (1975), Martha Graham (1984), Angelin Preljocaj (2001), Xavier Le Roy (2007), Heddy Maalem (2004), entre muitos outros. A assinatura de Ídio Chichava foi defender "a escola moçambicana de dança" e “desafiar as leituras pré-concebidas para esta obra”.Eu venho sempre defendendo o lugar da nossa escola moçambicana de dança e de que forma ela se pode afirmar. Este foi o desafio, foi uma porta claríssima para desafiar, por um lado, as leituras que já são pré-concebidas para esta obra, e, de certa forma, foi também encaixar e partilhar com os outros bailarinos, que são americanos, a forma como nós aprendemos a música e a dança.Sobre o que é essa “escola moçambicana de dança”, Chichava explica que é “marcar o tempo e, de certa forma, fazer contratempos no contratempo da música.” Para isso, também contribuiu o facto de a música ser tocada, pela primeira vez num espectáculo de dança, em órgãos de tubos.O órgão já tem esse lugar que é muito orgânico. Ele dilui completamente aquele lugar mecânico da execução técnica da própria música. Depois, a forma como os dois músicos tocam, a sensibilidade, a escuta, isso cria uma segurança para nós em palco porque cria realmente esse lugar mais orgânico, mais de convivência. Tanto que não resisti, no final, em acabar a peça próximo dos músicos.Os bailarinos dançam, batem com os pés de forma sonante, marcham, levantam-se, entoam cânticos e deixam sair sons gerados pelos movimentos. Os corpos prendem-se e desprendem-se em busca de liberdade, mas também se deixam levar, por uma qualquer força telúrica, que os empurra para a terra-mãe ou para a força matricial do palco. Os figurinos são aparentemente simples, com cores associadas à natureza e à “adoração da Terra”, em referência à própria história da “Sagração da Primavera”, na qual uma jovem seria sacrificada como oferenda a uma entidade divina, conforme um ritual de Primavera. Um mote violento que - admite Ídio Chichava - o fez pensar na história contemporânea de Moçambique e que também fez da peça um “espelho e um reflexo da situação” no seu país.

Das Museum in Neu-Ulm zeigt, wie sich Anfang des 20. Jahrhunderts neue Formen im Tanz entwickelten. Vaslav Nijinsky sorgte damals als Solotänzer mit den Ballets Russes für Aufsehen. Die US-Amerikanerin Isadora Duncan entwickelte den Ausdruckstanz. Filme, Fotografien, Musik, Skulpturen und viele weitere Exponate aus dieser Zeit zeigen die dynamische Entwicklung des Tanzes.

durée : 00:20:41 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - En 1946, un an après la naissance des Ballets des Champs-Élysées, les animateurs de la compagnie, avec en tête Roland Petit et l'héritier des Ballets Russes de Diaghilev, Boris Kochno, sont les invités de la "Tribune de Paris". Ils font le point sur le renouveau du ballet en France. - réalisation : Thomas Jost - invités : Roland Petit Danseur et chorégraphe

In this episode we discover how ballet came to America with the acclaimed actress Victoria Tennant. Victoria's mom was Irina Baronova, a star with the Ballets Russes de Monte Carlo, who played a major role in spreading ballet across America. Support the show

fWotD Episode 2703: Igor Stravinsky Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Saturday, 28 September 2024 is Igor Stravinsky.Igor Fyodorovich Stravinsky (17 June [O. S. 5 June] 1882 – 6 April 1971) was a Russian composer and conductor with French citizenship (from 1934) and American citizenship (from 1945). He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music.Born to a famous bass in Saint Petersburg, Russia, Stravinsky grew up taking piano and music theory lessons. While studying law at the University of Saint Petersburg, he met Nikolai Rimsky-Korsakov and studied music under him until the latter's death in 1908. Stravinsky met the impresario Sergei Diaghilev soon after, who commissioned the composer to write three ballets for the Ballets Russes's Paris seasons: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913), the last of which caused a near-riot at the premiere due to its avant-garde nature and later changed the way composers understood rhythmic structure.Stravinsky's compositional career is often divided into three main periods: his Russian period (1913–1920), his neoclassical period (1920–1951), and his serial period (1954–1968). During his Russian period, Stravinsky was heavily influenced by Russian styles and folklore. Works such as Renard (1916) and Les noces (1923) drew upon Russian folk poetry, while compositions like L'Histoire du soldat (1918) integrated these folk elements with popular musical forms, including the tango, waltz, ragtime, and chorale. His neoclassical period exhibited themes and techniques from the classical period, like the use of the sonata form in his Octet (1923) and use of Greek mythological themes in works including Apollon musagète (1927), Oedipus rex (1927), and Persephone (1935). In his serial period, Stravinsky turned towards compositional techniques from the Second Viennese School like Arnold Schoenberg's twelve-tone technique. In Memoriam Dylan Thomas (1954) was the first of his compositions to be fully based on the technique, and Canticum Sacrum (1956) was his first to be based on a tone row. Stravinsky's last major work was the Requiem Canticles (1966), which was performed at his funeral.While many supporters were confused by Stravinsky's constant stylistic changes, later writers recognized his versatile language as important in the development of modernist music. Stravinsky's revolutionary ideas influenced composers as diverse as Aaron Copland, Philip Glass, Béla Bartók, and Pierre Boulez, who were all challenged to innovate music in areas beyond tonality, especially rhythm and form. In 1998, Time magazine listed Stravinsky as one of the 100 most influential people of the century. Stravinsky died of pulmonary edema on 6 April 1971 in New York City, having left six memoirs written with his friend and assistant Robert Craft, as well as an earlier autobiography and a series of lectures.This recording reflects the Wikipedia text as of 00:51 UTC on Saturday, 28 September 2024.For the full current version of the article, see Igor Stravinsky on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Amy.

There has never been anyone like Russian impresario Serge Diaghilev.   The Russian impresario shook up the dusty world of ballet, making it the centre of the avant garde in the early part of the twentieth century, especially in Paris where the premieres of L'Apres Midi ‘D'un Faune and the Rite of Spring caused shock and scandal.   Born in a provincial backwater, Diaghilev made his way to St Petersburg with ambitions as a painter and composer, but failed at both. Eventually he discovered that his talents were more curatorial and, after bringing Russian art to Paris, he returned with The Ballets Russes, a troupe of brilliant dancers, including Nijinski, and gorgeous sets and costumes, taking the city by storm.   Collaborating with artists like Picasso and Stravinsky, Diaghilev changed the face of dance forever. He defined the word impresario in a unique way, discovering talent, finding the money to stage lavish productions and generating huge audience excitement, in a dizzying feat of risk-taking and flair.   In this episode, British cultural critic Rupert Christensen discusses his book Diaghilev's Empire, about the impact, influence and legacy of a larger than life individual who loved Russia but was condemned by history to a life in exile.See omnystudio.com/listener for privacy information.

Conduce Graciela Echagüe. --- Send in a voice message: https://podcasters.spotify.com/pod/show/graciela-echague1/message

Melvyn Bragg and guests discuss the dance which, from when it reached Britain in the early nineteenth century, revolutionised the relationship between music, literature and people here for the next hundred years. While it may seem formal now, it was the informality and daring that drove its popularity, with couples holding each other as they spun round a room to new lighter music popularised by Johann Strauss, father and son, such as The Blue Danube. Soon the Waltz expanded the creative world in poetry, ballet, novellas and music, from the Ballets Russes of Diaghilev to Moon River and Are You Lonesome Tonight.WithSusan Jones Emeritus Professor of English Literature at the University of OxfordDerek B. Scott Professor Emeritus of Music at the University of LeedsAndTheresa Buckland Emeritus Professor of Dance History and Ethnography at the University of RoehamptonProducer: Simon TillotsonReading list: Egil Bakka, Theresa Jill Buckland, Helena Saarikoski, and Anne von Bibra Wharton (eds.), Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century, (Open Book Publishers, 2020)Theresa Jill Buckland, ‘How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack' (Dance Research, 36/1, 2018); ‘Part Two: The Waltz Regained' (Dance Research, 36/2, 2018)Theresa Jill Buckland, Society Dancing: Fashionable Bodies in England, 1870-1920 (Palgrave Macmillan, 2011)Erica Buurman, The Viennese Ballroom in the Age of Beethoven (Cambridge University Press, 2022) Paul Cooper, ‘The Waltz in England, c. 1790-1820' (Paper presented at Early Dance Circle conference, 2018)Sherril Dodds and Susan Cook (eds.), Bodies of Sound: Studies Across Popular Dance and Music (Ashgate, 2013), especially ‘Dancing Out of Time: The Forgotten Boston of Edwardian England' by Theresa Jill BucklandZelda Fitzgerald, Save Me the Waltz (first published 1932; Vintage Classics, 2001)Hilary French, Ballroom: A People's History of Dancing (Reaktion Books, 2022)Susan Jones, Literature, Modernism, and Dance (Oxford University Press, 2013)Mark Knowles, The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries (McFarland, 2009)Rosamond Lehmann, Invitation to the Waltz (first published 1932; Virago, 2006)Eric McKee, Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in 3/4 Time (Indiana University Press, 2012)Eduard Reeser, The History of the Walz (Continental Book Co., 1949)Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, Vol. 27 (Macmillan, 2nd ed., 2000), especially ‘Waltz' by Andrew LambDerek B. Scott, Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris and Vienna (Oxford University Press, 2008), especially the chapter ‘A Revolution on the Dance Floor, a Revolution in Musical Style: The Viennese Waltz'Joseph Wechsberg, The Waltz Emperors: The Life and Times and Music of the Strauss Family (Putnam, 1973)Cheryl A. Wilson, Literature and Dance in Nineteenth-century Britain (Cambridge University Press, 2009)Virginia Woolf, The Voyage Out (first published 1915; William Collins, 2013)Virginia Woolf, The Years (first published 1937; Vintage Classics, 2016)David Wyn Jones, The Strauss Dynasty and Habsburg Vienna (Cambridge University Press, 2023)Sevin H. Yaraman, Revolving Embrace: The Waltz as Sex, Steps, and Sound (Pendragon Press, 2002)Rishona Zimring, Social Dance and the Modernist Imagination in Interwar Britain (Ashgate Press, 2013)

Melvyn Bragg and guests discuss the dance which, from when it reached Britain in the early nineteenth century, revolutionised the relationship between music, literature and people here for the next hundred years. While it may seem formal now, it was the informality and daring that drove its popularity, with couples holding each other as they spun round a room to new lighter music popularised by Johann Strauss, father and son, such as The Blue Danube. Soon the Waltz expanded the creative world in poetry, ballet, novellas and music, from the Ballets Russes of Diaghilev to Moon River and Are You Lonesome Tonight.WithSusan Jones Emeritus Professor of English Literature at the University of OxfordDerek B. Scott Professor Emeritus of Music at the University of LeedsAndTheresa Buckland Emeritus Professor of Dance History and Ethnography at the University of RoehamptonProducer: Simon TillotsonReading list: Egil Bakka, Theresa Jill Buckland, Helena Saarikoski, and Anne von Bibra Wharton (eds.), Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century, (Open Book Publishers, 2020)Theresa Jill Buckland, ‘How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack' (Dance Research, 36/1, 2018); ‘Part Two: The Waltz Regained' (Dance Research, 36/2, 2018)Theresa Jill Buckland, Society Dancing: Fashionable Bodies in England, 1870-1920 (Palgrave Macmillan, 2011)Erica Buurman, The Viennese Ballroom in the Age of Beethoven (Cambridge University Press, 2022) Paul Cooper, ‘The Waltz in England, c. 1790-1820' (Paper presented at Early Dance Circle conference, 2018)Sherril Dodds and Susan Cook (eds.), Bodies of Sound: Studies Across Popular Dance and Music (Ashgate, 2013), especially ‘Dancing Out of Time: The Forgotten Boston of Edwardian England' by Theresa Jill BucklandZelda Fitzgerald, Save Me the Waltz (first published 1932; Vintage Classics, 2001)Hilary French, Ballroom: A People's History of Dancing (Reaktion Books, 2022)Susan Jones, Literature, Modernism, and Dance (Oxford University Press, 2013)Mark Knowles, The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries (McFarland, 2009)Rosamond Lehmann, Invitation to the Waltz (first published 1932; Virago, 2006)Eric McKee, Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in 3/4 Time (Indiana University Press, 2012)Eduard Reeser, The History of the Walz (Continental Book Co., 1949)Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, Vol. 27 (Macmillan, 2nd ed., 2000), especially ‘Waltz' by Andrew LambDerek B. Scott, Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris and Vienna (Oxford University Press, 2008), especially the chapter ‘A Revolution on the Dance Floor, a Revolution in Musical Style: The Viennese Waltz'Joseph Wechsberg, The Waltz Emperors: The Life and Times and Music of the Strauss Family (Putnam, 1973)Cheryl A. Wilson, Literature and Dance in Nineteenth-century Britain (Cambridge University Press, 2009)Virginia Woolf, The Voyage Out (first published 1915; William Collins, 2013)Virginia Woolf, The Years (first published 1937; Vintage Classics, 2016)David Wyn Jones, The Strauss Dynasty and Habsburg Vienna (Cambridge University Press, 2023)Sevin H. Yaraman, Revolving Embrace: The Waltz as Sex, Steps, and Sound (Pendragon Press, 2002)Rishona Zimring, Social Dance and the Modernist Imagination in Interwar Britain (Ashgate Press, 2013)

DescriptionHow did Stravinsky's “The Rite of Spring” come to be? Take a minute to get the scoop!Fun Fact"The Rite of Spring," composed by Igor Stravinsky, had its notorious premiere on May 29, 1913, at the Théâtre des Champs-Élysées in Paris, France. The ballet was choreographed by Vaslav Nijinsky and produced by Sergei Diaghilev's Ballets Russes. The premiere caused a sensation, with its avant-garde music and controversial choreography leading to a riot among the audience. Despite the initial uproar, "The Rite of Spring" has since become recognized as one of the most influential and groundbreaking works of the 20th century.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

durée : 00:24:56 - Igor Stravinsky, Petrouchka - par : Anne-Charlotte Rémond - Dans Musicopolis, Anne-Charlotte Rémond vous emmène aujourd'hui dans le Paris de 1911 où a lieu la nouvelle création des Ballets Russes de Serge Diaghilev, "Petrouchka", dont la musique est signée du compositeur Igor Stravinsky... - réalisé par : Claire Lagarde

durée : 00:14:46 - Disques de légende du vendredi 15 mars 2024 - Fruit de dix années de gestations, les Noces sont une commande des Ballets Russes de Serge Diaghilev, créée en juin 1923, au théâtre de la Gaîté Lyrique sous la direction d'Ernest Ansermet et dans une chorégraphie de Bronilsava Nijinska.

durée : 00:04:48 - Classic & Co - par : Anna Sigalevitch - Anna Sigalevitch nous parle ce matin d'un programme "Ballets russes" de Stravinsky par Klaus Makela et l'orchestre de Paris, qui se jouera à la Philharmonie de Paris les 28 et 29 février… programme qu'on retrouve aussi sous forme de disque paru chez Decca.

durée : 00:20:39 - Les Nuits de France Culture - par : Albane Penaranda - En 1946, un an après la naissance des Ballets des Champs-Élysées, les animateurs de la compagnie, avec en tête Roland Petit et l'héritier des Ballets Russes de Diaghilev, Boris Kochno, sont les invités de la "Tribune de Paris". Ils font le point sur le renouveau du ballet en France. - invités : Roland Petit Danseur et chorégraphe

fWotD Episode 2441: The Firebird Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Wednesday, 10 January 2024 is The Firebird.The Firebird (French: L'Oiseau de feu; Russian: Жар-птица, romanized: Zhar-ptitsa) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1910 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Michel Fokine, who collaborated with Alexandre Benois and others on a scenario based on the Russian fairy tales of the Firebird and the blessing and curse it possesses for its owner. The Firebird was first performed at the Opéra de Paris on 25 June 1910 and was an immediate success, catapulting Stravinsky to international fame and leading to future Diaghilev-Stravinsky collaborations like Petrushka (1911) and The Rite of Spring (1913).The Firebird's mortal and supernatural elements are distinguished with a system of leitmotifs placed in the harmony dubbed "leit-harmony". Stravinsky made a point to use many unique effects in the orchestra, including with ponticello, col legno, flautando, glissando, and fluttertongue. Set in the evil immortal Koschei's castle, the ballet follows Prince Ivan, who battles Koschei with the help of the magical Firebird.Stravinsky later created three concert suites: in 1911, ending with the "Infernal Dance"; in 1919, which remains the most popular today; and in 1945, featuring significant reorchestration and structural changes. Other choreographers have staged the work with Fokine's original choreography or created entirely new productions using the music, some with different settings or themes from the original. Many recordings of the suites have been made, the first being released in 1928 using the 1911 suite. A film version of the popular Sadler's Wells Ballet production, which revived Fokine's original choreography, was created in 1959.This recording reflects the Wikipedia text as of 00:15 UTC on Wednesday, 10 January 2024.For the full current version of the article, see The Firebird on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Justin Neural.

Igor Strawinsky schwärmte von „Daphnis et Chloé“ als einem der "schönsten Produkte der gesamten französischen Musik". Als choreografische Sinfonie komponierte sie Maurice Ravel für die Ballets Russes und ihren Impresario Sergej Dhiagilew. Am 8. Juni 1912 wurde das Werk in Paris uraufgeführt. Nicht ohne Schwierigkeiten: Denn es ist Ravels größte je geforderte Besetzung, ein riesiger Orchesterapparat. Die komplexe Partitur entfaltet vor allem dann ihre Klangpracht, wenn jede einzelne Stimme durchschimmert, findet unsere Rezensentin Maria Gnann. Sie hat sich die Neuaufnahme der Sinfonia of London unter der Leitung von John Wilson angehört und findet: Sie bringen Ravels Musik zum Leuchten.

In this episode, we celebrate the holidays with a stroll past the Opera Garnier. Bright department store windows, glittering performances, and even cinema lights: the Grands Boulevards has it all. This is where the Lumiere Brothers introduced film to Paris audiences, and where Nadar ran his 19th-century photography studio. As always, for more info, links, and photos, check out my website! Thanks as always to Bremner Fletcher for technical expertise, and general know-how. The Improbable Walks theme music is performed by David Symons, New Orleans accordionist extraordinaire. 

durée : 01:01:48 - Les Nuits de France Culture - par : Albane Penaranda - Au printemps 1990, Martine Cadieu et Rémy Stricker proposent une série de cinq émissions sur l'univers musical du poète Jean Cocteau (1889-1963) : un univers qui s'ouvre dès l'enfance et tout en légèreté, avec la découverte émerveillée des Ballets russes à Paris en 1909. - invités : Jean Cocteau Poète, écrivain, peintre, cinéaste, dramaturge

SynopsisJust about any time is a good time to be in Paris, but chances are, given your druthers, you wouldn't have chosen to be there in 1942. The city was occupied by German troops, and World War II had several more dismal years to grind on.But if you were in Paris on today's date in 1942, you could have visited the Paris Opera for the premiere of a new ballet by the French composer Francis Poulenc called “Les Animaux modeles” or “The Model Animals,” with a scenario based on animal fables by the French writer La Fontaine.Some 20 years earlier, in happier times, Poulenc had made his name with another one-act ballet. That 1924 work was titled “Les biches” or “The Does” and was written for the Ballets Russes of Monte Carlo. That work's scenario described the flirtations and seductions of some bright young things at a house party in the country. “Everything was simple and carefree, sunshine and good humor,” as Poulenc himself put it.Not surprisingly, Poulenc's 1942 ballet was a darker, often grimmer affair, expressing perhaps the quiet desperation of the German occupation, mingled with a fervent hope for better days to come.Music Played in Today's ProgramFrancis Poulenc (1899 – 1963) Les animaux modeles French National Orchestra; Charles Dutoit, conductor. London 452 937

A cultural revolution in England, France, and the United States beginning during the time of the industrial and political revolutions helped usher in modernity. This cultural revolution worked alongside the better documented political and economic revolutions to usher in the modern era of continuous revolution. Focusing on the period between 1847 and 1937, Outrage: The Arts and the Creation of Modernity (Stanford University Press, 2023) by Dr. Katherine Giuffre examines in depth six of the cultural "battles" that were key parts of this revolution: the novels of the Brontë sisters, the paintings of the Impressionists, the poetry of Emily Dickinson, the Ballets Russes production of Le Sacre du printemps, James Joyce's Ulysses, and Zora Neale Hurston's Their Eyes Were Watching God. Using contemporaneous reviews in the press as well as other historical material, we can see that these now-canonical works provoked outrage at the time of their release because they addressed critical points of social upheaval and transformation in ways that engaged broad audiences with subversive messages. This framework allows us to understand and navigate the cultural debates that play such an important role in 21st century politics. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A cultural revolution in England, France, and the United States beginning during the time of the industrial and political revolutions helped usher in modernity. This cultural revolution worked alongside the better documented political and economic revolutions to usher in the modern era of continuous revolution. Focusing on the period between 1847 and 1937, Outrage: The Arts and the Creation of Modernity (Stanford University Press, 2023) by Dr. Katherine Giuffre examines in depth six of the cultural "battles" that were key parts of this revolution: the novels of the Brontë sisters, the paintings of the Impressionists, the poetry of Emily Dickinson, the Ballets Russes production of Le Sacre du printemps, James Joyce's Ulysses, and Zora Neale Hurston's Their Eyes Were Watching God. Using contemporaneous reviews in the press as well as other historical material, we can see that these now-canonical works provoked outrage at the time of their release because they addressed critical points of social upheaval and transformation in ways that engaged broad audiences with subversive messages. This framework allows us to understand and navigate the cultural debates that play such an important role in 21st century politics. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

A cultural revolution in England, France, and the United States beginning during the time of the industrial and political revolutions helped usher in modernity. This cultural revolution worked alongside the better documented political and economic revolutions to usher in the modern era of continuous revolution. Focusing on the period between 1847 and 1937, Outrage: The Arts and the Creation of Modernity (Stanford University Press, 2023) by Dr. Katherine Giuffre examines in depth six of the cultural "battles" that were key parts of this revolution: the novels of the Brontë sisters, the paintings of the Impressionists, the poetry of Emily Dickinson, the Ballets Russes production of Le Sacre du printemps, James Joyce's Ulysses, and Zora Neale Hurston's Their Eyes Were Watching God. Using contemporaneous reviews in the press as well as other historical material, we can see that these now-canonical works provoked outrage at the time of their release because they addressed critical points of social upheaval and transformation in ways that engaged broad audiences with subversive messages. This framework allows us to understand and navigate the cultural debates that play such an important role in 21st century politics. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

A cultural revolution in England, France, and the United States beginning during the time of the industrial and political revolutions helped usher in modernity. This cultural revolution worked alongside the better documented political and economic revolutions to usher in the modern era of continuous revolution. Focusing on the period between 1847 and 1937, Outrage: The Arts and the Creation of Modernity (Stanford University Press, 2023) by Dr. Katherine Giuffre examines in depth six of the cultural "battles" that were key parts of this revolution: the novels of the Brontë sisters, the paintings of the Impressionists, the poetry of Emily Dickinson, the Ballets Russes production of Le Sacre du printemps, James Joyce's Ulysses, and Zora Neale Hurston's Their Eyes Were Watching God. Using contemporaneous reviews in the press as well as other historical material, we can see that these now-canonical works provoked outrage at the time of their release because they addressed critical points of social upheaval and transformation in ways that engaged broad audiences with subversive messages. This framework allows us to understand and navigate the cultural debates that play such an important role in 21st century politics. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

A cultural revolution in England, France, and the United States beginning during the time of the industrial and political revolutions helped usher in modernity. This cultural revolution worked alongside the better documented political and economic revolutions to usher in the modern era of continuous revolution. Focusing on the period between 1847 and 1937, Outrage: The Arts and the Creation of Modernity (Stanford University Press, 2023) by Dr. Katherine Giuffre examines in depth six of the cultural "battles" that were key parts of this revolution: the novels of the Brontë sisters, the paintings of the Impressionists, the poetry of Emily Dickinson, the Ballets Russes production of Le Sacre du printemps, James Joyce's Ulysses, and Zora Neale Hurston's Their Eyes Were Watching God. Using contemporaneous reviews in the press as well as other historical material, we can see that these now-canonical works provoked outrage at the time of their release because they addressed critical points of social upheaval and transformation in ways that engaged broad audiences with subversive messages. This framework allows us to understand and navigate the cultural debates that play such an important role in 21st century politics. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

A cultural revolution in England, France, and the United States beginning during the time of the industrial and political revolutions helped usher in modernity. This cultural revolution worked alongside the better documented political and economic revolutions to usher in the modern era of continuous revolution. Focusing on the period between 1847 and 1937, Outrage: The Arts and the Creation of Modernity (Stanford University Press, 2023) by Dr. Katherine Giuffre examines in depth six of the cultural "battles" that were key parts of this revolution: the novels of the Brontë sisters, the paintings of the Impressionists, the poetry of Emily Dickinson, the Ballets Russes production of Le Sacre du printemps, James Joyce's Ulysses, and Zora Neale Hurston's Their Eyes Were Watching God. Using contemporaneous reviews in the press as well as other historical material, we can see that these now-canonical works provoked outrage at the time of their release because they addressed critical points of social upheaval and transformation in ways that engaged broad audiences with subversive messages. This framework allows us to understand and navigate the cultural debates that play such an important role in 21st century politics. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

A cultural revolution in England, France, and the United States beginning during the time of the industrial and political revolutions helped usher in modernity. This cultural revolution worked alongside the better documented political and economic revolutions to usher in the modern era of continuous revolution. Focusing on the period between 1847 and 1937, Outrage: The Arts and the Creation of Modernity (Stanford University Press, 2023) by Dr. Katherine Giuffre examines in depth six of the cultural "battles" that were key parts of this revolution: the novels of the Brontë sisters, the paintings of the Impressionists, the poetry of Emily Dickinson, the Ballets Russes production of Le Sacre du printemps, James Joyce's Ulysses, and Zora Neale Hurston's Their Eyes Were Watching God. Using contemporaneous reviews in the press as well as other historical material, we can see that these now-canonical works provoked outrage at the time of their release because they addressed critical points of social upheaval and transformation in ways that engaged broad audiences with subversive messages. This framework allows us to understand and navigate the cultural debates that play such an important role in 21st century politics. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

A cultural revolution in England, France, and the United States beginning during the time of the industrial and political revolutions helped usher in modernity. This cultural revolution worked alongside the better documented political and economic revolutions to usher in the modern era of continuous revolution. Focusing on the period between 1847 and 1937, Outrage: The Arts and the Creation of Modernity (Stanford University Press, 2023) by Dr. Katherine Giuffre examines in depth six of the cultural "battles" that were key parts of this revolution: the novels of the Brontë sisters, the paintings of the Impressionists, the poetry of Emily Dickinson, the Ballets Russes production of Le Sacre du printemps, James Joyce's Ulysses, and Zora Neale Hurston's Their Eyes Were Watching God. Using contemporaneous reviews in the press as well as other historical material, we can see that these now-canonical works provoked outrage at the time of their release because they addressed critical points of social upheaval and transformation in ways that engaged broad audiences with subversive messages. This framework allows us to understand and navigate the cultural debates that play such an important role in 21st century politics. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

A cultural revolution in England, France, and the United States beginning during the time of the industrial and political revolutions helped usher in modernity. This cultural revolution worked alongside the better documented political and economic revolutions to usher in the modern era of continuous revolution. Focusing on the period between 1847 and 1937, Outrage: The Arts and the Creation of Modernity (Stanford University Press, 2023) by Dr. Katherine Giuffre examines in depth six of the cultural "battles" that were key parts of this revolution: the novels of the Brontë sisters, the paintings of the Impressionists, the poetry of Emily Dickinson, the Ballets Russes production of Le Sacre du printemps, James Joyce's Ulysses, and Zora Neale Hurston's Their Eyes Were Watching God. Using contemporaneous reviews in the press as well as other historical material, we can see that these now-canonical works provoked outrage at the time of their release because they addressed critical points of social upheaval and transformation in ways that engaged broad audiences with subversive messages. This framework allows us to understand and navigate the cultural debates that play such an important role in 21st century politics. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

A cultural revolution in England, France, and the United States beginning during the time of the industrial and political revolutions helped usher in modernity. This cultural revolution worked alongside the better documented political and economic revolutions to usher in the modern era of continuous revolution. Focusing on the period between 1847 and 1937, Outrage: The Arts and the Creation of Modernity (Stanford University Press, 2023) by Dr. Katherine Giuffre examines in depth six of the cultural "battles" that were key parts of this revolution: the novels of the Brontë sisters, the paintings of the Impressionists, the poetry of Emily Dickinson, the Ballets Russes production of Le Sacre du printemps, James Joyce's Ulysses, and Zora Neale Hurston's Their Eyes Were Watching God. Using contemporaneous reviews in the press as well as other historical material, we can see that these now-canonical works provoked outrage at the time of their release because they addressed critical points of social upheaval and transformation in ways that engaged broad audiences with subversive messages. This framework allows us to understand and navigate the cultural debates that play such an important role in 21st century politics. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

A cultural revolution in England, France, and the United States beginning during the time of the industrial and political revolutions helped usher in modernity. This cultural revolution worked alongside the better documented political and economic revolutions to usher in the modern era of continuous revolution. Focusing on the period between 1847 and 1937, Outrage: The Arts and the Creation of Modernity (Stanford University Press, 2023) by Dr. Katherine Giuffre examines in depth six of the cultural "battles" that were key parts of this revolution: the novels of the Brontë sisters, the paintings of the Impressionists, the poetry of Emily Dickinson, the Ballets Russes production of Le Sacre du printemps, James Joyce's Ulysses, and Zora Neale Hurston's Their Eyes Were Watching God. Using contemporaneous reviews in the press as well as other historical material, we can see that these now-canonical works provoked outrage at the time of their release because they addressed critical points of social upheaval and transformation in ways that engaged broad audiences with subversive messages. This framework allows us to understand and navigate the cultural debates that play such an important role in 21st century politics. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Synopsis On today's date in 1912 Maurice Ravel's ballet Daphnis et Chloé received its first performance at the Théâtre du Châtelet in Paris, staged by Serge Diaghilev's Ballets Russes and choreographed by Michel Fokine. Some three years earlier, Diaghilev had approached Ravel about composing a ballet, and Ravel started working with Fokine on a scenario based on an old Greek pastoral romance about two lovers separated by pirates and reunited by the intervention of the god Pan. Ravel was a meticulous and slow worker, and his score for Daphnis et Chloé ended up taking three years to complete. By the time of its 1912 premiere, internal squabbles in the Diaghilev company and conceptual differences between composer and choreographer had dampened everyone's enthusiasm for the project. Even Diaghilev seemed to lose interest. In his memoirs, Pierre Monteux, the conductor of the first performance, recalled, "At first Diaghilev had been very enthusiastic with Ravel's magnificent score, but for some reason, which I have always thought was due to the weakness of the choreography, his fervor for Ravel and his music diminished to such a low pitch that it became difficult to work as we should have on the premiere." Monteux continued, "But all the musicians in the orchestra, and I might say all the musicians in Paris, knew that this was Maurice Ravel's greatest work." Music Played in Today's Program Maurice Ravel (1875 - 1937) Daphnis et Chloe London Symphony; Pierre Monteux, conductor. London 425 956

Join me this week as I welcome esteemed Choreographer, Julia Gleich! Julia, with Jason Andrew, is the co-founder of Norte Maar in Brooklyn and co-produces a collaborative ballet series every year called CounterPointe. This year marked the exciting 10th anniversary of the project. The series features 7 dances created through intense collaboration between 7 women choreographers and 7 women visual artists. Visual artists participate the entire way through the process and even create props for the performance. As a dance newbie, I asked her many questions about using the rectangle of the stage, the types of props she uses, how she picks the music, and even her thoughts on ballet and the patriarchy. We found so many parallels between dance and visual art, like the importance of courting chaos, breaking out of what's expected, and the importance of putting your head down and making the work no matter what. Some links to learn more: Julia's Website: Gleich Dances Norte Maar: CounterPointe Julia's Instagram: @juliagleichdances (see reels to watch 2020 "Shaking the Trees" at the Tang Museum) Norte Maar Instagram: @nortemaar (see reels to watch all of "Counter Pointe 10" and "Colibri") Julia's Vimeo: user7031442 (watch "Unis Mundi: Survival Ceremonies") Julia's Ballet Class: Beginners' Ballet Class at Peridance NYC Apply to CounterPointe: (as a choreographer or visual artist ): nortemaar@gmail dot com Extra links: Mira Schor 's "A Year of Positive Thinking" Blog post: "The Osage Tree", ⁠and Nicole Cherubini & Meg Lipke at the Tang Teaching Museum⁠ Julia's writings with Molly Faulkner appear in: the Oxford Handbook of Contemporary Ballet, an anthology for Intellect Books (Re)Claiming Ballet, and on vectors in the Dynamic Body in Space. Dances mentioned: "Unus Mundi: Survival Ceremonies," w/ Meg Lipke University of Buffalo, "Colibri," w/ Tamara Gonzales CounterPointe 10/Mark O'Donnell Theater, "Shaking the Trees" w/ Nicole Cherubini & Meg Lipke Tang Teaching Museum, "100 Digits of PI" danced by Michelle Buckley Dancers/Choreographers mentioned: Choreo: Serge Diaghilev & Vera Nemtchinova of Ballets Russes, Lynn Parkerson of Brooklyn Ballet, George Balanchine of New York City Ballet, Rudolf von Laban, Antony Tudor, Valerie Preston-Dunlop, Dancers: Gabrielle Lamb, Michelle Buckley, Audrey Borst, Timothy Ward, Kara Chen, Sara Jumper, Margot Hartley, Dianna Warren, Mikalla Ashmore, and shout out to all others who performed in the pieces we discussed Artists mentioned: Tamara Gonzales, Meg Lipke, Nicole Cherubini, Etty Yaniv, Amanda Browder, Sharon Butler, Marc Chagall. Fernand Léger, Elisabeth Condon, Kiana Vega, Paula Part; also Fashion Designer, Liliana Casabal of Morgan Le Fay Composers mentioned: Amery Kessler and Andrew Hurst ---------------------------- Pep Talks on IG: ⁠⁠@peptalksforartists⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠ Amy's website: ⁠⁠https://www.amytalluto.com/⁠⁠ Amy on IG: ⁠⁠@talluts⁠⁠ ⁠⁠BuyMeACoffee⁠⁠ Donations appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

THE TALENT OF LA NIJINSKA. Lynn Garafola is a dance historian and critic. Professor Emerita of Dance at Barnard College, Columbia University, she is the author of Diaghilev's Ballets Russes and Legacies of Twentieth-Century Dance. A regular contributor of articles and essays to both scholarly and general interest publications, she is the former editor of the book series "Studies in Dance History," the founder of the Columbia University seminar Studies in Dance, and the curator of exhibitions about the New York City Ballet, Jerome Robbins, and, most recently, the Dance Theatre of Harlem. Her latest book La Nijinska: Choreographer of the Modern is the first to document the full scope of Bronislava Nijinska's creative work and rewrites the history of Euro-American ballet, beginning with Serge Diaghilev's celebrated Ballets Russes in the early 20th century and continuing until the 1960s.

If you listened to my show last week about Stravinsky's ballet The Firebird, you know that Stravinsky's life was never the same after the premiere of the ballet in 1910. Sergei Diaghilev, the founder of the Ballets Russes and Stravinsky's greatest collaborator, said just before the premiere, “this man is on the eve of celebrity.” Diaghilev was absolutely right, as The Firebird made Stravinsky a Parisian household name practically overnight. Of course, immediately everyone wanted to know what was next. Stravinsky did too, and he was thinking that he needed to stretch himself even more, as even though the Firebird had caused a sensation, he still felt that it was too indebted to his teachers of the past like Nikolai Rimsky Korsakov and other Russian greats like Borodin or Mussorgsky. At first, Stravinsky dreamed of a pagan Rite, but quickly he changed course, wanting to write something that was NOT ballet music, and in fact would be a concerto for Piano and Orchestra. But instead of just a straight ahead abstract piece, Stravinsky had yet another story in mind. This time it was this: “In composing the music, I had in mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios. The orchestra in turn retaliates with menacing trumpet blasts. The outcome is a terrific noise which reaches its climax and ends in the sorrowful and querulous collapse of the poor puppet.” Diaghilev visited Stravinsky in Lausanne Switzerland expecting to hear more about the pagan rituals Stravinsky had been so excited about, but instead Stravinsky played him this strange piano concerto. But Digahliev, ever the visionary, saw the potential in this story and in this music for dance as well, and convinced Stravinsky to turn the piano concerto into a ballet, and Petrushka was born. Within a few months, Petrushka was written, performed, and was yet another sensation. Today, we'll talk all about the brilliant music that Stravinsky composed for the ballet, the integration of choreography and music, and the radical changes that this music heralded for the western music world.

In 1906, the impresario Sergei Diaghilev created a sensation in Paris with an exhibition of Russian Art. This was the first time a major showing of Russian art had appeared in Paris, and from this point forward, the city was obsessed with Russian art, literature, and music.  Diaghilev, ever the promoter, then put together the Ballets Russes, the Russian Ballet, in 1909, a company based in Paris that performed ballets composed, choreographed, and danced, by Russians.  Over the next 20 years, the Ballets Russes became one the most influential and successful ballet companies of the entire 20th century, and a young composer that Diaghilev plucked from obscurity named Igor Stravinsky had a lot to do with their success.    The first season of the Ballet Russes relied on the big names of Russian music, like Borodin, Tchaikovsky, Rimsky Korsakov, but Diaghilev was always restlessly searching for something new.  For many years, Diaghilev had wanted to bring not only new Russian art, but also new Russian music to the West, and now he had found the perfect combination -  Diaghilev brought together the Russian artist and writer Alexandre Benoit and the Russian choreographer Michel Fokine to create a Russian nationalistic ballet based on Russian folk tales and mythology.  He then took a risk, giving the commission for the music to Igor Stravinsky.  The result?  The Firebird, a ballet that provoked an ecstatic reaction, a score that would propel Stravinsky to worldwide popularity, 3 different orchestral suites played almost every year by orchestras all over the world, and a 19 year collaboration and friendship between Stravinsky and Diaghilev which only ended in Diaghilev's death and resulted in 8 original ballets, including The Rite of Spring and Petrushka. But, let's not get too ahead of ourselves.  All of this had to start somewhere, so lets explore the Firebird, in all of its different versions and orchestrations, along with the folk tales and stories that go along with it. Join us!

Dame Alicia Markova was born Lilian Alice Marks in December 1910, in a two-bedroom flat in Finsbury Park, London. She began ballet classes because she was flat footed and knock kneed. Her natural talent, when she was ten, was spotted by Diaghilev, the Russian artistic impresario who founded the Ballets Russes and brought the contemporary arts of Russia to Europe. Dame Alicia joined Diaghilev's company, which was based in Monte Carlo, in 1925, a month after her 14th birthday. Diaghilev changed her name to Alicia Markova and cast her in the title role of Nightingale in Le Rossignol, a ballet scored by Stravinsky, choreographed by Balanchine and with costumes designed by Matisse. It premiered in Paris in June 1925. After Diaghilev's death in 1929 she returned to England and became a leading figure of the emerging English ballet scene, dancing with the Ballet Rambert and Vic Wells Ballet, as well as at Sadlers Wells. Dame Alicia danced the leading roles in Swan Lake, The Nutcracker and Giselle, which became her trademark, illustrating her unique style of fragility and strength. In 1950, together with her dancing partner Anton Dolin, Dame Alicia founded The London Festival Ballet which eventually became the English National Ballet. She was still dancing Giselle at the age of 48 and had her last dance on stage in the early 1960s. Subsequently she has worked as director, patron and teacher and was awarded the CBE for services to dance in 1958. Her memory for dance steps has proved invaluable for dance historians, pupils and teachers alike. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Softly Awakes my Heart from Samson and Delilah by Camille Saint-Saëns Book: Speaking of Diaghilev by John Drummond Luxury: The perfume Knowing by Estee Lauder

How have the people of Venice, Italy buried their dead over the centuries? Founded in the 5th century and spread over 118 small islands, Venice became a major maritime power in the 10th century. Some of these Ordinary Extraordinary Venetians were buried in a crypt beneath Basilica di San Marco, while others were relegated to burial grounds on two different islands; the Island of San Michele and the Jewish cemetery on the Lido. Join Jennie and Dianne as they delve into the history of Venice and and their burial grounds.Resources used to research this episode include:Toth, Susan Allen. "Venice's Isle of the Dead." https://www.nytimes.com/. 16 May 1993. www.nytimes.com/1993/05/16/travel/venice-s-isle-of-the-dead.html. Accessed 28 Aug. 2022., New World Encyclopedia contributors. "Venice, Italy ." https://www.newworldencyclopedia.org/. 7 May 2020. www.newworldencyclopedia.org/entry/Venice,_Italy. Accessed 28 Aug. 2022. "Venice and the East." http://www.basilicasanmarco.it/. www.basilicasanmarco.it/storia-e-societa/venezia-e-loriente/?lang=en. Accessed 28 Aug. 2022.Fund, World Monuments. "Jewish Cemetery on the Lido ." https://www.wmf.org/. 1 Oct. 2015. www.wmf.org/project/jewish-cemetery-lido. Accessed 28 Aug. 2022.Venice, Save. "Old Jewish Cemetery on the Lido ." https://www.savevenice.org/. www.savevenice.org/project/old-jewish-cemetery. Accessed 28 Aug. 2022. "Venetian Ghetto ." https://en.m.wikipedia.org/. en.m.wikipedia.org/wiki/Venetian_Ghetto. Accessed 28 Aug. 2022.Szydlowski, Mike. "New Orleans was built above sea level, but the sinking city tries to weather Hurricane Ida ." https://www.columbiatribune.com/. 1 Sep. 2021. www.columbiatribune.com/story/lifestyle/2021/09/01/sinking-new-orleans-tries-weather-hurricane-ida/8254812002/. Accessed 28 Aug. 2022. "Venice and its Lagoon." https://whc.unesco.org/. whc.unesco.org/en/list/394/. Accessed 28 Aug. 2022. "Doge's Palace https://palazzoducale.visitmuve.it/en/the-museum/doges-palace/the-doge/." https://palazzoducale.visitmuve.it/. palazzoducale.visitmuve.it/en/the-museum/doges-palace/the-doge/. Accessed 28 Aug. 2022.Caravalho, Liah. "Understanding the Venetian Ghetto from a Historical and Literary Perspective ." https://blogs.loc.gov/. 21 Mar. 2017. blogs.loc.gov/law/2017/03/understanding-the-venetian-ghetto-from-a-historical-and-literary-perspective/. Accessed 28 Aug. 2022. "FROM TRIUMPHANT VENICE TO THE PRESENT ." https://www.caffeflorian.com/. www.caffeflorian.com/en/heritage/venice-triumphantto-present.html. Accessed 28 Aug. 2022.Vacations, Insight . "A GUIDE TO SAN MICHELE ISLAND ." https://www.insightvacations.com/. 9 Oct. 2017. www.insightvacations.com/blog/guide-san-michele-island/. Accessed 28 Aug. 2022.Vermeulen, Marian. "Is The Body Of Alexander The Great Actually In Saint Mark's Tomb? ." https://www.thecollector.com/. 15 Mar. 2021. www.thecollector.com/alexander-saint-marks-tomb-venice/. Accessed 28 Aug. 2022.Editorial Staff, Insidecom. "HIDDEN TREASURES The Crypt of St. Mark's Basilica ." https://www.venetoinside.com/. www.venetoinside.com/hidden-treasures/post/the-crypt-of-st-marks-basilica/. Accessed 28 Aug. 2022. https://en.m.wikipedia.org/. en.m.wikipedia.org/wiki/Ballets_Russes. Accessed 28 Aug. 2022.

$30,000 Fundraising initiative.The funds raised will allow JUNK to provide equitable access for the community by providing free and discounted ticketing for artists and LGBTQIA and HIV+ communities. The SEASON:LusterThu, Sep 8, 2022 Sat, Sep 17, 2022Concourse Dance Bar (map)Lust for exposure and success turns… TRAGIC. Set in an underground shopping mall turned nightclub, Junk's newest experience, Luster, reveals the twisted nature of reality show competition and begs the question, “Where do we draw the line?”Luster gives patrons a behind-the-scenes look into the making of TRAGIC, a streaming show where aspiring reality TV producers are looking to make their mark in the edgy new world of internet reality TV. Luster begins by giving audiences a look behind the camera during a live broadcast of the TRAGIC Season Two finale featuring five competing teams. The plotline begins after Season One, which featured off-the-wall ideas with a cast of circus performers who competed in front of a crowd on equipment and apparatuses they had never used before. Season Two's production team needs to find new ways to create a show filled with even more outrageous and dangerous layers of competition. In the inaugural season of TRAGIC, every on-camera accident made ratings jump. The more the performers suffered mentally and physically, the more people tuned in. This year, producers and sponsors want something sexy and erotic, gritty but graceful. TRAGIC centers on pushing the envelope, with contestants focused on driving high ratings with provocative and daring performances. Emotions will run high as five teams, StripperX, Face Punch, The Inappropriators, Gothic Drip, and the Gayties, battle it out to compete for a top-secret first-place prize. Luster audiences are encouraged to vote for their favorite team but with caution, as there is always a twist on TRAGIC. Snowball, back on ice!Saturday, January 21, 2023Our annual fundraiserA Modern Carmen FantasyFri, Mar 10, 2023 Sun, Mar 12, 2023The Philadelphia OrchestraExperience the great Russian composer Rodion Shchedrin's Carmen Suite as never seen before, with the help of the riveting Philadelphia-based dance company Brian Sanders' JUNK. The dance theme continues with Stravinsky's Firebird Suite, a colorfully melodic and spectacular score written for the Ballets Russes that made an overnight star of the young composer.FOR MORE INFORMATION: https://briansandersjunk.com

durée : 01:28:39 - Autour de Diaghilev (4/4) - par : François-Xavier Szymczak - Son nom fait partie à jamais de l'histoire de la musique et de la danse. Serge Diaghilev, impresario des Ballets Russes, fut le commanditaire de dizaines de partitions chorégraphiques, dont beaucoup se sont imposées comme des classiques des salles de concert. - réalisé par : Emmanuel Benito

durée : 01:28:41 - Autour de Diaghilev (3/4) - par : François-Xavier Szymczak - Son nom fait partie à jamais de l'histoire de la musique et de la danse. Serge Diaghilev, impresario des Ballets Russes, fut le commanditaire de dizaines de partitions chorégraphiques, dont beaucoup se sont imposées comme des classiques des salles de concert. - réalisé par : Emmanuel Benito

durée : 01:28:13 - Autour de Diaghilev (2/4) - par : François-Xavier Szymczak - Son nom fait partie à jamais de l'histoire de la musique et de la danse. Serge Diaghilev, impresario des Ballets Russes, fut le commanditaire de dizaines de partitions chorégraphiques, dont beaucoup se sont imposées comme des classiques des salles de concert. - réalisé par : Céline Parfenoff

Stephanie von Watzdorf is an accomplished creative director, curator and fashion designer with more than 30 years' experience. She is known for the artistic and intuitive style she brings to design, be it clothes, accessories, or soulful spaces. She currently works as a consultant specializing in fashion, accessories and interior design. Stephanie was born in Paris to a German/French father and a Russian mother. Her grandfather, Leonide Massine, was the renowned Ballets Russes choreographer whose friends and collaborators included Henri Matisse, Pablo Picasso, Marc Chagall, Leon Bakst and Igor Stravinsky. Stephanie's immersion into this richly artistic, wayfaring life instilled in her an appreciation for other cultures, fine fabrics, music, dance, language and nature. A graduate of Parson School of Design and recipient of Calvin Klein's Golden Thimble award, Stephanie refined her aesthetic working for venerable fashion houses including Yves Saint Laurent, Giorgio Armani, Ann Taylor, and Ralph Lauren. In 2004, she joined Tory Burch as the original vice president of design, where she led design development and ready-to-wear accessories for over seven years. In this episode, Stephanie speaks with Malia Mills about how her background, work experiences and love of travel culminated in 2011, when she founded Figue, a luxury fashion and lifestyle brand that captures the global gypsy-meets-jet-set spirit that is her native tongue. As creative director and the face of the label, Stephane grew a conscious company from the ground up, with roots in sustainability, heritage, travel and artisanship.

durée : 01:28:10 - Autour de Diaghilev (1/4) - par : François-Xavier Szymczak - Son nom fait partie à jamais de l'histoire de la musique et de la danse. Serge Diaghilev, impresario des Ballets Russes, fut le commanditaire de dizaines de partitions chorégraphiques, dont beaucoup se sont imposées comme des classiques des salles de concert. - réalisé par : Emmanuel Benito

Building a Library: Jeremy Sams recommends his favourite recording of Ravel's Daphnis and Chloe (complete ballet). Maurice Ravel described his ballet, Daphnis and Chloe as a choreographic symphony. The story concerns the love between the goatherd Daphnis and the shepherdess Chloé. Ravel began work in 1909 after a commission from Sergei Diaghilev and it was premiered in Paris by his Ballets Russes in 1912. The orchestra was conducted by Pierre Monteux, the choreography was by Michel Fokine, and Vaslav Nijinsky and Tamara Karsavina danced the parts of Daphnis and Chloé. With rich harmonies and lush orchestrations it is one of Ravel's most popular works.

FIND ME ON INSTA: @chrismccartin @thedancesessionspodcast I hope you all enjoy this episode about the life and legacy of ballet pioneer George Balanchine! Sources for the episode: Balanchine PBS Documentary, director. Balanchine PBS Documentary. YouTube, YouTube, 13 May 2019, www.youtube.com/watch?v=ppICC_6yMXo&t=125s. The George Balanchine Trust. “About George Balanchine.” Balanchine, www.balanchine.com/george-balanchine. New York City Ballet. “Lincoln Kirstein.” Lincoln Kirstein | New York City Ballet, www.nycballet.com/discover/our-history/lincoln-kirstein-1907-1996/. Taper, Bernard. Balanchine: A Biography. J.-C. Lattès, 1980. “V&A · Diaghilev and the Ballets Russes – an Introduction.” Victoria and Albert Museum, www.vam.ac.uk/articles/diaghilev-and-the-ballets-russes. Walker, Kathrine S. “George Balanchine.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., www.britannica.com/biography/George-Balanchine#ref21215. FULL LIST OF WORKS BY GEORGE BALANCHINE: https://www.balanchine.com/BalletsAlph Sources for dancers/dance enthusiasts to keep dancing: https://www.clistudios.com/ https://www.steezy.co/ https://www.tmilly.tv/ https://www.stepsnyc.com/ BIG THANK YOU TO: MY BIG BROTHER CJ FOR THE AWESOME INTRO BEAT @verdellbeats MY BEST FRIEND VINCENT FOR LIFTING MY SPIRITS WITH LOVE, THANKS FOR LISTENING, CHRIS MCCARTIN

Igor Stravinsky's commission to write The Firebird would be the break that the young composer had been looking for. After the ballet's premiere, he became an immediate celebrity, and it not only secured his place as a composer for the Ballets Russes, but as a respected and beloved international figure. Become a member of The Composer Chronicles and stephenjtrygar.com on Patreon: https://patreon.com/thecomposerchronicles Music for this episode: Pipe Dreams by Brightarm Orchestra - https://open.spotify.com/track/6rEgLfri1boWGFSoTUrW0y?si=DRs5gSZMQx-vBHROp78eEg Prelude by Trevor Kowalski - https://open.spotify.com/track/2NzQGuWizwdjAo2cXIyFrD?si=pAHugghgTTywEVEVAY8R6g My Flaws and All by Howard Harper-Barnes - https://open.spotify.com/track/5l4t5HA7hRsUbEZuqH1uwC?si=TmHpnQJkSBe6keDGVFcXFQ Changing Outlook by Trevor Kowalski - https://open.spotify.com/track/5ue8ogOGWBVn8ea8AwuMVf?si=1SFIMWnNR26v_kUhyLGosA Royal Estate by Isaac Gregor - https://open.spotify.com/track/4cqz64jAcQBn3xVIIIIfE9?si=0RtfqfqmQg63fXlT3gld7Q Careful Mind by Martin Klem - https://open.spotify.com/track/32KjC9LHmHwNkMHsQRJarP?si=ScgEMbu1TUq67Ba7xCSlCw When I Realized by John Barzetti - https://open.spotify.com/track/4iVnjTD7Ll0a5lLERTvsx3?si=mP9JH3nsT1C-cqyZ2apsdg Firefly Trail by Trevor Kowalski - https://open.spotify.com/track/4SUPWzR8WY6i83Gtv8pUZG?si=vTEw7lP5TLuBUz1JopU97g Sources: An Autobiography by Igor Stravinsky - https://www.amazon.com/Autobiography-Igor-Stravinsky-1998-12-17/dp/B01K3PD6J8/ref=sr_1_1?crid=3KHBXR83XBK75&dchild=1&keywords=igor+stravinsky+autobiography&qid=1589334449&sprefix=Stravinsky+an+autobiograph%2Caps%2C164&sr=8-1 Stravinsky's Ballets by Charles M. Joseph - https://www.amazon.com/Stravinskys-Ballets-Yale-Music-Masterworks/dp/0300118724/ref=sr_1_1?dchild=1&keywords=The+Ballets+of+Stravinsky+Joseph&qid=1589334565&sr=8-1 The Rest Is Noise: Listening to the Twentieth Century by Alex Ross - https://www.amazon.com/Rest-Noise-Listening-Twentieth-Century/dp/0312427719/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=1589334779&sr=8-1 Foundation Igor Stravinsky - https://fondation-igor-stravinsky.org/en/composer/ --- Send in a voice message: https://anchor.fm/thecomposerchronicles/message