Russian art critic and impresario
POPULARITY
5 episodes with diaghilev
6 episodes with diaghilev
8 episodes with diaghilev
6 episodes with diaghilev
5 episodes with diaghilev
9 episodes with diaghilev
2 episodes with diaghilev
4 episodes with diaghilev
3 episodes with diaghilev
Heute geht's um Verluste – olfaktorische Verluste. Alex und Max blicken zurück auf Düfte, die sie nie hätten abgeben dürfen. Ob verkauft, leer gesprüht oder einfach nicht mehr auffindbar: In dieser Folge erfährst du, welche Parfums besonders vermisst werden – und warum. Max erinnert sich an seinen heiß geliebten Apex Parfum von Roja, den er aus Budgetgründen verkaufte – und seitdem schmerzlich vermisst. Auch Kobe von Xerjoff oder der ikonische Pegasus in der OG-Version gehören zu seinen „duftenden Fehlern“. Alex wiederum trauert u. a. dem Naxos von Xerjoff nach, erinnert sich an seinen einstigen Diaghilev und schwärmt vom Melt My Heart von Strangelove, der heute wohl besser in seine Duftwelt passen würde als damals. Außerdem: Wie schlägt sich der neue SEΛENE von Manos Gerakinis im Alltagstest? Und welche Neuvorstellungen von Mystery Modern Mark und Oman Luxury stehen bald im Test? Folge uns auf Parfumo: • Parfumo-Profil von Max: parfumo.de/Benutzer/Parfumax Und verpasse keine Updates auf Instagram: • Instagram-Account von Alex: instagram.com/alexander_weisser_parfum/ • Instagram-Account von Max: instagram.com/scentotd/ Wir danken euch für eure Unterstützung und eure Treue – auf die nächsten 5 Jahre! Schaltet auch nächste Woche wieder ein, wenn wir unsere Duftreisen fortsetzen. Bleibt duftend, Alex & Max DISCLAIMER: In unserem Podcast teilen wir nur unsere persönliche Meinung. Es handelt sich nicht um bezahlte Werbung. Manchmal stellen wir gesponserte Produkte vor und sagen das auch klar.
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.
Our third Parisian revolution is another explosive night in the theatre, this time in the world of dance. David talks to Dominic Dromgoole about Stravinsky's The Rite of Spring, which provoked absolute outrage when it premiered in 1913. Is that what its impresario Diaghilev wanted? How did Nijinsky cope? Did the response foreshadow the trauma to come in 1914? And how did the set designer Roerich end up playing a part in American presidential history? Dominic Dromgoole's Astonish Me! First Nights that Changed the World is available wherever you get your books https://profilebooks.com/work/astonish-me/ Out this weekend: a new bonus episode on PPF+ exploring the far-reaching impact of Marinetti's Futurist Manifesto (1909), from pre-WWI Europe to Silicon Valley. Sign up now to get this and all our bonus episodes plus ad-free listening https://www.ppfideas.com/join-ppf-plus Next time: PPF Live: Churchill – The Politician With Nine Lives Learn more about your ad choices. Visit megaphone.fm/adchoices
Nous sommes au soir du 22 novembre 1928. Le tout Paris, la crème de la crème de la « bonne société », le gratin du monde politico-culturel, se presse à l'Opéra Garnier. On est venu pour assister à la création du « Boléro », le nouveau ballet de Maurice Ravel. Dans la fosse, le chef Walther Straram dirige son orchestre. Le journal « Le Figaro » décrit le ballet comme une «évocation de l'Espagne dansante en une taverne de faubourg sous la lampe de cuivre accrochée aux solives; muletiers et contrebandiers acclament la danseuse qui bondit sur la table, aux sons d'une musique magicienne, sa danse s'exalte de plus en plus». La danseuse se nomme Ida Rubinstein, elle a plus de quarante ans. La chorégraphie est signée Bronislava Nijinska, maîtresse de ballet russe. Les costumes d'Alexandre Benois et les décors d'Oreste Allegri. Dans la salle, on peut apercevoir Igor Stravinsky qui, 15 ans plus tôt, a fait scandale avec son « Sacre du printemps » et que Ravel a soutenu. Serge de Diaghilev, organisateur de spectacles, impresario influent, n'est pas très enthousiaste. Il décrit une représentation qui « suait l'ennui provincial... tout y était long, y compris Ravel qui ne dure pourtant que 14 minutes. Le pire, ajoute-t-il, était Ida. Voûtée, une tignasse rousse, sans chapeau, avec des chaussons de danse pour paraître plus petite. Elle est incapable de danser quoi que ce soit. Dans le Boléro, elle est restée un quart d'heure à tourner maladroitement sur une grosse table. » Le public, lui, est plutôt conquis et réserve un bel accueil à cette création si déconcertante. La presse salue « la somptuosité », « les dons singuliers », « le triomphe de la maîtrise technique », « le délice d'élégance » et « le tour de force éblouissant » du compositeur. On raconte aussi n'importe quoi, qu'une spectatrice aurait crié « Au fou ! » et que Ravel aurait déclaré : « Celle-là, elle a compris ». La légende se met en marche. De Paris à Bruxelles, de Monte-Carlo à New York en passant par Milan et Londres, le Boléro devient un phénomène et rentre dans l'Histoire de la musique. Un succès, d'ailleurs, qui ne va pas complètement ravir son auteur et même l'irriter. Ravel craint le malentendu. Solitaire et pudique, ouvert et généreux, obstiné, peu enclin aux honneurs, qui était Maurice Ravel ? Pourquoi tant de frilosité devant sa propre réussite ? Aurait-il eu le génie humble ? Notre invité est Xavier Falques, professeur d'Histoire de l'art à l'UCL et au Conservatoire de Mons et producteur et animateur de Café Viennois et Baroque café sur Musiq3. Sujets traités: Maurice Ravel, orchestre, piano, musique, boléro, concerto Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
durée : 00:55:43 - Samedi fiction - Le grand-père de l'autrice Célia Houdart fut au début du XXe siècle l'un des directeurs artistiques de l'Aeolian Company, une firme américaine de pianos mécaniques. C'est lui qui a inspiré ce journal intime fictif à la fois poétique et musical dans lequel on croise Ravel, Stravinsky et Diaghilev.
durée : 00:55:43 - Samedi fiction - Le grand-père de l'autrice Célia Houdart fut au début du XXe siècle l'un des directeurs artistiques de l'Aeolian Company, une firme américaine de pianos mécaniques. C'est lui qui a inspiré ce journal intime fictif à la fois poétique et musical dans lequel on croise Ravel, Stravinsky et Diaghilev.
The Ballet Russe finds new life in America after Diaghilev's death.
Diaghilev takes the reigns and showcases Russian dance to the rest of the world.
The Bolshevik revolution makes artistic expression a dangerous undertaking in Russia, and Diaghilev takes the Ballet to the West instead.
Diaghilev brings together the greatest artists, composers, and choreographers of the day to create innovative and sometimes controversial works.
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
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.
The original production of Westside Story ran for 732 performances, spawned a movie that won 11 Academy Awards, and is still a go to on every list of the greatest Broadway Musicals ever written. The collaboration between Leonard Bernstein, Stephen Sondheim, and Jerome Robbins was a revolution on par with the collaborations of Stravinsky, Diaghilev, and Nijinsky on the Rite of Spring. No Broadway show had ever been so gritty, so tragic, and so raw. The first performances of Westside Story were done against the backdrop of a rise in gang violence in New York City. The socio-economic aspects of the show were evident to everyone who watched it, and I always like to remind people that the location where Bernstein, Arthur Laurents, who adapted Shakespeare's Romeo and Juliet for this show, and Sondheim imagined the story taking place is where Lincoln Center now sits, a seat of opulence and extravagance. Simply put, this was a musical, a comedy, a tragedy, a political statement, and most importantly, a stunningly revolutionary work of art by these collaborators. Today, I want to tell you about the music, and more specifically, the Symphonic Dances from Westside Story, an arrangement that Bernstein made with his colleague Sid Ramin 3 years after the show's premiere. The Symphonic Dances brought Bernstein's electric music from the theatre to the concert stage, and it's stayed there ever since. So today, we'll go through each number, talking about just what makes this music so great, and also about the show itself - its background, its production, and the issues that Bernstein, Laurents, Sondheim, and Robbins were trying to tackle, all through the eyes of a tale of woe about Juliet and her Romeo, or of course, Maria and Tony. Join us!
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.
Join me as I chat with Barbara Quick, author of Vivaldi's Virgins and What Disappears, both listed in the Visual Arts category on Art In Fiction.View the video on YouTube: https://youtu.be/nYq1nLL4xv4Inspiration for What Disappears going back several decades to when Barbara was just 22 years old.Revisiting old work after it's "ripened."The role of idential twins in What Disappears.Writing a great villain in fashion designer Paul Poiret. Researching the fashion components in What Disappears.What it was like to be a dancer in Belle Epoque Paris.Barbara's love of dance.Debut of Stravinsky's Rite of Spring in Paris and the Riot at the Rite.The role played by anti-semitism in both Tsarist Russia and Paris in the novel.The theme of healing in What Disappears.Reading from What Disappears.Writing poetry and prose: two sides of the same coin?One thing Barbara Quick learned from writing novels that she didn't know before.What Barbara is working on now.Press Play now & be sure to check out Vivaldi's Virgins and What Disappears on Art In Fiction: https://www.artinfiction.com/novels?q=barbara+quickBarbara Quick's website: https://www.barbaraquick.com/ Are you enjoying The Art In Fiction Podcast? Consider helping us keep the lights on so we can continue bringing you interviews with your favorite arts-inspired novelists. Just $3 buys us a coffee (and we really like coffee) at Ko-Fi. Just click this link: https://ko-fi.com/artinfictionAlso, check out the Art In Fiction website at https://www.artinfiction.com where you'll find over 1800 novels inspired by the arts in 10 categories: Architecture, Dance, Decorative Arts, Film, Literature, Music, Textile Arts, Theater, Visual Arts, and Other.
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)
durée : 00:20:47 - Les Nuits de France Culture - par : Albane Penaranda - "Je dois à Diaghilev mes plus violents chocs esthétiques". En 1953, le compositeur Francis Poulenc se souvient de sa carrière au micro de Claude Rostand. Dans le 5ème volet, retour en 1924, quand le ballet "Les Biches", qu'il a composé, est monté par les Ballets russes. - invités : Francis Poulenc Compositeur et pianiste français
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
We're back! Welcome to Season 10! Leonard Bernstein to his wife: "These days have flown so -- I don't sleep much; I work every -- literally every -- second (since I'm doing four jobs on this show -- composing, lyric-writing, orchestrating and rehearsing the cast). It's murder, but I'm excited. It may be something extraordinary. We're having our first run thru for PEOPLE on Friday -- Please may they dig it!." Westside Story ran for 732 performances, spawned a movie that won 11 Academy Awards, and is still a go to on every list of the greatest Broadway Musicals ever written. The collaboration between Leonard Bernstein, Stephen Sondheim, and Jerome Robbins was a revolution on par with the collaborations of Stravinsky, Diaghilev, and Nijinsky with the Rite of Spring. Simply put, no Broadway show had ever been so gritty, so tragic, and so raw. This was a musical, a comedy, a tragedy, a political statement, and most importantly, a stunningly revolutionary work of art by these collaborators. And today, I want to tell you about the music, and more specifically, the Symphonic Dances from Westside Story; an arrangement that Bernstein made with his colleague Sid Ramin 3 years after the show's premiere. The Symphonic Dances brought Bernstein's electric music from the theatre to the concert stage, and it's stayed there ever since. So today, we'll go through each number, talking about just what makes this music so great, and also about the show itself - its background, its production, and the issues that Bernstein, Laurents, Sondheim, and Robbins were trying to tackle, all through the eyes of a tale of woe about Juliet and her Romeo, or of course, Maria and Tony. Join us!
The dancer Moira Shearer starred in the 1948 film written, directed, and produced by Michael Powell and Emeric Pressburger which reworks a Hans Christian Andersen story, mixed with elements of ballet history and the founding of the Ballet Russes by Diaghilev. The film, about the tangled relationships between a dancer, composer and ballet impresario, had a cast involving many professional dancers, and gained five Academy Award nominations including best score for Brian Easdale. As the BFI prepares a UK-wide season of Powell and Pressburger films running from 16th October to 31st December (including a re-release of The Red Shoes), Matthew Sweet is joined by film critics Lillian Crawford, Pamela Hutchinson, dance reviewer Sarah Crompton and New Generation Thinker and film lecturer Lisa Mullen. Producer: Torquil MacLeod You can find Matthew Sweet presenting Radio 3's regular strand devoted to film and TV music Sound of Cinema on Saturday afternoons at 3pm and available on BBC Sounds and a whole host of Free Thinking episodes devoted to classics of cinema are in a collection on the programme website labelled Landmarks including: Jean Paul Belmondo and the French New Wave, Marlene Dietrich, Dirk Bogarde and the Servant, Bette Davis, Sidney Poitier, Asta Nielsen.
durée : 00:22:00 - Les Nuits de France Culture - par : Albane Penaranda - En 1997, dans le cadre de la série "Petite histoire de la musique" consacrée au compositeur russe Igor Stravinsky, Véronique Puchala revient sur le scandale provoqué par la création du "Sacre du Printemps" le 29 mai 1913, au Théâtre des Champs-Élysées à Paris. Le 29 mai 1913, l'artiste et poétesse Valentine Hugo, épouse de Jean Hugo, arrière-petit-fils de Victor, assiste à la première représentation du Sacre du Printemps dans le nouveau Théâtre des Champs-Élysées à Paris. Sous-titré "Tableaux de la Russie païenne", ce spectacle est proposé par les Ballets russes, compagnie fondée par l'impresario et mécène russe Serge de Diaghilev, sur une musique d'Igor Stravinsky et sur une chorégraphie de Vaslav Nijinski. "Ce fut comme si la salle avait été secouée par un tremblement de terre" Évoquant la soirée devenue mythique du 29 mai 1913, l'artiste peintre Valentine Hugo, qui y assistait, a pu dire ceci " Tout ce qu'on a écrit sur la bataille du Sacre du Printemps reste inférieur à la réalité. Ce fut comme si la salle avait été secouée par un tremblement de terre. Elle semblait vaciller dans le tumulte. Des hurlements, des injures, des hululements, des sifflets soutenus qui dominaient la musique, et puis des gifles, voire des coups.". Pourquoi un tel déchainement de passions et d'émotions ? Véronique Puchala revient sur cet important épisode de la vie culturelle française, dans le deuxième volet d'une série de cinq émissions consacrées en 1997 au compositeur russe Igor Stravinsky. Production : Véronique Puchala Réalisation : Géraldine Prutner Petite histoire de la musique - Igor Stravinsky 2/5 : Le Sacre du Printemps ou L'histoire d'un scandale (1ère diffusion : 17/06/1997) Edition web: Documentation de Radio France Archives Ina-Radio France Retrouvez l'ensemble de "La Nuit rêvée de Daniel Defert", proposée par Albane Penaranda.
durée : 01:35:00 - Les Nuits de France Culture - par : Albane Penaranda - Un documentaire de Claude Samuel Par Claude Samuel - Avec Georges Auric, Boris Kochno, Henri Sauguet, Serge Lifar, Pierre Boulez, Hugues Gall, Bernard Dayde, Claude Samuel et Jean Babilée
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
Herzlich willkommen zu unserem Parfüm-Podcast! Heute geht es um die Marke Roja Parfums und ihre besten Düfte. Die britische Superluxus-Parfümmarke hat eine beeindruckende Kollektion von Düften, die von opulent und klassisch bis hin zu frisch und würzig reicht. In dieser Episode diskutieren wir unsere persönlichen Favoriten und erzählen euch, in welchen Situationen ihr diese tragen könnt. Wir sprechen über Klassiker wie "Diaghilev" und "Enigma" sowie Neuerscheinungen wie "Elysium Eau Intense". Wenn ihr auf der Suche nach einem neuen Parfüm seid oder einfach nur mehr über Xerjoff erfahren möchtet, dann hört unbedingt rein! Die genannten Düfte sind: Frühling: Danger Cologne, Isola Blu Sommer: Isola Blu, A Midsummer Dream Herbst: Enigma, Danger Cologne Winter: Qatar, Reckless EdP Büro: Elysium, Vetiver Cologne Ausgehen/Party: Diaghilev, Enigma Parfum Date: Sweetie Aoud, Parfums de la Nuit 3 Sport: Burlington 1819, APEX Parfum Unsere YouTube-Accounts findest du hier: Alex: https://www.youtube.com/channel/UCqHm8tzfLgqvFR-5HgNGg3w Max: https://www.youtube.com/channel/UCrk8-qI1PU4Zcf9pCJBCHow Du kannst uns auch auf Parfumo finden: Max: https://www.parfumo.de/Benutzer/Parfumax Folge uns auf Instagram: Alex: https://www.instagram.com/alexander_weisser_parfum Max: https://www.instagram.com/scentotd Wir freuen uns darauf, gemeinsam mit dir die faszinierende Welt der Düfte zu erkunden! Deine Themenwünsche sind uns sehr wichtig, und wir werden unser Bestes tun, um sie in zukünftigen Folgen zu berücksichtigen. Jeden Freitag erwartet dich eine neue Episode voller Entdeckungen und Inspirationen. Lass uns gemeinsam die Woche mit einem wunderbaren Duft beginnen. Viel Spaß beim Anhören dieser Podcastfolge, und wir freuen uns darauf, dich nächste Woche wiederzuhören! Alex & Max DISCLAIMER: In diesem Podcast geben wir unsere eigene Meinung wieder. Bitte beachtet, dass unsere Podcastfolgen Werbeinhalte enthalten können. Wir möchten jedoch betonen, dass es sich nicht um bezahlte Werbung handelt. Von Zeit zu Zeit präsentieren wir gesponserte Flakons oder Proben, was wir an der entsprechenden Stelle ausdrücklich erwähnen.
Há 50 anos, no dia 8 de abril de 1973, morria Pablo Picasso, aos 91 anos, em Mougins, no sul da França. Artista genial, ele mudou o curso da arte no século XX. Mas não sem controvérsias. Por Patrícia MoribePablo Ruiz Picasso nasceu em 25 de outubro de 1881, em Málaga, na Andaluzia, no sul da Espanha, junto ao Mediterrâneo. O pai, que era professor de pintura, estimulou o menino Pablo desde pequeno. O jovem Picasso frequentou escolas e artistas em Barcelona e Madri, com muitas experimentações e ambições. Em 1990, seu quadro “Os Últimos Momentos” é escolhido para representar a Espanha na Exposição Mundial em Paris. Aos 19 anos, a capital francesa é o sonho do jovem pintor. Ele se instala no mítico bairro de Montmartre, efervescente refúgio de artistas e boêmios. O trabalho de Picasso é dividido por períodos. Como o azul, de 1901 a 1904, quando, impactado pelo suicídio de um amigo, Carlos Casagemas, ele mergulha em temas sombrios, retratando pessoas miseráveis, com rostos marcados pela fome e sofrimento.Paralelamente, Picasso expandia suas conexões ao conhecer escritores, poetas, intelectuais, colecionadores, galeristas, mecenas e artistas de todos os espectros.Ele avançou para o período rosa, se inspirou na arte africana, trabalhou nos balés russos de Diaghilev e se apaixonou pela bailarina Olga Khokhlova, com quem se casa em 1918. Em 1907 ele finaliza “As Senhoritas de Avignon”, que vai dar um ponta pé importante para o Cubismo. Com Georges Braque, ele iniciou o movimento cuja ideia era a decomposição de imagens em facetas múltiplas, geométricas, bidimensionais. Toda uma geração de artistas bebeu nessa fonte, como Juan Gris, Francis Picabia e Brancusi. Em 1925, uma nova mudança de curso e Picasso navega pelo surrealismo, com criaturas disformes, convulsivas, histéricas. O surrealista Salvador Dali, também espanhol, conta, em uma entrevista de 1955, que mandou um postal para o artista, dizendo: “Meu caro Pablo, eu te agradeço porque me dou conta que você assassinou não somente a pintura acadêmica, que está morta e sepultada, como também assassinou toda a pintura moderna. Agora poderemos rever os grandes clássicos, como Rafael e Velasques. Se Picasso não existisse, a pintura moderna iria durar ainda uns 200 anos.”Arte como arma de resistênciaPicasso usava sua arte como instrumento de engajamento. O bombardeamento de uma cidade, em 1937, durante a Guerra Civil espanhola, levou o artista a criar uma de suas obras mais marcantes: “Guernica”. O mural simboliza o horror da guerra e o sofrimento da população. No mesmo ano, Picasso pede a naturalização francesa, que lhe é recusada. O artista continuou a viver na França, mas como diria em entrevista de 1955, “era um acaso, sem nenhuma razão especial”. Picasso passou a Segunda Grande Guerra em Paris, durante a ocupação nazista. Os serviços de segurança o ficharam como “anarquista”. Em 1949, Picasso pinta “Pomba da Paz”, que se torna um forte símbolo antibélico internacional. Além da pintura, Picasso também fez esculturas, cerâmicas e gravuras. Os detratores de Picasso apontam justamente que a produção do artista era excessiva.Ele também traduzia em suas obras sua paixão pelas touradas e mulheres. Sua vida amorosa foi intensa e turbulenta. Ao mesmo tempo, era considerado misógino. Picasso casou-se duas vezes, teve quatro filhos e inúmeras amantes. Uma de suas amantes-musas, a fotógrafa francesa Dora Maar, fala sobre a realidade em Picasso, em entrevista de 1955:“Picasso é obcecado, sempre foi, pela realidade”, disse a fotógrafa francesa, em 1955. “Através do Cubismo ele buscou todas as facetas de um objeto. Por exemplo, ele quis retratar as quatro dimensões de uma xícara de café. Mas não o instante presente, o sonho, um local, as nuvens ou a emoção. Ele busca a realidade verdadeiramente concreta de um objeto. Isso gera deformações extraordinárias.” Picasso morreu em 8 de abril de 1973, de uma crise cardíaca, no sul da França, deixando um fabuloso legado artístico e um lastro de tragédias familiares e brigas pela herança do artista, que não deixou testamento.Em 2015, o quadro “Mulheres de Argel” (1955) quebrou um recorde ao ser vendido por quase US$ 180 milhões. Durante algum tempo foi a obra mais cara do mundo, até ser desbancada por “Salvatore Mundi”, de Leonardo da Vinci, vendida por US$ 450 milhões a um príncipe saudita. No dia 20 de dezembro de 2007, dois quadros foram roubados do Masp (Museu de Arte de São Paulo) durante a madrugada, em apenas três minutos, de acordo com os registros de segurança. Um era “O Lavrador de Café”, de Cândido Portinari, e “Retrato de Suzanne Bloch”, de Picasso. As obras foram encontradas pouco mais de duas semanas depois, em Ferraz de Vasconcelos, subúrbio de São Paulo.
durée : 00:22:00 - Les Nuits de France Culture - par : Albane Penaranda - En 1997, dans le cadre de la série "Petite histoire de la musique" consacrée au compositeur russe Igor Stravinsky, Véronique Puchala revient sur le scandale provoqué par la création du "Sacre du Printemps" le 29 mai 1913, au Théâtre des Champs-Élysées à Paris. Le 29 mai 1913, l'artiste et poétesse Valentine Hugo, épouse de Jean Hugo, arrière-petit-fils de Victor, assiste à la première représentation du Sacre du Printemps dans le nouveau théâtre des Champs Élysées à Paris. Sous-titré "Tableaux de la Russie païenne", ce spectacle est proposé par les Ballets russes, compagnie fondée par l'impresario et mécène russe Serge de Diaghilev, sur une musique d'Igor Stravinsky et sur une chorégraphie de Vaslav Nijinski. "Ce fut comme si la salle avait été secouée par un tremblement de terre." Voici ce que Valentine Hugo, qui assistait à cette création, en rapporte : "Tout ce qu'on a écrit sur la bataille du Sacre du Printemps reste inférieur à la réalité. Ce fut comme si la salle avait été secouée par un tremblement de terre. Elle semblait vaciller dans le tumulte. Des hurlements, des injures, des hululements, des sifflets soutenus qui dominaient la musique, et puis des gifles, voire des coups.". Pourquoi un tel déchainement de passions et d'émotions ? Véronique Puchala revient sur cet important épisode de la vie culturelle française, dans le deuxième volet d'une série de cinq émissions consacrées en 1997 au compositeur russe Igor Stravinsky. Production : Véronique Puchala Réalisation : Géraldine Prutner Petite histoire de la musique - Igor Stravinsky 2/5 : Le Sacre du Printemps ou L'histoire d'un scandale 1ère diffusion : 17/06/1997 Archives INA/RADIO FRANCE Edition web: Documentation de Radio France
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!
Synopsis In 1916, Imperial Russia was still using the old Julian calendar. In Russia, as Hamlet might have put it, “time was out of joint,” lagging 13 days behind the Gregorian calendar used everywhere else. Well, Saint Petersburg's January 16th might have Paris's January 29th, but on that date Russia's Mariinsky Theatre premiered a wild, decidedly forward-looking orchestral work with its composer, Sergei Prokofiev, conducting.The music had been commissioned in 1914 by another Russian, the Paris-based ballet impresario Sergei Diaghilev, who had asked Prokofiev for “a ballet on a Russian fairy tale or a primitive prehistoric theme,” hoping for something along the lines of Igor Stravinsky's colorful Firebird or scandalous Rite of Spring, both earlier Diaghilev commissions. Thinking of those two successful ballets perhaps, Prokofiev set to work on one set in ancient Russia about a forest princess rescued from an evil ogre by a Scythian prince, with a big orgy of evil spirits tossed in as well just to spice things up. But Diaghilev nixed the ballet even before Prokofiev had finished it, so its composer reworked the music into a wild concert hall score he titled Scythian Suite. Even today it remains – for some – a strongly spiced cup of Russian tea! Music Played in Today's Program Sergei Prokofiev (1891 - 1953) — Scythian Suite, Op. 20 (Chicago Symphony Orchestra; Claudio Abbado, conductor.) DG 447 419
The Man Booker prize winning novelist George Saunders turns to short-stories for his latest book, Liberation Day. From workers dressed as ‘ghouls' in an underground amusement park to brainwashed political protestors and story-telling slaves his protagonists underscore what it means to live in community with others. George Saunders tells Tom Sutcliffe how his stories veer from bizarre fantasy to brutal reality. The move from fantasy to stark reality can be seen in the history of Russians living in exile in Paris after the Revolution in 1917. Helen Rappaport's After the Romanovs details how former princes, used to a life of luxury, could be seen driving taxicabs. While some emigres, like Diaghilev and Chagall, found great success in this new world, others became trapped in a cycle of poverty and homesickness for a country that was no longer theirs. The BFI and UK-wide horror film season In Dreams are Monsters celebrates how monstrous bodies of all kinds have been represented on screen over the past hundred years. Curator Anna Bogutskaya explores the symbolism and emotional impact of ghosts, vampires, witches and, arguably the most politicised of all cinematic monsters, the zombie – a terrifying, dead-eyed blank canvas for social commentary. Producer: Katy Hickman
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
Sohrab is a founder and editor of Compact: A Radical American Journal, and he’s a contributing editor at The American Conservative. He spent nearly a decade at News Corp. — as the op-ed editor of the New York Post and as a columnist and editor with the WSJ opinion pages in New York and London. His books include From Fire, by Water: My Journey to the Catholic Faith and The Unbroken Thread: Discovering the Wisdom of Tradition in an Age of Chaos. A new voice for a new conservatism, I tried to talk him through how he got to this place — politically and spiritually.You can listen to the episode right away in the audio player above (or on the right side of the player, click “Listen On” to add the Dishcast feed to your favorite podcast app). For two clips of our convo — on whether the free market is actually a tyranny, and how many liberals actually reject democracy, e.g. Brexit — pop over to our YouTube page.Sohrab’s appearance this week is a good excuse to publish a transcript from David French, his great nemesis in conservative circles. Here’s a clip from David’s Dishcast:A reader wrote last week:I know the Sohrab episode isn’t out yet, but judging by his Twitter presence, it’s going to be a real barnburner of sophistry. His latest quips regarding foreign policy are ones that I find to be ignorant, especially his quips at Yascha Mounk. I know you’ve already shot the episode, but I’d suggest you check out the book, The End of the World Is Just the Beginning: Mapping the Collapse of Globalization. I think it really puts into perspective what American military might has brought to the world (absent, obviously, some of the more glaring blunders), and it might give context, rather than rhetoric, to Sohrab’s arguments.We clashed a little, but I also gave him space and time to explain his own strange journey to this brand of neo-reactionism. In my view, his biography tells you a lot about his need for moral and political “absolutes.” In my book, that makes him close to the opposite of a conservative.If you’re sympathetic to Sohrab’s arguments, send us a comment for next week’s edition: dish@andrewsullivan.com. On last week’s episode of the Dishcast, a listener writes:Terrific interview with Larry Summers. Though my politics are thisclose to Summers’, he floated two whoppers in his talk with you.1) His suggestion that the United States and other liberal democracies can “build their ways” out of right-wing authoritarianism with more housing, infrastructure and health care is simply not true. Not even close. The evidence is very clear that the driving force behind right-wing illiberalism is demographics and left-wing illiberalism is culture. Under investment in macro-economic indicators is a problem, to be sure, but it has nothing to do with illiberalism.2) The United States is decidedly not an exporter of inflation. The US dollar is at historic highs, which means foreigners are investing in America and in dollar denominated assets, because Joe Biden’s America represents the “nicest house in a bad neighborhood,” when measured by jobs growth, business investment, private consumption and personal savings.Summers is right that the America Rescue Plan was too generous. But he seems reluctant to consider the historic relevance of the post-WWII era when American inflation was 14% in 1947, 8% in 1948 and -1% in 1949. As in the post-pandemic era, aggregate demand in the late 1940s rebounded a lot faster than supply, and consumers worldwide bid up the prices of scarce goods, services and raw materials.Summers responds:On the reader’s first point, it’s an interesting hypothesis, but my guess is if there were more and better blue-collar jobs, more affordable housing, and more prosperity, there would be less raging populism.On the second point, I don’t agree. The demand from the US has contributed to global bottlenecks. The strong dollar means weak other currencies which adds to their inflation. I have thought much about the post-WWII period, and I doubt it is a good parallel. There was the effect of removing price controls. There were very different expectations under the gold standard and given the recent depression.I agree with my reader on the core cultural question of left over-reach. I suspect Larry does too — but it’s not a subject he’s comfortable with, especially since his Harvard cancellation. Another reader looks to the deepening tribalism on the right:Perhaps you missed it, but I haven’t seen the Dish comment on the Texas GOP platform yet. This surprises me, since the Dish is, in my view, the most important defender of classical liberalism on the web. The platform of the largest state Republican Party in the country can be found here. From the AP’s summary:Approved by 5,000-plus party delegates last weekend in Houston during the party’s biennial convention, the new platform brands President Joe Biden an “acting” commander-in-chief who was never “legitimately elected.” It may not matter who the president is, though, since the platform takes previous language about secession much farther — urging the Republican-controlled legislature to put the question of leaving the United States to voters next year. The platform also says homosexuality is “an abnormal lifestyle choice” …The platform is the guiding document of a political party that has controlled every executive office in Texas since 2002, a state of almost 40 million people. To put this number in perspective: that’s more than twice as many of our fellow citizens who attend college this year and 25 times as many of our fellow Americans who identify as transgender. Texas and Florida lie at the heart of today’s Republican Party, demographically and financially. To ignore what those Republicans stand for is as near-sighted as ignoring how California and New York stand in the vanguard of what the national Democratic Party will stand for a few years out.The platform is an affront to liberalism and an example of the “movement after Trump” that you’ve speculated about. In my view, the movement preceded Trump and will proceed in his aftermath.The extremism was on full display this week in Dallas, as CPAC cheered Viktor Orbàn’s denunciation of marriage equality (which has 71 percent support nationally). I agree it’s creepy and deranged. But so is the postmodern, pro-criminal madness of the CRT/CQT/CGT Democrats — and they run California.On the growing affection for the Hungarian president on the American right, here’s “a Hungarian living under the Orbán regime”:In my mind, he has become popular among Republicans for two reasons:The fundamental problems of Hungarian society (and most of post-communist Europe’s) are not dissimilar to those of the US — at least on the surface. The cultural cleavages between the “globalist elite” and the “deplorables” are similarly wide. Multiculturalism and the markets’ winner-takes-all logic hit these post-communist societies harder than most, because local communities had been extremely weak to begin with: the communists had been suspicious of any organic communities therefore had worked very hard to suppress and eliminate them as much as they could. Capitalism, financialization, globalization and the wholesale urbanization of culture all happened at once when these societies were completely atomized. No wonder many felt that nobody cared about their problems and all they received from the elite was some lecturing on the inevitability of these phenomena. The American society has gotten to a similar stage through a different path, nicely documented by Robert Putnam. Therefore, the US lower-middle class resonates well to the messages developed from a Hungarian experience.Viktor Orbán and his team have made conscious and expensive efforts to reach out to Trump Republicans (word in Budapest is that Arthur Finkelstein and Benjamin Netanyahu were instrumental in this effort). The regime has not spared any money to welcome, wine, and dine second- and third-tear MAGA influencers. They came, got impressed, and spread the word at home. It definitely helped that these tours have been all-inclusive: who would not like to spend a few days in cool and beautiful Budapest — for free? Moreover, they received and continue to receive official respect. This is all the more attractive now that they are far from the halls of power in the US. It should not be surprising that they were all too happy to believe the propaganda that the regime fed them.I am sure I don’t see the full picture on the American side, but these factors seem to be quite important in explaining Orbán’s popularity in the US.One of those American conservatives courted by Orbán is Rod Dreher. A reader defends Rod:I’ve generally agreed with most of your recent output and was pleasantly surprised to read your more-than-lukewarm enthusiasm for a DeSantis administration. However, I think you’re being rather unfair on Twitter to Rod Dreher regarding Orbán and Hungary. First of all, you and Rod clearly agree that the current level of immigration to the US (and the West more generally) is unsustainably high, and that continuing to bring ever larger numbers of culturally, racially, and religiously diverse groups of primarily economic migrants into any country is bound to increase social tension and strain social safety nets. You also agree that this is especially reckless under a regnant elite ideology that constantly denigrates Western cultural traditions, antagonizing the native-born white population while simultaneously promoting the importance of group identity and solidarity for non-whites. It’s a recipe for civilizational suicide.I get that Rod is enamored with Orbán and wants an American president somewhat in that vein, but it’s ridiculous to say that he thinks everything that Orbán does for Hungary will translate well for the US or that he would support every analogous policy here. Rod explicitly denies thinking that in almost every post he writes about Orbán. In addition, Rod is right that racial issues are completely different in the US and Hungary. An ethnically homogeneous country like Hungary that seeks to restrict immigration levels in order to preserve its national character will necessarily exclude most foreign-born members of other racial groups from citizenship. White European countries that do this (and are explicit about their motivations for doing this) should not be held to a different standard than non-white, non-European countries such as Japan that do this (and are also explicit about their motivations for doing this). It is perfectly reasonable for Hungarians to look at the recent experience of Western Europe and decide that they don’t want to establish another Molenbeek in suburban Budapest. Excluding prospective immigrants for any reason is in no way comparable to committing atrocities against long-resident minority populations like the ongoing Uyghur genocide in China.Furthermore, the meat of the argument Orbán makes surrounding his objectionable Camp of the Saints reference reads to me as in the same vein as Douglas Murray’s thesis in his masterful anti-Merkelian philippic The Strange Death of Europe, the main difference being that Murray’s perspective is that of the tragic observer, while Orbán obviously has the ability to devise government policies in line with his views. And Murray was on your podcast recently.In this speech, Orbán, like Murray, is not primarily attacking the migrants themselves, but rather the European political class that constantly ignores its constituents’ wishes on the matter of immigration levels and sources, and that will not be satisfied until every EU country “diversifies” itself by accepting large numbers of Third World migrants. The same could almost be said about Raspail’s book, The Camp of the Saints, which, despite its disgustingness, provides a useful indictment of a decadent and self-loathing Western elite that is unwilling to fight to preserve its cultural heritage. Indeed, Murray, Orbán, and Raspail would essentially all endorse the same policy outcome (complete moratorium, or at least severe restriction, of non-European immigration) for essentially the same reason (desire to preserve historic character and culture of their societies). They only really differ in their level of empathy for the non-European migrants, with Murray capable of recognizing their individual humanity, Orbán treating them more as an impersonal force of nature to be repelled, and Raspail viewing them with racist contempt as a demonic horde who the last “heroes” of the West will die fighting against. None of them view chronic Third World immiseration as the West’s problem to solve, least of all by allowing the impoverished masses to indefinitely relocate to Europe.The Covid era showed that Western countries do indeed have the means to control their borders when necessary. But their ruling classes do not think that voters’ preferences for less immigration — tainted as they must be by ignorance, “xenophobia” and “racism” — are a good enough reason to actually enforce their laws. And even restrictionist-leaning administrations have trouble following through with policies that inevitably appear heartless towards those who seek shelter in the West, because each individual migrant often has a generally sympathetic story and by himself wouldn’t pose a great burden on the receiving society. Yet unfortunately the annual influx of millions of these individuals does strain Western countries, and sometimes tough choices must be made. It seems like an unfortunate reality that it takes someone who is otherwise unpalatable like Orbán to actually enforce immigration restrictions these days. I know I’d vastly prefer someone clear-eyed (even cold-hearted) and competent like him in charge of our southern border over Biden or even Trump.Lastly, it’s one thing to criticize Orbán for the specific comments he made in the speech, but your continuing guilt-by-association smears of Rod are just lazy. I could analogously indict you on the same topic — not for anything you’ve specifically said or written, but that, say, “I heard Andrew Sullivan did a friendly podcast with Ann Coulter where he largely agreed with her about our current immigration issues… In a recent article she wrote ‘(insert egregiously inflammatory sentence stripped of any context)’… Coulter also endorsed articles that were published on the website of an SPLC-certified hate group… Ergo Andrew Sullivan endorses white nationalism.” On his blog, Rod clearly and repeatedly says he disagrees with the anti-“race-mixing” language, especially as applied to America and other multiracial societies, and admits that The Camp of the Saints is a racist novel that shouldn’t be praised the way Orbán did. But those demerits don’t invalidate Orbán’s main argument. He can be “racist” by American standards and still right about the overall immigration strategy that is best for Hungary.I know you despise Orbán, and Rod rankles you with some of his posts that deploy a knee-jerk “think of the children” outrage regarding gay and trans news. But you’re better than stooping to insinuations of racism against him personally, especially when you’re pretty much on the same page regarding the challenges that mass immigration poses for the West. Not sure if it’s something you could hash out with him on a podcast or if tensions are too high, but it could be productive for both of you. Thanks for these comments, which I don’t disagree with much. I haven’t called Rod a racist, and don’t think he is. The trouble for me lies less in his defense of Orbanism than of Orbán himself — to the point of becoming a near p.r. spokesman for this authoritarian. The only moment I have actually called Rod out was when he insinuated without evidence that a gay man with monkeypox may have raped a toddler to explain why the kid came down with the disease. Rod withdrew the remark. It’s also perplexing that he shares my disgust at Camp of the Saints but finds nothing significant in Orbán’s belief that the book is “outstanding.” At some point, the rationalization has to stop. Another reader wants me to be less productive with Rod:Please, please, Andrew! Do an old-fashioned fisking already! Dreher is totally unhinged! For example: I’m not saying gays are Nazis, but …Or pick any of his recent articles. Twenty bullet points for defending the “race mixing” comment! Gays didn’t exist forever before Diaghilev! Libraries are groomers! They are so so far beyond. And if you try to comment, you are deleted or told you are doing “whataboutism.”Best not to use the term “fisking” around Rod. From a reader who loves pluralism and cultural diversity:I have trouble understanding why people in the US have trouble with newcomers. Maybe because my dad and maternal grandparents were immigrants, I have a closer view. In my 76 years, I can’t even begin to tell you what I have learned from folks who are NOT like me: black people, immigrants from a whole lot of places in the world, plus their children. I think people who are afraid of being “replaced” have to have some deep-seated insecurity that I don’t understand. For Tucker Carlson to spout the garbage that he does to get ratings is just scary to me, because it seems to help unleash the worst in people. And believe me, it’s not just a color divide. My Polish dad and Italian mom were subject to all kinds of discrimination and harassment, but it was much easier for them to assimilate because they were white and certainly much easier for their children. My life is so much fuller because not everyone I know and care about looks, acts, or thinks the same. Including you!I’ve long lived in highly diverse places and love it. But I’m not a typical human being, and the desire to live among “people like you” is so deeply ingrained in human nature it deserves respect in public policy. I’m pro-immigrant, but the pace and scale of migration right now is far beyond what a country needs to retain a sense of itself, its history and identity. We’re at a century-high peak of immigration; and we could do with a respite for cultural and social cohesion. “A long-time subscriber, first-time correspondent” has some guest recommendations for the Dishcast: One theme I’ve particularly enjoyed on your podcast is faith and secularism in the contemporary world. I’m writing to suggest several thinkers who could bring a lot to that discussion.First is the eminent philosopher Charles Taylor, the most important living Canadian intellectual. While he’s contributed to many branches of thought, his book A Secular Age transformed the study of religious faith in the modern world. He’s also interested in the concept of multiculturalism and has stood up against efforts in Quebec to stop Muslim women from wearing the hijab. His political stance is more communitarian than liberal, though, and he’s had fascinating dialogues with Jürgen Habermas and other thinkers.Another suggestion is the Anglican theologian and philosopher John Milbank. As a founder of the Radical Orthodoxy movement, he’s taken on liberalism more directly, but I think the two of you could have a very constructive conversation about it. He would also have really interesting — and maybe provocative — things to say about continental philosophy (he has coauthored books with Slavoj Žižek!), Brexit, and the future of Western political systems.Finally, I’d recommend the Protestant theologian James (Jamie) K. A. Smith, a philosophy professor at Calvin University. He’s written many books on Christianity in the contemporary world, drawing especially on postmodern philosophy. He is particularly interested in how Christian intellectuals can engage with contemporary art and literature, and is editor-in-chief of the journal Image.I actually read A Secular Age in its entirety a couple of years ago. It’s magisterial but bloated: two words I’m not sure work on a podcast. But thanks for the other suggestions. Next up, a reader with some personal advice:I wanted to tell you something based upon a comment you made discussing your testosterone shots. Get Biote pellets. I did, and I don’t have the ups and downs. You get them put in every 4-6 months, depending on how active you are with exercise and sex. I work out every day, so I get them replaced at the 4-month mark. It’s also referred to as hormone replacement therapy. I used to use the cream daily, but I felt like s**t every morning until I put the cream on again. I have no ups and downs now, and my levels stay around 1,200. You can do less if you want, but man, I feel great for months at a time and it’s not that expensive. One more reader:You linked to an interesting piece by Lisa Selin Davis with the teaser, “What if ‘life-saving care’ for trans kids is really more about cosmetic passing?” Yes, it does seem like transitioning is mostly cosmetic. I wonder if trans advocates would support men who want to take testosterone for bodybuilding. What about professional sports, to get a competitive edge? What about Olympic sports? Any thoughts?I’m not against adult men using steroids to get bigger and hotter. Au contraire. I’m not against trans adults using any safe, pharmaceutical methods to “pass” more easily. I’m against using these very powerful substance on children without extremely careful vetting and an expansive mental health assessment. Yes, transing them before puberty could make them more likely to pass as adults — but I don’t believe most are mature enough to make that kind of decision at that age, especially when it may guarantee them sterility and, in some cases, an inability to experience orgasm ever. Keep the dissents and other comments coming: dish@andrewsullivan.com. Get full access to The Weekly Dish at andrewsullivan.substack.com/subscribe
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"
Sjeng Scheijen en slavist, kunstkenner en schrijver, bijvoorbeeld over de Russische balletpromotor Diaghilev. Sinds het uitbreken van de oorlog in Oekraïne post Scheijen elke dag op zijn Instagram een werk van een Oekraïnse kunstenaar. Gijs zocht hem op om hem zijn licht te laten schijnen op de oorlog. See omnystudio.com/listener for privacy information.
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
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
Today we are joined by Lynn Garafola, dance historian and author of ‘La Nijinska: Choreographer of the Modern.' Ms. Garafola is Professor Emerita of Dance at Barnard College, Columbia University. A dance historian and critic, she is the author of Diaghilev's Ballets Russes and Legacies of Twentieth-Century Dance, and the editor of several books, including […] The post (271) Lynn Garafola, Dance Historian, on Bronislava Nijinska appeared first on tendusunderapalmtree.com.
The Diaghilev Ballet Russes was a project which brought revolutionized ballet, brought it to the world, and served as a launching point from which artists like George Balanchine would begin their careers. If you want to come see Much Ado About Nothing, you can find tickets here: Much Ado About Nothing – Touring Sydney – February - Premier Tickets
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
Diaghilev would often look at past art and then do the opposite. He playfully abandoned plot, elaborate costumes, emotional expression, and even meaning, but reinstating them whenever he felt like it - this was his undogmatic approach to modernism. In this final lecture, we will focus on one of the best-preserved Diaghilev productions, The Prodigal Son, a strikingly beautiful ballet by Prokofiev/Balanchine/Rouault. It could have been a new beginning, but it became Diaghilev's final word when he died in the summer of 1929.A lecture by Marina Frolova-Walker 12 MayThe transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/lectures-and-events/diaghilev-prokofievGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege Instagram: http://www.instagram.com/greshamcollege
Modernity kept seeping into ballet, a genre that had traditionally looked to a distant, mythical or magical past. First, the tutu gave way to an everyday tennis costume in Jeux by Debussy/Nijinsky, then ragtime rang out in Parade by Satie/Picasso, and in the 1920s Diaghilev decided staged a series of ballets drawn from contemporary life, and in particular, the French high society in which Diaghilev moved. Milhaud and Poulenc provided the sparkling scores, while Coco Chanel added her sparkling costumes.A lecture by Marina Frolova-Walker 7 AprilThe transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/lectures-and-events/ballets-russes-turning-frenchGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege Instagram: http://www.instagram.com/greshamcollege
Diaghilev seemed to be the nemesis of traditional ballet, but he was ready to draw on the rigorous classical schooling of his dancers whenever it suited him. Once ugliness had been established as a legitimate option, he was happy to bring back beauty on many occasions alongside the new neoclassical music that he had begun to promote. Stravinsky and Balanchine's Apollo was one such ballet, which also managed to give Greek antiquity the new solemnity, stripped of the exoticism of earlier "Greek" ballets.A lecture by Marina Frolova-Walker 18 FebruaryThe transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/lectures-and-events/ballets-russesGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege Instagram: http://www.instagram.com/greshamcollege
The Rite of Spring was the startling result of a collaboration between Stravinsky, Nijinsky (choreography) and Roerich (sets and costumes). In the immediate aftermath, it seemed to be a fiasco because of its riotous reception, but it proved to be the successful introduction of a new modernist aesthetic that cultivated ugliness and machine-like movements. We will trace the musical, visual and choreographical consequences of this new trend through several later Diaghilev ballets: Parade (Satie/Picasso), Chout (Prokofiev/Larionov), Le Pas d'Acier (Prokofiev/Yakulov).A lecture by Marina Frolova-Walker 21 JanuaryThe transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/lectures-and-events/rite-of-springGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege Instagram: http://www.instagram.com/greshamcollege
Diaghilev found that the Oriental style that had been cultivated by Russian composers was a perfect match for the Parisians' love of exoticism, and he started to commission new ballets for this market niche. These were so successful that even Parisian women's fashions came under their influence. But Russian folk art and music had the same exotic appeal in Paris, and Diaghilev discovered that Stravinsky was the man to turn this new 'product' into great art that was also modernist and attention-grabbing.A lecture by Marina Frolova-Walker, Gresham Professor of Music 29 OctoberThe transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/lectures-and-events/ballets-russes-exoticGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege Instagram: http://www.instagram.com/greshamcollege
Longus's charming pastoral novel Daphnis and Chloe about teenage love and pirates was written in the second century AD. Tim Whitmarsh, AG Leventis Professor of Greek Culture at Cambridge, discusses his work, alongside that of other early Greek writers and Judith Mackrell, dance critic for The Guardian talks about how the text was used by Diaghilev to create the iconic ballet for the Ballet Russes. Presenter: Shahidha Bari.Producer: Torquil MacLeod
© 2020-2025 Ivy Podcast Discovery LLC
