Видео

Baron Wrangell's splendid pizzicato (originally from Lev Ivanov's 1897 ballet "La Fille du Mikado") is absolutely ravishing, especially with its fabulous counterpoint for solo flute.

Very little of this is Gretna Green

I know I go on and on about this, but it is very important - the Mariinsky, not to mention the entire world of ballet, needs to STOP performing to such slow, musically incorrect tempi, especially when there is reconstructed and/or historically inspired choreography being performed. The tempi became increasingly slower as the run of performances of "The Pharaoh's Daughter" progressed after the ballet's premiere. The tempi as of the Grand pas d'action as seen in this video is a perfect example of this - just about all of it should be at RUclips's 1.25 speed...the only exception is the pizzicato, which is pretty good regarding tempo. Aspicia's "Pas de Sabre" needs to be a bit faster, but not quite at 1.25. Reconstructed and/or historically inspired choreography almost always appears overly simplistic and even boring when the music is slowed down to the levels that is now the norm with modern-day dancers. The Mariinsky's revival of Petipa's "Awakening of Flora" is case-in-point, as is the Australian Ballet's recently streamed performance of Ratmansky's revival of Petipa's "Harlequinade" - in both cases the choreography is left looking ridiculously simple when performed to tempi that are almost 2x slower than the music should be. Another consequence of this habit for slowed tempi is that the orchestra sounds terrible - the musicians may be maintaining their professionalism but their playing is so clearly uninspired, which is why most musicians these days really HATE playing for ballet.

La traducción al inglés es: "It's incredible that you found music from this lost Minkus ballet. Where did you find it?"

Excellent tempi, musically correct!

wonderful🤩🤩🤩how did you manage to find this music in such good quality?

Thank you so much for this so long awaited document ! Would it be please to see the complete ballet ? It is historical for the art of Ghislaine Thesmar and the so important work made by Pierre Lacotte for romantic ballet !

Wow...! This is a very rare document ! Maybe, my copy is a little better than yours, not sure... I guess the original is not good (too much light and a bad quality cam recorder). I also have a copy with Monique Loudières, but unfortunately there is no close-up. It's funny, I was planning to upload a documentary about L'Ombre's reconstruction and two reports with Noella Pontois and Alessandra Ferri... Maybe on next week-end.

OMG OMG THANK YOU! I’ve wanted to see clips of this recon since forever but to be able to see the whole thing is incredible! Thank you also for the more detailed plot because for years the only plot I knew was “murdered woman ghost” this ballet is like a fusion of Raymonda and bayadera.

What a discovery. Bravo Pierre Darde. Thank you for sharing!

thank you very much for uploading. never seen this before

What energy. She makes everything look effortless.

48:41 Dunque il disco di Richard Bonynge e' una suite . E' quello che ballava Anna Pavlova con la sua compagnia. Qua' il balletto e' completo l. Realizzazione stupenda.

Omg thank you so much I’ve wanted to see Lacotte sylphide for a long time! Is there any footage of la fille de Danube?

Wonderful video! I see that no choreographers are credited, do we have any idea who created these variations?

Great video! I had seen it a long time ago. The Saint-Saens variation with daggers makes me think that I have a pas de deux choreographed by Jean-Guillaume Bart, but this music is for the male variation!

Thanks for sharing. The link you posted at the bottom doesn't seem to work unfortunately.

Thank you for sharing your amazing collection of Paquitas!

Great🙂! Galina Stepanenko has always had a very solid technique, very "Bolshoi way"! Thanks for this.

Thanks for this video, and all your comments in the description. I think I have the same Paquita with other dancers (Alexandrova as Paquita if my memory is still OK...😁)

Hello ! Maybe some informations you might be interested in : according to the piano score "La Forêt Enchantée", this music is not there. Maybe it has been added later? But, still according to the piano score "La Forêt Enchantée", some pieces are here : ruclips.net/video/eJg3g5MuJoA/видео.html Entrée Pas des Eventails = n°3 "Scène Dansante" Adage = n°5 "Pas d'Action" Pas de Quatre = n°6 "Danse des Dryades" Final = n°8 "Coda Valse" (not complete) followed by n°3b "Galop". Some other pieces (especially the Czardas n°10) of "La Forêt Enchantée" were in a YT video, in a ballet performed by the Kazakh National Academy of Choreography, but unfortunately the video has been deleted. I have this video but I don't know if I have the rights to publish it, maybe the music only... If you're interested in it, just tell me...🙂

Great video, love it! ❤

In the end, this variation doesn't belong to Paquita? ruclips.net/video/3QTXiS7o8ds/видео.htmlsi=tGknohPTo8Xqplwl

Do you have any full video of the Underwater Kingdom pas? If so, can you upload it please?

Hey, I wanted to know, where is from the wedding pas de deux from Pierre Lacotte production of Paquita ? The one where Paquita dance with a white gown, it doesnt seem to be on your recording so I was curious to know where its from if its not Paquita

Omg thank you, I love learning more about Paquita !

The Ratmansky version of Paquita is based on Sergeyev notations? Or also Justamant?

Thanks a lot for this recording and your interesting commentaries. It's fun to consider that this Paquita came back in Paris in 1980 since the creation because of Oleg Vinogradov! With the Grand Pas, mostly Petipa/Minkus than Mazilier/Delvedez...

Very interesting to see the original choreography plans. Petipa seems to have changed it a lot! Personally I prefer Petipa’s variation for pavlova as paquita (from the pharaoh’s daughter) in the pas de sept than the original that I can hear here. I’ve always been curious about the justamant notations, I know there is paquita, Giselle and Ondine. Are those all the ballets he notated?

Pas de Paquita. Justamant’s notation of the Pas de Paquita (pas des tambourins) is a rousing pas de cinq for Paquita and two male/female couples, comprising an entrée, two variations, and a two-part coda. The dance and action of this pas de cinq are infused with amorous and good-humored flirtation, and Paquita’s part calls for dazzling, virtuosic dancing. Justamant provides some commentary letting us know the narrative significance of the dance, during which “Lucien is transported with joy over Paquita.” The entrée (07:27) a pleasant and moderate 3/4 in G major with chromatic inflections begins with the two couples, each woman having her arms on her partner’s shoulder and the men with their arms crossed. The description of the first combination is preceded by a parenthetical “en temps de cachucha.” The pairs perform identical steps in opposition, traveling to center and back out to the wings with a series of small jumps punctuated by poses in which the dancers lean toward or away from each other. With the couples finishing at the sides, Paquita begins a brief solo highlighted by three grands ronds de jambe à la seconde and “relever sur les deux pointes, les bras en couronnes” The men approach Paquita at center, and a vignette plays out in which they fight for her affections: The man on stage right takes Paquita’s hand and kisses it. The other sees this and comes a little in front of Paquita, pushes the kisser’s head back, then pokes him; [Second man]: “Why did you kiss her hand? I did not do so.” [First man]: “Ah, it doesn’t concern you.” [Second man]: (in anger) “We’ll see about that.” [First man]: “Well, yes.” They run toward each other and begin a fist fight. Paquita: (separating them) “Calm down. I’ll make you agree by giving you my two hands.” The men each grab a hand and kiss it. They take Paquita by the waist and assist her in various steps, moving her upstage and down as she performs jetés en arrière and en avant, attitudes en pointe, and an entrechat six as they lift her. Finally, all three perform a pirouette sur le cou-de-pied, Paquita finishing “sur les pointes” as the men support her by the waist. [The two women]: (coming up to their partners and striking them on the shoulder) “Well, we are here.” The men: “Ah! It’s as it should be!” The couples continue the dance as it had begun, eventually finishing with each woman holding her partner’s shoulder with one hand and performing an appel (a stamp of the foot) while leaning back, the other arm raised in the air. The following variation is cut in Justamant (09:32) (“une variation coupé”), although it is not struck through in the Rep. Paquita’s variation (10:31) a quick, light G-major flute solo in 2/4 begins with multiple grands sauts de basque and continues with piqués en arabesque and piqués degagés. At one point, following four sauts de chat, she performs “six petits changements de pieds sur les orteils.” The variation concludes with the obligatory pirouette sur le cou-de-pied. The coda (11:20) is begun by the two couples, each of the dancers holding a tambourine which they repeatedly strike and also hold overhead with both hands. Next, Paquita performs a final entrée filled with jumps, including cabriole de côté battu, fouetté sauté, brisé, assemblé, saut de basque, and sissonne en tournant, finishing with a “pirouette sur le cou-de-pied et la jambe croisé derrière.” The other dancers run from either side as the music changes to a 3/8 “mouvement de valse”. Paquita, “sur les pointes,” strikes the tambourines of her fellow dancers, the women first, who then change places with the men. Then she performs eight sauts de basque as she travels down a diagonal line formed by the couples at stage left. With each saut de basque, she strikes a tambourine held in her path. As soon as a tambourine is struck, that dancer runs downstage to rejoin the line and continue the pattern. Paquita moves to center while making two turns to the right, and the other dancers surround her in a square formation, the women in front, posing and raising their tambourines overhead. Paquita continues to strike the tambourines, moving downstage from the men to the women. Similar patterns and combinations continue, the men at one point lifting Paquita together by the waist. Finally, all five dancers form a row across the stage and travel down performing glissade dessous, coupé dessous, petits sauts de basque en face three times on each leg, with the right arm held overhead. A single pirouette for all precedes a final series of poses, and the number ends with the dancers surrounding Paquita, who on the final two chords strikes the tambourines of the men and then the women. As one critic wrote, “In the pas des tambourins, Mlle. Grisi performed prodigies of lightness, elevation and parcours; in her last écot especially, she performs temps de pointe which bring forth thunders of applause.” The libretto, which aside from laying out the action in detail (over the course of eleven pages), provides a full cast list and names some of the dances to be performed. The total number of characters was 183: nine characters listed as “personnages” (though some were only bit parts), and (in Act One) seventeen Roma (nine men, eight women), fifty-three Spanish villagers (thirteen men, seventeen women, nine boys, fourteen girls), three women in the pas de trois, two lead dancers and twenty others in the “corps de danse” (a.k.a. Pas des manteaux), and two mayos and two mayas who joined Paquita in her “pas des tambourins.” Deldevez, Edmé(-Marie-Ernest) [Edme, Edouard, Emile] (b Paris, May 31, 1817; d Paris, Nov 6, 1897). French violinist, conductor, composer and teacher. At the age of six he began violin lessons with Sudre, who then took him and the young pianist Louis Lacombe on an ‘artistic journey’ of several months. On 1 March 1825 he entered the Conservatoire, where he studied for the next 16 years, winning several first and second prizes and, in 1838, second place in the Prix de Rome for his cantata La vendetta. His teachers included Habeneck, Reicha, Halévy and Berton; with the latter's help he gave a concert of his own compositions on 6 December 1840. Deldevez began his professional career as a violinist, first at the Opéra from 1833, and then at the Société des Concerts du Conservatoire from 1839. However, conducting became more important, and he took up positions at both institutions from 1847 and 1872 respectively. He became principal conductor at the Opéra in 1873, and ensured the continuity of performances after the fire at the Salle Le Peletier, directing the inaugural performance at the new Garnier building on 5 January 1875. According to Saint-Saëns, Deldevez was the most important conductor at the Société des Concerts since Habeneck, whose tradition he continued; he was the first real champion of the works of Berlioz. On 11 November 1871 he was appointed a member of the examining committee for string classes at the Conservatoire, and under Ambroise Thomas, then director of the Conservatoire, he became the first official teacher of orchestral conducting in France, in a post created for him on 15 October 1873 (in which he remained until 1885). He was influential as a teacher and theorist, and wrote a number of theoretical works on specific aspects of music, and also edited anthologies of other composers' works. His own compositional style reflected his love of tradition and the influence of his teachers, particularly Halévy and Berton. However, it was above all his talents as an orchestrator that were recognized by his contemporaries; Gounod and Berlioz in particular paid tribute to his skill.

Interesting comparison. The second variation choreography (at 1:22 Yuliana Chereskevich) seems to be more close of Petipa spirit. This music is sometimes used for male variation !

Fantatstic ! Thanks for the upload...🙂

It's a fine dance and the music not in common arrangement. But please note, that it is not the Russian Dance, but the Melanconic Mazourka (No.13)

How could you find the music for this ballet? It is almost impossible to find music by that composer.

I have a dream that one day a giant CD boxed-set will be produced with all of Maestro Riccardo Drigo's ballet scores, along with an additional set of discs of the Maestro's large catalog of additional and supplemental pas, variations, dances, etc. which numbered about 80, and of course to have all of this material in Drigo's original orchestration. Interestingly, for "La Vestale" Drigo composed about 11 variations to supplement Mikhail Ivanov's original score - it seems Ivanov was not very good at writing music that could showcase ballet dancers, especially during their all-important solos. The variations are beautiful pieces of music i. Their own right, though all to often they are performed and/or recorded in some other arrangement. So far I know of - 1. Dulcinea's variation in Don Q. 2. The variation for harp in the prologue of Le Talisman that accompanies the entrance of the Goddess Ella (aka Niriti). 3. The 2nd so-called "bridesmaid variation" in the Bolshoi's Don Q. Published as "Valse mignonne". 4. Variation of Hebe in Burlaka's "Flora pas de quatre". Published as "L'Écho" (it's a musical canon) likely for the Goddess Echo in La Vestale. 5. Variation of Gulnare in the Pas d'esclave, but I suspect this is actually Mikhail Ivanov's music. 6. Variation for Enrico Cecchetti, a mazurka, which recently turned up in the Mariinsky's full-length Paquita as a solo for Lucien d'Hervilly. 7. Variation danced by Fleur-de-Lys in the Bolshoi's Esmeralda (the melody is very much inspired by "L'Aurore" in Coppélia).

All are great interpretations of this fabulous variation. It is especially striking to see Elena Kabanova perform the authentic opening combination in performance.

Thank you 4 sharing this marvelous production. Can you upload here, or send me, the enterely production?

Any idea who dances the Tsar-Maiden?

Do you have, or do you know where to get, a high resolution copy of this performance? I shouldlike to make audio files of the rare variations!

I didn’t know photographs existed of imperial la source revival! Bizarre to me is how this ballet is so obscure and almost lost even though it has famous composer like delibes attached to it. It’s such a shame that the POB retired their production of this fantastic ballet…

If memory serves, Doug Fullington pasted the choreography for Olga Preobrajenskaya's "Adventures of Peleus" Minkus variation (included among the Jardin animé notation) onto Delibes's original music for Gulnare.

The world of classical ballet, particularly in Russia, needs to break the e bad habit of slowing down music to such levels as is heard here - the variations in this performance are slowed down to coma inducing levels. Such tempi is why so many orchestras nowadays sound terriblewhen they play ballet music, as if they all took a valium. They are professional but have no inspiration whatsoever. If you play the 1st variation at 1.50 speed youll hear its proper tempo. The second variation needs to be a little slower than 1.25, at about 1.10 (but youtube doesnt have it). The 3rd variation pizzicato needs 1.50 speed - it was originally composed by Drigo to accelerate and de-accelerate in tempo during its main melody. The 4th variation for Cecchetti needs 1.25 speed. Its a shame - the second variation is brilliantly orchestrated by Maestro Drigo.

I bow to you ....i have long wanted to see this particular film. You are a Première danseuse assoluta for uploading this!!! Merci beaucoup.

Most underrated paquita grand pas variation 😋

Thanks for all the new stuff thats so informative ! May I ask where did you find those footages and the music score please ? I am passionate by 19th century ballet history and I would like to know more about this one !

I finally understand why they put this variation in the second act of the 2022 Catarina revival by Sergei Bronbov, I thought it was odd to choose this variation but it actually made sense now !

Fleur-de-Lys pizzicato is by Drigo for Anna Johansson, La Esmeralda revival, 1886. The music is supposed to accelerate and de-accelerate, but it is never performed this way. In 1886, Drigo also composed a variation for the ballerina Frolova that is today danced by Diana in Diana et Actéon pas de deux. I believe Varvara Nikitina was first to add it to the Pas de Diane in "Le Roi Candaule" in 1891.

Only Yananis and Jaffe's performances from '58 and '84 include Maestro Riccardo Drigo's music in its original, ravishing orchestration. It really is sublime music. But unfortunately in the world of ballet, hideous arrangements of Drigo, Minkus and Pugni are LEGION. The Bolshoi and Mariinsky performances in this video present the music in either negligent (Boshoi) or downright GHASTLY (Mariinsky) arrangements. The Mariinsky has no excuse for such basterdized arrangements of the old ballet music, since they literally have the original scores in their jealously gaurded yet never utilized archives😢.

Are you sure you aren't confusing Anna Pavlova's "Le Roi Candaule" variation by Drigo for harp and strings (which she also added to Paquita in the grand pas, as reflected in Harvard's materials) with Legnani's variation? (also by Drigo for harp, that is fratured in this video)

The Pizzicato in act 2 of both the Bolshoi and the Mariinsky's productions of "Pharaoh's Daughter" is from "Mikado's Daughter", specifically the "Printemps" divertissement.