Wow! I love the original choreography for the variation at 20:35, more exciting and full of life than the version Mariinsky does. Actually, I would say that about all the variations here, but especially that one. The notated version of this ballet is so much more musical, and just feels more alive if that makes sense. I know this is not a new video but thanks for posting! It’s lovely! ❤️
Very pleased to see that what appears as the first variation here is danced by a woman and not assigned to Lucien as it sounds like a masculine variation, as so often happens outside Russia. This variation was intended for a female dancer.
Thanks for sharing! The more I watch reconstructions of Petipa works, the more I realise there's still a lot to be said for the classical vocabulary, whereas many modern versions of the classics that we see today are mostly based on tiresome tricks and choreographic clichés for which I have very little patience. Many of the enchaînements in these reconstructions strike me as pure Cecchetti, who had such a strong influence on Ashton's own brand of classicism. ETA: Now I understand why Ratmansky has referred to Ashton as an "heir to the old Russian school, maybe the closest of all" and that "it's really remarkable how the notated steps resemble his choreography and style. In his own words, he ‘has learnt more from the lessons that Sleeping Beauty has to offer than from any other choreographic experience’ of his life."
I know, I’m the same. At least Balanchine and Ashton avoid all these overused clichés that have ruined not only Petipa’s ballets, but his beloved art form. I think it’s time for someone to establish a new ballet company that would be devoted to Petipa with the repertoire full of the reconstructions and the works of Petipa’s followers.
Hi Amy - I am doing some investigating on this myself so it was great finding this post. I am interested in finding the music for the variation at 18 mins which I have heard called various numbers but mostly called "vestale" . Do you know of any orchestrated music/albums available for the Grand Pas Classique? Thanks, this is great
I’m quite surprised to see that the tempo for this reconstruction is somewhat slower than the tempo that’s become tradition since the late 20th century. Certainly feels different to what the tendency has been with other Petipa ballets. I do feel that while the choreography is quite beautiful, it doesn’t feel particularly Spanish. So in hindsight, I am quite appreciative of other productions trying to add a more Spanish flavor into the ballet. As I said to you before Amy, thank you for sharing your knowledge and these videos. Seeing the reconstructions is definitely interesting, but what’s most lovely is that they get to coexist with new adaptations.
Really? I don’t get that impression. The tempo here is just as fast, if not faster than the traditional versions. Also, Petipa had a very good knowledge of traditional Spanish dance, which he obtained from the three years he spent in Spain and he really showed this in his Spanish character dances. This is meant to be a classical Grand Pas, not a character piece, so while the choreography does contain some Spanish style, it’s still meant to be classical dance. In fact, notice how it’s very similar in many ways to Balanchine’s choreography. Also, and this is something that traditional versions always leave out, the whole point of the adage is that Paquita and Lucien are supposed to show that they’re in love, not that they’re in an advanced Pas de deux class.
DarkDancer06 oh I know he did. I guess the way I look at it is that this is meant to be a classical dance in Spain. So it doesn’t have to be a character dance, but have a bit of a Spanish feel to it. I think the tempo on the Adagio is definitely faster than what’s become traditional. It’s the rest of the piece that feels a bit slower. But that could admittedly just be my perception because Paquita is one of those ballets that has suffered, time after time, of truly hideous orchestration arrangements. Of particular hate is that 80’s/90’s one that ABT used.
Snowweisz yes!! Bad orchestrations are the result of Gergiev’s greedy politics that are jealousy keeping the original orchestrations under guard in Saint Petersburg.
DarkDancer06 possibly, yes. I think it’s normal for orchestrations to change just because the arts evolve and that’s quite normal. But Paquita has had the worst treatment when it comes to orchestration. Possibly followed by Bayadere. Interested to hear how the music will be played in the upcoming Ratmansky reconstruction.
What companies are adding "Spanish flavor" to the grand pas? The ballet takes place in spain, but that doesn't mean an endless parade of Spanish style. No one ever expects all of swan lake to sound german.
Смотреть на эти "лохматые" ноги не возможно. Деми аттитюд не просто делать аккуратно, его ещё и элегантно надо делать. Элегантно более менее получилось, аккуратно - нет( оркестру - браво!
First of all , no one reads Russian on UA-cam - it is exclusively in English . By the way , what are "shaggy " egs ? Poor dear , you are a fan of "Vaganova Robotic Dancing "...Russian ballerinas raising their legs up to their ears in Petipa ballets - vulgar , disgusting , to say the least ......Petipa did not like Vaganova dancing.......
Ciao Enrico!! I love the notated version; when I saw it live, it made me wonder why anyone would even think of changing it. I was certainly delighted to see no fouettés anywhere in Petipa’s version!!
probabily is a my limit but l can't frankly stand ratmansky's revisions with supposed original steps that he probabily recived by petipa &c due a three legs table
I don't like it vastly prefear tradictional stagingsl and cant watch these technically inferior versions. Totally devoid of style, variations absolutely out of harmony with the orchestra.
Thank you for your comment, but I must stress to you that this version is far more technically demanding than the traditional versions. The style is a different style from what you're used to, but that doesn't make it bad, and the choreography is very musical, which is the genius of Petipa's choreography.
It’s so interesting to see all the Flamenco elements that used to be part of the choreography.
Wow! I love the original choreography for the variation at 20:35, more exciting and full of life than the version Mariinsky does. Actually, I would say that about all the variations here, but especially that one. The notated version of this ballet is so much more musical, and just feels more alive if that makes sense. I know this is not a new video but thanks for posting! It’s lovely! ❤️
I love how the kids got this amazing applause :) Nice people out there
This was wonderful, so love the reconstruction and the history. Thank you so much for continuing to educate us out here!
I really hope this is brought back to ABT at some point. I'd love to see them try to tackle it!
Very pleased to see that what appears as the first variation here is danced by a woman and not assigned to Lucien as it sounds like a masculine variation, as so often happens outside Russia. This variation was intended for a female dancer.
I compared this from the Vaganova performance. I think this original choreography has more footwork than the modern choreography.
Thanks for sharing! The more I watch reconstructions of Petipa works, the more I realise there's still a lot to be said for the classical vocabulary, whereas many modern versions of the classics that we see today are mostly based on tiresome tricks and choreographic clichés for which I have very little patience. Many of the enchaînements in these reconstructions strike me as pure Cecchetti, who had such a strong influence on Ashton's own brand of classicism.
ETA: Now I understand why Ratmansky has referred to Ashton as an "heir to the old Russian school, maybe the closest of all" and that "it's really remarkable how the notated steps resemble his choreography and style. In his own words, he ‘has learnt more from the lessons that Sleeping Beauty has to offer than from any other choreographic experience’ of his life."
I know, I’m the same. At least Balanchine and Ashton avoid all these overused clichés that have ruined not only Petipa’s ballets, but his beloved art form. I think it’s time for someone to establish a new ballet company that would be devoted to Petipa with the repertoire full of the reconstructions and the works of Petipa’s followers.
supposed reconstructions of petipa steps that ratmansky probabily recives due a three legs table from petipa in person
@@amygrowcott do you have the original recording of this? The resolution here is not that sharp
❤❤❤
Hi Amy - I am doing some investigating on this myself so it was great finding this post. I am interested in finding the music for the variation at 18 mins which I have heard called various numbers but mostly called "vestale" . Do you know of any orchestrated music/albums available for the Grand Pas Classique? Thanks, this is great
Thank
You’re welcome 🙂
bellissimo?a me non piace per niente .ste supposte versioni originali sono tecnicamente inferiori e noiose .tu che ne pensi?
19:32 who else recognizes this music from don quixote?
17:30 for my own refs
why they bring small children to this events?????? wwwwwhy
What are those kicks called @29:28?
Series of Balloné à la quatrième devant 45° sur les pointes (or just balloné en avant)
Ireally want to see it with the choreography of Pierre Lacotte.He is awaking the 🩰 😤
nicole reding-hourcade Lacotte’s version is uploaded here on UA-cam
Lacottes version sucks....as does the POB......
I’m quite surprised to see that the tempo for this reconstruction is somewhat slower than the tempo that’s become tradition since the late 20th century. Certainly feels different to what the tendency has been with other Petipa ballets.
I do feel that while the choreography is quite beautiful, it doesn’t feel particularly Spanish. So in hindsight, I am quite appreciative of other productions trying to add a more Spanish flavor into the ballet. As I said to you before Amy, thank you for sharing your knowledge and these videos. Seeing the reconstructions is definitely interesting, but what’s most lovely is that they get to coexist with new adaptations.
Really? I don’t get that impression. The tempo here is just as fast, if not faster than the traditional versions. Also, Petipa had a very good knowledge of traditional Spanish dance, which he obtained from the three years he spent in Spain and he really showed this in his Spanish character dances.
This is meant to be a classical Grand Pas, not a character piece, so while the choreography does contain some Spanish style, it’s still meant to be classical dance. In fact, notice how it’s very similar in many ways to Balanchine’s choreography. Also, and this is something that traditional versions always leave out, the whole point of the adage is that Paquita and Lucien are supposed to show that they’re in love, not that they’re in an advanced Pas de deux class.
DarkDancer06 oh I know he did. I guess the way I look at it is that this is meant to be a classical dance in Spain. So it doesn’t have to be a character dance, but have a bit of a Spanish feel to it.
I think the tempo on the Adagio is definitely faster than what’s become traditional. It’s the rest of the piece that feels a bit slower. But that could admittedly just be my perception because Paquita is one of those ballets that has suffered, time after time, of truly hideous orchestration arrangements. Of particular hate is that 80’s/90’s one that ABT used.
Snowweisz yes!! Bad orchestrations are the result of Gergiev’s greedy politics that are jealousy keeping the original orchestrations under guard in Saint Petersburg.
DarkDancer06 possibly, yes. I think it’s normal for orchestrations to change just because the arts evolve and that’s quite normal. But Paquita has had the worst treatment when it comes to orchestration. Possibly followed by Bayadere. Interested to hear how the music will be played in the upcoming Ratmansky reconstruction.
What companies are adding "Spanish flavor" to the grand pas? The ballet takes place in spain, but that doesn't mean an endless parade of Spanish style. No one ever expects all of swan lake to sound german.
Смотреть на эти "лохматые" ноги не возможно. Деми аттитюд не просто делать аккуратно, его ещё и элегантно надо делать. Элегантно более менее получилось, аккуратно - нет( оркестру - браво!
First of all , no one reads Russian on UA-cam - it is exclusively in English . By the way , what are "shaggy " egs ? Poor dear , you are a fan of "Vaganova Robotic Dancing "...Russian ballerinas raising their legs up to their ears in Petipa ballets - vulgar , disgusting , to say the least ......Petipa did not like Vaganova dancing.......
I can smell the mothballs through the screen
You probably smelled your armpits....
sincearly don't like it vastly prefear tradictional stagings
Ciao Enrico!! I love the notated version; when I saw it live, it made me wonder why anyone would even think of changing it. I was certainly delighted to see no fouettés anywhere in Petipa’s version!!
l cant watch these technically inferior versions ,really
Technically inferior? This is far more difficult than the modern steps, particularly the epaulment.
probabily is a my limit but l can't frankly stand ratmansky's revisions with supposed original steps that he probabily recived by petipa &c due a three legs table
is your opinion ....let's agree to desagree
I don't like it vastly prefear tradictional stagingsl and cant watch these technically inferior versions. Totally devoid of style, variations absolutely out of harmony with the orchestra.
Thank you for your comment, but I must stress to you that this version is far more technically demanding than the traditional versions. The style is a different style from what you're used to, but that doesn't make it bad, and the choreography is very musical, which is the genius of Petipa's choreography.
Sure...Ivan.......Watch your Russian "Vaganova Robots" slowing down the music , and raising their legs up to their ears...