Var. for “Mlle Legnani” Camargo (1901) Var. for “Mlle Pavlova II” Paquita - R.Drigo/L.Ivanov скачать в хорошем качестве

Var. for “Mlle Legnani” Camargo (1901) Var. for “Mlle Pavlova II” Paquita - R.Drigo/L.Ivanov

Music by Riccardo Drigo (1901). Variation for Pierina Legnani. When the great Legnani gave her final performance in Russia in 1901 before retiring to her native Italy, she performed in Ivanov's revival of Petipa's 1872 "La Camargo", which told the story of how the 18th century dancer Marie Camargo & her sister Madeleine were abducted for one night by the Comte de Melun. Drigo wrote this variation especially for Legnani's performance, which is legendary in the annals of ballet history - on that evening she demonstrated just why she was the first to obtain the official title of 'Prima ballerina assoluta'. It was very appropriate for the greatest ballerina of the late 19th century to give her farewell performance as the greatest ballerina of the 18th century! Adam Lopez Variation interpolated from the ballet Camargo. Following the two notations of Variation 5, the CN includes a solo with the heading "Variation Pavlova 2." The choreography is also preserved in an additional CN documenting Pavlovas performance that includes an annotation ascribing the music to Drigo. 160 Comparison of the notated choreography with Burlaka's Variation 6 suggests that the dance is set to a solo harp composition that was interpolated into Camargo, an 1872 Petipa ballet made for Adèle Grantzow that was revived for Pierina Legnani with new dances by Lev Ivanov on 28 January 1901 (Ex. 5.16). 161 The main CN consists mostly of ground plans, but the additional CN provides greater detail. Following a cadenza introduction, the variation features series of bourrées, at times punctuated by entrechats six. Near the end of the variation, at the return of the opening melody, Pavlova performs a manège of pas de bourrée en tournant, cabriole der-rière, plié battement devant, passé relevé to arabesque (the main CN calls for relevé passé to arabesque fondu) six times followed by four piqué tours en dedans and four chaînés on demi-pointe. The main CN indicates a final pose of relevé en arabesque. 160 For the additional CN, see MS Thr 245 (228), 41-42. 161 Minkus and Petipa, Bolshoye klassicheskoye pa, 96-98 (choreography description), 178-181 (piano re-duction). On the revival of Camargo, see Khronika IV, 16-17, and Ezhegodnik (1900-1901), 176-186. In the revival, Pavlova danced a pas de trois in the second scene, set to music by Vasily Wrangell, with Georgi Kyaksht and Mikhail Fokine; in the fourth scene, she performed the role of Snow. See Lazzarini, Pavlova, 217. Five Ballets from Paris and St. Petersburg: Giselle | Paquita | Le Corsaire | La Bayadère | Raymonda By Doug Fullington and Marian Smith Natalia Stanislavovna Yananis - (00:00) - Mikhailovsky Theatre - Советское телевидение 1958 Susan Jaffe - (02:11) - Amberican Ballet Theatre - NVC Arts 1984 © Marianna Ryzhkina - (04:25) - Bolshoi Theatre - большой театр архив © Nina Kaptsova - (06:54) - Bolshoi Theatre - Личный архив Ольги Петровой Maria Petukhova - (09:16) - Vaganova Academy - russianballetvideos (†) Elena Evseeva - (11:42) - Mariinsky Theatre - russianballetvideos (†) Nadezhda Batoeva - (14:14) - Mariinsky Theatre - russianballetvideos (†) Marina Shklyarova Shirinkina - (16:45) - Mariinsky Theatre - russianballetvideos (†) Aleksandra Khyteeva - (19:05) - Mariinsky Theatre - russianballetvideos (†)