these are micheline bardin and michel renault.
LE PALAIS DE CRISTAL, 3e mouvement
Posted 16 September 2003 - 10:42 AM
these are micheline bardin and michel renault.
Posted 16 September 2003 - 02:33 PM
Posted 16 September 2003 - 02:58 PM
Posted 16 September 2003 - 04:08 PM
Posted 16 September 2003 - 11:13 PM
If the choreography for Palais is still what it was when Mr. B set it, than what made him change it? For example, in the adagio, many of the touchstones of that movement as we in NY know it are not there - the beautiful falls, the famous arabesque (that later had Farrell touching her nose to her knee). Even the end is different, the ballerina runs to her partner and he twists her into the final pose, which is almost the same. I had always thought I knew what type of dancer Toumanova was from this movement and how the linage of Balanchine muses went from her to Le Clerq, to Adams, to Kent, to Farrell... Just from looking at pictures of Toumanova, I could see those strong legs and immediately thought of those arabesques with the bent knee in the Adagio. Those are there in Palais, along with several other hops on point. But the swooning lyrical movement that we know now is not, it is less an Adagio and more a slow Allegro (if that makes sense). From articles and archive footage, it is known that Toumanova was excellent at balances and liked doing them, and there are more in the second movement. So the lyric quality must have come from Le Clerq.
It could be suggested that Balanchine came home (and according to Anatole Chujoy, had to be talked into setting the ballet for his own company), and saw that his own dancers could not do what the POB dancers could and change things. And I have to admit, on the surface, the later version is less "technical."
But I believe Balanchine either A) was inspired to choreograph that version for those dancers in Paris, but was inspired to do another version for other dancers who had different gifts; or B ) was a man for hire in Paris, who had a job to do. In Taras' article, he said that the first movement ballerina in Paris liked to turn, so she added more turns, and the other dancers seeing this, added more to their own movements. Plus he had Toumanova wanting her steps etc... Maybe when he got home, he was happy to be working with his own dancers and didn't have people nagging him and he could just do what he wanted.
I'd be interested what others think of this version.
Posted 17 September 2003 - 12:09 AM
Dale, on Sep 17 2003, 03:13 AM, said:
Only after seeing POB dance Palais was I reassured that, yes, Second Movement Symph. in C indeed was Tanny.
Posted 17 September 2003 - 02:26 AM
By the way, there's a smallish photograph of the first cast on an old page of mine:
Dale, when reading your comments, I feel even more frustrated about the fact that it seems very very likely that the POB will perform "Symphony in C" instead of "Palais de Cristal" next month (see the discussion about it in the POB forum:
There are so few opportunities to see "Palais de Cristal": the POB last performed it around 1994 or 1995, I saw it once then and that was all, I was looking forward to seeing it again... I've also seen "Symphony in C", by the NYCB in Edinburgh (twice) in 2000, but seeing them so many years apart I couldn't see the differences of choreography. Well, there still are some doubts about which choreography will be actually performed (the season brochures are quite confusing, the costumes are said to be "after Karinska", so black and white, but the choreography is said to be "Balanchine, 1947 (Paris)", and also on the POB web site one page says "Palais de Cristal" and another one "Symphonie en ut" ) but if they don't perform that of "Palais de Cristal", then I'll have some doubts about whether they want the choreography to survive: are there any other companies in the world still performing "Palais de Cristal"?
And by the way, who owns the rights for each version?
Posted 17 September 2003 - 06:28 AM
Posted 17 September 2003 - 06:42 AM
The will clearly divides all unspecified assets evenly between Barbara Horgan and Karin von Aroldingen, so I imagine the fate of Palais de Crystal is in their hands, unless it could be proved that Balanchine created the ballet under some sort of "work for hire" contract, in which case perhaps the POB "owns" the ballet. I know European laws on intellectual property rights are a bit more complicated than US ones.
Posted 17 September 2003 - 08:39 AM
And as you wrote, there also are some differences in the laws about intellectual property- as I had written in an old thread about it, there are two sorts of rights, "droit patrimonial" which lasts until 70 years after the death of the creator and which deals with the material aspect of things, and "droit moral' which lasts forever, can't be sold, and deals with several things, including for example the right for a creator to have his/her name clearly indicated when the work is performed/ published/ used/ etc., the right to refuse an adaptation of the work which would not considered as suitable, etc. Of course it can become very complicated... A recent example was when the son of the late novelist Marguerite Duras (who owned the "patrimonial rights" for her books) wanted to publish a book of cooking reciped of her mother, and her former companion (who owned the moral rights) didn't accept that book to be published (considering that she hadn't planned such recipes to be published, that the book included some texts by other people, etc.) I've no idea how it works when several countries with different rights are involved... Anyway, I've no idea if the reason why they don't perform "Palais de Cristal" has anything to do with rights, perhaps it has to do with the stagers, or with the costumes, or Brigitte Lefèvre prefers black and white costumes... Who knows? :shrug:
Posted 18 September 2003 - 05:57 AM
Dale, on Sep 17 2003, 02:13 AM, said:
Posted 18 September 2003 - 06:43 AM
It is a bit sad for me that I've seen many of the names of the dancers of the first cast in obituaries since I started being interested in ballet in 1992: Lafon had died in 1965 aged 42, and Kalioujny had died in 1986 (after he stopped performing he had a career as a teacher, and one of his most famous students was Charles Jude), and then Renault in 1993, Toumanova and Darsonval in 1996, Ritz two or three year ago, Bozzoni in april 2003. I don't know about Bardin.
Posted 19 September 2003 - 11:12 AM
Posted 19 September 2003 - 12:41 PM
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