Le Festinwhat was in it?
Posted 27 August 2004 - 03:02 AM
Posted 27 August 2004 - 03:46 AM
Music: A.Glazunov, M. Glinka, M. Mussorgsky, N. Rimsky-Korsakov, P.I.Tchaikovsky
Costsumes: Bakst, Benois, Bilibin, Korovin
Choreography: Fokine, Petipa, Gorsky, [Nikolai] Goltz, Felix Kshessinsky
Premiere: 18 May 1909
Principal Dancers: Vera Fokina, Tamara Karsavina, Vaslav Nijinsky, Sophia Fedorova, Mikhail Mordkin, Georgi Rosai, Vera Karalli
NOTE: Fokine choreographed the "Gopak" (Mussorgsk), "Trepak" (Tchaikovsky), and "Finale" (Tchaikovsky). The other dances were "Firebird" (the Blue Bird pas de deux from THE SLEEPING BEAUTY) and "Grand Pas Classique Hongrois" (from RAYMONDA), both by Petipa, "Czardas" (Glazunov), by Gorsky,"Mazurka" (Glinka), by Goltz and Kshessinsky, and "Lezginka" (Glinka), by Fokine after Petipa. The Blue Bird pas de deux was revived in 1915 as LA PRINCESSE ENCHANTEE, with scenery and costumes by Leon Bakst.
i believe it was this potpourri which gave rise the nickname 'salade russe' for such mixes.
the firebird/bluebird mix is the real jumble given subsequent history. when, in 1910, the ballets russes actually produced 'firebird' as we now know it (stravinsky) the re-named 'blue bird pas de deux' had to be re-named again as "L'OISEAU D'OR' (w/ nijinsky in bakst's golden costume known as the hindu prince).
the tchaikovsky 'trepak' was no-doubt the often-called 'russian' dance from THE NUTCRACKER.
the glazunov 'czardas' is perhaps that from RAYMONDA.
the glinka 'mazurka' is prob. that from the opera A LIFE FOR THE TSAR, ditto the 'lezginka.'
rosai, btw, was a classmate of nijinsky's - the one w/ whom he had jumping contests, as g.r. was said to have a remarkable jump, tho' not so remarkable as nijinsky's.
karalli became a famous moscow dancer and film star.
Posted 27 August 2004 - 06:02 AM
i'm attaching here a photograph of stanislas idzikowski in the man's role of THE ENCHANTED PRINCESS, the concert number version of Blue Bird pas de deux that he often performed in england opposite by lydia lopokhova. (his costume is by goncharova.)
Posted 27 August 2004 - 05:37 PM
Posted 28 August 2004 - 03:29 PM
I think the lezginka actually came from Ruslan and Ludmilla. It's given in the last act. There are several pictures of Nijinsky in this role reproduced in Kirstein's book, Nijinsky Dancing and a nice little note about Petipa choreographing the dance.
Posted 28 August 2004 - 05:27 PM
indeed, RUSLAN AND LUDMILA is undoubtedly the glinka opera from which this lezginka is taken. the choreography is said, to this day, to be fokine's when kirov/maryinsky opera productions of R&L are given.
the photo attached is dated 1913 and would seem to be M. Fokine himself in his own lezginka.
Posted 30 August 2004 - 05:40 AM
Processional entry to the march from Coq d'or
Lezginka danced by Vera Fokina with ten men
L'oiseau d'or: Karsavina, Nijinsky
Czardas from Raymonda: Sophie Fedorova, Mordkine
Gopak from Fair at Sorotchinsk: Olga Fedorova, Kremnev plus supporting cast
Mazurka from A Life for the Tsar: four couples
Trepak to music from Casse Noisette: Rosai
Pas Classique from Raymonda: leading couple Karalli, Mordkine
Finale to last movemen t of Tchaikovsky's Second Symphony.
This last, according to Serge Grigoriev, was Fokine's only contribution to Le Festin, though I know he is generally credited with having arranged or adapted a number of the other items. In his memoir he says:
"All that Fokine had to do was invent the finale, which was to be danced to music from Tchaikovsky's Second Symphony. Its object was to enable the whole company to appear together at the end. For some reason however, it proved difficult to arrange satisfactorily. Fokine spent much time and energy arranging and rearranging it; but it never really came off."
The choreographers Grigoriev credits are Petipa, Gorsky, Fokine, Gltz and F. Kchessinsky (Matilde's father who was famous for his Mazurka in A Life for the Tsar). When Le Festin was given in the second season it was changed somewhat and it was then, I think, that Nijinsky appeared in the Lezginka. I have a programme somewhere, but I can't put my hand on it.
Interestingly, in advance publicity Diaghilev was at pains to emphasise that the parisian audience would have a chance to see choreography by Marius Petipa who he described as "the brother of the famous Petipa". And Petipa was especially proud of his choreography for the Lezginka, which he dwells on in his memoirs. So I do wonder how much Fokine actually did to change or adapt those numbers, especially when he was so busy with the finale and with the dances from Prince Igor.
With regard to the dances from Ruslan and Ludmilla - he is generally credited with them. Certainly he claims authorship in his memoirs. However, there is one number for a group of nymphs which to my, admittedly amateur eyes, looks not like Fokine, not even like Petipa, but something still earlier. I've seen it staged and I also have it on video and I can't help wondering if its basis lies in the original staging by Antoine Titus and that various ballet masters came in, tidied it up a little, changed a detail here and there, then signed it and sent in the invoice, so to speak.
The photograph of Fokine is fascinating rg. You must have an amazing collection. But it's very different from that worn by Nijinsky. Far more bare flesh!
Posted 30 August 2004 - 07:05 AM
i have two different versions of the dance of naima's maidens on video, both w/ the kirov, one is on video, led by komleva, the other is on dvd led by an unidentified dancer. i suppose fokine might have been working from some extant staging, but i suspect he would have wanted his work to be all his own, tho' that's no more than an assumption on my part.
Posted 28 May 2008 - 03:52 PM
There are millions of lezginkas to be seen on Youtube right now -- kids from hte embattled Caucasus republics -- Chechnya, Gerogia in particular -- are being filmed by proud parents and friends in outbursts of lezginka-ing on the bus, subways, in parking lots, from Moscow to Los Angeles, sometimes with gunfire in hte background and OFTEN with machine guns in evidence. there is STRONG patriotic feeling, in some; the dance is a symbol of a fighting spirit that can be flat-out warlike.
it is a THIRILLING dance, with very fast footwork and rife with macho stunts: double tours landing on hte knees, prancing knuckled over on the pointes in soft kid boots, and a magnificent posture with shoulders thrown back and arms stretched out like bird-wings, and sudden flailings of hte elbows that whip the forearm in front of the face (as in the famous photograph of Nijinsky in Festin -- if he did oiseau d'or on opening night, he was photographed doing the lezginka. THe costume Nijinsky wore is from Bakst's production of Russlan and Ludmila, which was revived by the Kirov Opera and brought to San Francisco -- we saw it here about a decade ago -- fantastic production, out of this world wonderful -- and hten the last act took all of us who know the old Nijinsky photographs into a strange kind of nostalgia, for there they were the old photographs come back to life.
here are some clips:
jewish Gorsky kids dong lezginka for Purim:
3-year-old doing lezginka on hte street:
in jeans, with a Donald O'Connor:
with soldiers, strong patriotic sentiment, from the movie 12:http://www.youtube.com/watch?v=PQ-bCv8AVmM&feature=related
warlike chechen lezginka with helicopters and bombs:
Moiseyev-style professional production by Erisioni company [FANTASTIC performers] in Paris: http://www.youtube.com/watch?v=_SX_87KefK0
0 user(s) are reading this topic
members, guests, anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases: