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	11 December 2018, 19:00 - Evening of one-act ballets by Michel Fokine. One act ballets: Chopiniana. Le Spectre de la Rose. The Swan. The Firebird - uVisitRussia
	
						

				
				
				


				
				



				
				
				
				
			
			
		
				
			

				

					

						




	















	

		
		


	
	
	












	
		


			

				
				

					
Home Theaters Saint Petersburg Mariinsky Theater 11 December 2018, 19:00 - Evening of one-act ballets by Michel Fokine. One act ballets: Chopiniana. Le Spectre de la Rose. The Swan. The Firebird
			

			
				


    

        
11December

        
19:00

        
2018 | Tuesday

    

    

        
Evening of one-act ballets by Michel Fokine. One act ballets: Chopiniana. Le Spectre de la Rose. The Swan. The Firebird

        
Classical ballet

	
Mariinsky Theater, Saint Petersburg

            

    

            

    





        
    
Go to events list (All venues, -12)



    

        
Duration: 1 hour 40 minutes approximately

One act ballets
Music: Frederic Chopin, Carl Maria von Weber, Camille Saint-Saens, Robert Schumann
Choreography: Michel Fokine


"Chopiniana"


Choreographic composition in one act 

Music: Frederic Chopin (suite of piano pieces orchestrated: Alexander Glazunov and Maurice Keller)
Choreography: Michel Fokine (1908)
Scenario: Michel Fokine
Revised version: Agrippina Vaganova (1931)
Set design based on original sketches: Orest Allegri 

World premiere: 8 March 1908, Mariinsky Theatre, St Petersburg 

Running time: 35 minutes


ABOUT THE PRODUCTION


“In 1906, when rehearsing the production of the first version of Chopiniana performed to Glazunov’s orchestration of Chopin’s music, I created for Pavlova and Obukhov – my friend from the ballet school – a waltz in C Sharp Minor, which was specially orchestrated by Glazunov at our request as an addition to the suite. 
The sylph – winged hope – flies into a romantic garden lit by the moon. She is followed by a young man. It was dancing in the style of Taglioni, in the style of that long-forgotten time when ballet was governed by poetry, when a dancer rose en pointe not to demonstrate the steel-like arch of her foot but in order to create the impression of lightness, barely touching the ground, something ethereal and fantastical. In this dance there is not one pirouette, not a single trick. But how poetic, how beautiful and how engaging was this duet in the air! The audience was enchanted, as was I. Pavlova made such a powerful impression on me that I wondered about staging an entire ballet in this style. And by the time her next gala performance came round I had created the ballet Les Sylphides. If, back then, she had not danced Chopin’s waltz so brilliantly, so enchantingly, I would never have created this ballet.” 
Michel Fokine. Hightlights from the article Memoirs of a Ballet-Master


"Le Spectre de la rose"


CREDITS


Music by Carl Maria von Weber 
Choreography by Michel Fokine (1911) 
Concept by Jean-Louis Vaudoyer after the poem by Théophile Gautier 
Scenario by Michel Fokine 
Reconstruction by Isabelle Fokine 
Costumes after sketches by Léon Bakst


ABOUT THE PRODUCTION


In it (Le Spectre de la rose) there was no dancing to display technique... The dancing is expressive throughout. <...> Her eyes closed, the Girl seeks out her Spectre, summoning him. In none of the movements does the Spectre resemble a typical dancer performing his variations for the pleasure of the audience. He is a spirit. He is a dream. He is the scent of a rose, the caress of its delicate petals and much more besides, for which it is impossible to find the right words, he is no ‘cavalier’ in any sense of the word, he is not the ‘partner of the ballerina’. The technique of the arms in this ballet is totally different to the strong and correct arms in old ballets. Here the arms are alive, speaking, singing, and not performing ‘positions’. 


Michel Fokine. Extracts from the book Against the Current


World premiere: 19 April 1911, Les Ballets Russes de Serge de Diaghilev, Théâtre de Monte Carlo
In the repertoire of the Mariinsky Theatre since 1997


Running time: 10 minutes


"The Swan"


Music by Camille Saint-Saëns
Choreography by Michel Fokine (1907)


... Our joint work (with Anna Pavlova) was The Dying Swan. <...> It took just a few minutes to create the ballet. It was amost an improvisation. I danced in front of her, she was there, just behind me. (... ) Before that production I had been accused of being involved in ‘barefoot’ dancing and was generally opposed to dancing en pointe. The Dying Swan was my response to this criticism. This dance became a symbol of new Russian ballet. It was a serious work of perfect technique and expression. It was like a kind of proof that dance can and should not just please the eyes but also get into the soul.


Michel Fokine. Highlights from Memoirs of a Ballet-Master


World premiere: 22 December 1907, Mariinsky Theatre, St Petersburg


Running time: 4 minutes


"The Firebird"


Russian fairytale in two scenes 

Music: Igor Stravinsky
Choreography: Michel Fokine (1910)
Libretto: Michel Fokine
Reconstruction: Isabelle Fokine, Andris Liepa
Set and costume design: Anna and Anatoly Nezhny
after original sketches: Alexander Golovin, Leon Bakst and Michel Fokine 

World premiere: 25 June 1910, Les Ballets Russes de Serge de Diaghilev, Theatre de l?Opera, Paris
In the repertoire of the Mariinsky Theatre since May 26, 1994

Running time: 50 minutes


ABOUT THE PRODUCTION






I have staged many ballets, but neither with Stravinsky nor with any other composer have I worked so hand-in-glove as on this occasion. (...) I wasn't expecting the composer to bring me the completed music. Stravinsky came to me with the initial sketches and basic ideas. He performed them for me. I mimed the scenes for him. At my request he broke up his own and the folk themes into short musical phrases, in accordance with individual moments of the scene, individual gestures and poses. I remember how he brought me the beautiful Russian melody for the entrance of Ivan Tsarevich and how I asked him not to have the entire melody at once, but when Ivan appears at the wall, when he gazes upon the wonders of the magic garden, when he jumps down from the wall... just a hint at the theme, some individual notes. Stravinsky played it. I depicted the Tsarevich. The piano acted as my wall. I leaped over the piano, jumped off it, strolled about, anxiously looking around my study... Stravinsky followed me and repeated to me fragments of the Tsarevich's melody to a background of quivering dance reflecting the garden of the evil King Kashchei. Then I was a tsarevna, I timidly accepted a golden apple from the imaginary tsarevich's hands. Then I was Kashchei, his infernal retinue and so on and so forth. All of this was very picturesquely reflected in the sounds of the piano being performed by the fingers of Stravinsky, who was also absorbed by this interesting work. (...)
The ballet The Firebird is dear to me not just because the music was written to my plot and that it was an exceptional success and remained in the repertoire of Diaghilev's company as long as it existed. But most of all because it embodied my ideal of combining a choreographic work with a musical opus, and it is also dear to me for the memories of those anxieties and joys that the composer and I felt together. (...)
When staging the dances I used three principles that are utterly different in terms of character and technique in this ballet. 
I created the evil kingdom using grotesque, angular and sometimes freakish and sometimes amusing movements. The monsters moved on all fours, jumped like frogs, did different "tricks" with their legs, sitting and lying on the stage, their hands like fish fins, at times under the elbows, at times under the ears, the arms were entwined, they moved from one side to the other, squatting and so on, in a word they did everything that twenty years later began to be known as modern dance and what at the time seemed to me to be the most suitable means of expressing a nightmare, horror and ugliness. Virtuoso leaps and frivolity were also used. 
The Tsarevnas danced with bare feet. They were natural, gracious and soft movements with a certain nuance of Russian folk dance. 
I constructed the theme of the Firebird herself en pointe and on leaps, more so on the leaps. The dances are virtuoso, albeit without entrechats, battements, ronds de jambe, of course without turn-out or any preparations whatsoever. The arms at times flew out like wings, at others they held the body and the head in defiance of all ballet positions. In the ornamentation of the Firebird's arms, as in the movements of Kashchei's minions, there was a certain element of the Orient. (...)
To express the plot I absolutely rejected the conditional speech of the arms and ballet gestures, and I expressed it through the action and the dances. 
Michel Fokine. Extracts from the book Against the Current




Ballet company: Mariinsky (Kirov) Ballet
Conductor: Boris Gruzin
        

    

    

                
    
                    

        

            

                            

            

                            

        

    

	
    

			

		





	


	

	

		


			

				

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