Aubade
Diana, tormented by the chastity imposed on her, rejects the bow her companions give her and goes alone into the forest to hunt; her companions fall asleep.
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Diana, tormented by the chastity imposed on her, rejects the bow her companions give her and goes alone into the forest to hunt; her companions fall asleep.
During the French Revolution, Blanche de la Force enters a Carmelite convent, where the nuns confront fear, persecution, and the question of martyrdom. They are arrested and condemned to death; Blanche returns to join them as they process to the guillotine singing the Salve Regina.
Kenneth MacMillan's ballet is set to Francis Poulenc's 1961 Gloria, a work for soprano, chorus, and orchestra.
At a society ball, twins Horace and Frédéric are caught in different romantic pursuits: Frédéric loves Diana, who desires Horace. To disillusion his brother, Horace invites Isabelle, a dancer, and stages her transformation into an aristocratic beauty.
L'Éventail de Jeanne (Jeanne's Fan) is a children's ballet choreographed in 1927 by Alice Bourgat and Yvonne Franck. The music is a collaborative work by ten French composers, each of whom contributed a stylised dance in classic form: Maurice Ravel (Fanfare) Pierre-Octave Ferroud (Marche) Jacques Ibert (Valse) Alexis Roland-Manuel (Canarie) Marcel Delannoy (Bourrée) Albert Roussel (Sarabande) Darius Milhaud (Polka) Francis Poulenc (Pastourelle) Georges Auric (Rondeau) Florent Schmitt (Finale: Kermesse-Valse) "Jeanne" refers to a Parisian hostess and patroness of the arts, Jeanne Dubost, who ran a children's ballet school. In the spring of 1927 she presented ten of her composer friends with leaves from her fan, asking each of them to write a little dance for her pupils. The children were dressed in fairytale costumes and the décor was enlivened by a set designed with mirrors. It was produced in private at Jeanne Dubost's Paris salon on 16 June 1927, with Maurice Ravel playing a piano transcription of the music. It had its public premiere at the Paris Opera on 4 March 1929, with the ten-year-old Tamara Toumanova dancing the lead role. This was the first performance of Darius Milhaud's music there and he was so annoyed to debut with a trifling work that he boycotted the performance. Excerpts have been recorded, particularly Ravel's Fanfare and Poulenc's Pastourelle. The first complete recording was made in 1984 by the Philharmonia Orchestra led by Geoffrey Simon.
A ballet created for New York City Ballet to a 1952 collaborative score by seven composers, based on a theme from André Campra’s 1717 opera Camille, reine des Volsques. The article gives no further account of the ballet's action.
Diana, tormented by the chastity imposed on her, rejects the bow her companions give her and goes alone into the forest to hunt; her companions fall asleep.
During the French Revolution, Blanche de la Force enters a Carmelite convent, where the nuns confront fear, persecution, and the question of martyrdom. They are arrested and condemned to death; Blanche returns to join them as they process to the guillotine singing the Salve Regina.
Kenneth MacMillan's ballet is set to Francis Poulenc's 1961 Gloria, a work for soprano, chorus, and orchestra.
At a society ball, twins Horace and Frédéric are caught in different romantic pursuits: Frédéric loves Diana, who desires Horace. To disillusion his brother, Horace invites Isabelle, a dancer, and stages her transformation into an aristocratic beauty.
L'Éventail de Jeanne (Jeanne's Fan) is a children's ballet choreographed in 1927 by Alice Bourgat and Yvonne Franck. The music is a collaborative work by ten French composers, each of whom contributed a stylised dance in classic form: Maurice Ravel (Fanfare) Pierre-Octave Ferroud (Marche) Jacques Ibert (Valse) Alexis Roland-Manuel (Canarie) Marcel Delannoy (Bourrée) Albert Roussel (Sarabande) Darius Milhaud (Polka) Francis Poulenc (Pastourelle) Georges Auric (Rondeau) Florent Schmitt (Finale: Kermesse-Valse) "Jeanne" refers to a Parisian hostess and patroness of the arts, Jeanne Dubost, who ran a children's ballet school. In the spring of 1927 she presented ten of her composer friends with leaves from her fan, asking each of them to write a little dance for her pupils. The children were dressed in fairytale costumes and the décor was enlivened by a set designed with mirrors. It was produced in private at Jeanne Dubost's Paris salon on 16 June 1927, with Maurice Ravel playing a piano transcription of the music. It had its public premiere at the Paris Opera on 4 March 1929, with the ten-year-old Tamara Toumanova dancing the lead role. This was the first performance of Darius Milhaud's music there and he was so annoyed to debut with a trifling work that he boycotted the performance. Excerpts have been recorded, particularly Ravel's Fanfare and Poulenc's Pastourelle. The first complete recording was made in 1984 by the Philharmonia Orchestra led by Geoffrey Simon.
A ballet created for New York City Ballet to a 1952 collaborative score by seven composers, based on a theme from André Campra’s 1717 opera Camille, reine des Volsques. The article gives no further account of the ballet's action.
Alone in her bedroom, Elle answers a call from the lover who has left her. She initially hides that she took twelve sleeping pills the previous night and was rescued by a friend and doctor. As interruptions and suspicions about his location unsettle her, the call repeatedly fails; she eventually wraps the telephone cord around her neck, tells him she loves him, and drops the receiver.
When Gendarme Pénultième brings an alleged offender to Commissioner Médor, his bewildering report accuses a priest of indecency in the Marquise de Montonson’s park. The supposed priest reveals she is the marquise, who had stooped to pick a four-leaf clover; she invites the commissioner to dinner, while the gendarme is arrested for disrespecting his superior.
Les Animaux modèles, FP 111, is a ballet dating from 1940 to 1942 with music by Francis Poulenc. It was the third and final ballet that he composed and was staged at the Paris Opéra in 1942, with choreography by Serge Lifar, who also danced in the 1942 premiere. The themes of the ballet are drawn from the Fables of Jean de La Fontaine.
The story of the ballet is somewhat nonsensical: The new couple have a wedding breakfast on Bastille Day (July 14) at a table on one of the platforms of the famous tower. A guest makes a pompous speech. When a humpbacked photographer bids everyone to "watch the birdie," it appears that a telegraph office suddenly springs into existence on the platform. A lion comes in and eats one of the guests for breakfast and a strange figure called "a child of the future" appears and kills everybody. Nevertheless, the ballet concludes with the end of the wedding. When asked what the ballet was about, Cocteau replied: "Sunday vacuity; human beastliness, ready-made expressions, disassociation of ideas from flesh and bone, ferocity of childhood, the miraculous poetry of everyday life." On 29 July 1923, in a letter, Francis Poulenc described the work as "toujours de la merde... hormis l'Ouverture d'Auric" ("yet more shit... apart from Auric's Overture").
At a masked ball, a man and his companion meet another couple, who turn out to be his wife and her lover. After partners change repeatedly, the husband and wife end together, as do the lover and his mistress. The short ballet reflects the social and sexual manners of Ashton's world.
Thérèse rebels against her submissive life, becomes the male Tirésias, and leaves to wage a campaign against childbirth. Her husband vows to find a way to have children without women, then gives birth to 40,049 children in one day. Amid the resulting famine in Zanzibar, Tirésias returns in disguise as a fortune-teller; the couple reunite and the cast urges the audience to heed the lessons of war and have children.
A prince, inconsolable after the death of the Romanian opera singer Léocadia, lives inside the memory of their three days together. His aunt recreates their settings and hires Amanda, a poor milliner who resembles Léocadia, to draw him back toward life; Amanda helps him recognize that his idealized memory is an illusion.