Adélaïde, ou le langage des fleurs
A ballet set to Ravel's orchestration of Valses nobles et sentimentales, an eight-waltz suite.
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A ballet set to Ravel's orchestration of Valses nobles et sentimentales, an eight-waltz suite.
In the printed premiere scenario, dancers gather inside a Spanish tavern. A woman leaps onto a long table and her dancing grows increasingly animated as the crowd urges her on.
Daphnis et Chloé (1906–1912) is a ballet and orchestral concert work subtitled symphonie chorégraphique (choreographic symphony), for orchestra and wordless chorus by Maurice Ravel. It is in three main sections, or parties, and a dozen scenes, most of them dances, and lasts just under an hour, making it the composer's longest work. It premiered as a ballet, but it is more frequently given as a concert work, either complete or excerpted. The dance scenario was adapted by choreographer Michel Fokine from a pastoral romance by the Greek writer Longus thought to date from the 2nd century AD, recounting the love between the goatherd Daphnis and the shepherdess Chloé. Scott Goddard in 1926 published a commentary on the changes to the story Fokine had to apply in order to make the scenario workable.
In G Major (originally titled Concerto in G, also known as En Sol) is a ballet choreographed by Jerome Robbins to Maurice Ravel's Piano Concerto in G Major. Performed by a cast of fourteen, the ballet featured Broadway-inspired choreography. The ballet was created for the New York City Ballet's Ravel Festival, which celebrated the centenary of Ravel, and premiered on May 15, 1975, at the New York State Theater, with Suzanne Farrell and Peter Martins originating the two lead roles.
In 18th-century Toledo, clockmaker Torquemada leaves his shop to tend the municipal clocks. His wife Concepción uses his absence to arrange assignations with poet Gonzalve and banker Don Iñigo. Muleteer Ramiro repeatedly carries grandfather clocks upstairs, hiding the men inside them. When Torquemada returns, the two men are trapped in clocks, which they eventually escape and buy to preserve their dignity. Lukas, suspecting an affair, goes to the Corregidor’s house wearing the official’s clothes. The Corregidora untangles the confusion and reconciles Lukas and Concepción.
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 set to Ravel's orchestration of Valses nobles et sentimentales, an eight-waltz suite.
In the printed premiere scenario, dancers gather inside a Spanish tavern. A woman leaps onto a long table and her dancing grows increasingly animated as the crowd urges her on.
Daphnis et Chloé (1906–1912) is a ballet and orchestral concert work subtitled symphonie chorégraphique (choreographic symphony), for orchestra and wordless chorus by Maurice Ravel. It is in three main sections, or parties, and a dozen scenes, most of them dances, and lasts just under an hour, making it the composer's longest work. It premiered as a ballet, but it is more frequently given as a concert work, either complete or excerpted. The dance scenario was adapted by choreographer Michel Fokine from a pastoral romance by the Greek writer Longus thought to date from the 2nd century AD, recounting the love between the goatherd Daphnis and the shepherdess Chloé. Scott Goddard in 1926 published a commentary on the changes to the story Fokine had to apply in order to make the scenario workable.
In G Major (originally titled Concerto in G, also known as En Sol) is a ballet choreographed by Jerome Robbins to Maurice Ravel's Piano Concerto in G Major. Performed by a cast of fourteen, the ballet featured Broadway-inspired choreography. The ballet was created for the New York City Ballet's Ravel Festival, which celebrated the centenary of Ravel, and premiered on May 15, 1975, at the New York State Theater, with Suzanne Farrell and Peter Martins originating the two lead roles.
In 18th-century Toledo, clockmaker Torquemada leaves his shop to tend the municipal clocks. His wife Concepción uses his absence to arrange assignations with poet Gonzalve and banker Don Iñigo. Muleteer Ramiro repeatedly carries grandfather clocks upstairs, hiding the men inside them. When Torquemada returns, the two men are trapped in clocks, which they eventually escape and buy to preserve their dignity. Lukas, suspecting an affair, goes to the Corregidor’s house wearing the official’s clothes. The Corregidora untangles the confusion and reconciles Lukas and Concepción.
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 one-act ballet inspired by the style, fashion, and way of life of the 1930s, which MacMillan described as shattered by the Second World War. It is set to Maurice Ravel’s Piano Concerto in G.
La Valse is a ballet choreographed by George Balanchine to Maurice Ravel's Valses Nobles et Sentimentales and La Valse. It premiered on February 20, 1951, at the City Center of Music and Drama, performed by the New York City Ballet. The ballet depicts dancers waltzing in a ballroom, during which a woman becomes attracted to a figure of death, and ultimately dies.
Le Tombeau de Couperin is a ballet choreographed by George Balanchine to Ravel's eponymous suite. It features a cast of sixteen divided into two groups, dancing separately. The score, which references 18th-century dances, was first choreographed by the Ballets suédois in the 1920s. Balanchine's version of Le Tombeau de Couperin was made for the New York City Ballet's Ravel Festival, celebrating the composer's centenary, and premiered on May 29, 1975, at the New York State Theater.
Eight couples form two quadrilles that dance separately, with no principal roles. The ballet pairs these formal group dances with Ravel's orchestral tribute to François Couperin and French music; Balanchine described it as the dancers moving to Ravel's score.
After his mother scolds him, a child throws a tantrum, destroys objects in his room, and harms nearby animals. The furniture, decorations, homework figures, and animals come to life and tell him how he has hurt them. The room becomes a garden, where the creatures initially reject him. The child calls for his mother, and the animals attack one another in the ensuing confusion. When he bandages a squirrel’s wound, they change their minds, help him return home, and sing in his praise. The child greets his mother.
A ballet in five scenes with a concluding apotheosis, drawing on fairy-tale episodes including Sleeping Beauty, Beauty and the Beast, Tom Thumb, the Empress of the Pagodas, and the Fairy Garden. Ravel expanded the suite with a prelude, a spinning-wheel scene, and interludes.
Jerome Robbins's ballet expands Ravel's five-piece Ma Mère l'Oye suite with a prelude, an opening scene, and four interludes connecting the original pieces.
Sonatine is a ballet choreographed by George Balanchine to Ravel's eponymous music. The ballet was made for the New York City Ballet's Ravel Festival, which celebrated the centenary of Ravel, and premiered on May 15, 1975, at the New York State Theater, following a preview performance the previous day. The ballet was originated by Violette Verdy and Jean-Pierre Bonnefoux.
The Witch is a ballet made by John Cranko to Maurice Ravel's Piano Concerto in G Major (1931). The premiere took place Friday, 18 August 1950 at the Royal Opera House, Covent Garden, London.