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Namouna (Lalo ballet)

Ballet · 1882

The ballet takes place in the 17th century. Act I, Scene 1 is set in a casino hall in Corfu, a starry night. Count Ottavio is gambling with Lord Adriani, who having lost money, stakes his ship, but then loses again. He gets one of his men to bring his slave Namouna, and offers her against everything he has lost. She pleads him not to do this but he refuses. Ottavio declines this stake, the game goes ahead and Adriani loses. Ottavio approaches Namouna and offers her the ship and money he won. She is grateful and kisses Ottavio's hand, gives him half a posy she has and leaves with Adriani's men, attended by Andriquès. All praise Ottavio for his chivalrous act, and as the ship moves off Adriani is overwhelmed by these events. Act 1. Scene II, is a square in Corfu with the ocean in the background to the right a palace, and on the left an inn with a terrace; dawn. Musicians are serenading Hélène, Ottavio's beloved. Count Ottavio pays them and woos Helene. Adriani enters and strikes the musicians with his sword, sparking a fight with Ottavio. A veiled woman comes in and dances in between them offering flowers as the square fills with people. The duel ceases and the musicians come back, complaining to Ottavio, who further pays them off. Festive dances take place, and Hélène returns to her balcony, but when a veiled woman (Namouna) dances before Ottavio who is attracted and joins here in dance, to the fury of Hélène. As the other dancers leave, Ottavio espies Hélène going out with a servant, and proffers her his arm. Adriani comes back declares his love for Namouna, who responds by declaring her love for Ottavio, who freed her from slavery. The raging Adriani summons bandits, planning to attack Ottavio again. Namouna overhears him and gives instructions to Andriquès. As Ottavio escorts Helene back home, he breathes the scent of the flowers which Namouna gave him. Trying to leave his way barred, but some mariners called on by Andriquès come to help him and the ruffians retire in disorder. When Ottavio thanks the sailors they courteously take his sword and invite him to board their ship. More general dances close the act. Act II. An island, belonging to a rich slave-dealer, Ali. The most attractive of the slaves, Iotis, reproaches her companions for their laziness as Ali arrives and is received with obeisances, apart from Iotis who refuses to bow, until she is forced to calm Ali's wrath. Dances are followed by the arrival of Ottavio, Namouna, and Andriquès. Ali, thinking of business, asks Ottavio to stay and refresh himself, and the Count follows the dealer as Namouna takes her veil away, revealing herself. She then orders that gold and jewels be brought, and buys all the slaves; her former companions remove their veils and dance then, at her request, leave. Ottavio realizes that Namouna brought him to the island out of affection and women return offering flowers to the happy pair. But Andriquès enters to announce the arrival of Adriani and his men. While Ottavio wants to fight them, Namouna leads him and the women off. Adriani posts guards as he is aware of a woman dancing followed by others. The bandits drop their weapons and join in the dance. Suddenly each bandit is threatened by two women, who have grabbed the discarded weapons. Namouna shows Adriani the success of the attack but Ottavio has been caught and Adriani refuses to free him. Namouna then orders her friends to serve the pirates with wine, and herself tends to Adriani. She repeatedly fills his cup until he becomes overcome. Namouna now frees Ottavio who throws money at the bandits, and Namouna, Andriquès and he run back to board their ship. Adriani realizes what has happened; he draws his pistol on Ottavio, but Andriquès stabs the chief with her dagger, and the pirates look on, horrified. Andriquès grabs the oars and the lovers' boat puts out to water with the lovers, while the women on shore wave farewell.

Napoli, or The Fisherman and His Bride

Ballet · 1842

Act I (The Market). Teresina's mother, Veronica, who does not want her to marry poor Gennaro, introduces her to two other suitors. These are two older but rich men named Peppo and Giacomo. Teresina, much to her mother's distress, refuses them both and instead goes off to wait for Gennaro. When Gennaro arrives back at port, he and Teresina go to find Veronica and try to convince her that they should wed. Luckily for them, this task proves relatively easy once she sees how true the young couple's love is. Full of happiness Teresina and Gennaro sail off together. Meanwhile, a group of entertainers come and put on a show for the townsfolk. However, a violent storm begins and the festivities come to an abrupt end. When the storm ends, Gennaro is found, but Teresina is not. Thinking she has drowned, Veronica openly mourns for her daughter and blames Gennaro for her death. So stricken by this turn of events Gennaro becomes so agitated that he almost commits suicide, but stops when he sees a statue of the Madonna. Soon Fra Ambrosio, the local monk, appears and gives him a picture of the Madonna telling him to go and find Teresina. Act II (The Blue Grotto). Gennaro looks everywhere for Teresina and eventually finds her in the Blue Grotto, a magical place ruled by Golfo who has turned Teresina into a naiad (Fairy of the Sea). Because of the transformation, Teresina no longer remembers Gennaro. However, through faith, Teresina is changed back into a human and has her memory restored. Quickly, Gennaro and Teresina leave the Grotto to return to Naples. Act III (The Wedding). When Teresina and Gennaro return the townsfolk are suspicious because they had thought Teresina was dead. Peppo and Giacomo even try to convince everyone that Gennaro is in league with the devil. This rumor is soon disproved and the wedding reception begins.

Nobilissima Visione

Ballet · 1938

Nobilissima visione (The Noblest Vision) is a 50-minute ballet (or, more precisely, a "dance legend") in six scenes by Paul Hindemith, originally choreographed by Léonide Massine for the Ballet Russe de Monte Carlo. The libretto by Hindemith and Massine depicts episodes from the life of Saint Francis of Assisi. The work was completed in February 1938 and premiered at Theatre Royal, Drury Lane in London on 21 July 1938, with sets and costumes by Pavel Tchelitchew and under the baton of the composer. He led one performance of the new ballet at the Metropolitan Opera House in New York (for which the title was temporarily altered to Saint Francis) on 14 October of the same year. After the ballet premiere, Hindemith extracted a 20-minute orchestral suite (retaining the Nobilissima visione name) in three movements, using five of the original eleven movements: The first performance of the suite in Venice was at Teatro La Fenice on 13 September 1938 and has become a regularly programmed orchestral work. Though the ballet was originally scored for a small orchestra, the suite was for a full symphony orchestra from the outset. The suite does not attempt to follow the action of the ballet, instead Hindemith extracted only those portions of the score which he felt would be most effective in the concert hall. Hindemith himself conducted the Philharmonia Orchestra in a 21 November 1956 stereophonic recording of the suite, which was released by EMI.

Notre-Dame de Paris

Ballet · 1967

Notre-Dame de Paris is a ballet by French choreographer Roland Petit. It was premiered by the Paris Opera Ballet in 1967. The ballet is based on Victor Hugo's 1831 novel The Hunchback of Notre-Dame. It was the first work Petit created for the Paris Opera Ballet, which he had left 20 years earlier. This ballet was very successful and continues to be performed to the present, including a series of performances at the Opéra national de Paris at the end of the 2013–2014 season, at the Opera Bastille and a production in 2013 at the Teatro alla Scala in Milan. Music : Maurice Jarre Libretto : after Victor Hugo Sets : René Allio Costumes : Yves Saint Laurent Original cast Esmeralda: Claire Motte Quasimodo: Roland Petit Frollo: Cyril Atanassoff Phoebus: Jean-Pierre Bonnefous

Novelette

Ballet · 1926

Novelette is a solo modern dance work choreographed by Martha Graham to an existing piece of music, Op. 99, No. 9 from Robert Schumann's Bunte Blätter, also known as Colored Leaves. The ninth movement from the piano solo, also titled Novelette, is a three-minute long piece in B-minor. The ballet premiered on April 18, 1926 at New York's 48 Street Theater in the first independent concert presented by Graham. The all-Graham program also featured the solos: Intermezzo, Maid with the Flaxen Hair, Clair de Lune, Desir, Deux Valses, Masques, From a Century Tapestry and A Study in Lacquer, and works for members of the newly-formed Martha Graham Concert Group: Tanze, Arabesque No. 1, The Marionette Show and Chorale, which also included Graham. In her autobiography Blood Memory, Graham wrote that everything she did that night "was influenced by Denishawn," but added the audience came because she was "such a curiosity - a woman who could do her own work."

Ode

Ballet · 1928

Ode is a ballet-oratorio by Nicolas Nabokov, the first major musical work by the composer. It was created for Serge Diaghilev's Ballets Russes, with choreography by Léonide Massine, a scenario by Boris Kochno (based on verses of Mikhail Lomonosov Evening meditation on God's majesty on the occasion of the great northern lights), stage design by Pavel Tchelitchew, and light projections by Pierre Charbonnier. The ballet was premiered on June 6, 1928, in Paris, at the Sarah Bernhardt Theater. The orchestra was conducted by Roger Désormière. Apprentice (Poet and Glare of Light) – Serge Lifar Nature – Irina Bellin (Beliankina, niece of Igor Stravinsky) Participants in the Festival of Nature – Felia Doubrovska, Alice Nikitina, Alexandra Danilova, Léonide Massine, Nikolai Efimov, Konstantin Cherkas, Leon Woizikovsky.

Olga

Ballet · 1982

The first act consists of three dynamic pictures: childhood, youth, and growing up. Olga is shown as a child, a girl, and a young woman. As a child she was almost taken prisoner; as a girl, she meets her future husband; as a young woman, she appears as a bride. It is her marriage, which forms the character of the future princess. The second act is a story about Olga's reign, the most important moment of which was a trip to Constantinople and the adoption of Orthodox Christianity. The climactic scene is the final apotheosis, in which Olga, Madonna-like on a cross-shaped icon, holds her little grandson Vladimir in her arms.

On the Dnieper

Ballet · 1932

Sergei, a Red Army soldier in the First World War returns to his village on the Dnieper and finds he is no longer in love with Natasha, his betrothed. Instead, he falls in love with Olga. Olga's parents intend for her to marry another man whom she does not love. Sergei and Olga's friends fight. Sergei falls, but the lovers are saved by the compassionate Natasha who helps the couple to escape the village. The ballet contains 12 numbers, lasting around 40 minutes: Prelude Scene 1: The Meeting Scene 1: Mime Scene Scene 1: Pas de deux Scene 1: Variation of the First Dancer Scene 2: Betrothal Scene 2: Bridegroom's Dance Scene 2: Bride's Dance Scene 2: Men's Dance Scene 2: The Quarrel Scene 2: Mime Scene Epilogue

Ondine

Ballet · 1958

Ondine bears a resemblance to The Little Mermaid. The story derives from Fouqué's novella Undine, the tale of a water-nymph who marries a mortal. Similar to other 19th century fairy tales, the plot is based on man (Palemon) encountering the supernatural (the water nymph Ondine), but the outcome is rather different from many of the 19th century classics: here, it is the man that dies, and the female character survives. Ondine makes her first entrance from a fountain, shivering in the cold air as we would in water, and dances with her shadow, which she has never seen before. She meets the hero, Palemon, and is astonished when she feels his heartbeat as she doesn't possess a heart. Palemon deserts Berta, whom he has been courting, and decides to marry Ondine. During a particularly strong storm while at sea, Ondine is lost overboard. Palemon survives the shipwreck created by the angry Ondines and, believing Ondine is lost, ends up marrying Berta. Ondine returns, however, and is heartbroken when she discovers Palemon's unfaithfulness. When she kisses him, he dies and she brings his body back into the sea with her forever. In the published score, as with the title of the ballet, Henze also retained the original spellings of the character names. The London ballet production was given as Ondine, but the score was titled Undine, and names the lead character as Undine. Henze also uses the original name Beatrice rather than Berta. Ondine (Undine) The title role is undoubtedly the main focus of the ballet. She is a gentle water sprite who the audience discovers dancing in a waterfall and then with her own shadow. Her love for Palemon is deep, which is what makes his unfaithfulness so devastating and dramatic. Palemon The male lead is bewitched by the feminine allure of Ondine. He has never seen a creature as lovely as her and decides to marry Ondine, forsaking his betrothed, Beatrice (Berta). Similar to the Prince in Swan Lake, Palemon is destroyed by breaking the trust of his intended. Berta (Beatrice) She is the perfect female contrast to Ondine. Ondine belongs to the sea, whereas Berta is definitely from the land. She is manipulative, possessive and highly demanding, while Ondine is gentle and loving. Tirrenio He is the uncle of Ondine and also Lord of the Mediterranean Sea. He tries to warn Ondine that what she intends to do with Palemon goes against what is expected of her. When she chooses not to listen to his advice, he creates the conditions for a shipwreck where she is returned to the sea. When Ondine once again finds Palemon and realises how he has betrayed her, Tirrenio exacts a terrible revenge with his fellow Undines by causing death and destruction for all Palemon's guests.

Ondine, ou La naïade

Ballet · 1843

The ballet bore little resemblance to de la Motte Fouqué's Undine: The plot is no more like the romantic baron's story than it is like that of Robinson Crusoe, excepting so far as a water-nymph is the heroine. Therefore, the readers of Undine have to unlearn all they know, if they would avoid mystification while witnessing the marvels of the new ballet. Their only point in common appears to be the ill-fated love of a water sprite, Ondine, with for a mortal man who already has a mortal sweetheart. However, the ballet's divergence from the original novel "derive from intermediary works linking the book and the ballet, which Perrot used to enrich and enhance his theatrical conception". The greatest changes that Perrot made to the basic plot were the change of location from the darkly evocative Danube to the sunnier shores of Sicily, and the transformation of the aristocratic Sir Huldbrand into the humble fisherman Matteo, while Undine's rival Bertalda became the orphan Giannina. In many ways, Perrot's ballet is more similar to René-Charles Guilbert de Pixerécourt's play of the story, Ondine, ou la Nymphe des Eaux, which was first presented in Paris in 1830 while Perrot was also performing there.

Onegin

Ballet · 1965

Music by Pyotr Ilyich Tchaikovsky, arranged by Kurt-Heinz Stolze. Setting: 1820s, Russia Act 1 Madame Larina's garden In the garden, Madame Larina, her daughters Olga and Tatiana, and the nurse are finishing party dresses and discussing Tatiana's upcoming birthday celebrations. They think about the future, and the local girls play an old folk game: whoever looks into the mirror will see her beloved. Lensky, a young poet engaged to Olga, arrives with a friend from Saint Petersburg. He introduces Eugene Onegin, who has come to the country to see if it can offer him any distraction from city life. Tatiana falls in love with the handsome stranger, who seems so different from the country people she knows, while Onegin only sees a naive, romantic girl. Tatiana's bedroom That night, Tatiana dreams of Onegin, her first love. She writes him a passionate love letter, which she asks her nurse to deliver. Act 2 Tatiana's birthday The local gentry have all arrived to celebrate Tatiana's birthday. Onegin finds the company boring and is struggling to be polite. He is also annoyed by Tatiana's letter, which he thinks is just an outburst of adolescent love. He seeks Tatiana out and tears up her letter, telling her that he cannot love her. Prince Gremin, a distant relative of Tatiana who is in love with her, appears. Madame Larina hopes they will make a good match, but Tatiana hardly notices him as she is so distressed. Onegin decides to provoke Lensky by flirting with Olga, hoping it will relieve his boredom. Olga joins in with the joke, but Lensky takes it seriously and challenges Onegin to a duel. The duel Tatiana and Olga try to reason with Lensky but he insists the duel must go ahead. Onegin kills his friend. Act 3 St Petersburg Years later, Onegin returns to St. Petersburg after travelling the world. He goes to a ball at the palace of Prince Gremin. Onegin is surprised when he recognises the beautiful Princess Tatiana as the country girl he once turned away. He realises how much he lost through his previous actions. Tatiana's boudoir Onegin writes to Tatiana and reveals his love. He asks to see her but she does not wish to see him. She pleads with her husband not to leave her alone that evening. Onegin comes and declares his love for her. Tatiana feels Onegin's change of heart has come too late. And even if she still loves him she has now a new life with Prince Gremin and also after having killed Lensky she would never want Onegin again. She tears up his letter and orders him to leave her forever.

Opening Dance

Ballet · 1937

Opening Dance was a modern dance solo choreographed by Martha Graham to music by Norman Lloyd. It premiered on July 30, 1937, at the Bennington School of the Dance in Bennington, Vermont. The work was danced by Graham herself, as were all the pieces on the all-solo program. The performance preceded the foundation of the Martha Graham Dance Company. Other pieces on the program were: Lamentation, Frontier, Satyric Festival Song, Immediate Tragedy, Spectre 1914, Act of Piety, Imperial Gesture, Eksatsis and Harlequinade. As with much of Graham's early work, the choreography and other details of the piece are lost. Critic John Martin, writing for The New York Times, reported that the work "belongs in that most thankless category of the recital dancer, something to raise the curtain with."

Orpheus Alive

Ballet · 2019

Orpheus Alive is a ballet composed in 2019 by Missy Mazzoli, choreographed by Robert Binet, and conceived by Binet in collaboration with the playwright Rosamund Small. It was commissioned by the National Ballet of Canada, which first performed it at the Four Seasons Centre in Toronto on November 15, 2019. The narrative Orpheus Alive is a re-imagining of the story of Orpheus and Eurydice, casting Orpheus as a woman and Eurydice as a man. Mazzoli subsequently arranged a 15-minute suite of music from the ballet titled Orpheus Undone, which was commissioned by the Chicago Symphony Orchestra and given its world premiere under the conductor Riccardo Muti on March 31, 2022.

Oscar

Ballet · 2024

Oscar Wilde is prosecuted under Britain's Criminal Law Amendment Act 1885 that criminalised all sex acts between men. Details of his life are under intense scrutiny in the courtroom. Wilde sits in his jail cell where he recalls better times on a family picnic with his wife Constance and their two boys. He reads them his fairy tale, The Nightingale and the Rose. We see the story unfold interspersed with scenes from Wilde's life in London's social circles and the beginnings of his relationship with Robbie Ross. Subjected to hard labour in prison, Wilde is malnourished and broken. He has tinnitus in one ear due to a fall. Alone and in despair Wilde recalls scenes from his story The Picture of Dorian Gray as well as his relationship with Bosie (Lord Alfred Douglas). Dorian makes a deal with the devil to keep his beauty intact while his portrait is gradually transforming to become more and more grotesque. Wilde and Douglas's relationship deepens leading Lord Queensberry (Douglas's father) to denounce Wilde and his eventual conviction. We see parallels with Dorian, whose life collapses to restore his portrait to its former beauty. On his release, Wilde is collected from prison by his friend Robbie Ross. Broken and with reputation destroyed he dies a few years later aged 46. His writing lives on and continues to be read and enjoyed today.

Ozaï

Ballet · 1847

The Ozaï; ou l'insulaire depicts the noble savage and is partially inspired by the adventures of French explorer Louis Antoine de Bougainville. It tells the story of Ozaï, a Tahitian maiden who falls in love with Surville, a shipwrecked sailor. Surville, believing he will never return home, promises to marry Ozaï. However, both end up in France, where Ozaï learns that Surville cannot marry his former betrothed due to his promise to her. Heartbroken, Ozaï decides to relinquish Surville and returns to her South Seas home.

Paquita

Ballet · 1846

The story takes place in Spain during the presence of Napoleon's army. The heroine is the young Romani girl, Paquita. Unbeknownst to Paquita, she is really of noble birth, having been abducted by Romani people when she was an infant. She saves the life of a young French officer, Lucien d'Hervilly, who is the target of a Spanish governor who desires to have him killed by Iñigo, a Roma chief. By way of a medallion, she discovers that she is of noble birth, being in fact the cousin of Lucien. As such, she and the Officer are able to get married.

Pas de Quatre

Ballet · 1845

Grand Pas de Quatre is a ballet divertissement choreographed by Jules Perrot in 1845, on the suggestion of Benjamin Lumley, Director at Her Majesty's Theatre, to music composed by Cesare Pugni. On the night it premiered in London (12 July 1845), it caused a sensation with the critics and the public alike. The reason for this was that it brought together, on one stage, the four greatest ballerinas of the time – in order of appearance, Lucile Grahn, Carlotta Grisi, Fanny Cerrito, and Marie Taglioni. (The fifth great Romantic ballerina of the time, Fanny Elssler, had been invited to take part but declined to do so; she was replaced by the young Lucile Grahn who accepted without hesitation.) Pas de Quatre captured the essence of the Romantic style as the ballerinas danced with demure lightness, delicacy, and poise. The steps demand that each area of classical ballet technique is executed. These areas include adagio movements, petite allegro, grand allegro, fast footwork, graceful changes of position, and the elegant and fluid arm movements that have become a signature element of Pas de Quatre. Each ballerina has an individual variation, which are performed in succession between an opening and finale that are danced by all the ballerinas together. These variations were choreographed for the ballerina premiering in each role, and were designed to display the best features of each.

Paz de la Jolla

Ballet · 2013

Paz de la Jolla is a contemporary ballet choreographed by Justin Peck for the New York City Ballet. It is Peck's third choreographed piece, the 422nd ballet choreographed for the New York City Ballet, and its creation was featured in the documentary Ballet 422. The costumes were designed by Reid Bartelme and Harriet Jung with supervision from Marc Happel, with lighting by Mark Stanley The 20-minute piece features 18 dancers and premiered on January 13, 2013.

Pineapple Poll

Ballet · 1951

Music by Arthur Sullivan, arranged by Charles Mackerras. H.M.S. Hot Cross Bun has arrived in Portsmouth, and the sailors, who are on shore leave, meet some pretty town's girls whom they like. Pineapple Poll then arrives with a basket of flowers. The sailors buy the flowers from Pineapple Poll to give to their girlfriends, some doing so reluctantly. Jasper, the 'pot boy' at the local inn, serves drinks to some of the sailors. Jasper is very interested in Pineapple Poll, but she haughtily rejects his proffered love. Captain Belaye of H.M.S. Hot Cross Bun then arrives, and the sailors are horrified when their girlfriends swoon at the sight of the Captain. The sailors attempt to stop the girls, without success. Pineapple Poll also tries to capture the Captain's attention, but she does not have Jasper's restraining hand to stop her. When Captain Belaye is finally left alone, a girl (Blanche) arrives with her aunt (Mrs. Dimple). It is love at first sight for both the Captain and Blanche. Mrs. Dimple is initially opposed to the Captain's interest in her niece, but she finally relents. When Captain Belaye returns to the port, the town's girls and Pineapple Poll once again try to capture his interest. Captain Belaye manages to escape from the girls with much difficulty, and the girls are then left sighing after the Captain, while the members of his crew vent their anger against him. It is nightfall, and some 'sailors' go up the gangplank to board the ship. Pineapple Poll arrives on the wharf with some naval clothes in which she then dresses herself (off-stage), following which Pineapple Poll also then goes up the gangplank to the ship. Jasper arrives at the wharf and is devastated to find Pineapple Poll's clothes. He mistakenly assumes that Pineapple Poll has drowned. Despondently, he gathers up Pineapple Poll's clothing and leaves. The following morning, on board H.M.S. Hot Cross Bun, Captain Belaye is taking his 'crew' through drill. Although his 'crew' is dressed in the usual ship's uniforms, they are far smaller in build than usual – however, the Captain does not seem to realise that there is a disparity in their heights. The uniform which Pineapple Poll is wearing is not a uniform which a sailor would wear on board H.M.S. Hot Cross Bun, and she continually exercises en pointe, but the Captain appears oblivious to anything unusual about her as well. Captain Belaye also does not notice that his 'sailors' are looking up adoringly at him. When the cannon is fired, he is surprised at the reaction of the 'sailors', including Pineapple Poll (who faints at the sound). A church bell then tolls in the distance, and the Captain leaves the ship. A short while later, the Captain returns to the ship with Blanche (who is dressed as a bride) and Mrs. Dimple. The 'crew' all faint with shock. Pineapple Poll is the first to recover and to demonstrate to Captain Belaye that she is female. Then the other 'sailors' demonstrate that they, too, are female. Blanche is horrified, as is her aunt, at the ship's crew all being girls, and the Captain looks stunned. The ship's genuine crew then arrive, as does Jasper. The sailors are very annoyed with their girlfriends, and the girls have to coax and cajole the sailors to take them back. Jasper has a tougher time with Pineapple Poll, who is still hankering after the Captain. Belaye, who has now been promoted to the rank of Admiral, returns to the deck with his bride, Blanche, and Blanche's Aunt, Mrs. Dimple. Pineapple Poll swoons at the sight of the Admiral, much to Jasper's distress. Mrs. Dimple calls to Jasper and then gives him the Admiral's former Captain's attire. Jasper puts on the Captain's hat and coat – and becomes the new Captain of H.M.S. Hot Cross Bun as a result (even though Jasper has never been a sailor), and Pineapple Poll's affections and interest are immediately transferred from the Admiral to Jasper. The sailors of H.M.S. Hot Cross Bun are most displeased that the 'pot boy' has suddenly been elevated to be their Captain, and they openly show their disdain for him. All of the girls then return to the ship's deck, wearing their own clothes, and are welcomed back by their delighted boyfriends. The girls swoon at the sight of Jasper in his new Captain's uniform, but this time the sailors are able to keep their girlfriends in check, and all ends happily.

Plymouth Town

Ballet · 2013

Plymouth Town is a ballet composed by Benjamin Britten in 1931. A typical performance lasts about 25 minutes. It was written between the 12 and 28 August and completed on 22 November 1931, shortly after Britten's first year as a student at the Royal College of Music. Britten's score is based on the sea shanty "A Roving". The folklorist Violet Alford devised the plot of the ballet. The plot of the ballet concerns a sailor led astray by a 'bad girl' who was a "mistress of her trade" as described in "A Roving"; she robs the sailor after the two embark on a pub crawl. The plot was later echoed in Britten's opera Albert Herring. Plymouth Town was never performed in Britten's lifetime. He sent the score without success to the Camargo Society, a prominent promoter of British ballet. John Bridcut describes the piece as a "fascinating harbinger of the mature Britten" with "moments of wit and poignancy, all delivered with an angular energy". It was first performed at the Royal College of Music, London on 25 January 2004, conducted by Britten specialist, Michael Rosewell. The sole recording of Plymouth Town was made by the BBC Symphony Orchestra in 2005. The ballet was staged for the first time on 1 July 2013 by Chethams's School of Music under conductor Jeremy Pike with dancers from The Hammond Dance School with choreography by Jane Elliot at the Opera Theatre of the Royal Northern College of Music in Manchester.

Praeludium

Ballet · 1935

Praeludium, also called Praeludium (No. 1), was a modern dance solo choreographed by Martha Graham to music by Paul Nordoff. The piece was sometimes subtitled Dance of Greeting. It premiered on February 10, 1935, at the Guild Theatre in New York City. Graham created the original costumes. Edythe Gilfond redesigned them in 1938. In the same year Graham made Praeludium, she choreographed another solo, Formal Dance, to music by David Diamond. It was renamed Praeludium (No. 2). Little else is known about the ballet, although a San Francisco critic described the work's theme, "Miss Graham definitely projected the American tempo and architectural spatial patterns that belong essentially to the American scene." She added that the dance "most completely accomplished her oft-stated aim," no doubt referring to Graham's goal of creating a "uniquely American" dance form."

Pulcinella

Ballet · 1920

Pulcinella is taken from a manuscript from Naples, dating from 1700, containing a number of comedies portraying the traditional character of the popular Neapolitan stage. This libretto was derived from Quatre Polichinelles semblables ("Four similar Pulcinellas"). The one-act ballet features Pulcinella, his girlfriend Pimpinella, his friends Furbo, Prudenza and Rosetta, and Florindo and Cloviello. The story starts with Florindo and Cloviello serenading Prudenza and Rosetta. The two women are unimpressed and reply by showering the suitors with water. Prudenza's father, a doctor, appears and chases them away. A new episode begins with Rosetta, when her father appears. Rosetta dances for Pulcinella and they kiss. But Pimpinella sees this and interrupts them. Florindo and Cloviello arrive and, jealous of Pulcinella, they beat him up. Pulcinella appears to be stabbed, but this is a ruse to gain Pimpinella's forgiveness of him. Furbo, disguised as a magician, comes and appears to resurrect Pulcinella in front of everybody. Pimpinella forgives Pulcinella, and Prudenza and Rosetta succumb to Florindo's and Cloviello's wooing. The ballet ends with the marriages of the three couples.

Pulcinella Variations

Ballet · 2017

Pulcinella Variations is a one-act ballet by Justin Peck, set to Igor Stravinsky's Pulcinella Suite, with costumes designed by Tsumori Chisato. The ballet premiered on September 28, 2017, danced by the New York City Ballet, at the David H. Koch Theater. The choreography of Pulcinella Variations is more classical than other Peck's works, and the costumes were inspired by commedia dell’arte, which was also Stravinsky's inspiration when he wrote the music.

Radio and Juliet

Ballet · 2005

Radio and Juliet is an hour long ballet setup in 2005 for the Slovenian company Ballet Maribor in Slovenia. It was directed by Romanian dancer and choreographer Edward Clug. The ballet is a rendition of William Shakespeare's Romeo and Juliet set to the music of Radiohead, from their albums OK Computer and Kid A. Since 2005 Radio and Juliet has guested in the Netherlands, Italy, Singapore, Korea, Israel, Canada, United States, Russia, Ukraine, Brazil, Serbia and Croatia. It has also been set on the companies of Bucharest National Theater and Kyiv National Opera. On 15 September 2012, the 100th performance was celebrated on the old stage of the Maribor Opera house. The ballet premiered in the United States in 2008 at the Pittsburgh International Festival of Firsts at the Byham Theater. The last performance has been in Limassol in February 2026, the next is in Dortmund in May 2026. Noted for the ballet's choreography and simplicity, Radio and Juliet represents a modernized interpretation of Shakespeare. As stated by Edward Clug, "You could call this quite a twisted version... My intention was not to retell the story but offer the audience an experience from a different perspective."

Raymonda

Ballet · 1898

Scene 1: Raymonda's feast At the castle of Doris, preparations are under way for the celebrations of the young countess Raymonda's name day. Countess Sybille, her aunt, chides those who are present, including Raymonda's two friends Henrietta and Clémence, and the two troubadours Béranger and Bernard, for their idleness and their passion for dancing, telling them of the legendary White Lady, the protector of the castle, who warns the Doris household every time one of its members is in danger and casts punishment on those who do not fulfil their duties. The young people laugh at the countess's superstitions and continue to celebrate. The seneschal of the Doris castle announces the arrival of a messenger, sent by Raymonda's fiancé, the noble crusader knight, Jean de Brienne, bearing a letter for his beloved. Raymonda rejoices when she reads that King Andrew II of Hungary, for whom Jean de Brienne has fought, is returning home in triumph and Jean de Brienne will arrive at the Doris castle the next day for their wedding. Suddenly, the celebrations are interrupted when the seneschal announces the arrival of an uninvited Saracen knight, Abderakhman and his entourage, who have stopped at the castle seeking shelter for the night. Captivated by Raymonda's beauty, Abderakhman falls in love with her at once and resolves to do anything to win her. The party lasts late into the night and, left alone and exhausted by the day, Raymonda lies down on a couch and falls asleep. As she sleeps, she begins to dream that the White Lady appears illuminated by the moonlight and, with an imperious gesture, orders Raymonda to follow her. Scene 2: The Visions The White Lady, without making a sound, advances along the terrace. Raymonda follows her in a state of unconsciousness. At a signal from the White Lady, the garden is wrapped in mist. A moment later, the mist vanishes and Jean de Brienne appears. Overjoyed, Raymonda runs into his arms and they are surrounded by glory, knights and celestial maidens. The garden is illuminated by a fantastic light and Raymonda expresses her joy to the White Lady, who interrupts her enthusiasm with a vision of what awaits her. Raymonda wants to return to her fiancé, but instead, she finds Abderakhman, who has taken Jean de Brienne's place. Abderakhman declares his passionate love for her, but Raymonda, though confused and upset, is quick to reject him. Imps and elves appear from everywhere surrounding Raymonda, who begs the White Lady to save her and Abderakhman tries to take Raymonda by force. Raymonda cries out and falls to the ground in a faint. The frightful vision disappears along with the White Lady. The Courtyard of the Castle The feast in honour of Jean de Brienne's arrival is taking place. Raymonda welcomes her guests, but cannot hide her uneasiness caused by Jean de Brienne's delay. Abderakhman approaches her repeatedly and reveals his passion for her, but remembering the warnings of the White Lady, Raymonda rejects him with contempt. Abderakhman becomes even more insistent and realises the only way to possess Raymonda is by force. He calls his slaves to dance for her, after which he summons his cup bearers and they pour a potion into everyone's cup, causing all the guests to become drunk. Seizing his chance, Abderakhman grabs Raymonda in an attempt to abduct her, but luckily Jean de Brienne arrives just in time, accompanied by King Andrew II and his knights. Jean de Brienne saves Raymonda from the hands of the Saracens and tries to seize Abderakhman. The King commands the two rivals to put an end to the matter in a duel, during which the White Lady appears on the castle tower. Abderakhman is dazed and dies, slain by Jean de Brienne's sword. Raymonda joyfully embraces her fiancé and the two reaffirm their love as the King joins their hands. The Wedding Raymonda and Jean de Brienne are finally married and King Andrew II of Hungary gives the newly wedded couple his blessing. In his honour, everyone at court is dressed in Hungarian fashion and perform a range of Hungarian-style dances, ending in an Apotheosis where everyone comes together in a knightly tournament.

Raymonda Variations

Ballet · 1961

Raymonda Variations, formerly titled Valses et Variations, is a ballet choreographed by George Balanchine to excepts from Alexander Glazunov's score for the 1898 ballet Raymonda. Instead of following the plot of the 1898 ballet, the Balanchine ballet is plotless. It premiered on December 7, 1961, at the City Center of Music and Drama. Raymonda Variations was made for the New York City Ballet, with the two lead roles originated by Patricia Wilde and Jacques d'Amboise.

Red Detachment of Women

Ballet · 1964

Place: Yelinzhai ("Stronghold of the coconut woods"), Hainan Island, China Time: The Ten-Year Civil War (1927-1937) Main Characters: Hong Changqing (洪常青), Commissar of the Red Detachment of Women, disguised as a merchant Wu Qinghua (吳清華) - daughter of a peasant and servant girl of NanBatian, later a soldier, and finally the Commissar Lian Zhang (连长), literally the Company Commander Xiao Pang (小庞)," Little Pang the Messenger NanBatian (南霸天) - lit "the Tyrant of the South", a despotic landlord Ou Guangsi (Lao Si) (老四) - NanBatian's Lackey In his dungeon, Nanbatian, the despotic landlord, has imprisoned his tenants who are unable to pay their exorbitant rents. Wu Qinghua, daughter of a poor peasant, is chained to a column. Lao Si comes with the order of Nanbatian to sell Wu. Lao Si releases Wu from the chain. While Lao Si is in an unguarded moment, Wu kicks him, and he loses his balance and falls. Wu manages to escape while two other inmates hold Lao Si to the ground. Major numbers: Pas de deux of two inmates Immediately after the prologue. Night has fallen in the coconut forest and Wu Qinghua is desperately running away from Lao Si and his lackeys. She is soon recaptured. Nanbatian and his entourage arrive. The Tyrant whips Wu until she loses consciousness. A thunderstorm approaches, so Nanbatian and his followers leave and Wu is left for dead. Hong Changqing, the Commissar, and Xiao Pang, the Messenger, who are on a reconnaissance mission in disguise, pass by. They save Wu and point her the way to the camp of the Red Army. Major numbers: Dance of Lao Si and his lackeys Wu Qinghua's Solo No. 1 Wu Qinghua's fight with Lao Si Wu Qinghua's fight with Nanbatian Group dance of slaves Wu Qinghua's Solo No. 2 Pas de trois of Hong Changqing, Wu Qinghua and Xiao Pang In the camp of the Red Army beside the Wanquan River, a newly formed Detachment of Women is being trained. Wu Qinghua arrives to meet Hong Changqing and Xiao Pang, who introduce her to others. In a solo dance, Wu tells the Red Army soldiers the enormity of Nanbatian's crimes. She then ceremoniously receives a rifle and is accepted as a member of the Women's Detachment. With determination, they plan to liberate the peasants and slave girls under the oppression of Nanbatian. Major numbers: Group dance of the Detachment members Rifle drill of the Detachment members Hong Changqing's bayonet dance Group bayonet dance of the Detachment members A young women soldier's solo Five-inch dagger dance of the Red Guards Group dance of all Wu Qinghua's solo In the luxurious manor of Nanbatian, an extravagant birthday celebration for the Tyrant is going on in the garden before his house. Mountains of gifts are brought in; visitors are arriving, Li girls are driven in with whips at their backs to dance for the guests. Hong Changqing, disguised as a wealthy merchant from Southeast Asia, arrives on the scene, calm and dignified, to congratulate Nanbatian on his birthday. Meanwhile, the members of the Women's Detachment have secretly gathered around the manor of the Tyrant. It has been agreed that Hong is to fire his gun at midnight as signal for the Detachment to break in to wipe out the Tyrant and his gang in one fell swoop. At night, all people recede into the houses. Nanbatian comes out to see some of his guests off. Overcome by deep personal hatred, Wu Qinghua shoots Nanbatian, prematurely issuing the battle signal. Nanbatian is merely wounded and escapes from a secret tunnel with a few of his lackeys. Nanbatian's prisons are opened, and the prisoners are liberated. Hong leads them in opening the granary of the Tyrant and distributing the grain. Wu is reprimanded for her blunder, and her gun is removed from her. Major numbers: Group dance of slaves Li Girls' dance Broadsword dance of Nanbatian's lackeys Xiao Pang's solo Pas de deux of Wu Qinghua and her comrade-in-arm Opening the granary and distributing grain Back in the camp of the Red Army. Hong Changqing, the Commissar, is giving a lecture to the soldiers in the early morning. Wu Qinghua comes to grips with her mistake. Hong and the Company Commander are pleased to see Wu's progress. The Company Commander returns the gun to her, and together they practice marksmanship and grenade throwing. The local people visit the Red Army and present them with doulis and lichees. Suddenly, the sound of cannons is heard and Xiao Pang, the Messenger, arrives on horseback with the information that Nanbatian has assembled a large number of troops, and they are on their way to attack the base of the Red Army. The members of the Detachment immediately bid goodbye to their dear ones and set out to the battle field. Major numbers: Hong Changqing's solo Group dance of the soldiers Wu Qinghua's solo Pas de deux of Wu Qinghua and Company Commander No. 1 Dance of five female soldiers and the head cook Douli Dance Pas de deux of Wu Qinghua and Company Commander No. 2 Dance of Hong Changqing and male soldiers Group dance of all On the battlefield at a mountain pass. In order to annihilate the enemy's effective power, the main force of the Red Army strategically shifts to the rear of the enemy, and the Company Commander leads most of the members of the Detachment in moving away with the main force. Hong Changqing and a small group of Red Army soldiers and Red Guards form a covering force to divert the enemy. After a series of fierce fights, the goal is achieved. As they prepare to withdraw, the enemy starts yet another attack. Hong gives his portfolio to Wu Qinghua and orders her and other members to retreat while he and only two other soldiers stay behind to fend off the enemy. Hong's two comrades-in-arms are killed and he himself is captured. Major numbers: Dance of Wu Qinghua and other soldiers Wu Qinghua's fight with an enemy Fight between two soldiers and two enemies Red flag dance Dance of Hong Changqing and two comrades-in-arm Dance of Hong Changqing and two enemies The main force of the Red Army is pressing forward with the momentum of an avalanche. Their group dance. A memorable moment in the entr'acte is the precisely synchronized grand jete of the Red Army soldiers crossing the stage in a seemingly endless line, vividly suggesting they are as fast as an arrow flying in the air. Major numbers: Group dance of the Red Army soldiers Sequence of synchronized grand jeté In the lair of the Tyrant, Nanbatian and his lackeys are panic-stricken knowing that their end is approaching. The Tyrant runs out all his means to force Hong Changqing to surrender, but the Commissar vehemently denounces the enemy. Nanbatian threatens Hong with death, but the hero remains steadfast. At the end, Hong is burnt in a horrid fire under the giant banyan tree amidst a chorus of the Internationale, and he dies a martyr's death. The main force of the Red Army has won their battle with the enemy. They storm the hideout of the Tyrant and kill him and his lackeys. The Red Army emancipates Nanbatian's prisoners and Yelinzhai is liberated. Wu Qinghua and the Company Commander look everywhere for Hong and find the truth. They all kneel in front of the place where Hong has died to pay their respects to the hero. The Red Army Battalion Commander announces that Wu will succeed Hong as the Commissar of the Women's Detachment. Wu takes over Hong's portfolio, and she and her comrades-in-arm will continue their revolutionary cause. Major numbers: Dance of Nanbatian and Lao Si Hong Changqing's solo Hong Changqing dying a martyr's death Red Army's assault on Nanbatian's lair Celebration of liberation Pas de deux of Wu Qinghua and Company Commander Mourning the martyr Group dance and the tableau vivant at the end

Resurrection

Ballet · 1929

Resurrection is a modern dance solo created by Martha Graham to music by Tibor Harsányi. The piece premiered on March 3, 1929, at the Booth Theatre in New York City. On June 2, 1930, Graham performed another work, Unbalanced, that also used Harsányi's music. Unbalanced does not appear in most Graham chronologies, so it is speculated the two pieces were the same. To confuse things further, a dance critic of the time wrote that Resurrection had previously been titled The Avenger. Two other new works appeared on the afternoon's program, Adolescence with music by Paul Hindemith, and Danza with a score by Darius Milhaud. The New York Times dance critic wrote the work was "composed with complete originality and in faultless form. It builds relentlessly on a striking movement theme to an inevitably foreshadowed climax." The dance's connection to the title was, however, unclear to the reviewer, "it is not spelled out in letters that those who run may read." The critic for The New York Herald Tribune was even more mystified, "Of the three new numbers offered, Resurrection to music by Harsanvi (sic) was the least definite and effective, a bizarre interpretation in expressionistic vein."

Revolt

Ballet · 1927

Revolt, initially called Danse, was a modern dance solo choreographed by Martha Graham to music by Arthur Honegger. It premiered with the original title on October 16, 1927, at the Little Theatre in New York City. By February 1928 it appeared in programs as Revolt. Other works at the premiere were Choral; Adagio (from second Suite); Scherzo, Op. 16 No.2; Tanzstück; Deux Valses; Five Poems; Tanagra; Esquisse Antique; Lucrezia; Alt-Wein; La Cancion; Ronde; Two Poems of the East and Baal Shem. Graham performed with her small company of dancers: Evelyn Sabin, Betty MacDonald and Rosina Savelli. The New York Herald Tribunes reviewer wrote of the debut, "Many of the numbers were new, several of them were really beautiful, most of them were interesting, and one or two significant, for example Honneger's Danse. Although it did not advocate a particular party line, Revolt was Graham's first piece of social commentary. Biographer and longtime friend Agnes de Mille said, "She was speaking for the individual, for the outraged spirit, for her own spirit, in fact...She would not accept formulae." Dance Magazines critic noted, "To Honegger's mad music she was significant as a typical product of modern industry - a down trodden, agonized soul, trying in vain to free itself from the tremendous power that is crushing it to earth. This was done most effectively." The reviewer added the work "was the highlight of the whole program."

Roxana, the Beauty of Montenegro

Ballet · 1878

Roxana, the Beauty of Montenegro (Roksana, krasa Chernogorii, also known as Roxana) is a fantastic ballet in four acts, with choreography by Marius Petipa and music by Ludwig Minkus. Libretto by Sergei Khudekov and Marius Petipa. The ballet was first presented by the Imperial Ballet on January 29/February 11 (Julian/Gregorian calendar dates), 1878 at the Imperial Bolshoi Kamenny Theatre in St. Petersburg, Russia, with Eugeniia Sokolova as Roxana, shortly after Montenegro was liberated by the Russian army from the Ottoman Empire. The ballet historian Konstantin Skalkovsky gives an account in his study of late 19th century ballet in St. Petersburg of how Minkus' "Grand Marche" from the third act of this ballet "was the favorite piece of Tsar Alexander II, who in general did not love music. Several units of our troops (the Russian Army) stormed the Plevna to the music of this march."

Russian Seasons

Ballet · 2006

Russian Seasons is a ballet choreographed by Alexei Ratmansky to Leonid Desyatnikov's music of the same name, with costumes designed by Galina Solovyeva. The ballet premiered on June 8, 2006 at the New York State Theater, performed by the New York City Ballet. Russian Seasons is performed by six couples and has twelve sections, and is about Ratmansky's Russian roots. Russian Seasons had also been revived by the Bolshoi Ballet and the National Ballet of Canada. In 2020, in response to the impacts of the coronavirus pandemic on the performing arts, the New York City Ballet will release a 2018 video recording of an excerpt from the ninth section, featuring Abi Stafford, Sara Mearns and Amar Ramasar, and a 2017 footage of the tenth section with Taylor Stanley in his role debut.

Salutation

Ballet · 1936

Salutation was a modern dance solo choreographed by Martha Graham to music by Lehman Engel. It premiered on April 7, 1936, at Philharmonic Auditorium in Los Angeles, California. Subtitled Dance of Greeting, the work was performed by the choreographer. Graham performed ten other pieces on the all-solo program: Lamentation, Frontier, Satyric Festival Song, Building Motif from Horizons, Imperial Gesture, Sarabande, Act of Piety, Ekstasie, Frenetic Rhythm (No.3) and Harlequinade. Salutation-Dance of Greeting did not remain in the Martha Graham Dance Company repertory. The choreography and other details of the piece are lost. Graham also created other dances with the same name, including a 1930 work set to music by Arthur Honegger (originally called Prelude to a Dance) and a 1932 piece with music by Carlos Chávez (originally called Prelude).

Scherza

Ballet · 1927

Scherza was a modern dance solo choreographed by Martha Graham to music by Robert Schumann. It premiered on December 10, 1927, at a special performance for the Cornell Dramatic Club. The program was billed as the Adolph Bolm Dance Recital. In addition to Graham and Bohm, the performance featured Ruth Page, Vera Mirova, Bernice Holmes and Marcia Preble. Graham appeared in two solo works, Scherza and Tanagra. As with many of her early pieces, the choreography and other details of the ballet are lost. It is known, though, that her approach to making dances during this time frame was Delsartean. In rejection of her teachers' Denishawn (Ruth St. Denis and Ted Shawn) forms, Graham initially drew on earlier dance concepts. These "pure objective Delsarte vignettes, depictions of moods and emotions" were "not quite camouflaged by their foreign titles and modern music." The mostly late-1920s works include Fragilité, Lugubre, Scherza and Four Insincerities.

Serenade

Ballet · 1934

Serenade is a ballet by George Balanchine to Tchaikovsky's 1880 Serenade for Strings in C, Op. 48. Serenade is credited as being George Balanchine's first full-length ballet in America. Using the students of his newly formed School of American Ballet, Balanchine choreographed this ballet for an American audience that had not been widely exposed to ballet before. Students of the School of American Ballet gave the first performance on Sunday, 10 June 1934 on the Felix M. Warburg estate in White Plains, N.Y., where Mozartiana had been danced the previous day. It was then presented by the Producing Company of the School of American Ballet on 6 December at the Avery Memorial Theatre of the Wadsworth Atheneum with sets by the painter William Littlefield. Balanchine presented the ballet as his response to the generous sponsorships he received during his immigration to America. The official premiere took place on 1 March 1935 with the American Ballet at the Adelphi Theatre, New York, conducted by Sandor Harmati. NYCB principal dancer Philip Neal chose to include Serenade in his farewell performance on Sunday, 13 June 2010. The blue tutus used in Serenade inspired the naming of the Balanchine crater on the planet Mercury.

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