Les Ballets Russes 0+

various, F 2009, 140 min
Les Ballets Russes

For the 100th anniversary of the Russian Ballets of Diaghilev, Kino Světozor presents four essential works from Massine, Nijinski and Fokine, an event already booked across movie theatres in France, Switzerland and Belgium.

19h00-19h25 : insight to the Opera hall
19h25-19h30 : an interview with Brigitte Lefebvre, the art director of Opéra de Paris
19h30-19h40 : first part: Le spectre de la Rose
19h45-20h00 : second part: Après-midi d'un Faune
20h00-20h37 : third part: le Tricorne
20h37-21h00 : break
21h00-21h40 : fourth part: Petrouchka
21h50-22h00 : final credits

LE TRICORNE (The Three Cornered Hat)- 1919
For Diaghilev, it was evident that the choreographer Massine had a particular talent to create comical and original ballets. Le Tricorne (original Spanish title: El sombrero of tres picos), is a ballet in one act composed by Manuel de Falla, choreographed by Léonide Massine and whose sets and costumes are designed by Pablo Picasso. Le Tricorne allit classicism, modernism and Spanish character, in the music, the set and the choreography, making of this show a true teamwork. The final jota counts as one of the numerous passages considered to be a piece of anthology.

LE MEUNIER - Jose Martinez
LA FEMME DU MEUNIER - Marie-Agnes Gillot
Andrea Hill - Mezzo‐Soprano
Manuel De Falla - Music
Léonide Massine - Choreography
Pablo Picasso - Sets and costumes

* LE SPECTRE DE LA ROSE (The Spector of the Rose) - 1911*
A girl, returning from the ball, dreams about an ideal being, as volatile as the perfume of a rose.

LE SPECTRE - Mathias Heymann
LA JEUNE FILLE - Isabelle Ciaravola
Carl Maria Von Weber - Music
Mikhaïl Fokine - Choreography
Léon Bakst - Sets and costumes

L’APRÈS‐MIDI D’UN FAUNE (Afternoon of a Faun) - 1912
The trend towards realism is yet more marked in Nijinski’s L’Après‐midi d’un faune. Fokine’s interpreter becomes choreographer in his own right. After lending his body to the poet of Les Sylphides, incarnating Le Spectre de la Rose, and endowing Pétrouchka ‐the puppet with a soul‐, the dancer Vaslav creates a role in flesh and blood: the sensual and shocking fawn ‐ shocking above all in the last scene which is so eloquent with desire. At the time, the dancers’ work was a challenge to academic dance and heralded the multiple and daring creations of today’s dance.

LE FAUNE - Nicolas Le Riche
LA NYMPHE - Emilie Cozette
Claude Debussy - Music
Vaslav Nijinski - Choreography
Léon Bakst Sets and costumes

PÉTROUCHKA - 1911
Taking traditional XIXth century tales as his point of departure, Fokine evolves towards expressive dance "capable of translating feelings and states of mind:. Although the fable Petrouchka brings to life the characters of a Russian puppet show, it is not a fairy tale. The story, rooted in the real world, contrasts the naturalism of the fun fair with the fictional life of the puppets, the joyful outbursts of the crowd outside with the cruel drama unfolding inside the little theatre.

PETROUCHKA - Benjamin Pech
LA POUPEE - Clairemarie Osta
LE MAURE - Yann Bridard
Igor Stravinsky - Music
Mikhaïl Fokine - Choreography
Alexandre Benois - Sets and costumes

These four ballets will be interpreted by Les Étoiles, les Premiers Danseurs, le Corps de Ballet, l’ Orchestre de l’Opéra national de Paris and under the musical direction of Vello Pähn.

 

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