The Ballets of Daniel-François-Esprit Auber by Robert Ignatius Letellier

By Robert Ignatius Letellier

Daniel-François-Esprit Auber (Caen 29 January 1782- Paris 12/13 may perhaps 1871) is essentially remembered as one of many nice masters of opéra-comique, but in addition performed an important function within the improvement of Romantic ballet in the course of the lengthy danced interludes and divertissements in his grand operas l. a. Muette de Portici, Le Dieu et los angeles Bayadère, Gustave III, ou Le Bal masque, Le Lac des fées, L Enfant prodigue, Zerline, and the opéra-ballet model of Le Cheval de bronze. Auber additionally tailored track of varied of his operas to create the ranking of the full-length ballet Marco Spada; it truly is fairly diverse from his personal opera at the topic. also, numerous choreographers have used Auber s tune for his or her ballets, between them Frederick Ashton (Les Rendezvous, 1937), Victor Gsovsky (Grand Pas Classique, 1949) and Lew Christensen (Divertissement d Auber, 1959). l. a. Muette de Portici (1828), choreographed through Jean-Pierre Aumer, is decided opposed to the Neapolitan rebellion of 1647, and used to be played 500 instances in Paris on my own among 1828 and 1880. The opera offers one of many few severe matters the composer tackled, and one that critics came across to have a persuasive dramatic content material. An strange element of the paintings is that the most personality, a mute woman, is played through a mime or a ballerina. The position of ballet in l. a. Muette is critical in surroundings the neighborhood scene, utilizing dance episodes, no matter if courtly, and accordingly Spanish as within the guarucha and bolero in act 1, or well known, and for that reason Neapolitan as within the act three tarantella. Dance is usually innate to the dramatic state of affairs within the prolonged mime sequences for the mute heroine each one with its personal especially crafted song and personality. The track responds to, and displays, the shiny and enforcing scenic results (based on historic and pictorial study by means of the nice degree designers and painters Cicéri and Daguerre). Le Dieu et los angeles Bayadère (1830), set in India, used to be choreographed by way of Filippo Taglioni. Eugène Scribe, not just essentially the most influential of opera librettists, but additionally a number one determine within the heritage of ballet, wrote the state of affairs for the danced half, which was once relatively lengthy and of creative benefit. within the ballet scenes of the opera, the choreographer, essentially the most very important exponents of dance within the Romantic interval, was once already experimenting with the tips and elegance that have been to represent the creations of his top, and of the Romantic ballet as an entire: an unique fairy story topic (often pseudo-Medieval or pastoral), and unusual amorous affairs with supernatural beings, within the theatrical, musical and literary flavor of the interval. notably, the Romantic ballet concerned with the idealization of the ballerina, floating at the tips of her ft, a determine of airy lyricism. the entire ballets by means of Filippo Taglioni have been designed to reveal his daughter Marie s luminous inventive character. The seriously mime-oriented function of the bayadère Zoloé used to be one among Marie Taglioni s createst triumphs.

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It consists of the sections: 1. Entrée des Promeneurs (company) 2. Pas de quatre (four girls) 3. Male Variation 4. Adage des Amoureux (two leads) 5. Pas de trio (girl and two boys) 6. Female Variation 7. Pas de six (six boys) 8. Sortie des Promeneurs (company) These movements use music from L'Enfant prodigue as follows: 1. Entrée (Air de Ballet 1) 2. Air de Ballet (2) 3. Air de Ballet (3) 4. Pas de Deux (No. 10 Scène) 5. Air de Ballet (5) 6. Prima Ballerina (No. 9 Air et Scène, last section) 7.

The principal dancers for that occasion included Cynthia Gregory, Terry Orr, and Virginia Johnson. The original pas de trois, however, is the version most often performed today. " Fig. 10 From the Divertissement d'Auber xxxiv The Ballets of Daniel-François-Esprit Auber The Choreographers of Auber’s Ballets Fig. 11 Filippo Taglioni Figs. 12 and 13 Jean Coralli Introduction Fig. 14 Joseph Mazilier xxxv Fig. 15 Lucien Petipa Fig.

Introduction xxxiii Divertissement d'Auber Music: Daniel-François-Esprit Auber (the overtures to Le Cheval de bronze, Les Diamants de la couronne, Fra Diavolo and Le Domino noir) Choreography: Lew Christensen Costumes: Tony Duquette Preparatory performance: Vallejo, California, San Francisco Ballet, 6 January 1959 Principal dancers: Jocelyn Vollmar, Richard Carter, Fiona Fuerstner Number of Dancers: 3 Duration: 32 minutes Costumes by Marcos Paredes Lighting by Gilbert V. Hemsley, Jr. First performance: San Francisco, San Francisco Ballet, Alcazar Theater, 19 February 1960 Designer: Tony Duguette Original cast: Jocelyn Vollmar, Roderick Drew, Fiona Fuerstner American Ballet Theater première: American Ballet Theater Players, Fine Arts Center, Castleton State College, Castleton, Vermont, 27 September 1969 Cast: Alexandra Radius, Terry Orr, Diana Weber Divertissement d'Auber is set to excerpts from Auber's four most famous and dazzling operatic overtures.

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