The ballerina is utterly charming! She’s expressive, musical, and wonderfully connected both to her partners and her audience! The men are very effective mimes, who handle their ballerina with care and play to her and one another very well. An outstanding job all around. The one thing I wonder is if the piece would be better if the tempo were slightly increased and the entrances were a little snappier? I don’t know if that’s possible, given this is an excerpt from a full ballet, but if it were, I think the dance would gain more liveliness, which would be a good thing. . .
NO, NO, NO! It is very big mistake! This isn't none of music by Josef Bayer!!! Music for the Pas de Trois in the St. Petersburg "Fairy Doll" is certainly by Drigo and not Bayer. But it was added by the Legat brothers in 1903. That the choreography is by the Legats for themselves makes sense due to the similar/mirror male roles. That also is indicated by Maryinsky sources. Pavlova danced the Spanish variation in the Legats' 1903 staging. Later, for her own company, she danced an "enhanced" version of the title role with choreography by Ivan Clustine (who had already staged a version in Moscow prior to the one by the Legats). As with the preceding recording of "La Bayadère", the orchestral parts used by Bonynge for this piece are taken from the music used by Anna Pavlova's touring company. Pavlova performed this Pas de trois under the title "Les Coquetteries de Columbine". This has lead many historians to incorrectly believe that this Pas de trois is an excerpt from Drigo's score for Petipa's 1900 ballet "Les Millions d'Arlequin" (aka "Harlequinade"), a ballet that features a lead character named Columbine. This Pas de trois was originally composed by Drigo ad hoc for the legendary ballerina Mathilde Kschessinska when she performed the title role in the brothers Sergei and Nikolai Legat's 1903 revival of "Die Puppenfee" ("The Fairy Doll") for the Mariinsky Theatre. "Die Puppenfee" was originally staged in 1888 by the Ballet Master Joseph Hasseiter to the music of Josef Bayer for the Court Opera Ballet in Vienna. In its traditional staging, this Pas de trois serves as a pas d'action for three dancers: two pierrots and the Fairy Doll. The pierrots quarrel in an attempt to "out dance" one another in an effort to impress the Fairy Doll. The Mariinsky Ballet still performs this pas on occasion as a concert piece" PLEASE - CORRECT IT!
![Rare Documentary on the Bolshoi Ballet Academy [1967]](http://i.ytimg.com/vi/mrNFCTRLw90/mqdefault.jpg)
![Rare Documentary on the Bolshoi Ballet Academy [1967]](/img/tr.png)
This is Beautiful!
The ballerina is utterly charming! She’s expressive, musical, and wonderfully connected both to her partners and her audience! The men are very effective mimes, who handle their ballerina with care and play to her and one another very well. An outstanding job all around. The one thing I wonder is if the piece would be better if the tempo were slightly increased and the entrances were a little snappier? I don’t know if that’s possible, given this is an excerpt from a full ballet, but if it were, I think the dance would gain more liveliness, which would be a good thing. . .
Ангелочки!
素敵です!👏👏👏👏👏🥰
NO, NO, NO! It is very big mistake! This isn't none of music by Josef Bayer!!!
Music for the Pas de Trois in the St. Petersburg "Fairy Doll" is certainly by Drigo and not Bayer. But it was added by the Legat brothers in 1903. That the choreography is by the Legats for themselves makes sense due to the similar/mirror male roles. That also is indicated by Maryinsky sources. Pavlova danced the Spanish variation in the Legats' 1903 staging. Later, for her own company, she danced an "enhanced" version of the title role with choreography by Ivan Clustine (who had already staged a version in Moscow prior to the one by the Legats).
As with the preceding recording of "La Bayadère", the orchestral parts used by Bonynge for this piece are taken from the music used by Anna Pavlova's touring company. Pavlova performed this Pas de trois under the title "Les Coquetteries de Columbine". This has lead many historians to incorrectly believe that this Pas de trois is an excerpt from Drigo's score for Petipa's 1900 ballet "Les Millions d'Arlequin" (aka "Harlequinade"), a ballet that features a lead character named Columbine. This Pas de trois was originally composed by Drigo ad hoc for the legendary ballerina Mathilde Kschessinska when she performed the title role in the brothers Sergei and Nikolai Legat's 1903 revival of "Die Puppenfee" ("The Fairy Doll") for the Mariinsky Theatre. "Die Puppenfee" was originally staged in 1888 by the Ballet Master Joseph Hasseiter to the music of Josef Bayer for the Court Opera Ballet in Vienna. In its traditional staging, this Pas de trois serves as a pas d'action for three dancers: two pierrots and the Fairy Doll. The pierrots quarrel in an attempt to "out dance" one another in an effort to impress the Fairy Doll. The Mariinsky Ballet still performs this pas on occasion as a concert piece"
PLEASE - CORRECT IT!
And I've just finished to ask an explanation. Thanks a lot for the information!
And I've just finished to ask an explanation. Thanks a lot for the information!
Fantastic details - thank you!!
It's the same music by Drigo for The Millions of Harlequin, isn't it? Maybe even the same choreography?
7:12