Monotones II - Pas de trois (The Royal Ballet)
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- เผยแพร่เมื่อ 18 ส.ค. 2014
- Royal Ballet Principals Edward Watson, Marianela Nuñez and Nehemiah Kish perform Frederick Ashton's Monotones II.
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Frederick Ashton distilled the exquisite tranquility of Erik Satie’s pieces in Monotones I and II, which display some of his most modernist choreography. Monotones II was created first and given its premiere at the Royal Opera House in 1965, accompanied by Satie’s Trois Gymnopédies. Ashton created a second piece to Satie’s Trois Gnossiennes (Monotones I), and the two were presented together the following year. Satie’s Préludes d’Eginhard was played as an overture.
Monotones I opens with a slow, serene pas de trois in a wonderful example of adagio classicism. The dancers remain on stage throughout the entire work, with their smooth lines of movement unbroken. Monotones II features another pas de trois that mirrors the controlled movements of the first. Satie’s delicate music, coupled with Ashton’s beautiful choreography, is wonderfully haunting.
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I saw this ballet when I was a student, 18 years old at Manchester College of art. on a residential trip to London in 1967. It has haunted me ever since.
Art through Ballet helps me love and appreciate the experience of living. Thank you so much.
That look on her face with the music... just stunning!
I remember in an interview Sir Fred said the inspiration fo the costumes was it was created when space travel was a comparitively new thing and the black background the dancers in white and the sparkles to represent stars of the heavens against the black infinity of space
I absolutely love Erik Satie and I didn't know there was a ballet to his work!
Exhibit A: Stunning classical technique in a very stripped down environment.
beautiful. I love this ballet. So glad to see it performed again.
i think i blinked maybe 3 times during the entirety of this clip. i was mesmerized! such beauty and grace exhibited by these dancers it's hard to take your eyes away.
I remember watching this on PBS. Just beautiful.
This is so BEAUTIFUL!
Edward Watson, a rare dancer who can steal the scene from Marianela Nuñez.
seriously he's so good he made nehemiah look a sloppy haha
+Kaylee Cromling So true!!! for a secondI thought it was being a jerk? haha Edward is perfection! :)
I'd love to see a rehearsal video for this one.
There is a video rehearsal of this, Anthony Dowell is conducting it.
Beautiful
stunning.
Me gusto la musica,la técnica y armonía de la danza.
This is not the whole thing. There's a full version on YT including introduction by Frederick Ashton entitled Monotones Night at the Joffrey. It's an old video, but it's a full 15 minutes.
And to Gymnopédie, no less!
just breathtaking
What's the name of this song? I've been wondering for the past years and I can't figure it out.
Hi Mariam. This is Satie's Gynopédie no.1, orchestrated by Debussy.
Thank you!
this ballet is not shown enough
La ballerina ha un corpo perfetto.
This is e v e r y t h i n g to me.
OK, 'everything' is exaggeration, but as a dancer/artist/spirit/stardust this speaks to me on very deep levels.
Watson and Nunez go well together but Nehemiah seems at odds dosent bend as far as Watson so spoils effect. Seen some greats and not well knowns dance this far better
The sparkling headgear and belts make it seem as if the Royal Ballet didn't really trust the choreographer and dancers to carry off this simple and elegant piece on their own.
+Amelia Aabessian Thanks for your comment. The costume designs are by the choreographer, Frederick Ashton.
There is no need to keep the original costumes/designs. Look at Balanchine's Apollo, and how that developed over the decades. Sometimes RB productions are like museum pieces, but the choreography really does speak for itself.
The headgear helps create the impression of androgynity in the dancers. I could have done without the belts too, but the idea probably was to give the viewer an anchor.
I saw it as a child late 60's, such a vivid memory of green costumes. I believe they relate to the space travel of the time. I love them as they leave you to just see the fluidity of the body shapes including the head as one unit fusing a breaking away from two others....well thats my opinion!
@@RoyalOperaHouse I LOVE the costumes, they enhance the motions of the ballet. Dramatic beauty.
i love this choreography but i HATE those outfits LOL that caps look like some weird mind control device on top of their heads
You just don't get it do you ?
Well. To each his own.
Sorry but these three dont seem to gel that well together its imperitive for the three to dance as one Arms don't always mirror each other Seen it danced much better
I much prefer the recent performance by the Royal Ballet - part of the Gala after the coronavirus lockdown - with Melissa Hamilton - she danced this perfectly - so cool and clinical which for me was right for this ballet.
@@vivienwinterburn3850 : OK I’ll wait for YOUR performance, Vivian. The stage is all yours....
вот что получается, когда балетные со своим примитивным мышлением пытаются ставить современную хореографию. танцоров жаль..
Is this student work? Not interesting