Ballet Don Quixote

Marius Petipa was innate(p) in Marseille, France in 1818 moved to St. Petersburg in 1847 from Italy and died in Gurzuf Ukraine in 1910. He roleplayed for nearly 60 age at the Mariinsky Theatre in St. Petersburg and had a profound influence on modern classical Russian ballet. He directed many of the corkingest artists in Russian ballet and developed ballets that retain an Copernican position in Russian terpsichore repertoire.After Marius Petipas debut in Nantes, France, in 1838, he danced in Belgium, France, and the united States before accepting an engagement in Spain, w present he gathered material for ballets later produced in Russia. He established a reputation as a talented pantomime artist and unrivaled of the undischarged dancers of his day. Petipa made his initial appearance at the St. Petersburg Mariinsky Theatre in 1847 in Paquita. For his wife, the ballerina Mariya Surovshchikova, he created Le Marche des Paris (1859 Parisian Market staged as Le Marche des innocents , 1861).His commencement ceremony peachy success was La fille du pharaon (1862 The Pharaohs Daughter). Later, after becoming choreographer in 1862 and chief choreographer in 1869, Petipa produced more than 60 ballets, working from c arfully detailed plans that became the basis of modern classical ballet in Russia. He collaborated with Tchaikovsky on The Nutcracker (Casse Noisette, choreographed by his assistant Lev Ivanov) and The Sleeping Beauty and presented versions of rove Lake, Raymonda, and Giselle that have been revived frequently.Among different major ballets are his acquire Quixote (1869), La Bayadere (1877), and Le Corsaire (1899). The composer who collaborated with Petipa in creating take on Quixote ballet was Aloisius Ludwig Minkus. His biographical nurture is very diverse but the nearly commonly data on his origin states that he was born(p) in Vienna in 1826. There are opinions that he was of Polish or Czech origin. His first compositions were light euphony f or saltation. His first public presentation of ballet medicine was an entracte included into a capital of the Russian Federation performance of Adams Orfa.In1861 Minkus worked in the Bolshoi Theater, first as violin soloist, later he became a composer of the theatre and in 1864 he was became a ballet composer at the Bolshoi. His career in Bolshoi was interrupted by the trip to France and on returning to Russia the composer started creating ballet music for Petipas works. In 1868 Petipa made Don Quixote ballet for the Bolshoi Theater, with music collected by Minkus in the same year. The ballet was a well-deserved success being first performed in 1869 in Bolshoi Theater in Moscow. It was fame for both Minkus and Petipa.This was beginning of fruitful activity by Minkus, and in 1877 appeared one of his most successful compositions La Bayadere, Roxana or The Beauty from Montenegro in 1878 and many others. Though the ballet by Petipa on music by Minkus was not the first attempt to put th e well known novel into music and dances Petipas version of Don Quixote, is considered as the standard ballet version of Cervantes story with the popular virtuoso pas de deux. The great deal of ballet success depends on the vogue of this ballet which is mostly determined by Minkus music.Minkus ballet music is filled with rhythm, vigour and energetic blood. Don Quixote music is often regarded as ordinary music which does not exceed the bounds of traditional accompaniment to the dance. In fact, Don Quixote score is devoid of overflowing colors typical of later ballet music, it does not explore moving lyricism same Swans Lake by Tchaikovsky. We also cannot feel any symphonic depth or other features which are distinctive for the best ballet scores. However, this music is extraordinary dancing, with deep rich rhythm and thus it helps the dance to adopt the necessary emotionality and vividness.Don Quixote music is dynamic and it is very important for the comedy performance, it explore s hot temper, melody and cheerful passion the features so typical for Spanish melodies. Minkus music is both the accompaniment and impulse to dance. Don Quixote is described as a bolshoi balet in the Soviet catalogue of Petipas works (Slonimsky 1971, 377-388). A exposition of the French ballet a grand spectacle, the term is used to describe ballets that resemble nineteenth-century grand operas in their length, the complexity of their narratives, and tendency toward visual spectacle.(Scholl 1994, 4-5) Because these works dominated the Petersburg stage from the 1860s through the 1890s, and because Russian ballet had no serious competitors in Europe by the 1870s, the Petipa grand ballet has come to represent the ballet style of the late nineteenth century. Petipa, the founder of romantic dance in Russia, developed two versions of the ballet one was created specially for Bolshoi Theater and the second one was created for Mariinsky Theater in St. Petersburg.This second version containe d such elements like white act with its strict symmetry and the famous final virtuoso pas de deux. As Scholl observes, before the work was staged in St Petersburg, Peterburgskaya gazeta, the newspaper best representing local balletomane opinion, reported on the Moscow production Don Quixote was staged in Moscow in the decadent manner. As an example, several dances were staged so that on one side of the stage they danced one way, and on the other side, to the same music, other dances were performed. (1 September 1901), (57)Petipas main objections center around the primacy of dance in Don Quixote in which, scenery, and costumes were of secondary importance and separately the music had to act only as accompaniment and incentive. Don Quixote is a successful combination of faultless and vivid dancing with emotional music. While being brisk and full of vigor the Minkus music in no way dominates the dance itself. The dancers appear before the informants in their full advantage. As it wa s already give tongue to the music was best suited for the plot related to events with hot Spanish characters.This music is distinguished by its gift to set any listener to feel like dancing. And that was, probably, why exactly Muniks music was chosen for this ballet. Minkus adored waltz and his passion for that style determined the presence of gypsies, rajahs, Spanish bullfighters, Indian temple maidens dancing to a waltz rhythm in Don Quixote ballet. Though the ballet does not have piddle development of the plot it attracts the spectators by its effervescent, masterly dances parade so prolific in the ballet.The dance here serves as the natural expression of the action taking place on the stage. Don Quixote heroes are not simple performers of numerous dance issues they live in their dance and express through it their thoughts and feelings. The spectator fain forgives the bit parts prepared for Don Quixote and his faithful Sancho Panza and readily accepts cheerful Kitri and her friend Basilio. These two teen heroes are definitely more appropriate for such vivid and passionate music than old ennoble in heavy armour.Petipa displays a remarkable command of mass on the stage and the form interpreted by his dancing shows considerable imagination. The stage dancing and staging Petipa devised for the ballet were similarly ostentatious. The ballets ballabile feature 36 dancers with baskets of flowers on their heads containing children who suddenly appeared in the dances final pose. Scholl sums up Petipas choreography as the culmination of the evolution of a particular type of theatrical dancing, designed to exploit the beautiful potential of the proscenium stage.The ballets emphasis of the human bodys maximal discernability evolved as the Renaissance perspective stage was developed. (8) As consequence, the perfect combination of Petipas choreographic approach and Minkus music developed into a sunny comedy with farcical elements. Petipa-Minkus ballet Don Quixo te convinces the spectator that ballet is great art. Ballet can express thoughts, create harmony and an integral map of the knowledge domain as any other artistic form of expression. Reference list Koegler, Horst. The Concise Oxford Dictionary of Ballet, second ed.Oxford, 1982. Noble, Jeremy. Legends of the Maryinsky. Dance Magazine. Vol. 73. Issue 6. June 1999, p. 57. Scholl, Tim From Petipa to Balanchine Classical Revival and the Modernization of Ballet. New York Routledge, 1994 Sedov, Yaroslav. Inside the Bolshoi. Russian Life. Vol. 47. Issue 6. November-December 2004, p. 22 , The Museum of Ballet. Russian Life. Vol. 48. Issue 1. January-February 2005, p. 38 Slonimsky, Yuri. Marius Petipa materialy, vospominaniya, stati. Marius Petipa Materials, Reminiscences, Articles, Leningrad, 1971