Published on Mar 25, 2012
Yuri Burlaka & Vasily Medvedev's revival & reconstruction of Marius Petipa's final version of Jules Perrot & Cesare Pugni's "La Esmeralda" for the Bolshoi Ballet. The production premiered on Christmas day, 2009. This is the second performance, 26 December, 2009. The costume designs of Ivan Vsevolozhsky & décor prepared for Petipa's final revival of 1899 has been restored. Burlaka has utilized the choreographic notation of the Sergeyev Collection to assist in mounting the choreography (details below).
--Esmeralda, a Gypsy Girl - Natalia Osipova
--Phœbus de Châteaupers, Captain of the Garde patronelle - Alexander Volchkov
--Pierre Gringoire, a poor poet - Denis Medvedev
--Fleur-de-Lys - Maria Allash
--Claude Frollo, the Archdeacon of Notre Dame - Alexei Loparevich
--Quasimodo, bell-ringer of Notre Dame - Gennadi Yanin
--Clopin Trouillefou, the King of truands - Georgy Geraskin
--For a more detailed cast list: http://www.bolshoi.ru/en/performances...
--For a half-decent synopsis: http://www.bolshoi.ru/en/performances...
**Résume of dances & scenes -
--Act I / scene 2 -
02. 03:30 Grand scène: La Cour des miracles
03. 05:57 Tyrolienne (originally a tyrolean dance in Perrot's version)
04. 09:02 Coucher de soleil
05. 10:22 Sortie des truands
06. 12:19 Valse du vieux Paris
07. 15:26 Entrée de Pierre Gringroire; scène
08. 19:23 Entrée d'Ésmeralda (19:42 - music by Minkus, from Petipa's ballet "Kalkabrino". 1891)
09. 21:05 Scène du mariage: La cruche cassée
10. 23:26 Danse des truands
11. 26:42 La Truandaise: Danse de Mlle. Carlotta Grisi et M. Jules Perrot (Pugni's music for "La Truandaise" was published separately in piano reduction & became a very popular tune in its day, played on many a piano in 19th century homes)
12. 29:48 Danse générale
13. 31:41 La Couvre-feu
14. 33:03 L'enlèvement et la délivrance
--Act I / scene 2 -
15. 40:14 Entr'acte (music by Anton Simon. From Gorsky's ballet "Gudule's Daughter", 1902)
16. 43:49 La Chambre d'Ésmeralda
17. 44:36 Rêverie (this music will be recognizable from the Soviet-era hodge-podge "La Esmeralda Pas de deux" as a male variation. Here it is shown in its proper context)
18. 46:02 La Nuit des noces:
47:33 --a. Scène dansante de Mlle. Carlotta Grisi et M. Jules Perrot
49:32 --b. Grande polacca par Mlle. Carlotta Grisi (Osipova takes the tempo of this number entirely too slowly)
51:09 --c. La Leçon de danse
18. 53:19 Finale: Scène dramatique
**"La Esmeralda Pas de deux"
For those interested in knowing why the Soviet-era hodge-podge known as "La Esmeralda Pas de deux" is not performed in this ballet, please watch my clip of it for all information - http://www.youtube.com/watch?v=iXUFZ1...
**Note on the music -
--its important to point out that the Bolshoi has utilized a terrible re-orchestration of the music for much of this production that they credit, officially at least, to Reinhold Glière. In 1886 Riccardo Drigo refurbished Cesare Pugni's original 1844 score for Petipa's revival, a version that was used in Russia until very recently, particularly by the Maly/Mikhailovsky Theatre Ballet. Drigo's version gave the old Pugni score some much needed musical "depth", harmonics & orchestral color without going overboard à la John Lanchbery. Whenever possible, I have provided links to other videos so one can hear certain pieces in their original arrangement.
"La Esmeralda" was originally created by the Ballet Master Jules Perrot & the composer Cesare Pugni for Her Majesty's Theatre. It had its premiere on 9 March, 1844 with the legendary Carlotta Grisi in the title role.
It was Marius Petipa's revival of 1886 for the great Virginia Zucchi that became the definitive version of the ballet. Petipa put his final touches to "La Esmeralda" in 1899 when the ballet was revived for Mathilde Kschessinskaya.
"La Esmeralda" began to be notated in the Stepanov method of choreographic notation ca. 1900 by Nicholas Sergeyev & his assistants. The notation was created over time while some legendary dancers were rehearsing the ballet: Mathilde Kschessinskaya, Sergei Legat, Vaslav Nijinsky, Tamara Karsavina, Agrippina Vaganova, Elsa Vill, Mikhail Fokine, Mikhail Obhukov & Lyubov Egorova are all listed on the notation. Kschessinskaya assisted Sergeyev in completing the notation after her retirement in Paris - she is credited on the some of the pages as "Mathilde Kschessinska, Paris, 1923".
Yuri Burlaka has wisely used the notation to assist in staging the production seen here, & the Bolshoi has restored the décor & costumes from designs created for Petipa's final revival of 1899.
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