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"divertissement" Definitions
  1. a dance sequence or short ballet usually used as an interlude
  2. DIVERTIMENTO
  3. DIVERSION, ENTERTAINMENT

186 Sentences With "divertissement"

How to use divertissement in a sentence? Find typical usage patterns (collocations)/phrases/context for "divertissement" and check conjugation/comparative form for "divertissement". Mastering all the usages of "divertissement" from sentence examples published by news publications.

The Act II wedding divertissement seems to be performed by Nereids (in tutus) and Tritons.
"Lost in Paris" grows a bit tiresome at feature length, but it's a winning divertissement.
Festive music is suddenly heard as the people celebrate Thésée's safe return in an ironic divertissement.
Nowhere in "Carousel" do we ever feel a dance is a mere divertissement or set piece.
Ballet first started being performed onstage as divertissement, or "distraction," to the serious, weighty narratives of grand opera.
The final divertissement contains the opera's only "ariette," a form that often suggests a big, Italianate display piece.
A group of hunters precipitates the act's divertissement, which is cut short by the appearance of a sea monster.
Critic's Notebook "Namouna, a Grand Divertissement" is more than a ballet: It's an hour spent in an enchanted imagination.
The party guests behaved more as if delivering a pretty ballet divertissement than as if toiling as laborers in Chicago.
In Alexei Ratmansky's "Namouna: A Grand Divertissement" (New York City Ballet, 2010), it's by turns quaint, seductive, lyrical, poetic and jolly.
Lauren Lovette, making her debut in the Act II divertissement pas de deux at Sunday's closing performance, is another upper-body beauty.
Mr. Petrov's "Le Divertissement du Roi" was a strained exercise in historical time traveling for Mr. Stepin and four other Mariinsky dancers.
The program ends with "Raymonda's Wedding," a plotless divertissement that nonetheless brilliantly evokes the inexplicable silly story of Marius Petipa's 1898 ballet.
"Yourself and Yours," the South Korean director Hong Sang-soo's silly comedic divertissement of look-alikes and mistaken identities, has its cutesy charms.
This season, the Act 2 pas de quatre, a speedy and demanding divertissement for three women and one man, was cut to help streamline the ballet.
Tricia Albertson, partnered by Rainer Krenstetter, led the Act II divertissement in the pas de deux that becomes the ballet's epitome of harmonious love and chivalrous devotion.
In the Act I divertissement, which coincides with Aricie's induction ceremony, Mr. Winokur said he has tried to make the dances seem a natural part of the ceremony.
On Friday evening, hear Mozart's Quintet for Piano and Winds, K. 452; Roussel's Divertissement; Messiaen's "Le Merle Noir"; and transcriptions of organ works of Bach, by Mordechai Rechtman.
At Juilliard, this divertissement will have a hellish look, with images inspired by Egon Schiele; an arresting moment comes when a chorus of infernal divinities suddenly joins in the dance.
As the season neared its end, she returned to one of her supreme roles, the hushed Divertissement Pas de Deux in Act Two of Balanchine's "A Midsummer Night's Dream" (Mendelssohn).
Mr. Peck's toy figures merely arrive like a conventional divertissement suite, a series of party pieces — generally duller than the fairy-tale figures who turn up in the "Sleeping Beauty" wedding.
In some details (notably Mercutio's leading the Mandolin Dance, originally a divertissement), Ballet Theater's "Romeo" is actually better than that of the Royal Ballet in Britain, where it was first staged.
There are some distinct touches in that regard: The Hot Chocolate divertissement will be performed by Aliesha Bryan, a flamenco dancer, while Margaret Yuen's Red Silk Dancers will do Chinese Tea.
Though he leads impressively, his tempo for the opening movement of the Symphony No. 9 for strings — which here begins the Act II wedding divertissement — was somewhat too slow for the steps.
A prologue and five acts is the norm for these operas — Juilliard omits the prologue, in accordance with later practice during Rameau's day — with each act consisting of dialogue scenes and a divertissement.
En France, en revanche, peu de voix s'élèvent pour soutenir Mme Van Roy, et les premières révélations concernant M. Besson n'ont pas été suivies d'un effet de " grand ménage " dans l'industrie du divertissement.
And yet "Namouna: A Grand Divertissement" (2010, New York City Ballet) and now "Whipped Cream" show his tender appetite for frivolity, for the inconsequential, but above all for high style that turns frothy nonsense into inspired enchantment.
Mr. Ratmansky's evening promises to be especially splendid with a doubleheader of "Russian Seasons," the first work he created for the company, set to music by Leonid Desyatnikov; and "Namouna, a Grand Divertissement," a glorious ballet showcasing his infinite imagination.
A program of new and recent ballets during New York City Ballet's spring season (April 18-May 28, at the David H. Koch Theatre) is the occasion for the return of two of Alexei Ratmansky's most striking and stylish works: "Namouna, a Grand Divertissement," from 2010, and "Russian Seasons," from 2008.
Resnais described the film as a "macabre divertissement", insisting that he wanted it to be funny despite the darkness of its themes."Entretien avec Alain Resnais sur Providence", in Robert Benayoun, Alain Resnais: arpenteur de l'imaginaire. Paris: Éditions Ramsay, 2008. p. 236: "j'espère que ce film est drôle car je le vois comme un divertissement, macabre certes et noir, mais un divertissement tout de même".
Academy of Sciences of the Ukrainian SSR. The piece is also referred to as the Russian dance and is part of the Divertissement in Act II, Tableau III. . The other character dances in this divertissement are: Chocolate (Spanish dance), Coffee (Arabian dance) and Tea (Chinese dance). Tchaikovsky's Trepak is written in AABA form.
One might assume that it was for this production that the 'Le Corsaire' divertissement found its way into the score of 'Naïla'.
In the 1721 version, the king in person appeared in the prologue performing the dance divertissement along with twelve other young noble courtiers.
Kirkus Reviews described it as "a pleasantly grim and emotionally complex divertissement", and Publishers Weekly noted the "remarkably intimate" novel's "visceral action scenes and memorable characters".
An autonomous scene of ballet de cour, divertissement, comédie-ballet, opéra-ballet, even tragédie lyrique, which brings together several dancers in and out of the scenario.
As mentioned, the ballerina (the part is referred to as "Floral") appears only in the ballroom (Act 2) for the floral divertissement. Typically, the printed program for Cinderella lists all the dances.
La Source is a ballet made on New York City Ballet by its founding balletmaster (and co-founder) George Balanchine. The premiere took place on November 23, 1968, at the New York State Theater, Lincoln Center. Balanchine's had previously made a pas de deux to music from Léo Delibes' Sylvia in 1950; he expanded this into a divertissement in 1965. The final version uses music from Delibes' ballets La source and Sylvia and choreography from the earlier pas de deux and divertissement.
Chimène, finally won over, surrenders to her love and the work ends with the customary final divertissement, with songs and dances in honour of the conqueror of the Moors and his bride (Scene 6).
" Critic and dance historian Andre Levinson writes, "The academic dance had been an agreeable exercise to watch. Now, [ballet] clarified matters of the soul. Ballet was a divertissement (an entertainment, a distraction). It became a mystery.
5 – Divertissement, I. Entrée, II. Pas de six , III. Pas de trois I, IV. Pas de trois II, V. Pas de dix-huit, VI. Variation , VII. Variation, VIII. Variation, IX. Pas de six, X. Coda :No.
246: "... j'espère que ce film est drôle car je le vois comme un divertissement, macabre certes et noir, mais un divertissement tout de même." Formal innovation characterised Mon oncle d'Amérique (My American Uncle, 1980) in which the theories of the neurobiologist Henri Laborit about animal behaviour are juxtaposed with three interwoven fictional stories; and a further counterpoint to the fictional characters is provided by the inclusion of film extracts of the classic French film actors with whom they identify.David Robinson, "Resnais's imaginative parallels of human behaviour", in The Times (London), 12 Sept. 1980, p.8.
La Perle (en. The Pearl) (ru. «Жемчужина» or «Прелестная жемчужина»; Zhemchuzhina or Prelestnaya Zhemchuzhina) (en. Pearl or Pretty Pearl) is a ballet-divertissement in one act, with libretto and choreography by Marius Petipa and music by Riccardo Drigo.
Guest, p. 209, mentions that Coralli probably did the choreography for the divertissement in Act 2.Carnegy 2006, pp. 15–16. The ballet scenario was in fact Duponchel's own suggestion, replacing the previously intended staid scenario set on Olympus.
The music of the prologue creates a "light and airy" atmosphere. The two gavottes in the divertissement soon became immensely popular.Bouissou (2014), pp. 319-320 The first act introduces the lovers Hippolyte and Aricie as well as the jealous Phèdre.
Balanchine (1954), p.336 (quote re credits). Her most memorable contribution: to the grand divertissement in Act III she added the rousing hopak for the 'Three Ivans' (Les trois Ivans); it "became one of the most popular numbers".Haskell (1935), p.
She rejects Rodolphe in horror. Rodolphe determines to tell Isabelle of Léandre's death himself. Divertissement of Castelans and Nicolotes, two of the city's rival factions, with fifes and tambourines. The former defeat the latter and demonstrate their joy in dancing.
The production was designed by and Cambon and directed by Jean Coralli who also choreographed the ballet divertissement for act 3.Anne (1845) p. 1 The ballet, starring Adèle Dumilâtre, was presented as a performance attended by Mary Stuart at her palace.
Veyron-Lacroix's recordings include Bach keyboard music, Haydn's keyboard concertos, keyboard sonatas by Cimarosa, the Falla harpsichord concerto, Poulenc's Concert champêtre and the Roussel Divertissement Op.6. His solo recordings won the Grand Prix du Disque in 1954, 1955, 1960, 1964, and 1965.
Resnais was eager that the dark subject should remain humorous, and he described it as "a macabre divertissement".Interview with Resnais (by Robert Benayoun) in Positif, no.190, février 1977; reprinted in Alain Resnais: anthologie établie par Stéphane Goudet. (Paris: Gallimard, 2002.) p.
His chief compositions are a sonata for piano and violin, a trio for piano and strings, a string quartet, a symphony, and a divertissement on ballet airs by Daniel Auber, written for the Auber centenary in 1882, besides operatic fantasias, mélodies caractéristiques, etc.
"Enrico Cecchetti" at Cecchetti website: at Teatro Wielki 1902-1905. He also studied with Stanislav Gilbert and Anatole Vilzak."Stanislas Idzidkowski" at Cecchetti website: teachers. Auguste Berger a Bohemian then instructed him which led to his stage debut in Ali Baba, a ballet divertissement.
Gordon Jacob dedicated to him the Suite for bassoon and string quartet, first performed at the Cheltenham Festival on 8 July 1969 together with Emanuel Hurwitz, Ivor McMahon, Cecil Aronowitz and Terence Weil,Gordon Jacob Suite and the Partita for solo bassoon which Waterhouse premiered on 27 October 1977 in Wigmore Hall.Gordon Jacob Partita Jean Françaix dedicated his 1942 Divertissement for bassoon and string quintet (or orchestra) to him when it was published in 1968,Divertissement Schott Music also in 1994 his Trio for oboe, bassoon and piano.Trio Schott Music Victor Bruns dedicated his Trio op. 97 für Fagottino, Fagott und Kontrafagott to William Waterhouse.
The B side has "Lassus Trombone", "Tia Juana", and "Copenhagen". All six numbers are played by the Harry Blons Dixieland Band. This disk carries the matrix and label number 103 and 104. The Audiophile AP 2 disk side A has four tracks: "Caillon De Westminster", "Legende", "Scherzetto" and "Divertissement".
Les Ames fortes (1950), filmed by Raoul Ruiz in 2001, is another of the masterpieces of this period. As dark as Un Roi sans divertissement, it examines the depths a person can sink to in greed, grasping self-interest and the exploitation of others. Also as in Un Roi sans divertissement, the story is again told purely in the words of the protagonists, without the intervention of a narrator or comment from the author, thus forcing readers to reach their own conclusions. Les Grands chemins (1951), considerably less dark, deals with the nature of the road, gambling, the lie, and friendship, again in a first-person narration entirely in the voice of the protagonist and devoid of explanation or elucidation from the author.
An orchestral suite of movements from the opera (sometimes titled 'Scènes bohémiennes') was published, with concert performances and later recordings. The movements are Prélude (to act 1), Sérénade (from "Viens, ma belle, je t'attends" for Smith in act 2), Marche (from the opening of act 2, "Bon citoyens"), and Danse bohémienne (Divertissement from act 2).
Poster for the original production by Maurice Leloir. Cigale is a divertissement-ballet in two acts by Jules Massenet to a scenario by Henri Cain. It was first performed at the Opéra-Comique in Paris on 4 February 1904. The story it's inspired by the fable The Grasshopper and the Ant, but it's totally different.
The divertissement in act 1 (Pas d'école) relies heavily on musical borrowings and the well-known pas de trois employs nearly all of Pierre Rode's Violin Concerto No.7, Op.9 from 1800, a concerto that was used as an examination piece for young violinists at the time Bournonville was living in Paris and studying with Vestris.
The Slave Girl (also known as L'Esclave) is a ballet divertissement in one act, choreographed by the Balletmaster Marius Petipa to the music of Cesare Pugni, first presented by the Imperial Ballet for the Imperial Court at the Hermitage Theatre, on April 27/May 9 (Julian/Gregorian calendar dates), 1868 in St. Petersburg, Russia. It featured Lev Ivanov.
There follows a violent confrontation between Phèdre and Hippolyte then a scene in which Phèdre's confidante Oenone suggests to the king that Hippolyte has attempted to seduce his wife. In a scene of "grim irony", Thésée is forced to suppress his rage while he watches a divertissement of sailors thanking Neptune for his safe return home.
Gillan, Don. "The Beauty of Bath". StageBeauty.net, accessed 5 August 2010 In 1907–08 she became the première danseuse for the ballets at the Empire Theatre, appearing first as Stella Dare in a revised version of C. Wilhelm's ballet divertissement, The Belle of the Ball, in the role created by the departing Adeline Genée. The Times found her promising.
Ondine is not a classical construction with great set pieces (except for the wedding divertissement in the third act) or grand formal pas de deux, but a continuous, flowing narrative. However, this narrative is itself not very strong and there is no real explanation of why the lovers are on a ship in Act 2, or what exactly has passed between Acts 2 and 3 to convince Palemon to return to his mortal lover, Beatrice (Berta). The work uses classical ballet vocabulary, but the form varies a great deal from the 19th century classics. Unlike them, is through-composed: there are no breaks for bows to the audience built in and (at least until the third-act divertissement) no bravura variations to self-consciously elicit the audience's response.
The comedy's libretto was authored by Yellen and Sid Silvers. When Children of Divorce (1926) played the Metropolitan Theater, Bernier was in the variety entertainment which accompanied the screening of the Clara Bow and Gary Cooper movie. Bernier sang hit songs with Eddie Peabody who presented an exciting jazz divertissement, Piano Mania. Bernier and Peabody combined for similar stage shows at other premieres.
He was also leading in many roles of neoclassical, modern and contemporary dance repertoire: Tcajkovsky pas de deux, Square Dance, Who Cares?, The Four Temperaments, Divertissement 15' (Balanchine), Sinfonia (Kylian), Spring and Fall (Neumaier), Gong (Morris), Black Tuesday (Taylor), Known by heart, Push come to shove, Brahms Haydn Variation (T.Tharp), L`Arlesienne (R. Petit), In the Middle, Slingerland pas de deux (W.
The show was created by BBC Radio producer John Fawcett Wilson and Ronnie Barker and featured Barker together with Terence Brady and Pauline Yates and Gordon Langford at the piano. Some editions also featured guitarist Dick Abell. The theme music was a short excerpt taken from Divertissement by Jacques Ibert. Each programme was a sequence of comedy sketches, monologues and comic songs.
The ballet's setting is a dance studio at the Conservatoire de Paris. Bournonville studied at the Paris Conservatoire in the 1820s with the renowned dancer Auguste Vestris. The ballet launched the career of prima ballerina Juliette Price. A divertissement within the larger work called "The Dancing School" (Pas d'école) permitted Bournonville to display the basics of his style and raise them to the level of enduring art.
She quarrels with her husband and vows revenge against her son. Psyche awakes and is courted by Cupid. The act ends in a happy love scene, but Cupid must hide his identity and begins a divertissement sung by three nymphs to divert Psyche's attention. In act three, Venus disguises herself as a Nymph and gives Psyche a lamp with which to discover the identity of her lover.
Voices of Spring is a short pas de deux ballet by Sir Frederick Ashton, set to the music of the Frühlingsstimmen waltz by Johann Strauss II. It was originally written to be included as a divertissement in a 1977–78 production of Strauss's operetta Die Fledermaus by the Royal Opera, alongside an adaptation of the Explosions-Polka, and first performed as an independent piece by the Royal Ballet in late 1978.
Brass fanfares then introduce the pas de seize and this adagio contrasts the horns with high woodwind, while the harp adds to this effect. The tempo of the pas de seize varies and quiet lyrical moments may suddenly be interrupted by incisive brass and timpani. This section finishes with a Largo solenne movement. The connection between that movement and the final divertissement, marked Scene, begins with a vigorous and brilliant entrée.
The only notable departure from the play is the third act which is set at a fête at Fontainebleau. The music for this act includes a lengthy divertissement of 12 dances which is highly reminiscent of French Baroque opera. Saint-Saëns dedicated the finished opera to Pauline Viardot, the French mezzo-soprano and composer.Studd, (1999) The opera premiered at the Palais Garnier in Paris in 1890 to a poor reception.
Bélanger's compositional output consists of several instrumental works, of which his Divertissement (1969) for string quartet is his best known. From 1966-1979 he was a member of Gilles Vigneault's ensemble and he arranged many musical works for that group. In 1976 he founded the Groupe Marc Bélanger, a 10-musician ensemble which used electrified instruments. The ensemble's LP record Les Cordes en liberté features several compositions by Bélanger.
His Fantasy and Fugue won the 1877 prize of the Société de Compositeurs de Paris. His Violin Concerto was dedicated to and performed by Pablo de Sarasate in 1895 at the Conservatoire. Other works include a Suite for Violin and Piano, a Concertstück for Piano and Orchestra, a Rondo for Cello and Orchestra, and a Divertissement for Doubled Wind Quintet (Op. 36) which was first written for the Société des Instruments à Vent.
It begins after Titania has been freed from her enchantment, commencing with a brief divertissement to celebrate Oberon's birthday ("Now the Night", and the abovementioned "Let the fifes and the clarions"), but for the most part it is a masque of the god Phoebus ("When the cruel winter") and the Four Seasons (Spring; "Thus, the ever grateful spring", Summer; "Here's the Summer", Autumn; "See my many coloured fields", and Winter; "Now Winter comes slowly").
He broke away from form and contours. His paintings took on a fantastical, dreamlike, disconcerting aspect. One sees the intimate relationship with his favourite poets: Baudelaire, Verlaine, Nerval (the title of the painting Divertissement pour une nuit de janvier, 1955, makes reference to Nerval's death on 26 January 1855). Valery and especially Guillaume Apollinaire accompanied him during his war years: he had Alcools in his bag when he landed on 6 June 1944.
L’Étoile de Grenade is a ballet divertissement choreographed by Marius Petipa to music by Cesare Pugni. This was the first collaboration between Marius Petipa and the composer Cesare Pugni. Petipa did not receive credit for the production of this ballet in the theatre program. The ballet was first presented by the Imperial Ballet on for the imperial court at the theatre of the Palace of the Grand Duchess Elena Pavlovna, St. Petersburg, Russian Empire.
Johannes Brahms would happily find a similar outlet in his serenades, providing him with a medium in which to compose pure orchestral music more relaxed than had previously been possible in the post-Beethoven symphony.Warrack, 161. Tchaikovsky's First Suite would be rooted in the world of the ballet divertissement. To ensure that the piece did not come across as overtly light or frivolous in tone, the composer afforded himself some highmindedness with the opening introduction and fugue.
Desmarets remained at the court and made money by "ghost-writing" works for one of the composers who had won the competition, Nicolas Goupillet.Sadie (1998) p. 117 Goupillet was dismissed from his post ten years later when the deception came to light. In the meantime, Desmarets continued to find favour with his own compositions, most notably his motet Beati quorum (1683); his divertissement, La Diane de Fontainebleau (1686) and his first full-length opera, Endymion (1686).
The book was published by éditions de la Table ronde in June 1947, breaking the embargo from the Conseil national des écrivains and making Un roi sans divertissement the first book by Giono to be published after the war. It was republished by éditions Gallimard in December the same year. The book has been grouped with several other of the author's post-war novels. In 1962 Giono gave these works the label "chroniques romanesques" ("romantic chronicles").
1916 vocal score The opera was originally conceived as a 30-minute divertissement to be performed at the end of Hofmannsthal's adaptation of Molière's play Le Bourgeois gentilhomme. Besides the opera, Strauss provided incidental music to be performed during the play. In the end, the opera occupied ninety minutes, and the performance of play plus opera occupied over six hours. It was first performed at the Hoftheater Stuttgart on 25 October 1912, directed by Max Reinhardt.
He returned to Paris in 1743. His only opera Scylla et Glaucus was first performed in 1746 and has been revived in modern times. From 1740 until his death in Paris, he served the Duke of Gramont, in whose private theatre at Puteaux were staged works to which Leclair is known to have contributed. They included, in particular, a lengthy divertissement for the comedy (1749) and one complete entrée, , for the opéra-ballet by various authors, (1750).
There is also a piano quintet called Divertissement sur le nom d'Erik Satie (2006), telling the story of a day in the life of Satie. A piano trio, Tales from Old Russia was written in 2008. He is currently writing a song cycle for Elizabeth Campbell, a chamber symphony for the Australia Ensemble and a piece for Richard Tognetti and the Australian Chamber Orchestra. He has also been commissioned to write two string quartets and a second piano quintet.
La Rose, la violette et le papillon (The Rose, the Violet, and the Butterfly) is a ballet divertissement in one act, with choreography by Marius Petipa, and music by Duke Peter Georgievich of Oldenburg. The libretto was by Jules Perrot. First presented by the Imperial Ballet on , for the Imperial court at the theatre of Tsarskoe Selo, St. Petersburg, Russia, a second premiere was given by the Imperial Ballet on . at the Imperial Bolshoi Kamenny Theatre, St. Petersburg, Russia.
His divertissement La Chasse du cerf (October 1707; libretto of his friend and protector, Jean de Serré de Rieux (at the time : François-Joseph de Seré, seigneur de Rieux, near Beauvais), Parisian parliamentary, poet and 'grand amateur de musique') provides the hunting call motif that Haydn later employed in his Symphony no. 73.Alexander L. Ringer, The "Chasse" as a Musical Topic of the 18th Century, Journal of the American Musicological Society, Vol. 6, No. 2. (Summer, 1953), pp.
L'Aiglon is an opera (drame musical) in five acts composed by Arthur Honegger and Jacques Ibert. Honegger composed acts 2, 3, and 4, with Ibert composing acts 1 and 5. A 2016 reviewer described it as "a singular piece of work" with its "blend of operetta, divertissement, conversation piece, historical pageant and, in the disturbingly powerful fourth act set on the Napoleonic battlefield at Wagram, phantasmagoria peopled with living figures onstage and dead voices off".Max Loppert.
Le Petit Elfe Ferme-l'œil (Op. 73) is an orchestral suite by Florent Schmitt adapted from his music for the homonymous ballet ("divertissement chorégraphique") after a tale by Hans Christian Andersen.ANDERSEN, Hans Christian – Une semaine du petit elfe Ferme-l’Œil on litteratureaudio.com The concert suite developed from a piano four hands suite written in 1912 entitled une semaine de Petit Elfe ferme-l'œil was premiered on 1 December 1923 at the Concerts Colonne under the direction of Gabriel Pierné.
The Bolshoi Ballet is a 1957 British musical film directed by Paul Czinner and starring Galina Ulanova, Raisa Struchkova, and Nikolai Fadeyechev. The film's composers, Yuri Fayer and Gennady Rozhdestvensky, were nominated for Best Original Score in the 31st Academy Awards (1958). The film captures the 1956 performances of The Bolshoi Ballet in the United Kingdom at Davis Theatre, Croydon and at Covent Garden, performing divertissement and Giselle. The film was shot using multiple mobile, 35 mm Eastmancolor cameras.
Dance writer Robert Johnson claimedthat Stravinsky's text for Les Noces manifests his interest in psychology and a collective unconscious of the type posited by Carl Jung. Accordingly, the contrast between a musical "cell" and its elaboration in the score for Les Noces represents a dialog between profane time (chronos) and sacred time (kairos), as defined by Mircea Eliade. Nevertheless, Stravinsky described his conception of the ballet's mise-en-scène as a "masquerade" or "divertissement.," whose effect would be comic.
The third and final tableau was known as The Kingdom of the Laces in which a Grand divertissement of national dances from Belgium, England, Spain and Russia was performed. Minkus's next score was for Petipa's one-act ballet L'Offrandes à l'Amour, staged especially for the benefit performance of the ballerina Eugenia Sokolova on . Minkus's music was hailed as a masterwork of ballet music by contemporary critics. It would be his last known ballet score for Petipa.
Jones and Hare kidded the "talkies", but were featured in A Movietone Divertissement (MGM, 1928) and Rambling 'Round Radio Row #4 (Warner Brothers/Vitaphone, 1932), both sound short subjects. Radio's "Happiness Boys" changed their identities and allegiance whenever they changed sponsors. For Taystee Bread, for example, Jones and Hare became "The Taystee Loafers", and for Interwoven Socks they became "The Interwoven Pair". Regardless of their affiliation, they continued with their songs and jokes through the 1930s.
Les plaisirs de Versailles H.480 (English: The Pleasures of Versailles) is a short opera (or divertissement) by the French composer Marc-Antoine Charpentier. It was intended for performance at the new courtly entertainment known as les appartements du roi ("the king's receptions") devised by King Louis XIV and held in his own apartments at the palace of Versailles in 1682. At the time, Charpentier was composer for Louis, le Grand Dauphin, the king's son. The librettist is unknown.
Blow Your Own Trumpet, IMDb, BBC Television, 1947] Her early contributions to radio sometimes seemed to develop a theme: For the magazine programme Divertissement transmitted on For the Forces in 1943, she wrote The Telephone, a 'story with a surprise by Betty Davies'.BBC Genome, Divertissement The Telephone, 1943 In 1959, when she was preoccupied as 'main producer' of Mrs Dale's Diary, she wrote and produced The Telephone Call for the Home Service. Her 1945 play Best Seller, originally produced for the Home Service by the actor and director Hugh Stewart, was remade for the Home Service in 1961 by David Geary. Davies also wrote for Children's Hour, with plays such as The Conjuror's Rabbit,BBC Genome, The Conjuror's Rabbit, Children's Hour, 1946 broadcast twice in 1946, and again in 1949 – a recording is preserved in the British Library Sound ArchiveThe Conjuror's Rabbit, BBC Home Service, 1949, British Library Sound Archive – and The Silver Flame, with music by Alan Paul,Alan Paul, BBC profile for the forces, 1940 broadcast in 1951.
196 An anonymous correspondent in the Journal de Paris of 5 January 1777 quoted "someone who had often heard the celebrated Rameau assert" that many of the "finest pieces" in Les fêtes d'Hébé were originally from Samson:Girdlestone, p. 196 > "...[and] that the music of the River divertissement in the first act was > the piece intended to portray the water spurting from the rock [Samson, Act > 2]; that the great piece for Tyrtée had been put in Samson's mouth when he > reproached the Israelites for their cowardice [Samson, Act 1]; that the > divertissement in the third act was the Festival of Adonis [Samson, Act 3], > finally, that the chaconne of Les Indes galantes was used in Samson to > summon the people to the feet of the true God."Bouissou, pp. 358—359 Two pieces from Samson later appeared in two operatic collaborations between Rameau and Voltaire in 1745: an aria for Delilah became "Echo, voix errante" in La princesse de Navarre; and an aria for Samson became "Profonds abîmes du Ténare" in Le temple de la Gloire.
While he wrote criticism, Rivette continued his filmmaking career; during the summer of 1952, he made his third short film, Le Divertissement. Charles Bitsch called it "a Rohmer-esque Marivaudage between young men and women." Rivette, an assistant to Jacques Becker and Jean Renoir, was a cinematographer on Truffaut's short film Une Visite (1954) and Rohmer's short Bérénice (1954). Eager to make a feature film, he talked about elaborate adaptions of works by André Gide, Raymond Radiguet and Ernst Jünger.
Jean Giono was a pacifist and had participated in the journal La Gerbe which was seen with suspicion after World War II. He was imprisoned in 1944 by commissars from the French Resistance and blacklisted by the Conseil national des écrivains. Un roi sans divertissement was written in the autumn of 1946. The lyrical prose and humanism of Giono's works from the interwar period was replaced by pessimism and sarcastic humour, something which came to characterise many of the author's post-war novels.
Beauchamp was the first ballet-master of the Opéra and created the dances for the new company's first production Pomone with music by Robert Cambert. Later, after Perrin went bankrupt, the king reestablished the Opéra as the Académie royale de Musique and made Lully the director. Beauchamp was one of the principal choreographers. In this position Lully, with his librettist Philippe Quinault, created a new genre, the tragédie en musique, each act of which featured a divertissement that was a miniature ballet scene.
He studied at the Mons Conservatory briefly and then the Brussels Conservatory, where he obtained prizes for harmony in 1936, counterpoint in 1937, fugue in 1938, and a higher piano diploma in 1943. Among his teachers at the Conservatory were Raymond Moulaert and Léon Jongen. A continued his studies with Jean Absil, and won the Belgian Prix de Rome in 1945 for his cantata La vague et le sillon. In 1946 he was awarded the Agniez Prize for his orchestral Divertissement.
In fact, it is probable that he studied under Watteau or Pater. A scarce etching of his exists, entitled, Divertissement par eau et par mer, or, as it is sometimes called, L'lle de Cythère. Chantereau was also an art dealer. During a dinner in Paris on April 16, 1741, Chantereau had an altercation with his friend (or possibly his rival), fellow art dealer and art restorer Joseph Ferdinand Godefroid over the attribution of a 17th-century painting to Carlo Maratta.
His best-known theatre score was music for Eugène Labiche's Un chapeau de paille d'Italie, which Ibert later reworked as the suite Divertissement. Other scores ranged from music for farce to that for Shakespeare productions. His cinema scores covered a similarly broad range. He wrote the music for more than a dozen French films, and for American directors he composed a score for Orson Welles's 1948 film of Macbeth, and the Circus ballet for Gene Kelly's Invitation to the Dance in 1952.
"Solitaire" , Kenneth MacMillan, retrieved 30 November 2014 In June 1956 his new "divertissement ballet" Solitaire was given in a quadruple bill with Somnambulism, House of Birds and Danses concertantes."Sadler's Wells Theatre Ballet", The Times, 8 June 1956, p. 3 His 1958 work, The Burrow, with its menacing echoes of war, oppression and concealment, won praise for venturing into territory seldom explored in ballet. The critic in The Times admitted that its dramatic impact was strong enough "to make one glad when it ends".
This comedy-ballet was written in September 1669 by Molière at the Chateau de Chambord, a village located in the former province of Orleans (Kingdom of France) and the current French department of Loir-et-Cher. The piece was published in Paris by Jean Ribou in a book dating from 1670.Jean- Baptiste Poquelin, Monsieur de Pourceaugnac, comédie : faite à Chambord, pour le divertissement du Roy, Paris, Jean Ribou, 1670, 136 p. The ballet score by Lully is recorded in two books published between 1700 and 1710.
The musical scores to several operas by the French composer Jean-Philippe Rameau have been lost. They include two major tragédies en musique, Samson and Linus, and a one-act pastoral opera Lisis et Délie. The music to these pieces was substantially complete and was performed in rehearsal but for various reasons - including censorship in the case of Samson - they were never publicly staged. Rameau also wrote a divertissement for Alexis Piron's play Les courses de Tempé, which did appear at the theatre in 1734.
Cupid resists, but finally concedes and sends Zephyr to fetch Psyche's sisters. For the third intermède, Cupid invites a Cupid and a Zephyr to sing a divertissement in honour of Love. Act four: Psyche's sisters, having seen Psyche's new home are, naturally, green with envy and try to find a way to spoil her happiness. They feed her curiosity regarding the identity of her lover and make her fear his unfaithfulness, suggesting that all the palace may be no more than a lie, an enchantment.
In honor of the relocation to the new theatre, a lavish gala performance was planned for February 1886, which included the Petipa/Minkus work Les Pilules magiques (The Magic Pills). The work included three danced tableaux: the first took place in a cave inhabited by sorceresses, while the second included various card games brought to life through dance. The third and final tableau was known as The Kingdom of the Laces in which a Grand divertissement of national dances from Belgium, England, Spain and Russia was performed.
Luigi Dallapiccola dedicated his Quaderno Musicale di Annalibera (created in 1952), Fernando Lopes-Graça his 3rd Sonata (created in 1954) and Claude Ballif his 4th Sonata (created in 1963). She also gave the first performance of Karel Husa's Piano Concertino in Brussels (1954) which was dedicated to her. In 1955 Hélène Boschi premiered Jean-Louis Martinet's Prelude for Piano and OrchestraThe composer renamed this work in 1964 "Divertissement pastoral" (opus 16) and in 1964 Louis Durey's Six pièces de l'automne 53 for piano.Billaudot catalogue, p.
Renoir later said that his "ambition when I made the film was to illustrate this remark: we are dancing on a volcano." Renoir called the film a "divertissement" for its use of baroque music and aspects of classical French comedies. Renoir's initial inspiration by Les Caprices de Marianne led to the film's four main characters correlating with those of the play; a virtuous wife, a jealous husband, a despairing lover and an interceding friend. In both the play and the film the interceding friend is named Octave.
Delibes was asked in 1867 to add a divertissement, known as either 'Le jardin animé' or 'Le pas des fleurs', to a revival of Adolphe Adam's ballet 'Le Corsaire'. Part of his contribution was the waltz frequently known as the 'Naïla' waltz. It appears that it was transferred to one of the productions of 'La Source' when it was performed under the name of 'Naïla'. There are references to a version of that name using only Delibes's original music, although exact details are elusive.
His later years saw a constant string of premieres at major European festivals, beginning with Irische Legende in 1955, conducted by George Szell and featuring Dietrich Fischer-Dieskau. His opera Die Verlobung in San Domingo opened the National Theatre Munich in 1963 and features a libretto by Heinrich von Kleist, pleading for racial tolerance. His late works, however, were almost exclusively instrumental. Exceptional among them are works for winds, including the Divertissement for Ten Wind Instruments (1974) and the Five Pieces for Wind Quintet (1975).
An entrée de ballet ("ballet entrance") is an autonomous scene of ballet de cour, divertissement, comédie-ballet, opéra-ballet, even tragédie lyrique, which brings together several dancers in and out of the scenario. In the seventeenth and eighteenth centuries, baroque dance distinguished several types of entrances, according to their character and step style: serious, severe, comical or grotesque. In his , Raoul Auger Feuillet qualified the entrances he described according to the number of characters and sometimes their sex: entrance alone, entrance of a woman, entrance for two, etc. This choreographic form disappeared in the 1720s.
The season of colorful Russian ballets and operas, works mostly new to the West, was a great success. The Paris seasons of the Ballets Russes were an artistic and social sensation; setting trends in art, dance, music and fashion for the next decade. Nijinsky's unique talent showed in Fokine's pieces such as Le Pavillon d'Armide (music by Nikolai Tcherepnin); Cleopatra (music by Anton Arensky and other Russian composers) and a divertissement La Fête. His expressive execution of a pas de deux from The Sleeping Beauty (Tchaikovsky) was a tremendous success.
Un roi sans divertissement ("a king without distraction") is a 1947 novel by the French writer Jean Giono. The narrative is set between 1843 and 1848 in the French Prealps and follows a police officer who discovers unpleasant truths about himself during a murder investigation. It was the first book by Giono to be published after World War II and marks the beginning of a new phase in the author's oeuvre. The book was the basis for the 1963 film A King Without Distraction, directed by François Leterrier from a screenplay by Giono.
Like Robinson (nearby on the Seine), rather like > Carpaccio's paintings. A divertissement... This garden is not a French > formal garden but a small wilderness where, thanks to the woods of the Parc > St. James, one can imagine oneself far away from Paris. In 1925, on a drawing for the Villa Meyer project, Le Corbusier depicted in the margins, in a small thumbnail sketch, Belanger's Folie Saint-James while, in a letter to the owners, he described how it lies 'face à un site hautement classique'. He stated his intention of choosing highly oriented plan.
In 1853 she moved to Paris and made her Paris Opéra debut in Aelia et Mysis, by Mazilier. She performed at Théâtre Lyrique and at Théâtre de la Gaîté around same time. She created roles including in Néméa, ou l'Amour vengé (1864), by Arthur Saint-Léon. Cyril W. Beaumont had a painting after J. H. Lynch showing Guy-Stéphan dancing 'Las Boleras de Cadiz' from the ballet divertissement L'Aurore at Her Majesty's Theatre in London in 1843 (now in the collection of the Victoria & Albert Museum),V&A; website.
Brown calls Tchaikovsky's first ballet, Swan Lake, "a very remarkable and bold achievement."Brown, Crisis, 77. The genre on the whole was mainly "a decorative spectacle" when Swan Lake was written, which made Tchaikovsky's attempt to "incorporate a drama that was more than a convenient series of incidents for mechanically shifting from one divertissement to the next ... almost visionary." However, while the composer showed considerable aptitude in writing music that focused on the drama of the story, the demand for set pieces undercut his potential for complete success.
258 Fauré's best-known orchestral works are the suites Masques et bergamasques (based on music for a dramatic entertainment, or divertissement comique), which he orchestrated himself,Duchen, p. 196 Dolly, orchestrated by Henri Rabaud,Duchen, p. 226 and Pelléas et Mélisande which draws on incidental music for Maeterlinck's play; the stage version was orchestrated by Koechlin, but Fauré himself reworked the orchestration for the published suite. In the chamber repertoire, his two piano quartets, in C minor and G minor, particularly the former, are among Fauré's better-known works.
Her works in the educational theater of the Moscow Art Theater School: The Final Cut., Choreographic requiem based on the music of the group Pink Floyd directed by Alla Sigalova; We are Karamazo You (sketches and dialogues based on the novel The Brothers Karamazov by Fyodor Dostoevsky) directed by Viktor Ryzhakov; "We have in Kamergersky", a performance-divertissement: sketches for acting and plasticity, directors Konstantin Raikin, Elena Butenko-Raikina and Sergei Shentalinsky. During her studies she made her debut on the stage of the theater "Satyricon" the role of Julieta.
A selection of photos from Cunningham's Facades Project series was shown in 1977 exhibition at the Fashion Institute of Technology. The Facades series received a full exhibition at the New-York Historical Society in 2014. The Society also holds 91 silver gelatin silver prints from the Facades series, donated by Cunningham, in their permanent collection. In 2016, the Savannah College of Art and Design FASH Museum of Fashion + Film presented "Grand Divertissement à Versailles, Vintage Photographs by Bill Cunningham," an exhibition of Cunningham's images of the 1973 Battle of Versailles fashion show.
Lilar wrote two autobiographical books, Une Enfance gantoise (1976) and À la recherche d'une enfance (1979), and two novels, both of which date from 1960, Le Divertissement portugais and La Confession anonyme, a neoplatonic idealization of love filtered through personal experience. The Belgian director André Delvaux recreated this novel on film as Benvenuta in 1983, transposed as an intense examination of a tortured but exalted relationship between a young Belgian woman and her Italian lover. Les Moments merveilleux and Journal en partie double, I & II were published as part of Cahiers Suzanne Lilar (1986).
Nijinsky in Les Orientales Set design for Les Orientales by Léon Bakst Vaslav Nijinsky performs in Les Orientales Les Orientales is a choreographic divertissement by Michel Fokine. A production of Ballets Russes, it was first premiered on June 25, 1910 at the Theatre National de l'Opera in Paris. The ballet consisted of a series of oriental-themed dances performed by soloists Vaslav Nijinsky (Danse Siamoise and Kobold), Tamara Karsavina (Assyrian Dance), Vera Fokina, Alexander Orlov (Saracens’ Dance), Catherine Gheltzer and Alexander Volinine (pas de deux). The dances were choreographed by Michel Fokine and Marius Petipa.
It is likely that he created this play at the Palais-Royal two years before joining the troupe of the "Burgundians". After a few brief passages in Paris, he lived in London, where he had a Ballet et musique pour le divertissement du Roy de la Grande-Bretagne presented in 1674. Brécourt then directed the troupe of the prince of Orange which played at The Hague in 1680 and 1681. Back in Paris, he joined the Comédie-Française in 1682 and died in 1685, after he had renounced his comedian activity.
She composed the music for Borée et Flore, a three-act opéra-comique performed at the Théàtre de la Monnaie in Brussels in 1784. She also wrote a divertissement chanté (title unknown) for performance in 1788 at the Théàtre de Schaerbeek in Brussels, and possibly at her salon.Jacqueline Letster and Robert Adelson, Women Writing Opera: creativity and controversy in the age of the French Revolution (Berkeley, 2001). These eight works are listed in Gubin's Dictionnaire des femmes belges:Éliane Gubin, Dictionnaire des femmes belges: XIXe et XXe siècles (Lannoo Uitgeveri, 2006).
The poets whose works he set to music included Rafael Alberti, Leon Benarós, Hamlet Lima Quintana, Atahualpa Yupanqui, Pablo Neruda, Gabriela Mistral, and Jorge Luis Borges. A small number of his songs are settings of his own texts. His works for orchestra included Divertissement; fue una vez, commissioned by Colonel W. de Basil for his original Ballet Russe and premiered at the Teatro Colón, in Buenos Aires, in 1942; and Suite Argentina which was performed in London, Paris, Barcelona, and Havana by the Ballet Español of Isabel Lopez. He also wrote three Sonatas for guitar.
Six years later, he exchanged it for a post at Saint-Georges-sur-Loire. In 1696 he became surintendant de la musique du roi (Superintendent of the Music of the King), a position he shared with Michel-Richard de Lalande until 1719. With his brother Louis he composed Orphée (a lyric tragedy, 1690) that was badly received when it was performed, although historians of music today find it important for the prominence given in it to the accompanied recitative (La Gorce 2001). On his own, he also composed Le Triomphe des brunes (a divertissement, 1695).
Some of Druschetzky's music has been recorded on the Naxos Records label, such as his Timpani Concerto on a disc titled Virtuoso Timpani Concertos. All Parthias have been recorded on the Aulia Label by I Fiati Italiani. The first complete recording of Druschetzky's Divertissement for three basset horns was recorded on the Hevhetia label by Lotz Trio ensemble. Four of his Quartets for oboe, violin, viola & cello (F major, G minor, E flat major, and C major) are recorded on Georg Druschetzky: Oboe Quartets on the Hungaroton Classic label, and a selection of his wind music (Amphion Wind Octet) on the ACCENT label.
But the short compass of the keyboard, which in Bach's time and indeed until about 1770 never exceeded five octaves, was ill-adapted to the association of two performers on the same instrument, and it is doubtless on this account that the earlier composers have left so little music of the kind. Haydn and Beethoven appear to have had but little inclination for this description of composition. According to Fétis, Haydn wrote but one piece 'à quatre mains,' a divertissement, which was never published (two other sonatas published under his name, op. 81 and 86, are spurious).
The term is used in music to refer generally to a work evocative of pastoral or rural life such as Edward MacDowell's Forest Idylls, and more specifically to a kind of French courtly entertainment (divertissement) of the baroque era where a pastoral poem was set to music, accompanied by ballet and singing. Examples of the latter are Lully's L'Idylle sur la Paix set to a text by Racine and Desmarets' Idylle sur la naissance du duc de Bourgogne set to a text by Antoinette Deshoulières.Randel, Don Michael (1999). "Idyll", The Harvard Concise Dictionary of Music and Musicians.
In 1952 Georges Delerue wrote a music score to accompany a screening of the silent film. The British composer Benedict Mason also composed an orchestral score for the film, into which he incorporated Jacques Ibert's Divertissement which that composer had based on his own incidental music for a performance of the original play by Labiche and Michel in 1929. For the DVD edition of The Italian Straw Hat by Flicker Alley (2010), an orchestral score compiled by Rodney Sauer and performed by the Monte Alto Motion Picture Orchestra was provided, together with an alternative piano accompaniment by Philip Carli.
It is typically considered to have begun with the 1827 début in Paris of the ballerina Marie Taglioni in the ballet La Sylphide, and to have reached its zenith with the premiere of the divertissement Pas de Quatre staged by the Ballet Master Jules Perrot in London in 1845. The Romantic ballet had no immediate end, but rather a slow decline. Arthur Saint-Léon's 1870 ballet Coppélia is considered to be the last work of the Romantic Ballet. During this era, the development of pointework, although still at a fairly basic stage, profoundly affected people's perception of the ballerina.
According to the Mercure Galant, the opera Psyché was composed in three weeks; libretto, score and all. Although it is impossible to verify the truth of this statement, there is every reason to believe that Lully was in a hurry when writing this opera. In effect, the opera reuses the intermèdes from Molière's play. Since these intermèdes had met with such spectacular success seven years earlier, Lully must have felt that given his lack of time, he could at the very least attract a crowd with the promise of reviving the plainte italienne and the final divertissement.
167-169 Act Four opens with Hippolyte's monologue "Ah, faut-il qu'en un jour" which looks forward to similarly "elegiac" arias in Rameau's later operas, for example "Lieux désolés" in Les Boréades.Bouissou (2014), p. 336 The divertissement in the middle of the act celebrates the hunt with extensive use of horns. The finale is devoted to Hippolyte's confrontation with the sea monster, depicted in stormy music in which the flutes represent blasts of wind.Music portraying storms was a fashion in French Baroque opera, the most famous example being that in Marais's Alcyone (1706) (Bouissou, 2014, p. 337).
During a prelude the curtain rises on a dark street with couples on their way to a ball (music from Alzira). A sad theme (Jérusalem) marks the entrance of two poor clowns, Moondog and Bootface who head for an empty bench in the street, where they fall asleep. On her way to the ball and beautifully dressed, La Capricciosa notices the two ragged clowns, wakes them up and asks them to dance for her (Alzira). The clowns dance a grotesque divertissement; La Capricciosa is delighted by their dance and sweeps them both along with her to the ball.
This is seen even in his best-known pieces: Divertissement, for small orchestra is lighthearted, even frivolous, and Escales (1922) is a ripely romantic work for large orchestra. In tandem with his creative work, Ibert was the director of the Académie de France at the Villa Medici in Rome. During World War II he was proscribed by the pro- Nazi government in Paris, and for a time he went into exile in Switzerland. Restored to his former eminence in French musical life after the war, his final musical appointment was in charge of the Paris Opera and the Opéra- Comique.
Rabaud's cantata Daphné won the Premier Grand Prix de Rome in 1894. His opéra comique Mârouf, savetier du Caire combines the Wagnerian and the exotic. He wrote other operas, including L'appel de la mer based on J. M. Synge's Riders to the Sea, as well as incidental music and film scores, such as the 1925 score for Joueur d'échecs (Chess Player). Orchestral music by Rabaud includes a Divertissement on Russian songs, an Eglogue, a Virgilian poem for orchestra, as well as the symphonic poem La procession nocturne, his best known orchestral work, still occasionally revived and recorded.
Manessier, author of the Third continuation, dedicated his work to Joan. It's likely that his predecessor Wauchier de Denain, author of the Second continuation was also part of her court, without being able to demonstrate with certainty that the book was written for her.Sébastien Douchet: Sainte Marthe et Perceval: deux figures entre exemple et divertissement, ou les œuvres littéraires écrites pour Jeanne de Flandre in: Nicolas Dessaux (ed.): Jeanne de Constantinople, comtesse de Flandre et de Hainaut, Somogy, 2009, pp. 135–143. However, was widely known that he dedicated his Life of St. Martha to the young Countess, around 1212.
The second libretto was arranged for a ballet titled Les Saisons (The Seasons), being a plot-less ballet divertissement that represented the four seasons through Petipa's classical formula of danced tableaux. The third ballet was Les Millions d'Arlequin (Harlequin's Millions), with a libretto based on episodes featuring the stock characters from the Italian Commedia dell'arte. Petipa and Vsevolozhsky's original intentions were to commission the score for Les Millions d'Arlequin from Alexander Glazunov, while Riccardo Drigo was to compose the score for Les Saisons. The composers were close friends, and soon developed an affinity for their colleague's assigned ballet.
Le Trophée, divertissement à l'occasion de la Victoire de Fontenoi... Représenté par l'Académie royale de musique le mardy 10 aoust 1745.... Les paroles sont de M. de Moncrif... (Musique imprimée) (14764350525) His surviving compositions, published in Propyläen der Musik, V. 2 (1989), include two books of violin sonatas, 10 operas (including one about the life of Skanderbeg) and some ballets, created jointly with François Rebel. Thus he is often quoted as a relatively rare case of collaboration in musical composition. A sicilienne and rigaudon were initially attributed to him, in a publication by Fritz Kreisler, but were eventually revealed to be the work of Kreisler himself.
With a cast of only fifteen, Les Patineurs is a ballet in divertissement form rather than a story ballet: the dances simply proceed in sequence from beginning to end, with no narrative development. At the premiere, the principal dancers, the White Couple, were Margot Fonteyn and Robert Helpmann. The Blue Girls were Mary Honer and Elizabeth Miller; the Red Girls were June Brae and Pamela May; and Harold Turner was the Blue Boy, the virtuoso soloist in the group. The Brown Girls were Gwenyth Matthews, Joy Newton, Peggy Mellus, and Wenda Horsburgh, who were partnered by Richard Ellis, Leslie Edwards, Michael Somes, and Paul Raymond as the Brown Boys.
Earlier works in the genre were preceded by an allegorical prologue and, during the lifetime of Louis XIV, these generally celebrated the king's noble qualities and his prowess in war. Each of the five acts usually follows a basic pattern, opening with an aria in which one of the main characters expresses their feelings, followed by dialogue in recitative interspersed with short arias (petits airs), in which the main business of the plot occurs. Each act traditionally ends with a divertissement, offering great opportunities for the chorus and the ballet troupe. Composers sometimes changed the order of these features in an act for dramatic reasons.
Bryan Kelly (born 1934) is a composer whose compositions include evening canticles in C and A flat for Church of England evensong. His Magnificat and Nunc dimittis in C incorporate Latin American rhythms. His orchestral works include the Cuban Suite, the New Orleans Suite, an overture Provence, Divertissement, two Leicestershire Schools Symphony Orchestra commissions - the overture Sancho Panza (1969) and Sinfonia Concertante (1967) - and the Caliban and Ariel suite for double bass. He has also written the Whodunnit Suite for Trumpet and Piano which includes pieces of the titles: Poirot (Detective), Lavinia Lurex (Actress), Colonel Glib (Retired), Miss Slight (Spinster of This Parish), The Chief Suspect, and The Chase.
Laurencia is a ballet made by Vakhtang Chabukiani to music by Alexander Krein, based on Lope de Vega's Fuenteovejuna. Created at a time when "choreodrama" was considered in the Soviet Union the only acceptable form of contemporary ballet, it harks back to a genuine drama, wherein movement was a vehicle for meaning, and dance could serve as divertissement as well as dramatic purpose. At the same time, the story of a peasant revolution was obviously the ideal subject for a Soviet ballet. Vakhtang Chabukiani was one of the first to create a new choreographic language by means of his own particular blend of folk dance and classical dance.
Mamarrachos were held well after the end of the zafra (sugar cane harvest) which runs from January to May. This meant that unemployed sugar cane workers, most of whom were African and mulatto slaves and freedmen, were able to participate, and probably had done so from a very early period in the history of Santiago.First mentioned in 1679, but certainly occurring before that date (Pérez I 1988:24). “Summer Carnival [mamarrachos] originally was intended as a period of rest and divertissement for the laborers (the Blacks) and was eventually nicknamed ‘Carnaval de las classes bajas’ (or Carnival of the lower classes)…” (Bettelheim 1993:105).
Wesleyan University Press: Middletown, CT, 2005 p.35-38 His mother, Marie Thérèse Bourdin— with whom Petipa had a brief liaison—died five years after the birth of their child. In 1854 Petipa married the Prima ballerina Mariia Surovshchikova-Petipa. Together they had two children: Marie Mariusovna Petipa (1857–1930), who would go on to become a celebrated dancer in her own right, and Jean Mariusovich Petipa (1859–1871). On Petipa presented his first original ballet in over six years, a ballet-divertissement titled L’Étoile de Grenade (The Star of Granada), for which he collaborated for the first time with the composer Cesare Pugni.
In 1821, she married Miklós Lacsny, an administrator of the estates of Count Ferdinánd Pálffy. M. v. Schwind: Schubert in the Wiener Hofoper (1869), left: Buchwieser as Diana Franz Schubert probably knew her in connection to her former colleague Johann Michael Vogl, and met Johann Nepomuk Hummel and Ferdinand Hiller at soirées in her home, among others. He dedicated compositions to her, his Lieder after poems by Johann Mayrhofer, Op. 36, which is the second version of two songs, "Der zürnenden Diana" (To Diana in her wrath), D. 707, and "Nachtstück", D. 672, and his Divertissement à l'hongroise in G minor for piano duet, D. 818 (Op. 54).
Duke Peter was a talented pianist and composer, and in 1842 he composed his first major piano concerto. In 1844 his second piano concerto was performed for the first time at the Mikhailovsky Palace by the great pianist Clara Schumann, and conducted by his longtime friend and colleague Adolf Henselt. As with most Russian nobility, Duke Peter was a longtime balletomane and patron of the arts. In 1857 he was commissioned to compose the score for Marius Petipa's ballet-divertissement La Rose, la Violette et le Papillon, which was given as a performance for the royal court at the Imperial Theatre of Tsarskoe Selo.
Born in Paris, Stern studied at the Conservatoire de Paris and won the Premier Grand Prix de Rome in 1936 with the cantata Gisèle. After his stay at the Villa Medici in Rome, the Société Nationale performed his Divertissement for Orchestra in Paris in 1939. The Second World War interrupted his musical career, but during this time he composed the Symphony "La Libération", which was premiered on the radio in 1945 and by the Concerts Colonne in 1948 at the Théâtre du Châtelet under the direction of Paul Paray. Among his other works are the Deux pièces pour flûte seule: Bucolique, Iberica (1964) and the Concerto pour piano et orchestre (1968).
Back in the brawl, Bosko buffets the Champion such that the ship tattooed on his chest sinks. A hippopotamus-spectator holding a lollipop continually cheers for Bosko. The ostrich-referee is watching closely, occasionally coming between the competitors until they mutually punch him out of the arena after a dance-divertissement. Bosko dodges punch after punch; Honey nervously listens as the radio-announcer states that Bosko is up, then down, then up, then down: we return to the action to find that the Champion is standing upon poor Bosko's feet, punching him repeatedly such that he falls backward only to reascend again to meet the assailant's fist.
He played Waterhouse's arrangement for two bassoon choirs of Giovanni Gabrieli's Sonata Pian' e Forte, Anton Reicha's Quintet for bassoon and strings, on an 1807 instrument from Waterhouse's collection, and the Divertissement for bassoon and string quintet of Jean Francaix, dedicated to Waterhouse. Watts taught the bassoon at the Hochschule für Musik und Theater München between 2002 and 2007, and has worked as a professor at the Bern University of the Arts since October 2005. He has conducted regular courses in Switzerland and Germany, and masterclasses in England, Portugal, Australia, Japan, China and Korea, such as a masterclass of the Australasian Double Reed Society in 2008. He has been a teacher for the Junge Münchner Philharmonie.
Although the adaptation was seen as a travesty of the play, with a ballet-divertissement (obligatory at the Opéra) and a happy ending, with Hamlet acclaimed as king, the work was successful not only in Paris but in London.Forbes, Elizabeth. "Hamlet", Grove Music Online, Oxford University Press, 2002. Retrieved 23 September 2018 Despite disparaging reviews of the libretto from English-speaking critics at the time and subsequently, the work has remained an occasional part of the operatic repertoire; later singers of Ophelia included Emma Calvé, Emma Albani, Nellie Melba and Mary Garden, and among the Hamlets have been Victor Maurel, Titta Ruffo, Mattia Battistini and more recently Sherrill Milnes, Thomas Allen and Thomas Hampson.
Although the term "neoclassicism" refers to a 20th-century movement, there were important 19th-century precursors. In pieces such as Franz Liszt's À la Chapelle Sixtine (1862), Edvard Grieg's Holberg Suite (1884), Pyotr Ilyich Tchaikovsky's divertissement from The Queen of Spades (1890), George Enescu's Piano Suite in the Old Style (1897) and Max Reger's Concerto in the Old Style (1912), composers "dressed up their music in old clothes in order to create a smiling or pensive evocation of the past" . Sergei Prokofiev's Symphony No. 1 (1917) is sometimes cited as a precursor of neoclassicism . Prokofiev himself thought that his composition was a "passing phase" whereas Stravinsky's neoclassicism was by the 1920s "becoming the basic line of his music" .
Pitou, p. 143 The dancing divertissement was done by Pierre Gardel.Lajarte The opera was not successful at its first appearance and had no more than six performances. Both Maillard, who played Iphise, and Larrivée, who played Teucer, were regarded as inadequate, the latter having to be replaced by Moreau after the second performance; the opera as a whole was deeply involved in the growing hostility towards Queen Marie Antoinette's predilection for foreigners, Sacchini being her favourite: she herself had introduced the musician to the king in 1783, when he had been celebrated at court along with another Italian composer Piccinni, when they had both been granted substantial pensions on account of their recently staged operas, Didon and Chimène.
Marius Petipa started putting these divertissements in all of his ballets (Swan Lake, La Bayadère, The Sleeping Beauty, etc.) and the divertissement itself became a technique used by many choreographers as a way to give dancers time to change costumes, shoes, or create a scene break. The interest in Ancient Egypt at the time, inspired by recent archaeological finds, as well as Gautier's Le Roman de la momie, gave Petipa the push to create The Pharaoh's Daughter. These interests and finds inspired a new wave of costuming, such as the newly shortened tutu being decorated with Egyptian jewelry and ornamentation. These decorations were meant to give the audience a better feel to the ballet and reflect Egyptian nationality.
In his BBC radio series on Chabrier, Roger Nichols also detected elements of this in counter-melodies in Sous-bois and the third Valse romantique. The ballet Cotillon (Monte Carlo, 1932) with choreography by George Balanchine uses music by Chabrier: ‘La toilette’ is the Menuet pompeux orchestrated by Vittorio Rieti, and ‘Danse des chapeaux’, ‘Les mains du destin’ and ‘Grand rond’ are, respectively, the Scherzo-valse, Idylle and Danse villageoise in Chabrier’s own orchestrations. Suite fantasque 'Divertissement in five tableaux' (Paris, 16 January 1948) with choreography by Jean-Jacques Etchevery, was produced at the Opéra-Comique (incorporating La bourée Fantasque, premiered in 1946).Wolff S. Un demi-siècle d'Opéra-Comique (1900-1950).
The airs of such composers as Edvard Grieg, Anton Simon, Reinhold Glière, Karl Goldmark, Frédéric Chopin, Pyotr Tchaikovsky and Antonín Dvořák were fashioned into dansante accompaniment for new scenes, pas, variations, and the like. Among the most notable scenes added by Gorsky was a dream sequence set to a Nocturne by Chopin, in which the character Medora dreams of her beloved Conrad. Another interpolation of note was a divertissement for Turkish, Persian and Arabian slave-women that took place during the scene in the bazaar of the first act. Even with the production's large number of interpolated pieces, Gorsky chose to retain many of the additional pas as included in the ballet by Mazilier and Petipa.
In June 1994, Premier Choix: TVEC Inc. (Astral) was granted approval for a television broadcasting licence by the Canadian Radio-television and Telecommunications Commission (CRTC) for a channel called Arts et Divertissement, described as a service modelled after the American service, A&E;, at that time. The proposed service was to focus on four main elements: documentaries (for which the service would primarily consist of), films, dramatic series, and arts programming.Decision CRTC 94-286 CRTC 1994-06-06 The channel was launched on January 1, 1995 as Canal D. On March 4, 2013, the Competition Bureau approved the takeover of Astral Media by Bell Media.BCE takeover of Astral OK’d by Competition Bureau , The Montreal Gazette (via The Canadian Press), March 4, 2013.
An aria in which one of the protagonists expresses their inner feelings is followed by recitative mixed with short arias (petits airs) which move the action forward. Acts end with a divertissement, the most striking feature of French Baroque opera, which allowed the composer to satisfy the public's love of dance, huge choruses and gorgeous visual spectacle. The recitative, too, was adapted and moulded to the unique rhythms of the French language and was often singled out for special praise by critics, a famous example occurring in Act Two of Lully's Armide. The five acts of the main opera were preceded by an allegorical prologue, another feature Lully took from the Italians, which he generally used to sing the praises of Louis XIV.
On Petipa presented what is arguably the most lavish ballet he ever staged: Bluebeard, based on the Perrault fairytale to the music of Pyotr Schenk. The ballet consisted of a myriad of dances in the context of such a sumptuous production that many of the critics and balletomanes felt that the work was merely a gargantuan excuse for spectacle and dances, something made all the more apparent with the spectacular showcasing of Pierina Legnani in the principal role. The final tableau consisted of a three-part astrological divertissement titled The Temple of the Past, Present & Futures. The Temple of the Future rounded out the scene with its Pas de deux éléctrique performed by Legnani and Nikolai Legat to storms of applause.
He wrote several comedies, alone (e.g. Le Fat en province ou Le plan de comédie, a 3-act comedy ; Inès et Pédrille ou La cousine supposée, a 3-act comedy ; Spectacle demandé ou Rien qu'en famille, a one-act divertissement "mêlée de couplets" ; Les Anglais supposés ou Lequel est mon gendre ?, at Théâtre de la Porte Saint- Martin, 1815), or in collaboration with Eugène Scribe and Mélesville (such as La Petite Pinson ou Une nuit à Beaune, a one-act folie-vaudeville, with Mélesville, put on at the Théâtre des Variétés from 20 February 1819). He also wrote a novel, Un Ladre, récit d’un vieux professeur émérite (Paris, Lenormant, 1859), a touching and moral book whose excellent intentions excuse its implausibility.
When the insert was intended only to shift the mood before returning to the main action, without a change of scene being necessary, authors could revert to a "play within a play" technique, or have some accidental guests in a ballroom perform a dance, etc. In this case the insert is a divertimento (the term is Italian; the French divertissement is also used) rather than an entr'acte. In the French opera tradition of the end of the 17th century and early 18th century (Jean-Philippe Rameau, for example) such divertissements would become compulsory in the form of an inserted ballet passage, a tradition that continued until well into the 19th century. This was eventually parodied by Jacques Offenbach: for example, the cancan ending Orpheus in the Underworld.
George Dandin ou le mari confondu (George Dandin or The Thwarted HusbandAs translated by James F. Gaines 2002.) is a French Comédie-ballet in three acts by Molière, with music by Jean-Baptiste Lully, choreography by Pierre Beauchamp, and architecture/staging by Carlo Vigarani and Henri de Gissey.Barbara Coeyman, "Social Dance in the 1668 Feste de Versailles: Architecture and Performance Context", Early Music (May 1998), 281. It premiered at the Palace of Versailles, seen by Louis XIV and guests, numbering possibly to 3000 total people,Gerry McCarthy, The Theatres of Moliere (Routledge, 2002), 125. on 18 July 1668, during the Le Grand divertissement royal (Grand Royal Entertainment), produced by court financier Jean-Baptiste Colbert, celebrating the peace from the Treaty of Aachen.
The hall was especially popular in the city's underworld, not only in the Bowery but throughout Manhattan, and was referred to by James William Buel in Mysteries and Miseries of America's Great Cities (1883) as "an eating cancer on the body municipal, and within its crime begrimed walls have been enacted so many villainies, that the world has wondered why the wrath of vengeance did not consume it. But with all its festering and mephitic odors and criminalities, together with its votaries of Jezebel and Nana Sahib, the proprietor prospered and waxed rich. His rat and dog pits were known far and wide, and nowhere could the molochs and thugs find such delectable divertissement as Burns' pits afforded".Buel, James William.
La Source, 1866 In addition to composing, Delibes earned a living as a critic (briefly in 1858); inspector of school music; and accompanist and later chorus master at the Opéra (from 1862 or 1863).. His appointment at the Opéra led to a new career as a composer of ballet music. In 1866 he was commissioned to compose two acts of La Source, the other two being written by Ludwig Minkus. In the view of the musicologist and critic Adolphe Jullien, Delibes "displayed such a wealth of melody as a composer of ballet music" that Minkus was "completely eclipsed".Jullien, p. 687 Delibes was immediately invited to compose a waltz-divertissement called Le Pas de Fleurs to be introduced into the ballet of his former teacher Adam, Le Corsaire, for a revival in 1867.
Hubert Culot, Philip Lane CD review, accessed 16 November 2010. Other lighter compositions include the Diversions on a Theme of Paganini, Cotswold Folk Dances, Divertissement for clarinet, harp and strings, A Maritime Overture, Prestbury Park, Three Spanish Dances and a number of works themed around the Christmas season - the three Wassail Dances (three orchestral extemporisations based on the Somerset Wassail, Yorkshire Wassail and the Gloucestershire Wassail), Overture on French Carols and Three Christmas Pictures (the latter a compilation of individual original works; the "Sleighbell Serenade", "Starlight Lullaby" and the "Christmas Eve Waltz").Edmund Whitehouse, CD notes to Philip Lane: Orchestral Works (Marco Polo) In December 2009 he was commissioned by the Boston Pops Orchestra to write their annual Holiday Pops work, The Christmas Story, which received 38 performances.2009 Honorary doctorates, University of Gloucestershire.
Caldwell & Bishop owned Surrey Gardens & Music Hall, and agreed to rent it out to Taylor & Lewis for £100 a day. Taylor had planned to use the music hall for four concerts and day and evening fetes on Monday 17 June, Monday 15 July, Monday 5 August, and Monday 19 August 1861. They were going to provide a variety of extravagant entertainments including a singing performance by Sims Reeves, a thirty-five to forty-piece military and quadrille band, al fresco entertainments, minstrels, fireworks and full illuminations, a ballet or divertissement, a wizard and Grecian statues, tight rope performances, rifle galleries, air gun shooting, Chinese and Parisian games, boats on the lake, and aquatic sports. According to the contract the parties had signed, the defendants were to provide most of the British performers.
There are many versions of the story of Cinderella (the earliest was written down in China in the 9th century) and it has been the basis for a long list of pantomimes, operas, and ballets. The earliest Cinderella ballet proper was by Duport in Vienna in 1813, although Drury Lane's Cinderella ten years earlier had a ballet divertissement of Loves and Graces introduced by Venus. London's first complete Cinderella ballet was seen in 1822, the year Paris first heard Rossini's opera La Cenerentola. Marius Petipa, Lev Ivanov, and Enrico Cecchetti choreographed Cinderella for the Imperial Mariinsky Theatre in 1893 to the music of Baron Boris Fitinhof-Schell—it was in this splendid production that Pierina Legnani first performed in Russia her celebrated feat of 32 fouettes—but none of the choreography has survived.
In the event, Ashton cut some of the music, notably the third-act scene showing the Prince's journey in search of Cinderella (a pretext for a divertissement of national dances: Ashton's comment on this was "I didn't like any of the places he went to, nor the music he wrote for them") and a shorter dance of Grasshoppers and Dragonflies after the Fairy Summer's variation in the first act. The choreography of Cinderella is Ashton's homage to the classical tradition of Petipa, as had been Symphonic Variations of two years earlier, albeit on a smaller scale. In 1948 Ashton also created Scènes de ballet, which distilled the essence of Petipa's ballets down to just one act. The choreography of Cinderella is full of dreams, some most definitely unfulfilled.
Jacques Ibert Jacques François Antoine Marie Ibert (15 August 1890 – 5 February 1962) was a French composer of classical music. Having studied music from an early age, he studied at the Paris Conservatoire and won its top prize, the Prix de Rome at his first attempt, despite studies interrupted by his service in World War I. Ibert pursued a successful composing career, writing (sometimes in collaboration with other composers) seven operas, five ballets, incidental music for plays and films, works for piano solo, choral works, and chamber music. He is probably best remembered for his orchestral works including Divertissement (1930) and Escales (1922). As a composer, Ibert did not attach himself to any of the prevalent genres of music of his time, and has been described as an eclectic.
Ibert refused to ally himself to any particular musical fashion or school, maintaining that "all systems are valid", a position that has caused many commentators to categorise him as "eclectic". His biographer, Alexandra Laederich, writes, "His music can be festive and gay … lyrical and inspired, or descriptive and evocative … often tinged with gentle humour … all the elements of his musical language bar that of harmony relate closely to the Classical tradition." The early orchestral works, such as Escales, are in "a lush Impressionist style",Griffiths, Paul and Richard Langham Smith "Ibert, Jacques (François Antoine Marie)." The Oxford Companion to Music, Oxford Music Online, accessed 18 September 2010 but Ibert is at least as well known for lighthearted, even frivolous, pieces, among which are the Divertissement for small orchestra and the Flute Concerto.
Her repertoire has included the major classical ballets as well as works choreographed by George Balanchine including Theme and Variations, Scotch Symphony, Apollo, The Prodigal Son and Symphony in C. Makhalina's role debuts with the Kirov/Mariinsky included Myrtha (1986) and the title role (1991) in Giselle, Medora (1987) in Le Corsaire, Odette/Odile (1987) in Swan Lake, Gamzatti (1988) and Nikiya (1990) in La Bayadère, Kitri (1989) in Don Quixote, Lilac Fairy (1989) in Sleeping Beauty, title role (1994) in Raymonda, and Countess of Elba (1996) in Goya Divertissement. She has also performed the title roles in Roland Petit's Carmen and in Kenneth MacMillan's Manon. Exotic roles have included Zobeide in Scheherazade and Death in The Youth and Death, while supporting roles have included the evil stepmother in Cinderella.
Although Brunschvicg tried to classify the posthumous fragments according to themes, recent research has prompted Sellier to choose entirely different classifications, as Pascal often examined the same event or example through many different lenses. Also noteworthy is the monumental edition of Pascal's Œuvres complètes (1964–1992), which is known as the Tercentenary Edition and was realized by Jean Mesnard; although still incomplete, this edition reviews the dating, history and critical bibliography of each of Pascal's texts.See in particular various works by Laurent Thirouin, for example “Les premières liasses des Pensées : architecture et signification”, XVIIe siècle, n°177 (spécial Pascal), oct./déc. 1992, pp. 451-468 or “Le cycle du divertissement, dans les liasses classées”, Giornata di Studi Francesi, “Les Pensées de Pascal : du dessein à l’édition”, Rome, Université LUMSA, 11-12 October 2002.
Grand Pas de Quatre is a ballet divertissement choreographed by Jules Perrot in 1845, on the suggestion of Benjamin Lumley, Director at Her Majesty's Theatre, to music composed by Cesare Pugni. On the night it premiered in London (12 July 1845), it caused a sensation with the critics and the public alike. The reason for this was that it brought together, on one stage, the four greatest ballerinas of the time – in order of appearance, Lucile Grahn, Carlotta Grisi, Fanny Cerrito, and Marie Taglioni. (The fifth great Romantic ballerina of the time, Fanny Elssler, had been invited to take part but declined to do so; she was replaced by the young Lucile Grahn who accepted without hesitation.) Pas de Quatre captured the essence of the Romantic style as the ballerinas danced with demure lightness, delicacy, and poise.
Christoph Willibald von Gluck by Joseph Duplessis (1775) Don Juan ou Le Festin de Pierre (Don Juan, or the Stone Guest's Banquet) is a ballet with a libretto by Ranieri de' Calzabigi, music by Christoph Willibald von Gluck, and choreography by Gasparo Angiolini. The ballet's first performance was in Vienna, Austria on Saturday, 17 October 1761, at the Theater am Kärntnertor. Its innovation in the history of ballet, coming a year before Gluck's radical reform of opera seria with his Orfeo ed Euridice (1762), was its coherent narrative element, though the series of conventional divertissement dances in the second act lies within the well-established ballet tradition of an entr'acte effecting a pause in the story-telling. The ballet follows the legend of Don Juan and his descent into Hell after killing his inamorata's father in a duel.
The complete two-act ballet was performed by the Royal Danish Ballet from 1849 until 1934, when it disappeared from the repertoire, perhaps because it was considered old-fashioned. In 1942, Harald Lander, the Royal Ballet director at the time, extracted "The Dancing School" (Pas d'école) from the larger work and staged it as a one-act divertissement. In 1995, the Royal Danish Ballet brought the complete two-act version back into the repertoire with the help of three Bournonville experts: Kirsten Ralov, former Assistant Director and principal of the company, principal dancer Niels Bjørn Larsen, and teacher Dinna Bjørn, Larsen's daughter. By combining personal memories of the stagings in the early 1930s, Bournonville's notations, and the writings of dancer Valborg Borchsenius regarding Harald Lander’s staging in the 1930s, the three directors made it possible to re-stage the complete Le Conservatoire.
Verlet, pp. 54-59 The Grand Divertissement royal of 1668, which celebrated the end of the War of Devolution, witnessed the construction of a luxurious temporary theater built in the gardens on the site of the future Bassin de Bacchus. Constructed of papier-mâché, which was either gilded or painted to resemble marble and lapis lazuli, the theater seated 1,200 spectators who attended the debut of Molière's George Dandin on 18 July 1668. As with the Plaisirs de l’Île enchantée, this theater was destroyed shortly after the end of the fête.Verlet, pp. 70-72 The third fête or, more accurately, a series of six fêtes - Les Divertissments de Versailles - were held in July and August 1674 to celebrate the second conquest of Franche- Comté. The fête featured a number of theatrical productions that were staged throughout the grounds in temporary theaters.
Of the nine pianoforte duets by Mozart two, the Adagio and Allegro in F minor and the Fantasia in F minor, were originally written for a mechanical organ or musical clock in a Vienna exhibition, and were afterwards arranged for piano by an unknown hand; among the others, the sonatas KV 497 and KV 521 from the Vienna years stand out. Among the best-known composers, Schubert made the fullest use of the original effects possible to music "à quatre mains." His compositions include the Sonata in C major for piano four-hands, D 812, the Divertissement à la hongroise, D 818, and Fantasia in F minor for piano four-hands, D 940. In addition to these he wrote fourteen marches, six polonaises, four sets of variations, three rondos, one sonata, one set of dances, and four separate pieces.
The teachers are Olga Moiseeva and Ninel Kurgapkina (since 1994). Nioradze toured extensively all over the world with the Mariinsky Ballet Company, she danced in Great Britain, USA, Holland, Japan, France, Italy, Spain, Denmark, Norway, Taiwan, Argentina, Brazil, Israel, Chile, Greece, Cyprus and Austria. Her repertoire includes the leading roles in Giselle, Raymonda, The Firebird, Odette/Odile in Swan Lake, Medora in Le Corsaire, Mekhmene-Banu in The Legend of Love, Kitri in Don Quixote, Zarema in The Fountain of Bakhchisarai, Lilac Fairy in Sleeping Beauty, Nikiya in La Bayadere, the soloist in Symphony in C, the leading part in Paquita, Zobeide in Scheherazade, Baja in Goya Divertissement. From the very beginning of her career it was evident that Irma Nioradze possesses all qualities to become the classical ballerina in the best meaning of this word.
The great success of The Pharaoh's Daughter earned for Petipa the position of second Maître de ballet to the Imperial Theatres. Saint-Léon answered the success of Petipa's The Pharaoh's Daughter with the fantastical ballet Le Petit Cheval bossu, Ou La Tsar- Demoiselle (The Little Humpbacked Horse, or The Tsar Maiden), a ballet adaptation of Pyotr Yershov's famous Russian poem. The work proved to be a success equal to that of The Pharaoh's Daughter, with its series of fantastical tableaux set under-water and on an enchanted isle, as well as the ballet's final Grand divertissement celebrating the many peoples of the Russian Empire. Though Arthur Saint-Léon was by title and technicality Petipa's superior, the two men were viewed as equals by the critics and balletomanes of the day, and would rival one another with splendid productions throughout the 1860s.
In the spring of 1902, Drigo and a group of dancers from the Imperial Ballet were invited by Raoul Gunsbourg, director of the Opéra de Monte-Carlo, to produce a ballet in Monaco. Drigo composed the music for the ballet-divertissement titled La Côte d'Azur (The French Riviera), set to a libretto by Prince Albert I. The ballet premiered at the Salle Garnier on 30 March 1902, and featured the Prima ballerina Olga Preobrajenska. Drigo's final original full-length ballet score was also Marius Petipa's final work — the fantastical La Romance d'un Bouton de rose et d'un Papillon (The Romance of a Rosebud and a Butterfly). The ballet was to have had its premiere at the Imperial Theatre of the Hermitage on but was abruptly canceled, the official reason given being the outbreak of the Russo-Japanese War.
In 1673, Blount published A World of Errors Discovered in the New World of Words, wherein he sought to demonstrate that where Phillips was correct, he was not often original, and that where he was original, he was not often correct. He wrote, indignantly, "Must this then be suffered? A Gentleman for his divertissement writes a Book, and this Book happens to be acceptable to the World, and sell; a Bookseller, not interested in the Copy, instantly employs some Mercenary to jumble up another like Book out of this, with some Alterations and Additions, and give it a new Title; and the first Author's out-done, and his Publisher half undone...." Phillips retorted by publishing a list of words from Blount that he contended were "barbarous and illegally compounded." The dispute was not settled prior to Blount's death, thus granting a default victory to Phillips.
By the early 1980s Frémaux had recorded over fifty works, winning a special citation from the Koussevitsky Jury for the 'Nottuni ed Alba' and Second Symphony of John McCabe. Other recordings include Berlioz (Grande Messe des Morts, Symphonie Fantastique), Bizet (Symphony in C, Roma), Delalande (Psalms 12 and 144), Fauré (Requiem), Ibert (Bacchanale, Bostoniana, Louisville Concerto, Divertissement), Poulenc (Gloria, Piano Concerto), Saint-Saëns (Symphony No 3, works for cello and orchestra) and Walton (Glora, Te Deum, Façade, The Wise Virgins). He also conducted the London Symphony Orchestra in the Symphonie Fantastique (1988) and a Ravel programme of Daphnis et Chloé Suite No. 2, La Valse, complete ballet Ma Mère l'Oye and Boléro (1989). Louis Frémaux may be seen as conductor in two piano concertos with Samson François (Ravel Concerto for the Left Hand, Paris, 1964, and Grieg, Paris, 1967), on EMI Classics DVD 490437.
As part of that tradition, L'assedio included a ballet divertissement, a key ingredient of French opera of the period. The idea for this may have arisen in Donizetti's mind from a revival of Luigi Henry's ballet at the San Carlo in 1835, right at the time that Lucia di Lammermoor was given its premiere,Ashbrook and Hibberd 2001, p. 238 but including this dance form was unusual in Italy, where a ballet was normally performed only as a separate work alongside an opera on a double bill. In line with another French tradition was the composer's rejection of the Italian concept of the prime role of the "prima donna": firstly his having "no particular feeling of obligation to give the heroine an entrance aria" and, secondly, accepting that her role was of significance at all; the opera's plot "makes female roles secondary in importance".
The entrée des Fleurs was "replaced with a version in which the plot and all the music except the divertissement was new", and a fourth entrée, Les Sauvages, was added, in which Rameau reused the famous air des Sauvages he had composed in 1725 on the occasion of the American Indian chiefs' visit and later included in the Nouvelles Suites de pièces de clavecin (1728). Now in something approaching a definitive form,"In the course of many revivals, however, the number and order of entrées was frequently altered" (Sadler). the opera enjoyed six performances in March and was then mounted again as of 27 December. Further revivals were held in 1743–1744, 1751 and 1761 for a combined total of 185 billings. The work was also performed in Lyon on 23 November 1741, at the theatre of the Jeu de Paume de la Raquette Royale, and again in 1749/1750, at the initiative of Rameau's brother-in-law, Jean- Philippe Mangot.
William Waterhouse was celebrated in his 80th birthyear on 16 April 2011 in a Memorial Concert The Proud Bassoon in Wigmore Hall. Players included his three children, Gervase de Peyer and Timothy Brown as former members of the Melos Ensemble, players who succeeded him such as Roger Birnstingl (Orchestre de la Suisse Romande) and Julie Price (BBC Symphony Orchestra), bassoonists from around the world, such as Jim Kopp, Lyndon Watts and Takashi Yamakami, his students and a bassoon quartet from the RNCM, led by Stefano Canuti. All the music played related to him, his own arrangement of Giovanni Gabrieli's Sonata Pian' e Forte for two bassoon choirs, music dedicated to him, such as Gordon Jacob's Suite and the Divertissement of Jean Francaix, and music composed in his memory, his son's Bright Angel and Epitaphium. The concert ended with the final movement from Schubert's Octet, which he had often played and twice recorded with the Melos Ensemble.
The first major novel of his second period to be published was Un roi sans divertissement (published in 1947, and made into a successful film for which Giono himself wrote the screenplay, in 1963). It takes the form of a detective story set in Haute Provence in the early nineteenth century, and reveals Giono's new pessimism about human nature in that the policeman is forced to the realisation that he himself is capable of being as evil as the murderer he is tracking. Stylistically brilliant, it consists of the juxtaposed accounts of events as told by the different people affected, devoid of explanation, from which the reader must piece together the meaning. The most famous novel of his second period is Le Hussard sur le toit, the first part of the definitive version of the story of Angélo Pardi he had sketched in Angelo. It was published in 1951, and made into a film by Jean-Paul Rappeneau starring Juliette Binoche in 1995.
Robert Layton offers another perspective on the relationship between the two versions in his review of the Fourth Symphony. It provides some insight into the relative neglect that Opus 47 has felt, in comparison to the more monumental Opus 112: Valery Gergiev, with Vladimir Putin, 2001 > It is generally agreed that the transformation from dance to symphony in the > Fourth is accomplished with less success than is the metamorphosis from The > Flaming Angel to the Third Symphony, and whether in reworking the 1930 > version Prokofiev wholly succeeded remains open to question. Let us hope > that the appearance of these scores presages a resurgence of interest in > Prokofiev's Paris years, for works such as the now neglected Quintet, Op. > 39, and the almost forgotten Divertissement for orchestra, Op. 43, deserve a > far more prominent place in the repertory. It was not until the mid-1980s that both Opus 47 and Opus 112 were presented in complete recordings of Prokofiev symphonies.
As a principal dancer in that company, he appeared in many Balanchine works, including Symphony in C, Scotch Symphony, Gounod Symphony, and Stars and Stripes. He created roles in two works by Jacques d'Amboise, The Chase (1963) and Irish Fantasy (1964), and in two works by Balanchine, Pas de Deux and Divertissement (1965), set to music of Delibes, and Brahms-Schoenberg Quartet (1966). In both new Balanchine works his partner was the brilliant Melissa Hayden, a leading ballerina of the company.George Balanchine (1984) Choreography by George Balanchine: A Catalogue of Works, New York: Viking Penguin, pp. 244–49. Throughout the early 1960s, Prokovsky also had many engagements as an international guest artist with ballet companies in Stuttgart, Rome, Belgrade, Zagreb, Zurich, Munich, Dallas, Washington, D.C., and other cities. One especially fortuitous invitation came in 1966 from PACT/TRUK Ballet in Johannesburg, South Africa, which wanted him for Prince Charming in a new production of Cinderella.
The Romantic Ballet in England, Wesleyan University Press, 1972 Among the works of ballet that he staged were Ondine, ou La Naïade (1843), La Esmeralda (1844), and Catarina, ou La Fille du Bandit (1846), as well as the celebrated divertissement Pas de Quatre (1845). Other ballet masters created works for the ballet of Her Majesty's Theatre throughout the period of the romantic ballet, most notably Paul Taglioni (son of Filippo Taglioni), who staged ballets including Coralia, ou Le Chevalier inconstant (1847) and Electra (1849, the first production of a ballet to make use of electric lighting). Arthur Saint-Léon staged such works as La Vivandière (1844), Le Violin du Diable (1849), and Le Jugement de Pâris (1850), which was considered a sequel of sorts to Pas de Quatre. The Italian composer Cesare Pugni was appointed Composer of the Ballet Music to the theatre in 1843, a position created for him by Lumley.
Instead of functioning as an interlude or divertissement, the ballet provided key insights into the heroine's emotional troubles. This performance is just one example of the way in which de Mille brought new ideas to the performing arts industry. Through her production of Oklahoma!, she integrated dance into musical theater as a way of enhancing the original musical. This production is widely known for this innovative idea and is credited for starting de Mille’s fame as a choreographer, both for Broadway and in the dance industry. De Mille went on to choreograph over a dozen other musicals, most notably Bloomer Girl (1944), which presented her feelings of loneliness as a woman who saw her husband leave to serve for the army, Carousel (1945), Allegro (1947, Director as well as choreographer), Brigadoon (1947, for which she was co-recipient of the inaugural Tony Award for Best Choreography), Gentlemen Prefer Blondes (1949), Paint Your Wagon (1951), The Girl in Pink Tights (1954), Goldilocks (1957), and 110 in the Shade (1963).
200px Marie-Jean-Augustin Vestris, known as Auguste Vestris (27 March 1760 – 5 December 1842), was a French dancer. He was born in Paris, the illegitimate son of Gaétan Vestris and Marie Allard (1742–1802). His father was a Florentine dancer who had joined the Paris Opéra in 1748, his mother was a French dancer in the same theatre. He was dubbed "le dieu de la danse", (the god of dance), a popular title bestowed on the leading male dancer of each generation (previous 'Gods of the Dance' included his father Gaétan and Gaétan's teacher, Louis Dupré). He made his debut at the Paris Opéra (as had his mother, Marie Allard) in the third divertissement of the pastorale La Cinquantaine (written by Desfontaines-Lavallée and set to music by Jean- Benjamin de La Borde) in 1772 and was immediately recognized for his talent. He was accepted as a regular member of the troupe in 1775, became a soloist in 1776, a "premier danseur" (principal dancer) in 1778, and finally he was appointed "premier sujet de la danse" (roughly corresponding to modern étoile) in 1780, holding this rank in the corps de ballet for the next 36 years.

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