In general, dances in operas are tacked on: divertissements unrelated to the story.
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The ending, once happy, became tragic, and a series of divertissements were cut.
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But the betrothal and wedding scenes are both bogged down by divertissements that are quaint at best.
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The divertissements, consisting of dances, choruses and solo songs, provide entertainment yet often relate meaningfully to the action.
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Whole numbers were excised, though Prokofiev was able to salvage some of the divertissements elsewhere in the score.
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A new Mark Morris dance, "Sport," set to Satie's "Sports et divertissements," will be given its world premiere.
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And the divertissements, a parade of showcase dances that are a staple of classical ballet, were inserted right after Juliet takes the potion: "the worst possible moment," Mr. Morrison said.
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Mr. Lock's aggressive, repetitive movements — all pistonlike slashes of arms past midsection and neck — suit some moments of danger but overstay their welcome, and seem out of place in the divertissements.
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Nonetheless, under Ms. Rojo, the English National Ballet seems to be improving from production to production; the performance sparkled, and the Act 2 divertissements, which can feel rote, were delivered with real panache.
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With the young Queen Victoria often in the audience, the world's foremost ballerinas appeared there, sometimes in duets, trios and quartets, with Perrot making creative breakthroughs in terms of both narrative ballet and pure-dance divertissements.
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This she refuses to accept, searching for him in a refugee camp in frigid winter (the Waltz of the Snowflakes); a threatening forest; and a creepy assemblage of giant toys, the occasion for Tchaikovsky's famous divertissements.
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It was Diaghilev who first had the idea of presenting "Aurora's Wedding" as a one-act spinoff; and now Mr. Ratmansky also follows Diaghilev in omitting two of the "Sleeping Beauty" divertissements and adding two to "Nutcracker" music.
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Although Act 2 takes place in a lovely cream-and-gold setting, Clara, played by a grown-up dancer in this production (a very good Anna Rose O'Sullivan last Saturday), and Hans-Peter (James Hay, excellent) never stop thrusting themselves into the divertissements.
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In any case, "Kurios" offers up the usual array of divertissements, but in this case enhanced by a striking visual look featuring back-to-the-future sets and costumes that suggest a science-fiction version of the Victorian era, redolent of the steampunk movement.
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Ballet also began to be featured in operas as interludes called divertissements.
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He wrote several works for the stage, including the tragédie en musique Arion (1714) as well as ballets and other divertissements.
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The Mazurka to Chopin was from Les Sylphides. Polovetsian Dances was an ensemble for the entire company.Baer (1986), pp. 56-57 (four divertissements).
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50-57, and listed at p.75. The four divertissements described at pp. 56-57. In 1925 she probably didn't dance in On the Road, p.52.
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Garafola (2005), pp. 70–71, 199 (Alexandra Exter). For her company, Nijinska choreographed six short ballets, and danced in five. She also staged four divertissements, dancing one solo.
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Suzanne Comhaire-Sylvain. Port-au-Prince, Haiti. 1938\. Contes du pays d'Haïti. Suzanne Comhaire-Sylvain. Port-au-Prince, Haiti. 1938\. Loisirs et divertissements dans la région de Kenscoff, Haïti. Suzanne Comhaire-Sylvain, Jean Comhaire-Sylvain.
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56 (quote). ;Four divertissements. The Musical Snuff Box was a restating of the solo La Poupée first danced by Nijinska in Kiev. Trepak was her The Three Ivans that she had choreographed for Diaghilev's The Sleeping Princess in London.
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He was scheduled to conduct the first performance of Three Divertissements in 1940, but the concert was cancelled owing to The Blitz. Her Air, Variations & Finale for oboe, violin & piano (1949) can be obtained from June Emerson Wind Music (E620).
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A third (posthumous) edition, with corrections and a supplemental treatise on logarithms, appeared 1729. Nicolas de Malézieu also translated Euripides’ Iphigenia in Tauris as well as poems, songs and sketches, which were published in 1712 in Les Divertissements de Sceaux and in 1725 in the Suite des Divertissements. Among these pieces are Philémon et Baucis, Le Prince de Cathay, Les Importuns de Chatenay, La Grande Nuit de l'éclipse, L'Hôte de Lemnos, La Tarentole and L'Heautontimorumenos. Often written in a single day, these pieces were set to music and staged for the amusement of the duchess, to whom Malézieu also gave courses in astronomy.
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Moreau also composed musical interludes for Duche's Jonathas, Boyer's Jephte, Absalon, Debora and various divertissements. He was also active as a teacher and counts among his pupils Louis-Nicolas Clérambault, Jean-François Dandrieu, and Michel Pignolet de Montéclair. He died in Paris.
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Chorales for solo piano are included in, for instance, Franck's Prélude, Choral et Fugue (1884), Satie's Sports et divertissements (1914, published ), and Busoni's Fantasia contrappuntistica (multiple versions, early 1910s). That last composition also exists in the composer's arrangement for two pianos (early 1920s).
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Lavrovsky's production is widely recognized as one of the greatest examples of the drambalet genre in Soviet Theater. Lavrovsky's choreography for the ballet is highly dramatic and largely realistic, closely hewing to the motions taken by stage actors and mostly eschewing traditional ballet divertissements.
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In the decades following its founding, Donetsk Ballet staged dozens of classic ballets, including Swan Lake, The Nutcracker, Giselle, Don Quixote, Samson and Dalila, The Night of Valpurg, Pahita, Peer Gynt, Shopeniana, Romeo and Juliet. The company also staged divertissements, and evenings of contemporary and classical ballet.
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Gaîté Parisienne was one of Massine's most celebrated works during this time. Instead of a whole, singular composition for the score, Offenbach created a series of divertissements. This allowed Massine to use a wide variety of dancers and tempi, all while conveying a single narrative. Massine revived the piece for American Ballet Theater in 1970.
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Corrette was prolific. He composed ballets and divertissements for the stage, including Arlequin, Armide, Le Jugement de Midas, Les Âges, Nina, and Persée. He composed many concertos, notably 25 concertos comiques. Aside from these works and organ concertos, he also composed sonatas, songs, instrumental chamber works, harpsichord pieces, cantatas, and other sacred vocal works.
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Vittorio Gassmann (; born Gassmann; 1 September 1922 – 29 June 2000), popularly known as , was an Italian actor, director and screenwriter. He is considered one of the greatest Italian actors and is often remembered as an extremely professional, versatile and magnetic interpreter, whose long career includes both important productions as well as dozens of divertissements (which made him greatly popular).
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Atys is a tragédie lyrique in three acts by Niccolò Piccinni with a French libretto by Jean-François Marmontel. Marmontel's libretto was based upon Philippe Quinault's libretto for Jean-Baptiste Lully's 1676 opera of the same title. Quinault based his rendition on Ovid's Fasti. Marmontel adapted Quinault's libretto and modified it by removing the prologue and divertissements.
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Rushton in Grove Candeille wrote four symphonies, as well as ballets, divertissements and sacred music (including a mass and a Magnificat). None of his operas achieved much success, with the exception of his revision of Jean-Philippe Rameau's Castor et Pollux.Van Boer, p. 112 Candeille's version was premiered at the Paris Opéra on 14 June 1791.
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Also in 1714 Mouret received an appointment as the director of the orchestra of the Opéra, a post which he held until 1718. From 1717 to 1737 he directed the Nouveau Théâtre Italien for which he composed divertissements that accompanied, for example, the tender comedies of Marivaux, and which, printed, fill six volumes. At court Mouret maintained a post as singer, and directed the grand divertissements offered by the Regent, the duc d'Orléans at his château of Villers-Cotterêts on the occasion of Louis XV's coming-of-age in 1722. Concurrently, he was director of the concert series established by the orchestra of the Opéra, the Concerts Spirituel (1728–1734), positions which provided a public outlet for his own music and which permitted him to live in affluence.
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4, pg. 591. raising the technical level of the dancers in both companies. Working in Amsterdam until 1958, she also expanded the repertory of the Dutch company with classical ballets and a number of original choreographic works. In 1960, she became ballet mistress of the Ballet de l'Opéra de Nice and remained with that company until 1963, staging opera divertissements and modern ballets.
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At the Frederick Ashton Festival, staged at the Sarasota Opera House in May 2014, The Sarasota Ballet offered a wide selection of Ashton's works. These included Birthday Offering, Illuminations, Les Rendezvous, Sinfonietta, and Valses nobles et sentimentales. Under Webb's leadership, the company performed 135 ballets and divertissements through the 2015 - 2016 season, including 36 world premieres and 7 American premieres.
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Bottomley published several original works, including 'Six Exercises for Pianoforte,' twelve sonatinas for the same instrument, two divertissements with flute accompaniment, twelve valses, eight rondos, ten airs variés, a duo for two pianos, and a small dictionary of music (8vo), published in London in 1816. A dictionary of musicians: from the earliest ages to the present time, Vol. I, 2nd ed., pp.
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In the first few months, the company produced three brief story ballets called: The Minstrels, The Snow Maiden, and Die Puppenfee (The Fairy Doll). Three months after opening, the company was renamed to The Philadelphia Ballet, but was changed back to Littlefield Ballet in 1940. After a year in business, the Littlefield's produced eighteen complete ballets and twenty-two divertissements.
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The ballet is set in a fashionable Viennese finishing school for girls during the 1840s. The headmistress has invited the cadets of the city's military academy to attend a ball celebrating the graduation of the senior class. The senior and junior girls have planned a series of divertissements as the evening's entertainment and are greatly excited by the event. Flirtations, exuberant dances, and a secret romance ensue.
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Ubisoft Divertissements Inc., doing business as Ubisoft Montreal, is a Canadian video game developer and a studio of Ubisoft based in Montreal. The studio was founded in April 1997 as part of Ubisoft's growth into worldwide markets, with subsidies from the governments of Montreal, Quebec, and Canada to help create new multimedia jobs. The studio's initial products were low- profile children's games based on existing intellectual property.
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Outside of the Opera ballet masters were focusing on pantomime. It was at this time that Gardel enabled changes in the training to reflect his focus on expanding technique to encompass great bodily feats. Gardel allowed and encouraged the creation of divertissements for the dancers. Auguste Vestris was a principal dancer at this time and well known for pushing the boundaries of turning and jumping.
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From 1843 until 1850, he composed nearly every new ballet presented at the theatre.500 Years of Italian Dance. New York Public Library, accessed 18 February 2008. Pugni remains the most prolific composer of the genre, having composed more than 100 original ballets, as well as composing numerous divertissements and incidental dances that were often performed as diversions during the intermissions of opera performances at the theatre.
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In August 1915, the family moved to Kiev. Nijinska's husband 'Sasha' Kochtovsky became ballet master at the State Opera Theater. There they both worked on ballet scenes for the operas, and on staging dance divertissements and ballets. In 1917 Nijinska began teaching at several institutions: the State Conservatory of Music, the Central State Ballet Studio, the Yiddish Cultural Center Drama Studio, and the Ukrainian Drama School.
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Although he desired an Opera for his beloved Versailles, during the second half of Louis' reign, most operas, ballets and other staged divertissements for court and the public appeared indoors, in theatres or in other sites arranged as required for individual productions.Coeyman, Barbara. "Theatres for Opera and Ballet during the Reigns of Louis XIV and Louis XV." Early Music 18.1 (1990): 22-37. JSTOR. Web. 12 Jan. 2012.
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Lithograph of Perrot's Pas de Quatre featuring Carlotta Grisi, Marie Taglioni, Lucille Grahn, and Fanny Cerrito. Pas de quatre (literally, "step of four") is a French term used to identify a ballet dance for four people.Cyril W. Beaumont, A French-English Dictionary of Technical Terms Used in Classical Ballet (London: Beaumont 1959), p. 23. Pas de quatre are usually plotless dances performed as divertissements within the context of a larger work.
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Three Divertissements, Howell's last known orchestral work, did not receive its premiere until the 1950 Elgar Festival in Malvern. Howell won the Cobbett Prize in 1921 for her Phantasy for violin and piano. She received the nickname of the "English Strauss" in her lifetime. Wood attempted to recruit Howell to his conducting class at the Royal Academy of Music (RAM) in 1923, but she instead became a teacher at the RAM in 1924.
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In spite of Le Cerf de La Viéville's claim, Bernier was not an abbé, but only an acolyte entitled to wear the clerical collar. In 1715 he took part in the divertissements organized by the Duchess of Maine at her château of Sceaux. In January 1723, at the request of the regent, Michel-Richard de Lalande gave up three of his four trimestrial periods of duty as sous-maître de musique at the Chapelle Royale.
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While in Bordeaux, Marius completed his ballet training under the great Auguste Vestris. By 1838 he was appointed Premier danseur to the Ballet de Nantes in Nantes, France. During his time in Nantes the young Petipa began to try his hand at choreography by creating a number of one-act ballets and divertissements. The 21-year-old Marius Petipa accompanied his father on a tour of the United States with a group of French dancers in July 1839.
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Erik Satie, 1923 Initial response to Sports et divertissements was muted due to the exclusive nature of its original publication. When the first commercial performing edition appeared in 1926, Satie was dead and his growing reputation as a serious composer had been tarnished by the widespread critical condemnation of his last work, the Dada ballet Relâche (1924).Ann-Marie Hanlon, "Satie and the French Musical Canon: A Reception Study", University of Newcastle Upon Tyne, 2013, pp. 74-75, 103.
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As a Principal Dancer with the Théâtre Royal de Monnaie (Belgium), Hammond danced in various opera productions and ballet divertissements including Brahms Variations and Bouquetierre des Violets. In addition to extensive classical ballet training in Australia, Hammond studied ballet in Western and Eastern Europe, with acclaimed teachers including Vera Volkova, Anna Northcote, Lubov Egorova and Olga Preobajenska. In 1948, Sir Robert Helpmann invited Hammond, along with Peggy Sager, to dance in the pioneer ballet film The Red Shoes.
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At first the cadets and the girls are timid, standing apart, but the Pigtail Girl breaks the ice, and the young people soon begin to dance with each other. The Mistress of Ceremony introduces the divertissements, which are interrupted by an "Impromptu Dance" by the Pigtail Girl. When the entertainment has concluded, the Headmistress sends her students and the cadets off stage, to have dinner. While they are gone, the Headmistress and the Old General dance a "Mazurka Flirtation," revealing their attraction.
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The next year, he completed his musical education in Paris with Albert Groz, while undertaking a variety or music related jobs such as proof correction and checking Pleyela rolls. Jaubert’s compositions in the early 1920s include songs, piano pieces, chamber music, and divertissements. He wrote his first stage music in 1925 for a play by Calderon, Le Magicien prodigieux, using the Pleyela. He was then hired by Pleyel to record rolls on the Pleyela, a revolutionary player piano at the time.
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The first act is a recreation of a Vestris dance class of the exact type attended by Bournonville during his Paris sojourn in the 1820s. In the second act, Monsieur Dufour, an inspecteur at the Conservatoire, writes a matrimonial advertisement in the newspaper but ends up marrying his housekeeper, Mademoiselle Bonjour. Typical of Bournonville’s ballets, the plot provides opportunities for introducing different dance divertissements. In the second act, for example, the pupils of the Conservatoire make a fool of Monsieur Dufour by disguising themselves as attractive women.
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The lengthy divertissements he supplied for two of the ballet's four acts display a "commendable variety of character" but divert action (and audience attention) away from the main plot.Brown, Crisis, 80, New Grove (1980), 18:613-4 Moreover, Brown adds, the formal dance music is uneven, some of it "quite ordinary, a little even trite."Brown, Crisis, 80. Despite these handicaps, Swan Lake gives Tchaikovsky many opportunities to showcase his talent for melodic writing and, as Brown points out, has proved "indestructible" in popular appeal.
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Satie's autograph of Sports et divertissements (dated 15 May 1914) An autograph or holograph is a manuscript or document written in its author's or composer's hand. The meaning of autograph as a document penned entirely by the author of its content, as opposed to a typeset document or one written by a copyist or scribe other than the author, overlaps with that of holograph. Autograph manuscripts are studied by scholars, and can become collectable objects. Holographic documents have, in some jurisdictions, a specific legal standing.
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Frederick Ashton created a short ballet solo for Merle Park in Vienna, 1985 using a pot-pourri of themes from the opera; orchestrated by Philip Gammon for its later presentation at Covent Garden.Programme notes for Divertissements/The Two Pigeons – 24 October 1985, Royal Opera House, Covent Garden. The work has subsequently been performed by the Asami Maki Ballet, Tokyo, the State Ballet of Georgia, Ensemble Productions, UK, Sarasota Ballet, Florida and New York Theatre Ballet.Ashton ballets website: Ashton Ballets around the World accessed 4 January 2020.
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It was first presented in the United States by the Original Ballet Russe at the 51st Street Theatre in New York City on 6 November 1940, with Riabouchinska and Lichine in their original roles.George Balanchine, "Graduation Ball," in Balanchine's Complete Stories of the Great Ballets, edited by Francis Mason (Garden City, N.Y.: Doubleday, 1954), p. 192. Cites the date of first performance, incorrectly, as 28 February 1940 but includes an accurate and detailed description of the scenario and the dances. After the Australian tour, some changes occurred in the divertissements.
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The addition of dance steps to these actions would comprise the second level, and the inclusion of travel dances, or michiyuki, within the storyline would fulfill the third (Foley 7). This is common in many forms of dance, especially in the classical ballet. Often, the main storyline will be subverted by peasant dances or divertissements provided purely for the dance itself, rather than substantially promoting the storyline. Although kumi odori shows greats parallels to the no style of performance, there are also several characteristics that provide distinction between the two.
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Erik Satie In this list of Erik Satie's musical compositions, those series or sets comprising several pieces (i.e., Gnossienne 1, Gnossienne 2, etc.) with nothing but tempo indications to distinguish the movements by name, are generally given with the number of individual pieces simply stated in square brackets. If the pieces in a series have distinct titles, for example the 21 pieces in Sports et divertissements, all titles are given. Many of Satie's works were not published until many years after they were composed, including a considerable number first published posthumously.
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In 2014, he staged a new production of Raymond Divertissements with Irina Kolpakova. At the time that he took over, ABT was $5.7 million dollars in debt and on the brink of collapse. Revitalizing the repertoire with new versions of The Nutcracker and Don Quixote, the company's fortunes were further strengthened by the arrival of Paloma Herrera and Angel Corella whose performances proved box-office gold. Adopting a new guest-star strategy, McKenzie gathered the strongest roster of male ballet stars in the world to continue the company's box-office success.
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However, the king expressed support for the author, granting him a pension and agreeing to be the godfather of Molière's first son. Boileau also supported him through statements that he included in his Art poétique. Molière's friendship with Jean-Baptiste Lully influenced him towards writing his Le Mariage forcé and La Princesse d'Élide (subtitled as Comédie galante mêlée de musique et d'entrées de ballet), written for royal "divertissements" at the Palace of Versailles. Tartuffe, ou L'Imposteur was also performed at Versailles, in 1664, and created the greatest scandal of Molière's artistic career.
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Iphigénie is a dramatic tragedy in five acts written in alexandrine verse by the French playwright Jean Racine. It was first performed in the Orangerie in Versailles on August 18, 1674, as part of the fifth of the royal Divertissements de Versailles of Louis XIV to celebrate the conquest of Franche-Comté. Later in December it was triumphantly revived at the Hôtel de Bourgogne, home of the royal troupe of actors in Paris. With Iphigénie, Racine returned once again to a mythological subject, following a series of historical plays (Britannicus, Bérénice, Bajazet, Mithridate).
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2013 also featured performances of Giselle and The Nutcracker to mark their prominence in the company's history and repertoire. A gala performance to mark the 25th year took place on 31 May & 1 June 2013 at the Esplanade Theatre. It featured Edwaard Liang's world premiere of Opus 25 as the centerpiece, created for 32 dancers in the company, to music of Michael Torke. In 2015 SDT's repertoire included Sleeping Beauty and Swan Lake, plus ten works from the company's established repertoire and new works from Kinsun Chan, Gigi Gianti, Max Chen and Francois Klaus, plus the company premiere of Bournonville Divertissements.
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Maximova performed with the Bolshoi Ballet from 1958 until 1980, often performing opposite her husband Vladimir Vasiliev. She and her husband gained wide exposure for their appearances in Franco Zeffirelli's filmed version of Giuseppe Verdi's opera La traviata (1983). Both performed in Spanish costume in the divertissements composed for the equivalent of Act II, scene 2, though she with much diminished technique in comparison to her husband. Her greatest successes were the roles of Kitri in Don Quixote, Clara (called Maria in the Bolshoi production) in The Nutcracker, and the title roles in Giselle and Cinderella.
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19th-century French composer Camille Saint-Saëns quoted the first few notes of the tune in the section "The Fossils", part of his suite The Carnival of the Animals. French composer Ferdinand Hérold wrote a set of variations for piano solo in E-flat major. Claude Debussy, composer of the similarly named "Clair de lune" from his Suite bergamasque, uses "Au clair de la lune" as the basis of his song "Pierrot" (Pantomime, L. 31) from Quatre Chansons de Jeunesse. Erik Satie quoted this song in the section "Le flirt" (No. 19) of his 1914 piano collection Sports et divertissements.
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They danced leading roles in most of the ballets that Coralli created at the Hoftheater, including Helena und Paris (1807). Beginning in 1809, the Corallis appeared as principal dancers at the Teatro alla Scala in Milan, at the Teatro La Fenice in Venice, and at the Teatro São Carlo in Lisbon.Marie-Françoise Christout and Gino Tani, "Coralli, Jean," in Enciclopedia dello Spettacolo (Rome: Le Maschere, 1954). From 1825 to 1829, Coralli served as ballet master of the Théâtre de la Porte Saint- Martin in Paris, where he created ten full-length ballets and divertissements for fourteen plays.
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In the latter she was partnered by Alexis Kosloff, who presented her with a silver trophy, inscribed "To the World's Greatest Dancer". On 3 December 1912 she made her debut at New York's Metropolitan Opera, with a program of divertissements which included La Camargo, which had premiered earlier in 1912 at the London Coliseum. In it she recreated the dancing of the great ballerina Marie Camargo."La Camargo". The Times, 21 May 1912 On 17 December 1912, the Met saw the premiere of La danse, subtitled "An Authentic Record by Adeline Genée of Dancing and Dancers between the Years 1710 and 1845".
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Les Élémens (The Elements), or Ballet des élémens, is an opéra-ballet by the French composers André Cardinal Destouches and Michel Richard Delalande (or de Lalande). It has a prologue and four entrées (as well as, originally, a celebratory epilogue later removed). The libretto was written by Pierre- Charles Roy. It was styled "the third ballet danced by the king" because the 11-year-old Louis XV performed dance divertissements in it, as he had already done in the previous ballets, L'inconnu by various authors (including Delalande and Destouches), and Les folies de Cardenio by Delalande, both staged at court in 1720.
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Ousted from the Opéra in 1831 to the benefit of Jean Coralli and Filippo Taglioni, he worked in London, Naples and Marseille. From 1838 to 1840 Albert was ballet master to the Brussels Théâtre de la Monnaie, where he made the talents of Arthur Saint-Léon known to the public. On his return to Paris in 1841 he composed the divertissements for the opera La Favorite by Donizetti and for other pieces by that composer. He was also the author of a dance manual, L'art de la danse à la ville et à la cour (Paris, 1834).
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Adolphe Benoît Blaise was an 18th-century French bassoonist and composer, died in 1772. He joined the orchestra of the Comédie-Italienne in 1737 and composed the music for Le petit maistre in 1738. In 1743, he was head of the orchestra of the Foire Saint-Laurent and in 1744 of that of the Foire Saint-Germain. From 1753 to 1760, he was director of the orchestra of the Comédie-Italienne and composed many ballets, divertissements, dances, parodies, pantomimes and overall the music for the successful comedy by Justine Favart Annette et Lubin (1762) and two comedies by Favart: Isabelle et Gertrude (1765) and finally La Rosière de Salency (1769).
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Prince Alexander Alexandrovich Shakhovskoy (, 5 May 1777, Smolensk Governorate, Russian Empire, – 3 February 1846, Moscow, Russian Empire) was a Russian playwright, writer, poet, librettist, pedagogue, critic, memoirist and administrator (the head, in 1802–1826, of the Imperial Theatres); arguably the most influential figure in the Russian theatre in the early 19th century. Shakhovskoy, who debuted in 1795 with the comedy Zhenskaya shutka (Ladies' Joke) and enjoyed his first success with Novy Stern (The New Stern, 1805), wrote more than a hundred comedies and vaudevilles, as well as opera librettos and divertissements. Aristophanes (Аристофан, 1825) is considered to be his most accomplished work.Gosenpud, А. А. Comedieas and Poems.
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Unlike his cousin Franz Berwald, Johan Fredrik was successful as a musician during his lifetime. The cousins were sometimes rivals, and Johan Fredrik made, as far as is known, no efforts to help Franz have his scenic and symphonic works performed. He was regarded as an average conductor and out of date as a composer, but his introduction of Weber's and Meyerbeer's operas, for instance, was successful, partly because of Jenny Lind's participation. A couple of divertissements were composed directly for Jenny Lind, for example "En majdag i Värend" (1843) in a kind of nationally and popularly adapted style bearing the stamp of the period.
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Pierre Pettigrew, the Minister of Human Resources Development worked with the Quebec and federal government to come to a solution, whereby the two governments would split the previously considered per employee ( from the Quebec government) to provide 500 new jobs to young persons and provide training in the multimedia sector. Ubisoft was agreeable to this, and established Ubisoft Montreal (formally named Ubisoft Divertissements Inc.) on 25 April 1997. The studio was founded in offices in the , a former textile factory, located in the Mile End neighbourhood along Saint-Laurent Boulevard. Martin Tremblay joined the studio as executive vice- president in 1999, and was promoted to chief operating officer a year later.
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It is pertinent to note that until the final installation of the Versailles court, performances of operas and ballets, comedies and tragedies, were performed mainly in the gardensGousset and Masson, pp. 17 Soon, however, spaces that were frequently used for performances would become specific performance spaces. In time the royal residences equipped themselves little by little with fixed theatres, although they often continued to use temporary structures and installations one could disassemble in various places: galleries, staircases, lounges, gardens These staged productions were important for many reasons. Little divertissements for the court, they also were at times used by royalty for their own reasons.
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Inspired by the then-fashionable style of sentimental cartography (as exemplified by the Carte de Tendre or Gulliver's Travels), in 1663 he published an imaginary allegorical travel-memoir Voyage de l'isle d'amour (Voyage to the isle of love), where the places are ruled by figures such as Respect, Concern, Pride, Warmth, Modesty and (in the second part) Coquetry and Gallantry. He also wrote divertissements, panegyrics and funeral elogies. He was elected a member of the Académie française in 1666 and of the Académie des inscriptions et belles-lettres in 1673. Claude Gros de Boze said Tallement was "more to be recommended for his virtues than for his talents".
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When the principal choirboy of the Imperial Court Capella, he drew the attention of the Empress Catherine II, who consigned him to the care of the Italian composer Giuseppe Sarti (1729-1802). Davydov wrote and published a complete four-part liturgy and 13 Spiritual Choral Concerti, three of which were written for a double chorus. In the field of secular music Davydov participated in the composing of opera tetralogy Mermaid (together with Ferdinand Kauer and Catterino Cavos, 1803-1807, providing the additional music for the 1st, 3rd and 4th parts). He also wrote 10 ballets, various divertissements, a series of choruses to the tragedy Amboar and Aurungzeb (1814), a concert overture and numerous other works.
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Vladimir Vasiliev and Ekaterina Maximova gleaned wide exposure for their appearances in Franco Zeffirelli's filmed version of Giuseppe Verdi's opera La traviata of 1983. Both performed in Spanish costume, Vasiliev as a matador, in the "divertissements" composed for the equivalent of Act II, scene 2. The couple was filmed in 1988 by French director Dominique Delouche in a film portrait “Katia et Volodia". In 2008, the Bolshoi hosted a week-long festival dedicated to Maximova and Vasiliev's 50 years on the Bolshoi stage, during which Vladimir Vasiliev commented that the secret of partnering was "the man must not get in the way of the woman – she is the most important person on stage.
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He was also the grandfather of Russian painter Ivan Puni, also known as Iwan Puni and Jean Pougny. Cesare Pugni was one of the most prolific composers of ballet music, having composed close to 100 known original scores for the ballet and adapting or supplementing many other works. He composed myriad incidental dances such as divertissements and variations, many of which were added to countless other works. Of Pugni's original scores for the ballet, he is best known today for Ondine, ou La Naïade, (also known as La Naïade et le pêcheur) (1843); La Esmeralda (1844); Catarina, ou La Fille du Bandit (1846); The Pharaoh's Daughter (1862); and The Little Humpbacked Horse (1864).
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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.
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It also traveled across the Limpopo River to Rhodesia (now Zimbabwe), where it was presented by the Rhodesian National Ballet in performances in Salisbury (now Harare), Bulawayo, and Gwelo (now Gweru). Concurrent with administering such activity, de Villiers began a major outreach to Transvaal schools and the general public. A grant from the provincial Department of Arts and Sciences allowed her to tour two groups of company members ("the Midgets" and "the Giants") to perform programs of divertissements and short ballets on stages in school auditoriums and town halls in dorpies on the Highveld and the Bushveld of the vast Transvaal.Grut, "De Villiers, Faith," in The History of Ballet in South Africa (1982), p. 372.
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In 2004, Lavinia produced a CD album entitled "1685" with works from Handel, Bach and Scarlatti, which features several self-transcribed preludes and fugues from Bach's Das Wohltemperierte Klavier. In 2008, Lavinia released a Super Audio CD album on Channel Classics Records, entitled "Divertissements" with works from French composers, including Carlos Salzedo, André Caplet and Jacques Ibert. In 2009, Lavinia released a Super Audio CD album, produced by Channel Classics Records, entitled "Visions" with works from 20th century composers, including Benjamin Britten, Paul Patterson, Garrett Byrnes, Isang Yun and Toru Takemitsu. In 2011, Lavinia released a Super Audio CD album, produced by Channel Classics Records, entitled, "Fantasies and Impromptus" with works from, among others, Louis Spohr, Gabriel Fauré, Gabriel Pierné, Camille Saint-Saëns.
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He created also ballets for the Teatro La Fenice in Venice and for the Paris Opéra. He became the teacher of the master class at the Opéra and he was in charge to choreograph the divertissements of the most important ballet production. He parted from his wife in 1851 and when she was invited to dance at the Opéra, Saint-Léon retired. After touring across Europe, (he also worked three years for the Teatro San Carlos in Lisbon), he was invited to succeed Jules Perrot in 1859 as Maître de Ballet to the Imperial Bolshoi Kamenny Theatre, home of the Tsar's renowned Imperial Ballet, in St. Petersburg, Russia, a post which he held until 1869 (he was succeeded by Marius Petipa).
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Frugoni, Traetta's librettist in Parma completely reworked the original French version by abbé Pellegrin, which itself had been based on Racine, in its turn stemming ultimately from ancient Greek roots - the Hippolytus of Euripides. Frugoni retained certain key French elements: the five-act structure as against the customary three; the occasional opportunities for French-style spectacle and effects and in particular the dances and divertissements that end each of those five acts; and a more elaborate use of the chorus than for instance in Hasse and Graun and Jommelli. Through the following decade, the 1760s, Tommaso Traetta composed music unceasingly--not just opera seria, either. There was a clutch of comedies as well, to say nothing of sacred music composed to imperial order.
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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.
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It has since become a regular part of the Bolshoi's repertory. It was also a production of the choreographic trend parallel to that of the grand opera in music, towards the ballet à grand spectacle, which lasted four hours and used different styles and techniques and a large number of people (about 400), with plots characterized by strong dramatic contrasts. Marius Petipa changed the art of classical ballet by inserting divertissements, or displays of dance that were perhaps symbolic or loose importance to the story, as a display for dancers that were not the leads. This was important because, at the time, many foreign guest artists were being brought in and the Russian-trained, Russian-dancers were not being given the chance to display their own talents.
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He also wrote a comedy Les divertissements du Temps ou la Magie de Mascarille and another play, Les amours de Merlin en 1671,Henri Liebrecht, Histoire du théâtre français à Bruxelles au XVIIe et au XVIIIe siècle, Société des bibliophiles et iconophiles de Belgique, 1923, p.63. although some sources date the plays in 1691 and attribute them to his son Claude.Wolfgang Leiner, Horizons européens de la littérature française au XVIIe siècle: l'Europe, lieu d'échanges culturels? : la circulation des œuvres et des jugements au XVIIe siècle, G. Narr, 1988, p.298. (father and son sharing the same nickname, this is a great source of confusionMohamed Samy Djelassi (Éd.), Rosidor, Les valets de chambre nouvellistes: comédie inédite en cinq actes et en prose, écrite à Stockholm vers 1701, Volume 1, Uppsala universitet, 1988, p.
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285 They are early examples of Poulenc's many and varied influences, with echoes of rococo divertissements alongside unconventional harmonies, some influenced by jazz. All four are characterised by their brevity – less than ten minutes each – their mischievousness and their wit, which Nichols describes as acid. Other chamber works from this period are the Rapsodie nègre, FP 3, from 1917 (mainly instrumental, with brief vocal episodes) and the Trio for oboe, bassoon and piano (1926). The chamber works of Poulenc's middle period were written in the 1930s and 1940s. The best known is the Sextet for Piano and Wind (1932), in Poulenc's light-hearted vein, consisting of two lively outer movements and a central divertimento; this was one of several chamber works that the composer became dissatisfied with and revised extensively some years after their first performance (in this case in 1939–40).
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Throughout the 1880s Petipa staged revivals of older works with increasing regularity. In 1880 he revived Mazilier's Le Corsaire for the ballerina Eugenia Sokolova, and in 1881 he revived Mazilier's Paquita for the Prima ballerina Ekaterina Vazem. For this production Petipa added the celebrated Paquita Grand pas classique, as well as the Paquita Pas de trois (or Minkus Pas de trois) and the Mazurka des enfants (Children's Mazurka), all to the music of Minkus. The Paquita Grand pas classique is among Petipa's most celebrated divertissements, and is today included in the repertories of ballet companies all over the world. In 1884 Petipa staged what is considered to be his definitive revival of the romantic masterwork Giselle, and in 1885 he mounted a new production of Arthur Saint-Léon's Coppélia, a revision which would serve as the basis for nearly every version staged thereafter.
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In 1660 the Petit-Bourbon was demolished to make way for the eastern expansion of the Louvre, but Molière's company was allowed to move into the abandoned theatre in the east wing of the Palais-Royal. After a period of refurbishment they opened there on 20 January 1661. In order to please his patron, Monsieur, who was so enthralled with entertainment and art that he was soon excluded from state affairs, Molière wrote and played Dom Garcie de Navarre ou Le Prince jaloux (The Jealous Prince, 4 February 1661), a heroic comedy derived from a work of Cicognini's. Two other comedies of the same year were the successful L'École des maris (The School for Husbands) and Les Fâcheux, subtitled Comédie faite pour les divertissements du Roi (a comedy for the King's amusements) because it was performed during a series of parties that Nicolas Fouquet gave in honor of the sovereign.
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The sequence of the divertissements, which takes about twenty-five minutes to perform, is as follows: entrée and pas de huit (Brown Couples), pas de patineurs (Blue Girls and Brown Couples), pas seul (Blue Boy), pas de deux (White Couple), ensemble, de suite par groupe (entire cast), pas de trois (Blue Boy and Blue Girls), pas de deux filles (Red Girls), pas de six (Brown Boys and Red Girls), pas de deux filles (Blue Girls), and finale (entire cast). Despite the presence of Fonteyn and Helpmann in the romantic pas de deux for the White Couple, the true star of the ballet was Harold Turner as the Blue Boy. Ashton's main aim in creating Les Patineurs was to create a dazzling showpiece that would rival the popularity of works presented in London by Colonel de Basil's Ballets Russes the previous summer. In Turner, he had an unusually gifted dancer, and he took full advantage of his technical prowess.
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Dame Margot Fonteyn as Ondine in bronze by Nathan David, 1974 The consensus on Ashton's Ondine is that it has some very good things in it – and this is true; as is the implication that it is otherwise unsuccessful, not least because the music (which greatly disappointed Ashton himself) largely fails, except in the storm of Act II and the divertissements of Act III. According to many critics, the music did not suit Ashton "who had been hoping for music as "radiant" as the Mediterranean from which its heroine was born". Yet the music does seem to fit its watery theme well: there are some beautiful passages to Ondine's Act 3 "swimming" solo where the music seems thin and transparent as watercolour, and entirely suited to this sketch of the sea. The ballet is also a mixture of both the 19th and the 20th century, for the plot is quintessentially romantic while the music and choreography are more modern.
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Her repertory includes the title role in George Balanchine's Coppelia, Florence Clerc's La Bayadere (Nikiya), Sir Frederick Ashton's La Fille Mal Gardée (Lise); August Bournonville's La Sylphide (the Sylphide); Marius Petipa's The Sleeping Beauty (Princess Aurora, Songbird Fairy, Princess Florine, and Jewels), Maina Gielgud's Giselle (Giselle, Peasant Pas de Deux, Lead Wili), Le Corsaire Pas de Deux; Mikko Nissinen's The Nutcracker (Snow Queen, Sugar Plum Fairy, and Clara) and Swan Lake (Pas de Trois, Neapolitan, and Black Swan); Rudolf Nureyev's Don Quixote (Amour/Cupid), and leading solos in his Pas De Dix from Raymonda Act III Divertissements; the Pas de Trois and solo variations from Paquita; James Kudelka's Cinderella; John Cranko's The Taming of the Shrew and Romeo and Juliet; George Balanchine's Divertimento No. 15, Concerto Barocco, Serenade, Ballo Della Regina(lead principal), Jewels, Rubies (lead principal), Who Cares?, La Valse, Stars and Stripes, A Midsummer Night's Dream; Mikhail Fokine's Les Sylphides; Mark Morris' Up and Down; Twyla Tharp's In the Upper Room; and Lucinda Childs' Ten Part Suite, as well as works by Jiri Kylian and Jorma Elo.
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