Word: petipa
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Dates: during 1970-1979
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...President A. Bartlett Giamatti declare: "You have brought classical dance to millions as you made your grands jetés into their lives. With the courage of your conviction that artistic growth demands adventure, you have dared to let 'push come to shove' as you moved from Petipa to Tharp and Balanchine...
...make the audience believe the fantasy, but to make us not mind that we don't believe it. The dancing doesn't have to carry it alone--after all, this pull-out-all-the-stops Imperial Russian classic, complete with Tchaikovsky score and choreography by the legendary Marius Petipa, is nothing if not an occasion for bravura theatrical spectacle. The dance comes like expensive chocolates wrapped in gold foil: we're supposed to enjoy the package almost as much as the contents...
...would be a mistake to stretch the comparison to an American musical too far. Don Q does have a purely classical dream sequence as well as the familiar wedding pas de deux. Many of the steps come from the century-old Marius Petipa choreography (as revised by Alexander Gorsky). It is in the brashness, polish and satirical twists that Don Q seems transplanted. As Jerome Robbins broke up the anonymity of the old musical chorus line, Baryshnikov has livened up the role played by the corps de ballet, giving many of the 50-odd dancers at least some individuality. Several...
...first complete American version of this three-act ballet in nearly 30 years. In one sense, the neglect is hard to explain, since Raymonda is one of five surviving full-length works (including Sleeping Beauty and Swan Lake) of the 60 or so ballets created by the great Marius Petipa principally for St. Petersburg's Maryinsky Theater. The choreography ranks with Petipa's most inventive, and the score by Alexander Glazunov is both limpid and melodious...
...Brienne, and an earthier affection for a fiery Saracen knight, Abdul-Rakhman. Nureyev, who frequently danced in Raymonda when he was with Leningrad's Kirov Ballet, has staged the work for A.B.T. with such taste and delicacy that it is hard to tell where his choreography begins and Petipa's ends. In a valiant effort to make psychological sense of the plot, he has turned the scenes involving the Saracen and his court into a dream sequence-a wedding-bound maiden's erotic fantasy about a phantom lover. Beyond that, Nureyev has blessedly jettisoned narrative, so that...