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Great Ballets: From Giselle to Balanchine

$228 Limited inc GST / $¤,205
Great Ballets: From Giselle to Balanchine

<p>Explore some of the most colourful ballets and their music via outstanding modern DVD productions. Beginning with the great Romantic ballets ‘Giselle’, ‘Raymonda’ and ‘Manon’, we will then move to

...

Explore some of the most colourful ballets and their music via outstanding modern DVD productions. Beginning with the great Romantic ballets ‘Giselle’, ‘Raymonda’ and ‘Manon’, we will then move to the eclectic Ballets Russes phenomenon with inspiration drawn from Spain, Denmark and Switzerland. From the later 20th century will be two Ashton ballets: Messager’s ‘Two Pigeons’ and Rachmaninoff’s ‘Rhapsody’, and Balanchine’s masterpiece ‘Jewels’ with music by Fauré, Stravinsky and Tchaikovsky.


COURSE OUTLINE

  • Adam, Petipa and ‘Giselle’: 19th century Paris and St Petersburg I
  • Adam, Petipa and ‘Giselle’: 19th century Paris and St Petersburg II; Glazunov, Petipa and ‘Raymonda’: late 19th century St Petersburg 1
  • Glazunov, Petipa and ‘Raymonda’: late 19th century St Petersburg II
  • Massenet’s and Macmillan’s ‘Manon’ – set in 18th century Paris I
  • Massenet’s and Macmillan’s ‘Manon’ – set in 18th century Paris II and the USA; De Falla’s ‘The Three-Cornered Hat’ – Spain and the Ballets Russes
  • Stravinsky/Tchaikovsky 'The Fairy’s Kiss' (choreography Kasatkina and Vasiliev), based on the H C Andersen story ‘The Ice Maiden’; Rachmaninoff’s and Ashton’s ‘Rhapsody’ – modernist abstraction
  • Messager’s and Ashton’s ‘The Two Pigeons’ – set in early 20th century Paris
  • Balanchine’s ‘Jewels’ – music by Fauré, Stravinsky, Tchaikovsky – France, USA, Imperial Russia


PLANNED LEARNING OUTCOMES
By the end of this course, students should be able to:

  1. Appreciate the outstanding ballets studied in this course and the varied contexts for which they were created
  2. Assess the success of the various choreographers, librettists and composers in creating effective dance theatre
  3. Distinguish the individual stylistic characteristics of each composer and choreographer
  4. Evaluate the different performances and their effectiveness in realizing the choreographers', composers' and librettists' intentions