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037 1329|bMedici.tv
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|dOCLCQ|dOCLCO
049 OCLC
245 00 Giselle :|bballet /|cmusic, Adolphe Adam ; choreography
after Jean Coralli, Jules Perrot ; BBC, under licence to
International Classical Artists Ltd ; Margaret Dale,
director.
264 1 [Place of publication not identified] :|bBBC :
|bInternational Classical Artists Ltd.,|c[2011]
264 4 |c©2011
300 1 online resource (1 video file (1 hr., 1 min.)) :|bsound,
color
306 010100
336 two-dimensional moving image|btdi|2rdacontent
337 computer|bc|2rdamedia
338 online resource|bcr|2rdacarrier
340 |gpolychrome|2rdacc
344 digital|2rda
347 video file|2rda
511 0 Nadia Nerina, Nikolai Fadeyechev, Niels Bjørn Larsen, Lydia
Sokolova ; the Covent Garden Orchestra ; Hugo Rignold,
conductor.
518 |oRecorded|d1958 November 23.
520 The ballet was in fact a reworking by its choreographer,
Mikhail Fokine, who several years earlier had created
Chopiniana, his hommage to the Romantic ballets of the
past. The work does not have a story -- as Karsavina says
in the introduction, it is a 'Romantic reverie'. The only
male dancer (John Field in this recording) plays the role
of a Poet. The corps de ballet and the three female
soloists, Alicia Markova, Violetta Elvin and Svetlana
Beriosova, have strong links with the Ballets russes and
Russia. Markova, born in England, was the Ballets russes's
baby ballerina when she joined in 1925, aged fourteen. She
went to perform both Les Sylphides and Giselle all over
the world. Violetta Elvin (born Prokhorova) trained at the
Bolshoi Ballet School and performed with the company
before coming to England and joining the Sadler's Wells
Ballet, where she danced until her retirement from the
stage in 1956. Svetlana Beriosova was born into a ballet
family; her father was dancer, ballet master and director
Nicholas Beriozoff, who had worked closely with Fokine in
the Ballets russes de Monte Carlo in the late 1930s. Young
Beriosova studied with teachers who had danced with the
Diaghilev company and joined the Royal Ballet in the 1950s
to become a much loved ballerina. All who saw her Lady
Elgar in Frederick Ashton's Enigma Variations (1968) will
never forget it. The corps de ballet, which plays such an
important role in Les Sylphides, were rehearsed by another
Diaghilev dancer, Lydia Sokolova, who danced with his
company for many years and was in facr renamed Sokolova by
Diaghilev himself, having been born in England as Hilda
Munnings. This Les Sylphides is the first film of a
complete ballet in the BBC archives. It is important to
remember that in the 1950s television was black and white,
video recording had not arrived, studios were small, and
the cameras, full of valves, were both heavy and bulby.
The visual effects and superimposing of one image on
another in both Les Sylphides and the recording of Giselle
presented here seem very Heath Robinson in this digital
age, but they are still effective. In both films the
directors have reworked the stage production for the
screen -- the corps de ballet groupings and the soloists'
entrances are made to suit the camera. In Les Sylphides,
for example, the dancers enter and exit past the camera,
and in Giselle good use is made of foreground trees, and
dancers are placed close to camera allowing us, the
viewers, to see their reactions to what is happening in
the drama. All this would be impossible on the stage, as
the orchestra pit would get in the way. There is no record
of the orchestra that played in the recording of Les
Sylphides, but as Eric Robinson is credited as conductor,
it is likely to have been the BBC Television Orchestra.
For Giselle the music was pre-recorded by the Covent
Garden Orchestra, conducted by Hugo Rignold. Giselle is
the only ballet that has an unbroken performance tradition
from its first night until today. It is the the story of
the village girl who falls in love with a prince and, on
discovering that he has deceived her, goes mad and dies.
When the prince visits her woodland grave, the Queen of
the Willis (the spirits of the girls who have been
betrayed by men) commands him to dance himself to death,
but Giselle appears and saves him. It is perhaps the most
popular and best known of the ballet from the Romantic
era. The first performance was at the Paris Opéra on 28
June 1841, and it was choreographed by the Opéra's ballet
master, Jean Coralli, and Jules Perrot to a wonderful
score by Adolphe Adam. Giselle dates from a period when
plots feature a fascination with the supernatural. A corps
de ballet of spirits, sylphs or Wilis enslaves the hearts
of men, making it impossible for them to live in the real
world. The Willis were, and still are, dressed in long
white skirts and danced in a new fluid style that caused a
sensation for the audiences. The great stars of the
Romantic era were Carlotta Grisi, Fanny Essler and Marie
Taglioni, and it was Grisi that created the role of
Giselle. The first performance was a triumph, and Giselle
was soon being staged all over Europe. The director of
Russia's Imperial Theatres sent his ballet master to Paris
to see it so that Russia could have its own version. It is
this version, revised later by that great choreographer
Marius Petipa, which remains, in companies's repertories
today, having been brought back to Paris by Diaghilev on
18 June 1910 with Tamara Karsavina as Giselle and Vaclav
Nijinsky as Albrecht. Margaret Dole, who produced and
directed this television version of the ballet, picked the
Royal Ballet ballerina Nadia Nerina as Giselle. It was for
her that Albrecht Dale invited the Soviet dancer and star
of the Bolshoi ballet Nikolai Fadeyechev to dance the role
of Albrecht, with the Danish character dancer Niels Bjørn
Larsen as Hilarion, the gamekeeper who is in love with
Giselle. Lydia Sokolova is her mother and Margaret Hill
the Queen of the Willis. It is interesting to note that
Peter Wright, who plays the role of Albrecht's equerry as
well as being the ballet master for this production, went
on to be a television director, then director of Sadler's
Wells/Birmingham Royal Ballet, and is the producer of the
Royal Ballet's current production of Giselle.
588 0 Vendor-supplied metadata.
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sh85011293
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1692913
700 1 Dale, Margaret,|d1922-2010,|0https://id.loc.gov/
authorities/names/no2014033261|efilm director.
700 1 Coralli, Jean,|d1779-1854,|0https://id.loc.gov/authorities
/names/n93053975|echoreographer.
700 1 Perrot, Jules,|d1810-1892,|0https://id.loc.gov/authorities
/names/n84144881|echoreographer.
700 1 Nerina, Nadia,|0https://id.loc.gov/authorities/names/
nr2003032349|edancer.
700 1 Fadeyechev, Nikolai,|d1933-2020,|0https://id.loc.gov/
authorities/names/no2012033056|edancer.
700 1 Larsen, Niels Bjørn,|d1913-2003,|0https://id.loc.gov/
authorities/names/nr2003011042|edancer.
700 1 Sokolova, Lydia,|d1896-1974,|0https://id.loc.gov/
authorities/names/n88110369|edancer.
700 12 |iContainer of (work):|aAdam, Adolphe,|d1803-1856.
|tGiselle.|0https://id.loc.gov/authorities/names/n86010636
710 2 British Broadcasting Corporation,|0https://id.loc.gov/
authorities/names/n79074359|eproduction company.
710 2 International Classical Artists, Ltd.,|0https://id.loc.gov
/authorities/names/no2011056815|eproduction company.
730 02 |iContainer of (work):|aGiselle (Choreographic work :
after Coralli and Perrot)|0https://id.loc.gov/authorities/
names/n97822082
856 40 |3Medici.tv|uhttps://rider.idm.oclc.org/login?url=http://
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|zAccess restricted to current Rider University students,
faculty, and staff.
901 MARCIVE 20231220
948 |d20170313|cRDT original load
948 |d20170922|clti|tlti-aex
994 C0|bOCL
