Paquita - Pas de trois
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The Pas de trois from Act 1 of Petipa's final revival of "Paquita", reconstructed by Alexei Ratmansky and Doug Fullington, performed by Evgenia Dolmatova, Mai Kono and Javier Amo (2015).
History
"Paquita" was originally created by the French Ballet Master Joseph Mazilier and French composer Edouard Deldevez. The ballet premiered on the 1st April 1846 at the Salle Le Peletier in Paris with the great Carlotta Grisi as Paquita and Lucien Petipa (Petipa's brother) as Lucien d'Hervilly.
A year later, the ballet was premiered in Russia in a staging by Marius Petipa and Pierre Frederic Malevergne for the Imperial Ballet of Saint Petersburg. Petipa had arrived in Saint Peterbsurg months before and was commissioned by the Director of the Imperial Theatres, Count Alexander Gedeonov to stage "Paquita" for his Imperial Ballet debut. The ballet premiered in Saint Petersburg on the 8th October [O.S. 26th September] 1847 at the Imperial Bolshoi Kamenny Theatre, with Yelena Andreyanovna as Paquita and Petipa as Lucien d'Hervilly.
In 1881/82, Petipa staged his own revival of "Paquita" with new musical additions by Ludwig Minkus, who was Ballet Composer of the Imperial Theatres at the time. For this revival, Petipa and Minkus added new numbers, which became the ballet's most famous passages - the Pas de trois of Act 1 and the Grand Pas Classique of Act 3. Petipa's revival of "Paquita" premiered on the 9th January [O.S. 27th December] 1881/82 at the Imperial Bolshoi Kamenny Theatre with Ekaterina Vazem as Paquita and Pavel Gerdt as Lucien d'Hervilly.
For almost a century, the Pas de trois has often been mistakenly referred to the "Minkus Pas de trois", but the majority of the music is actually by Deldevez, not Minkus. Minkus actually arranged the Pas de trois from various pieces composed by Deldevez, Cesare Pugni and Adolphe Adam and only composed the coda.
(a) Entrée - the entrée from a Pas de deux in Act 2 of Mazilier's original production of "Paquita" composed by Deldevez
(b) Solo for two dancers - from Pugni's score for "The Naiad and the Fisherman"
(c) Variation I - from Deldevez's original Pas de deux in Act 2
(d) Variation II - from a pas de trois composed by Deldevez for Act 1 of "Paquita"
(e) Variation III - by Adolphe Adam from his score for Mazilier's 1845 ballet "Le Diable de Quatre"
(f) Coda - composed by Minkus for Petipa's revival
"Paquita" was notated in 1904 during rehearsals in which Petipa was coaching Anna Pavlova in the title role. The Pas de trois was notated when performed by Tamara Karsavina, Agrippina Vaganova and one of the Legat brothers, possibly Nikolai Legat. According to Nikolai Legat, the “Paquita Pas de trois” was one of Petipa’s favourites of his many compositions. In his memoirs, Legat writes that Petipa called it his “golden pas de trois”.
Enjoy! :)
Пікірлер: 21
Thank you! 02:19 (c) Variation I - from Deldevez's original Pas de deux in Act 2 03:18 (d) Variation II - from a pas de trois composed by Deldevez for Act 1 of "Paquita"
What a wonderful stage set design. This is one ballet I haven’t yet seen live in a theatre but hope to do so one day.
Thank you for the background to this pas de trois and for the other two videos you posted of le pas des sept bohemiennes and the grand pas. I have had the video of this production for a few years now so I appreciate the information which fills in the gaps for me.
Appreciate the history lesson. It shows that in the past composers worked closely with choreographers and they also shared their work with each other. That's very different from modern ballets in which the composer's work is simply taken as a given by the choreographer. MacMillan's "Mayerling" comes to mind, for example. It's based on various works by List and Tchaikovsky that were not composed for the dance. Same with Balanchine's "Jewels", which is based on three different composers' works, none of which were composed for the ballet. It would be interesting to learn more about the history of the solo variations in "Paquita" other than those that are part of the Pas de trois.
Wow.
This is interesting and different from what I'm used to seeing. I had to watch it four times in a row. I felt like I was watching a Bournonville version of Paquita PD3. Why did the ladies do everything in Attitude Derriere? And what's with the Balanchine bows? Fun performances over all though.
@amygrowcott
3 жыл бұрын
Hello, because this is a reconstruction of Nikolai Sergeyev’s notation of Petipa’s PD3 and it’s the closet that we will get to Petipa. It’s very similar to Balanchine and Bournonville because their respective choreographies and styles are far closer to Petipa than the modern Russian style we know today. Bournonville is old French and Petipa is old French; Balanchine was Petipa’s spiritual son and inheritor and a link in the chain, not an innovator.
It’s my variation ❤️❤️❤️❤️
@auroracarminati495
5 жыл бұрын
P.s. Thanks a lot❤️❤️❤️i’m italian ❤️
What company is this? Mai Kono is just supurb!
@amygrowcott
6 жыл бұрын
It’s the Bayerisches Staatsballett. I was very lucky to see Mai Kono live in this very role in 2015; she’s excellent!
what company is this and which dancer is performing each variation?
05:41
Their port de bras it's terrible
@amygrowcott
6 жыл бұрын
Cristóbal Acuña because of the turned up wrists? That’s actually the old French port de bras and is still used in Bournonville and Balanchine. This is Petipa’s style, not Vaganova.
@olgaiako2023
4 жыл бұрын
@@amygrowcott Your answer is chocking...This is your note: "The Pas de trois was notated when performed by Tamara Karsavina, Agrippina Vaganova and one of the Legat brothers, possibly Nikolai Legat." Vaganova coached by Petipa and danced this variation (and many others) in the front of his eyes. She danced not "her style" but Petipa style.
@amygrowcott
4 жыл бұрын
Olga Iako thank you for your comment, but you completely misunderstood my notes. I was pointing out that Alexei Ratmansky avoided using what we now know to be Vaganova style, including the famous Vaganova arms. And by mentioning that the pas de trois was notated when performed by Vaganova, I was not crediting her for anything, just simply naming the dancers whose names are in the notation scores.
@a.m.4816
4 жыл бұрын
@@amygrowcott anyway the port de bras and all the dynamic are both terrible! :-(
@r.r.c7692
4 жыл бұрын
@@a.m.4816 it is not terrible regarding to classical ballet rules. It is terrible regarding to modern ballet.