Raymonda
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| Important Ballets & *Revivals of Marius Petipa |
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*Paquita (1847, *1881) |
Raymonda (Russian: Раймонда, the name of a main character) is a ballet in three acts, four scenes with an Apotheosis, choreographed by Marius Petipa, with music by Alexander Glazunov, his Opus 57. First presented by the Imperial Ballet at the Imperial Mariinsky Theatre on January 7/19 , 1898 (Julian/Gregorian calendar dates) in St. Petersburg, Russia. The ballet is famous for its Grand Pas Classique known as the Grand Pas Classique Hongrois or Raymonda Pas de Dix from the third Act, which is often extracted from the full-length work to be performed independently.
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[edit] History
[edit] Composition history
Raymonda was the creation of Marius Petipa, the renowned Maître de Ballet to the St. Petersburg Imperial Theatres, the great composer Alexander Glazunov, and the director of the St. Petersburg Imperial Theatres Ivan Vsevolozhsky, and the columnist Lidiya Pashkova.
[edit] Performance history
Source: Энциклопедия Русского Балета (Encyclopedia of Russian Ballet)
St. Petersburg Premiere (World Premiere)
- Date: 7 January 1898
- Place: Mariinsky Theatre, St. Petersburg
- Balletmaster: Marius Petipa
- Conductor: Riccardo Drigo
- Scene Designers: O. Allegri, K. Ivanov, Pyotr Lambin
Moscow Premiere
- Date: 23 January 1900
- Place: Bolshoy Theatre, Moscow
- Balletmaster: Ivan Khlyustin, Aleksandr Gorsky
- Conductor: Andrey Arends
- Scene Designers: Karl Valts (Waltz), Lütke-Meyer, P. Isakov
Other Notable Productions
- 1908, Moscow, Bolshoy Theatre, balletmaster Gorsky, conductor Arends, décor by Konstantin Korovin
Original Interpreters
| Role | St. Petersburg 1898 | Moscow 1900 | Moscow 1908 |
|---|---|---|---|
| Raymonda | Pierina Legnani | Adelaide Giuri | Yekaterina Geltser |
| Jean de Brienne | Sergei Legat | Mikhail Mordkin | Vasiliy Tikhomirov |
| Henrietta | Olga Preobrajenskaya | ||
| Cléménce | Claudia Kulichevskaya | ||
| Abderakhman | Pavel Gerdt | A. Yermolayev | M. Shchipachov |
The full-length Raymonda has been revived many times throughout its performance history, the most noted productions being staged by Mikhail Fokine for the Ballet Russe (1909); Anna Pavlova for her touring company (1914); George Balanchine and Alexandra Danilova for the Ballet Russe de Monte Carlo (1946); Konstantin Sergeyev for the Kirov Ballet (1948); Rudolf Nureyev for American Ballet Theatre (1975), and for the Paris Opera Ballet (1983); Yuri Grigorovich for the Bolshoi Ballet (1984); Anna-Marie Holmes (in a 2-act redaction) for the Finnish National Ballet (2004), a version which was then staged for American Ballet Theatre (2004) and the Dutch National Ballet (2005).
There have been many productions around the world of only extracts from the full-length Raymonda, being for the most part taken from the Grand Pas Classique Hongrois from the third Act, which is considered to be among Marius Petipa's supreme masterworks. The most noted of these productions have been staged by George Balanchine for the New York City Ballet (1955, 1961, 1973); Rudolf Nureyev for the Royal Ballet Touring Company (1964); and Mikhail Baryshnikov for American Ballet Theatre (1980, 1987).
In 2005 the Australian Ballet Company performed a modern version of Raymonda, set in the 1950s, where Raymond is a Hollywood star and has filmed her last film before marrying a European prince. It was choreographed by Stephen Baynes and bears no resemblance to the original ballet.
[edit] Structure
Act I (scene 1) — La fête de Raymonde
- no.1 Introduction
- no.2 Jeux et danses
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- —a. La traditrice
- no.3 Entrée de Raymonde
- no.4 La lettre de Jean de Brienne
- interpolation: Entrée d'Abderakhman
- no.5 Entrée des vassals et des esclaves
- no.6 Pas d'ensemble —
-
- a. Valse provençale
- b. Pizzicato – Variation de Raymonde
- c. Coda
- no.7 Départ des invitées
- no.8 La romanesque —
-
- a. Prélude
- b. La romanesque
- c. Une fantaisie – Variation de Raymonde
- no.9 La scène de Clémence et le luth
- no.10 Entrée de la Dame Blanche
- no.11 Entr'acte symphonique
Act I (scene 2) — Visions
- no.12 Tableau de rêve
- no.13 Entrée de la vision de Jean de Brienne
- no.14 Grand Pas d'action —
-
- a. Grand adage
- b. Grande valse fantastique
- c. Variation
- d. Variation
- e. Variation de Raymonde (cut by Petipa from the original production)
- interpolation: Variation pour Mlle. Pierina Legnani (Valse from Glazunov's Scènes de Ballet)
- interpolation: Variation pour Sergeyev (fashioned from the Danse des enfants, circa 1941)
- f. Grand coda
- no.15 Scène dramatique
- no.16 Ronde des follets et des farfadets
Act I (scene 3) — L'aurore
- no.17 Scène finale
Act II — Cour d'amour
- no.18 Ouverture
- no.19 Marche
- no.20 L'arrivée d'Abderakhman
- no.21 Pas d'action —
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- a. Grand adage
- b. Variation
- c. Variation
- d. Variation de Raymonde
- e. Grand coda
- Grand divertissement —
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- no.22 Entrée
- no.23 Pas des esclaves sarrasins
- no.24 Pas des mariscos
- no.25 Danse sarrasine
- no.26 Pandéros
- no.27 Danse orientale (cut by Petipa from the original production)
- no.28 Coda générale
- no.29 L'arrivée de Jean de Brienne et Roi André II
- no.30 Le combat
- no.31 Dénouement et final
Act III — Le festival des noces
- no.32 Entr'acte
- no.33 Grand cortège hongrois
- no.35 Rapsodie
- no.34 Palotás
- interpolation: Mazurka (taken from Glazunov's Scènes de Ballet)
- no.36 Pas classique hongrois —
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- a. Entrée
- b. Grand adage (a.k.a. Pas de dix)
- c. Variation
- d. Variation
- e. Variation pour quatre danseurs
- f. Variation de Raymonde
- interpolation: Variation pour Sergeyev (taken from the Act II Pas d'action, circa 1941)
- g. Grand coda
- no.37 Galop générale
- no.38 Apothéose – Tourney
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