Lot Essay
L'APRÉS-MIDI D'UN FAUNE
(The Afternoon of a Faun)
'A faun, lazily playing on his flute during a warm summer afternoon, is taken unawares by some nymphs who are on their way to bathe. He becomes amorously entangled with one of them before she, too, leaves the stage, after which he lovingly fondles the scarf she has dropped.' (H. Koegler, op. cit., p. 19)
ORIGINAL PRODUCTION
Composer: Claude Debussy (Prélude à l'Après-midi d'un
Faune)
Choreographer: Yaslav Nijinsky
Designer: Léon Bakst (sets and costumes)
Company: Ballets Russes de Diaghilev
Première: May 19, 1912, Théâtre du Châtelet, Paris
NEW PRODUCTION
Choreographer: Nijinsky, reconstructed by Elizabeth Schooling and
William Chappell
Designer: Léon Bakst, reconstructed by Rouben Ter-Arutunian
Company: The Joffrey Ballet
Première and
Nureyev's debut: March 6, 1969, Mark Hellinger Theater, New York.
Part of Homage to Diaghilev which also included
Petrushka, Le Spectre de la Rose and Parade
L'Après-midi d'un Faune was also part of the Tribute to Diaghilev that Nureyev mounted at the Coliseum, London, in June 1969. 'The part seems custom-built for him and he has several added advantages. In the first place the work was given in the original and very beautiful Bakst setting (from Nureyev's season with the Joffrey Ballet) and the correct costume-tail, covered torso and all. This is the first time it has been seen here since Nijinsky danced the role himself. Nureyev was joined by Margot Fonteyn as Chief Nymph, who brought to the part her special gift of innocence and freshness. It was not only the spell cast by the sight of the famous pair together again which laid a hush on the audience. When it goes right this is a work of hypnotic power; and on this occasion the sense of authoritative command of the chief role was unmistakable' (A. Bland, op. cit., 1985, p. 199)
(The Afternoon of a Faun)
'A faun, lazily playing on his flute during a warm summer afternoon, is taken unawares by some nymphs who are on their way to bathe. He becomes amorously entangled with one of them before she, too, leaves the stage, after which he lovingly fondles the scarf she has dropped.' (H. Koegler, op. cit., p. 19)
ORIGINAL PRODUCTION
Composer: Claude Debussy (Prélude à l'Après-midi d'un
Faune)
Choreographer: Yaslav Nijinsky
Designer: Léon Bakst (sets and costumes)
Company: Ballets Russes de Diaghilev
Première: May 19, 1912, Théâtre du Châtelet, Paris
NEW PRODUCTION
Choreographer: Nijinsky, reconstructed by Elizabeth Schooling and
William Chappell
Designer: Léon Bakst, reconstructed by Rouben Ter-Arutunian
Company: The Joffrey Ballet
Première and
Nureyev's debut: March 6, 1969, Mark Hellinger Theater, New York.
Part of Homage to Diaghilev which also included
Petrushka, Le Spectre de la Rose and Parade
L'Après-midi d'un Faune was also part of the Tribute to Diaghilev that Nureyev mounted at the Coliseum, London, in June 1969. 'The part seems custom-built for him and he has several added advantages. In the first place the work was given in the original and very beautiful Bakst setting (from Nureyev's season with the Joffrey Ballet) and the correct costume-tail, covered torso and all. This is the first time it has been seen here since Nijinsky danced the role himself. Nureyev was joined by Margot Fonteyn as Chief Nymph, who brought to the part her special gift of innocence and freshness. It was not only the spell cast by the sight of the famous pair together again which laid a hush on the audience. When it goes right this is a work of hypnotic power; and on this occasion the sense of authoritative command of the chief role was unmistakable' (A. Bland, op. cit., 1985, p. 199)