COSTUME FOR PIERROT LUNAIRE. 1968 (?) Production

細節
COSTUME FOR PIERROT LUNAIRE. 1968 (?) Production

An ivory elasticated satin jacket with buttoned false pockets and buttons at the back; a pair of matching breeches; and a matching pierrot hat of white felt

(3)
出版
C. Barnes, op. cit., p. 149, with Nureyev and Friends, New York, 1978
L'Avant-Scène, op. cit., p.35
H. Brown, op. cit., pls. 95-6

拍品專文

RAYMONDA

A story of the crusader Jean de Brienne and his love for Raymonda. Raymonda receives the unwelcome attention of a Saracen knight, Abderakhman, before being rescued and married by Jean

ORIGINAL PRODUCTION

Composer: Alexander Glazunor
Choreographer: Marius Petipa
Designer: Oreste Allegri, Konstantin Ivanor and Peter Lambin
(sets); Ekaterina Ofizerova and Ivan Kaffi (costumes) Company: The Russian Imperial Ballet
Première: January 7 (19), 1898, Maryinsky Theatre, St. Petersbury


NEW PRODUCTION

Choreographer: Rudolf Nureyev, after Petipa
Designer: Beni Montressor (sets and costumes)
Company: The Royal Ballet
Première: July 10, 1964, Royal Ballet tour, Spoleto Festival,
Teatro Nuovo, Spoleto, Italy


NEW PRODUCTION

Designer: Ralph Koltai (set); Nadine Baylis (costumes)
Company: The Australian Ballet
Première: November 6, 1965, Hippodrome Theatre, Birmingham,
with Margot Fonteyn

NEW PRODUCTION

Designer: Nicholas Georgiadis (sets and costumes)
Company: Opéra de Zurich
Première: January 22, 1972, Zurich, with Marcia Haydée

NEW PRODUCTION

Designer: Nicholas Georgiadis (sets and costumes)
Company: The American Ballet Theater
Première: June 26, 1975, Jones Hall, Houston, Texas, with
Cynthia Gregory

Raymonda remained an almost forgotten work with ballet companies outside Russia until the young Nureyev staged a full production of the ballet in 1964. Much of the neglect was due to the somewhat convoluted and confusing scenario. The fact that Nureyev returned to the ballet in further successful productions of 1965, 1972 and 1975 shows just how much he relished the challenge of reorganising the ballet into a more readable form, just as much as he must have enjoyed working with the choreography of his much admired Marios Petipa, whose last true masterpiece this is.