Billboard Top Songs 2016 Play all Share. Loading. Save. Sign in to YouTube. Sign in. Play next; Play now; The Chainsmokers - Closer (Lyric). Natalie La Rose - Somebody ft. Jeremih by NatalieLaRoseVEVO. 3:20. Spectre movie info - movie times, trailers. Max Rose; Naam Hai Akira; No Manches Frida. Facebook Twitter Instagram Google+ Tumblr Youtube. [Regine Crespin] Le Spectre de la Rose. Standard YouTube License; Music 'Les nuits d'été. Daniel Craig & Monica Bellucci Hot Scene from James Bond Spectre Full Movie - Duration. Le Spectre de la rose (English: The Spirit of the Rose). Tamara Karsavina danced The Young Girl and Nijinsky danced The Rose. Grace Robert writes that Spectre was an 'immediate success'. Diaghilev was surprised. Le Spectre de la rose. Le Spectre de la rose (English: The Spirit of the Rose) is a short ballet about a young girl who dreams of dancing with the spirit of a souvenir rose from her first ball.[1]Jean- Louis Vaudoyer based the ballet story on a verse by Théophile Gautier. Michel Fokine choreographed the ballet to the music of Carl Maria von Weber's piano piece Afforderung zum Tanz (English: Invitation to the Dance) as orchestrated by Hector Berlioz in 1. Léon Bakst designed the original Biedermeier sets and costumes. The ballet was first presented in Monte Carlo on 1. April 1. 91. 1. Nijinsky danced The Rose and Tamara Karsavina danced The Young Girl. . March 2006. Amber Nalle - Spectre. Excerpts from the Lincoln Center Clark Theater performance of Le Spectre de la Rose from Anatomy of Woman - March 2006. Standard YouTube License; Show more Show. Why the ‘Saints Row’ Movie Didn’t Happen. Spectre Crime Boss (uncredited). Orlando Pontes de Gouveia. Specter of the Rose is a 1946 film noir thriller film written and directed by Ben Hecht and. Excerpts from the ballet Le Spectre de la Rose. Specter of the Rose at the Internet Movie Database; Specter of the Rose at. It was a great success. Spectre became internationally famous for the spectacular leap Nijinsky made through a window at the ballet's end. In 1. 91. 1, Ballet Russes producer Sergei Diaghilev hoped to present Nijinsky's ballet L'Après- midi d'un faune (English: Afternoon of a Faun). It was not ready for the stage, so he needed another ballet to take its place. That ballet was the idea of writer Jean- Louis Vaudoyer. In 1. 91. 0, he had sent an idea for a ballet to Ballets Russes set and costume designer Léon Bakst. His idea was based on Le Spectre de la rose, a verse by Théophile Gautier, and Afforderung zum Tanz, a work for piano by Carl Maria von Weber. Diaghilev liked Vaudoyer's idea. He thought it could easily take the place of Faune. He put Vaudoyer's idea into development at once.[1][2] Diaghilev liked the idea of a ballet based on Gautier's Spectre because it could be tied to the centennial of Gautier's birth.[3]In 1. Carl Maria von Weber wrote a work for piano called Afforderung zum Tanz. He also wrote a program for this work about a young man and woman who meet, dance, and part at a ball. The quiet music at the opening of Afforderung leads to some beautiful (and busy) waltz tunes before the work ends with the opening music.[4] In 1. Hector Berlioz orchestrated. Afforderung. This version of the music was used for a short ballet in Weber's opera Der Freischütz at the Paris Opéra.[5] It was the Berlioz version of the original piano piece that was used for the ballet Le Spectre de la rose. Michel Fokine completed the dance in three or four rehearsals. He later wrote that the ballet was almost an improvisation.[6] Grace Robert writes in The Borzoi Book of Ballets that Spectre is a pas de deux, but not the sort of pas de deux that looks back to complex 1. Instead, it is a forward- looking, modern dance of continuous movement and expressiveness.[7]Fokine dropped the port de bras of classical ballet in designing the dances for Nijinsky. He used instead curving, tendril- like movements of the arms and fingers. Nijinsky became an androgynous character in this ballet, one showing masculine power in his legs and a feminine delicacy in his arms.[8] Some of his gestures, Ostwalt writes in Nijinsky: A Leap into Madness, "lent a feminine aura" to the character.[9]Nijinsky's costume[edit]. Nijinsky in the rose petal costume. Nijinsky's silk elastic costume was designed by Léon Bakst. The costume was covered with silk rose petals. Nijinsky was stitched into the costume for every show.[1. After every show, the wardrobe mistress would touch up the petals with her curling iron.[1. Nijinsky's make- up was an important part of the costume design. Romula de Pulszky, later to be his wife, wrote that he looked like "a celestial insect, his eyebrows suggesting some beautiful beetle".[1. Ostwald writes that Nijinsky's costume was like a ballerina's.[1. Sometimes, petals would become loose and fall to the stage floor. Nijinsky's servant Vasili would collect the petals and sell them as souvenirs. It was said that he built a large house called Le Château du Spectre de la Rose with the profits from the sale of the petals.[1. Nijinsky's leap[edit]The ballet became famous for Nijinsky's leap through one of the two large windows at the back of the stage. The height of the leap was an illusion though. Nijinsky took five running steps from the middle of the stage and leapt through the window on the sixth step. The skirting board (base board) under the window was very low, giving the illusion that the leap was higher than it actually was. Behind the set, four men caught Nijinsky in the air and put warm towels on him. No one in the audience saw Nijinsky land. It looked like he would soar on for all time. The illusion was helped by the conductor in the orchestra pit who held the penultimate chord. In doing so, the leap was given a sense of great length and height.[1]Story of the ballet[edit]The curtain rises on a girl's bedroom. The Young Girl comes into the room dressed in a white bonnet and ball gown. She has returned to her home after her first ball. She holds a rose as a souvenir of the evening. She drops into a chair and falls asleep. The rose falls from her fingers to the floor. The Spirit of the Rose is seen at the window. He steps to the floor and nears The Young Girl. Still asleep, she rises and dances with him. He leads her back to the chair, kisses her, then leaps through the window and into the night. The Young Girl awakes and rises. She picks up the rose she dropped and kisses it. The curtain falls.[1. First night[edit]. Interior of the Monte Carlo Casino, 1. The Casino theare later became the Opera House. Spectre was first presented on 1. April 1. 91. 1 by Diaghilev's Ballets Russes in the Théâtre de Monte Carlo, Monte Carlo. Tamara Karsavina danced The Young Girl and Nijinsky danced The Rose.[1. Grace Robert writes that Spectre was an "immediate success".[1. Diaghilev was surprised; he thought Spectre a trifle not worth notice, but the little ballet became one of the most loved productions of the Ballets Russes.[1. After Nijinsky[edit]Since the ballet's creation, many male dancers have interpreted the role of The Rose, but it is generally perceived that none have truly matched Nijinsky's brilliance, partly because the ballet had been specially designed to suit his particular talents.[1. The Young Girl has been called "the forgotten woman of ballet", and, as time has passed, the part has become routine.[1. By the middle of the 2. Spectre had become nothing but a stunt ballet: people paid only to see the leap through the window.[2. Spectre was one of the first ballets Rudolph Nureyev danced in the West after leaving Russia. This was for German television in 1. He first danced The Rose on stage (2. New York City for the Joffrey Ballet's Diaghilev program in 1. Spectre was the last ballet Nureyev and Margot Fonteyn danced together. That was in June 1. He danced The Rose in Paris in 1. August 1. 98. 7 at the London Coliseum with the Nancy Ballet.[2. The ballet was first seen in Australia in 1. Monte Carlo Russian Ballet program.[2. In 1. 96. 2, Margot Fonteyn danced The Young Girl as part of her 1. Australia.[2. 2] In 2. The Australian Ballet presented the ballet as one of three showing the work of Fokine.[2. Schouvaloff 1. 99. Lifar 1. 94. 0, pp. 2. Greskovic 1. 99. 8, p. 4. Woodstra, Brennan & Schrott 2. Weber: Invitation to the Dance (op. Berlioz (H 9. 0)". The Hector Berlioz Website. Retrieved 5 May 2. Fokine & Fokine 1. Robert 1. 94. 9, p. 3. Kopelson 1. 99. 7, pp. 1. Ostwald 1. 99. 1, p. 4. Nijinsky 1. 98. 0, p. 1. Nijinsky 1. 98. 0, pp. 1. Ostwald 1. 99. 1, p. 4. Schouvaloff 1. 99. Robert 1. 94. 9, p. 3. Beaumont 1. 94. 0, pp. 2. Balanchine 1. 97. Buckle 2. 01. 2, p. 2. Schouvaloff 1. 99. Robert 1. 94. 9, pp. 3. Robert 1. 94. 9, p. 3. Sirvin, René. "Le Spectre de la rose". Nureyev. org. Rudolf Nureyev Foundation. Retrieved 4 June 2. Le Spectre de la rose (Australian context)". Trove. National Library of Australia. Retrieved 4 June 2. In 1. 98. 5, the Paris Opéra Ballet presented Spectre with Manuel Legris as The Rose and Claude de Vulpian as The Young Girl. The original dances, sets, and costumes were recreated for this production. In 2. 01. 2, a record of the production was available on VHS in a program called Paris Dances Diaghilvev. References[edit]Balanchine, George (1. Stories of the Great Ballets, New York: Anchor Books, ISBN 0- 3. Beaumont, Cyril W. The Diaghilev Ballet in London, London: Putnam Buckle, Richard (2. Nijinsky: A Life of Genius and Madness, New York: Open Road Media Fokine, Michel; Fokine, Vitale (trans.) (1. Memoirs of a Ballet Master, London: Constable Greskovic, Robert (1. Ballet 1. 01: a complete guide to learning and loving the ballet, New York: Hyperion, ISBN 0- 7. Kopelson, Kevin (1. The Queer Afterlife of Vaslav Nijinsky, Stanford, California: Stanford University Press, ISBN 9. Lifar, Serge (1. 94. Serge Diaghilev: his life, his work, his legend, London: Putnam Nijinsky, Romola (1. Nijinsky, London: Sphere Books, ISBN 0- 7. Ostwald, Peter (1. Vaslav Nijinsky: a leap into madness, London: Robson Books, ISBN 1- 8. Robert, Grace (1. The Borzoi Book of Ballets, New York: Alfred A. Knopf Schouvaloff, Alexander (1. The Art of Ballets Russes, New Haven and New York: Yale University Press, ISBN 0- 3. Woodstra, Chris (ed.); Brennan, Gerald (ed.); Schrott, Allen (ed.) (2. All Music Guide to Classical Music: the definitive guide to classical music, San Francisco, California: Backbeat Books, ISBN 0- 8.
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