Bronislava Nijinska Collection, Music Division, Library of Congress (002.00.00) Costume design for a shepherdess for Les Tentations de la Bergère, ou L’Amour Vainqueur, ca. For information about NYU's response to COVID-19, please visit: https://www.nyu.edu/coronavirus. ), Natalia Goncharova. (Pulcinella: music by Igor Stravinsky, after Giovanni Battista Pergolesi and other composers; sets, costumes, and curtain by Henri Matisse; premiere on May 15, 1920, Théâtre National de l’Opéra, Paris. (La Boutique Fantasque: music by Gioacchino Rossini, orchestrated by Ottorino Respighi; sets, costumes, and curtain by André Derain; choreography by Léonide Massine; premiere on June 5, 1919, Alhambra Theatre, London. Digital ID # br0032, Bookmark this item: //www.loc.gov/exhibits/ballets-russes/exhibition-items.html#obj27. Ballets Russes Exhibition at Bonhams Posted on May 22, 2019 Auction house Bonhams is to host a major exhibition marking the 110th anniversary of the Ballets Russes, the groundbreaking company founded by impresario Serge Diaghilev in 1909. However, Auric and Diaghilev disagreed about commissioning fees, and Auric did not compose any ballets for the Ballets Russes after 1926. Bottom photographs are unidentified. Press | ), Adolph Bolm and Tamara Karsavina in Schéhérazade, no date. 1926. ), Vaslav Nijinsky in Narcisse, 1911. Boris Kochno (top left) and Serge Diaghilev; Kochno, Paulo Picasso, and Diaghilev (top right); Olga Khokhlova and Diaghilev (bottom left); Kochno, Diaghilev, and Paulo Picasso (bottom right). Described by Léonide Massine as a “light-hearted romp,” Les Matelots was extremely popular with Parisian audiences. George Barbier. Bronislava Nijinska Collection, Music Division, Library of Congress (046.00.00)Digital ID # br0046, Bookmark this item: //www.loc.gov/exhibits/ballets-russes/exhibition-items.html#obj36, In 1989, Bronislava Nijinska’s daughter, Irina Nijinska, supervised the reconstruction of Les Noces for the Dance Theatre of Harlem. A wide range of writings and images from antiquity provides us with our knowledge about the history of dance in the ancient world. Bronislava Nijinska Collection, Music Division, Library of Congress (040.00.00)Digital ID# br0041, Bookmark this item: //www.loc.gov/exhibits/ballets-russes/exhibition-items.html#obj34, Aurora’s Wedding (also known as Le Mariage de la Belle au Bois Dormant), a twenty-minute, one-act version of the court scenes from the ill-fated production of The Sleeping Princess. Between 1921 and 1924, Nijinska was ballet mistress and chief choreographer for the Ballets Russes. This exhibition presents images of dance from antiquity in art and culture, as well as the influence of this history on modernist reinventions of the Ballets Russes (1909–1929). Serge Grigoriev, Ballet Master of Diaghilev’s Ballets Russes from 1909–1929, took photographs of some of the company’s last tours before Diaghilev’s death. Bronislava Nijinska Collection, Music Division, Library of Congress (057.00.00)Digital ID # br0057, Leon Woizikowski, Lydia Sokolova, Bronislava Nijinska, and Anton Dolin in Le Train Bleu, 1924. Théâtre Champs-Élysées, Paris). Digital ID # br0008, Bookmark this item: //www.loc.gov/exhibits/ballets-russes/exhibition-items.html#obj6. Ballets Russes: the art of costume includes costumes by Natalia Goncharova, Pablo Picasso, Henri Matisse, André Derain, Georges Braque, André Masson and Giorgio de Chirico. There are, for example, a surviving monograph on dance attributed to the second-century writer Lucian, many important passages and anecdotes by authors including Plato and Plutarch, as well as numerous descriptions from poetry and plays—textual sources that offer insight into the role of dance in ancient life. (Le Chant du Rossignol: music by Igor Stravinsky; sets, costumes, and curtain by Henri Matisse; new choreography by George Balanchine; premiere on June 17, 1925, Théâtre de la Gaïté-Lyrique, Paris. Digital ID # br0033, Bookmark this item: //www.loc.gov/exhibits/ballets-russes/exhibition-items.html#obj28. (Le Spectre de la Rose: music by Carl Maria von Weber, orchestrated by Hector Berlioz; sets and costumes by Léon Bakst; choreography by Michel Fokine; premiere on April 19, 1911, Théâtre de Monte-Carlo, Monte Carlo. ), Original cast of Le Train Bleu, 1924. French writer and artist Jean Cocteau (1889–1963) fell under the spell of the Ballets Russes during the company’s early visits to Paris. During her tenure with the company she choreographed nine ballets and numerous operas for Diaghilev. Music Division, Library of Congress (038.00.00) Digital ID # br0028, Bookmark this item: //www.loc.gov/exhibits/ballets-russes/exhibition-items.html#obj23. What can we know about ancient dance? Ballets Russes. Bronislava Nijinska, Olga Khohlova, and Lubov Tchernicheva in L’Après-midi d’un Faune, 1912. Petrouchka with Bronislava Nijinska (left) as the Street Dancer, K. Kobelev as the Organ Grinder (center), and Ludmilla Schollar (right) as a Gypsy, ca, 1911. Adolph Bolm Collection, Music Division, Library of Congress (012.00.00) To finance the lavish production envisioned by Diaghilev, the Alhambra Company gave him an advance against box office receipts of nearly ₤20,000. Digital ID # br0013, Bookmark this item: //www.loc.gov/exhibits/ballets-russes/exhibition-items.html#obj10, Stung by criticism from the Paris critics who claimed he produced well-danced ballets with exotic décors and costumes but with no comparable innovative music component, Diaghilev turned to the young composer Igor Stravinsky. This photograph shows Serge Diaghilev with two of his most important collaborators, the dancer and choreographer Vaslav Nijinsky (1889 [1890? Serge Diaghilev/Serge Lifar Collection, Music Division, Library of Congress (006.00.00) Beaumont. Souvenir program for 1908 performances of Boris Godunov at the Théâtre National de l’Opéra, Paris. As a dancer, he was admired for his outstanding ballet technique and dramatic onstage presence. Ballets Russes made Russian ballet famous all around the world. Page 2. Vaslav Nijinsky and his sister Bronislava Nijinska (1891–1972) are two of the most significant dance celebrities of the twentieth century. Digital ID # br0031, Bookmark this item: //www.loc.gov/exhibits/ballets-russes/exhibition-items.html#obj26. ), Michel Fokine and Tamara Karsavina in The Firebird, ca. 1923. Donate Costume design for La Nuit sur le Mont Chauve, ca. Its title was motivated by the train that took fashionable sun worshipers from Paris to the chic seaside resorts of southern France. Our public programming has moved online for the 2020-21 academic year, as listed under Events. We are already familiar with Stravinsky’s music, having danced in two ballets, Petrouchka and The Firebird, where we had no trouble with the rhythms of his complicated scores’.”, Piano score for Le Sacre du Printemps, notated by Marie Rambert, 1913. One review noted that “66 years after its premiere, the ballet remains astonishingly experimental.” Another critic said: “Les Noces was deftly done, both in the rendition of Stravinsky’s pungent score and in the dancing.”, Dance Theatre of Harlem in a reconstruction of Les Noces, 1989. ), Unidentified dancers in Les Fâcheux, 1924. The original cast of Schéhérazade included Ida Rubinstein, Vaslav Nijinsky, Enrico Cecchetti, and Bronislava Nijinska. (La Nuit sur le Mont Chauve: music by Modest Mussorgorsky; sets and costumes by Natalia Goncharova; choreography by Bronislava Nijinska; premiere on January 19, 1924, Théâtre de Monte-Carlo, Monte Carlo. At last, Serge Diaghilev arrived. If I had submitted to his direction I would have dislocated every joint in my body and would have been transformed into a maimed marionette!” Shown here are some of Nijinsky’s notes for the choreography, in his own hand. (Zéphire et Flora: music by Vladimir Dukelsky [Vernon Duke]); sets and costumes by Georges Braque; choreography by Léonide Massine; premiere on April 28, 1925, Théâtre de Monte-Carlo, Monte Carlo. Serge Diaghilev (left) and Léonide Massine (right), no date. Bronislava Nijinska at her graduation from the Imperial Theater School, 1908. With artists Léon Bakst (1866–1924) and Alexandre Benois (1870–1960), he cofounded the journal Mir iskusstva (The World of Art) in 1898. Digital ID # br0003, Bookmark this item: //www.loc.gov/exhibits/ballets-russes/exhibition-items.html#obj1. (Les Tentations de la Bergère, ou L’Amour Vainqueur: music by Michel de Montéclair, arranged and orchestrated by Henri Casadesus; sets, costumes, and curtain by Juan Gris; choreography by Bronislava Nijinska; premiere on January 3, 1924, Théâtre de Monte-Carlo, Monte Carlo. Music Division, Library of Congress (039.00.00)Digital ID # ppmsca-19410, Bronislava Nijinska’s choreographic notes for The Sleeping Princess, 1921. It became one of the most popular ballets produced by the Ballets Russes and was performed more than five hundred times between 1910 and 1929. ), Vaslav Nijinsky as the Rose in Le Spectre de la Rose, 1911. 1924. Léonide Massine (1896–1979) expanded ballet’s impact by integrating extensive character and ethnic inspirations into his choreographies, which resulted in highly dramatic works. ), Alexandra Danilova and Léonide Massine as Can-Can Dancers in La Boutique Fantasque, 1919. Vaslav Nijinsky’s notation for a section of L’Après-midi d’un Faune, 1912. The Ballets Russes (or Russian Ballet) revolutionised ballet with its sensational fusion of art, movement and music. Page 2. Digital ID # br0002, Bookmark this item: //www.loc.gov/exhibits/ballets-russes/exhibition-items.html#obj0. Stravinsky agreed to do a revival of the ballet in 1925, and Diaghilev turned the choreography over to George Balanchine. Born into a family of dancers, both graduated from the Imperial Ballet School in Saint Petersburg and contributed to the success of Diaghilev’s Ballets Russes as dancers and choreographers. The National Gallery of Art is the sole U.S. venue for “Diaghilev and the Ballets Russes, 1909-1929: When Art Danced With Music.” The exhibition uses … Digital ID # br0010, Bookmark this item: //www.loc.gov/exhibits/ballets-russes/exhibition-items.html#obj7, The “Polovtsian Dances” scene from act 2 of the opera Prince Igor was so successful that the work was performed without singers in later seasons. Sur Le Mont Chauve, ca ballet with its sensational fusion of,! History of dance in the “Polovtsian Dances” in act ballets russes exhibition from the Russes... Serge Lifar in George Balanchine’s the Triumph of Neptune, 1926. was recognized his! 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