"Giselle" is a romantic ballet choreographed by Jean Coralli and Jules Perrot. Adolphe Adam beautifully composes the music. This ballet was originally performed in Paris in 1841. The production that we viewed in class was from La Salla. "Giselle" is one of the last ballets of the Romantic era.
The element that stood out the most to me was how effectively the music and the footwork corresponded. The best examples of this are seen through the dancers solos. Especially Albrecht's solo, his feet glide on the stage at the same tempo as the music. Similarly, Giselle's graceful footwork is truly amazing. I really like the similarities between the choreographed footwork and the music, it makes Giselle seem much more elegant and beautiful. This also seems to make the work look more put together and in sync because the dancers are dancing in harmony with the orchestra. The choreography by itself is amazing. The footwork is rapid and intricate, however, at the same time it is delicate and graceful. The ballerina (Giselle) made it look very easy to do the choreography, when it rea...
More important, what I like most of all is how out all of his masterpieces, Antonio Gaudi has been innovative in every way. He was a mastermind and passionate about each of them. This is how it relates to something we’ve seen before or can feel connected to. He was a very religious person with amazing talent. One of his sayings it that “Color in certain places has the great value of making the outlines and structural planes seem more
... as the music. James Levine, the conductor, as well as the entire orchestra really captured the essence of what each of the scenes in both acts were trying to convey as well the emotion. The orchestra played fantastically and the performers sang and acted beautifully. I thought the set, the scenery, and the costumes were very elaborate and decorative. I really enjoyed the story the opera told and the dramatics it involved. What really captivated me was that Cosi fan Tutte was also somewhat of a comedy. There were parts of the performance that made me laugh. I enjoyed the fact that it was not such a serious opera. The opera was light, enjoyable, somewhat comical, dramatic, and romance filled. The concert environment was intriguing. I really admired the Metropolitan Opera House. The design, architecture, overall appearance of the opera house. It was very exquisite.
The original choreographer of this piece was named Philippe Taglioni who was an Italian dancer. La Sylphide was performed by his daughter Marie Taglioni, who also was a very important ballerina at the time of the Romantic Era, at The Paris Oera in Paris of 1832. She played the sylphide in her father’s piece and wore a costume that had real flowers on her dress which was different from the other dancers. She had also dance for August Bournonville who was a part of The Royal Danish Ballet Company.. August soon took over the piece in Copenhagen of 1836. August created more than 50 ballet pieces for the Royal Danish Ballet. He wanted more of a French and English romantic side to the piece,...
The sound design and choreography intensified the overall musical. They created the time, place, and mood through rhythm and great energy. The actors had wireless, behind the ear mikes, that attached to the mike pack which amplified the sound, making it very clear. I could easily understand what they were talking about or singing.
Throughout the musical, the prowess of each individual performer was on display. Every performer, with the exception of Kristine, expressed a power and vibrato that was breathtaking; the highest notes lilting and the lowest notes thundering. I was in awe during a majority of the performances because of the commanding singing in each performer.
However, because this is a reduction of that piece, the sculpture has been taken out of its original context entirely. Placed atop a pedestal and surrounded by modern paintings within the DIA, Genius of the Dance becomes its own free standing work of art. It is here, that I began to realize how the context of an artwork can affect the viewers experience. Without prior knowledge of larger monumental stone sculpture, Genius of the Dance, is able to be viewed from all angles. Allowing viewers to walk around and experience the piece as a single composition. Likewise, because the piece is separated from the other figures and primarily focused on only one, viewers are also given the opportunity to appreciate Carpeauxs technique and rendition of a single figure without all of the other distractions (walls that prevent you from walking around it or nymph figures that draw your eye to more than one single moment) that may accompany it. Unfortunately, because the piece is taken out of its original context there are also a few downfalls. These include the opportunity to enjoy other moments of the piece such as, the nymphs who bring playfulness, energy and delicacy, the foliage of drapery and hair that bring a feeling of airiness, and finally the angelical wings that complete the central figure Dance. How would one even
The choreography kept things interesting and the dances in a musical can make or break the performance. Overall, Cherie and Abby did an amazing job directing each person to have a place among a crowded stage. Last but not least, the costumes! This play was set in the 1890s, meaning it is very important to have correlating costumes so the audience can be aware of what time period they are in.
Jeu de Cartes is a ballet I can watch with pleasure only if one ballerina is cast in the lead part; and why wouldn’t I not prefer to observe her instead in masterpieces like Serenade and Symphony in C, in which she belongs? Notwithstanding the solid effort of the dancers and two or three satisfactory moments, ten in seven also is an unsubstantial and weak work. As I pointed out previously, on the other hand, the pas de deux from Christopher Wheeldon’s After the Rain was eloquent and touching. While not as affecting, Lauren Lovette’s For Clara is an amiable work in traditional style which offered three promising female soloists--Emilie Gerrity, Unity Phelan and Indiana Woodward--a chance to shine. So it is reasonable to claim that for 2/3s of
The production had many elements which for the most part formed a coalition to further the plot. The characters, the three part scenery and costumes represented well the period of time these people were going through. As far as the performers entering and exiting the stage, it could have been more organized. There were a few times when the performers exited at the wrong times or it seemed so due to the echo of the music. At certain moments the music was slightly loud and drowned the performers. Many of the songs dragged on, so the pacing could have been more effectively executed. Though the music was off at times, the director's decision to have most of the songs performed center sage was a wise one. Also the implementation of actual white characters that were competent in their roles came as a great surprise to the audience and heightened the realism.
This piece was based slightly on swing dancing as apparent in the costumes and choreography. The choreographer of this was Joshua L. Peugh. The composers of the music used are Tommy Duncan, Dorothy Fields, Jimmy McHugh, and Bob Wills. My favorite part of the piece was when one of the performers walked across the stage carrying a cactus that would get bigger each time she walked across the stage. This both helped separate each small dance from each other but also added a sense of comedy and a familiar transition throughout the piece for the audience. The performer did this five times and by the final entrance the cactus was easily clearing her head. I liked how this piece from group dances to couple dances and flowed very well. The overall mood of this dance was lively and fun. Another moment that stood out was when the strings of lights came out at the final of the piece. This added a touch of warmth and added to the swing, country feel of the dance. Because I am classically trained in ballet, I appreciate turn out and piles between steps; however, I thought that this piece successfully told a story. It seemed very well rehearsed and the effort put in showed. The dancers portrayed the emotions of the piece as well. I especially thought the costumes were very fitting to the theme as well as the
Rodgers & Hammerstein’s Cinderella is a must see movie for everyone. It’s one of the best and first multi- ethnics cast modernizes classic fairytale of Cinderella. The old classic version only present with one ethnic group. However, this one is more diverse due to the variety of ethnicity, making the movie unique. It convey different plot that enhance and portray each character’ personality into musical movie with humor and ironic. The movie has the finest actors, vibrant set, richly hued costumes and several entertaining musical sequence.
The Sleeping Beauty by Tchaikovsky is another ballet that is based on a fairy tale, and was first presented to the Tsar of Russia.
...criticism. Thence, the Opera achieves an immense degree of complexity and artistry, which helps to explain why the play was so popular for so long. The Opera is entertaining for the masses, complex enough to engage the critic, and it was (in its own way) peculiarly patriotic during an age of immense English pride for native culture.
There wasn’t any particular scene on stage that made me doubt the integrative work of the director since all the staging work such as lighting, design, costumes and performance were well coordinated and blended for a very good production. The lights were well positioned with well fitted costumes and a very ideal scene to match. There wasn’t much change of scenes in the play except for some movement of tables and chairs. There was an entrance and exit for the performers which made their movements uninterrupted. There was a loud sound of a bell when school was over while the lights were dimmed whenever there was a change of scene. The pace of the production was very smooth since one scene followed the other without delay and most likely because most of the performers wore the same costume; especially all eight students wore the same costume for the entire