Classical Ballet Le Sacre du printemps. Sacre. two ballets to music by Igor Stravinsky. choreography by Vaslav Nijinsky and by Sasha Waltz World famous Mariinsky Ballet and Opera - Mariinsky II (New Theatre)
Schedule for Le Sacre du printemps. Sacre. two ballets to music by Igor Stravinsky. choreography by Vaslav Nijinsky and by Sasha Waltz 2022
Composer: Igor Stravinsky Costume Designer: Tatiana Noginova Musical Director: Maestro Valery Gergiev Choreography: Vaslav Nijinsky Choreography: Sasha Waltz
Orchestra: Mariinsky Theatre Symphony Orchestra
The Mariinsky Ballet marks the centenary since the world premiere
of Igor Stravinsky’s Le Sacre
du printemps that was received in Paris on May 29,
1913. The ballet, which received its premiere as part of the season
of Les Ballets Russes de Serge de Diaghilev
choreographed by Vaslav Nijinsky with set design
and costumes by Nicholas Roerich, immediately
became one of the most famous of all classical music riots. The
Mariinsky Ballet and Orchestra present Le Sacre
in a pair of versions — the original Nijinsky’s version and
the modern one choreographed by Sasha Waltz for the
occasion of the centenary of Stravinsky’s score.
Le Sacre du
printemps. Sacre two ballets to music by Igor
Stravinsky
Le Sacre du
printemps. Musiс by Igor Stravinsky (1913) Scene plan:
Igor Stravinsky and Nicholas Roerich Choreography by Millicent Hodson (1987)
inspired by Vaslav Nijinsky (1913) Décor and costumes after Nicholas Roerich
(1913) Revival of the sets and costumes and supervision – Kenneth Archer
(Revived sets and costumes © 1987 Kenneth Archer) Set Revival Designer –
Boris Kaminsky Costume Revival Technologist – Tatiana Noginova Lighting
Designer – Sergei Lukin
World premiere of the ballet choreography by Vaslav Nijinsky: 29 May 1913,
Les Ballets Russes de Serge de Diaghilev, Théâtre des Champs-Elysées,
Paris Premiere at the Mariinsky Theatre: 9 June 2003 Premiere of the
revival: 13 July 2012
Running time 40 minutes
<…> I made haste to complete Le Sacre as I wanted
Diaghilev to stage it in the 1912 season. <…>
The fact that the premiere of Le Sacre du printemps was
surrounded by scandal is a fact probably known by everyone now. Although,
however strange it may seem, I myself was totally unprepared for such an
explosion of passions. The reaction of the musicians
to orchestral rehearsals had not foretold this, while the plot
unfolding on the stage didn’t really seem to justify causing such
a riot. The ballet dancers had rehearsed for months and knew what
they were doing, although what they were doing often had nothing in common
with the music. “I will count to forty; in the meantime you
can play,” Nijinsky said to me, “and we’ll see where we become separated.”
He couldn’t understand that if, indeed, we became separated in one
particular instance it didn’t mean that the rest of the time we
had been together. The dancers chose to follow the counts that
Nijinsky beat out rather than the musical tempo. Nijinsky, of course,
counted in Russian, and in as much as in Russian numbers after
ten are made up of numerous syllables – vosemnadtsat (eighteen),
for example – at a fast tempo neither he nor
the dancers could follow the music.
After 1913 I saw only one stage production of Le Sacre
du printemps – that was Diaghilev’s revival in 1920. Then
the accord between the music and the dance was better than
in 1913, but Massine’s choreography was too gymnastic and
in the style of Dalcroze for meto like it. It was then
that I understood that I preferred Le Sacre du printemps to be
performed in concert. Twice I reworked a few sections from
Le Sacre du printemps – in 1921 for Diaghilev’s
production and then in 1943 (only The Great Sacrificial Dance)
for a performance (which never took place) by the Boston Symphony
Orchestra. <…> But I could rework my own music endlessly <…>. When
composing Le Sacre du printemps I was led by no specific system.
<…> It was only my sense of sound that helped me. I heard and wrote
down only what I heard. I was the vessel through which Le Sacre
du printemps passed.”
Sacre Music by Igor
Stravinsky Musical Director: Valery Gergiev Choreographer:
Sasha Waltz Costume Designer: Bernd Skodzig Stage Designers: Pia Maier
Schriever, Sasha Waltz Lighting Designer: Thilo Reuther Assistant
Choreographers: Juan Kruz Diaz de Garaio Esnaola, Luc Dunberry, Antonio Ruz and
Yael Schnell
Co-production by Sasha Waltz & Guests GmbH and the Mariinsky
Theatre Premiere of the ballet with choreography by Sasha Waltz: 13 May
2013, Mariinsky Theatre, St Petersburg Running time: 45 minutes
As part of the Year of Russia-Germany 2012-2013
Schedule for Le Sacre du printemps. Sacre. two ballets to music by Igor Stravinsky. choreography by Vaslav Nijinsky and by Sasha Waltz 2022
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