L’Après-midi d’un faune and Le spectre de la rose

So great to see old footage of Rudolf Nureyev leaps and turns at the end of the blog post!

The Art of Listening


The 1911–1912 seasons of the Ballets Russes saw the premiers of two of the twentieth century’s greatest scores — Stravinsky’s Petroushka and Ravel’s Daphnis et Chloé. And, while Petroushka was a great success and (for non-musical reasons) the Ravel considerably less so, it was two smaller works that seemed most to capture the public imagination in these seasons.

Le spectre de la rose took as its subject a poem by Théophile Gautier and used music written by Weber (The invitation to the dance) and orchestrated by Berlioz. It was designed as a vehicle for the athleticism of Nijinsky and culminated in a spectacular leap through a window that, apparently, left audiences breathless and queuing up for more.

The second work, L’Après-midi d’un faune was also based on a poem, this time by Stéphane Mallarmé. In 1894 Debussy had composed a brilliant orchestral piece (Prélude à l’après-midi d’un faune)…

View original post 325 more words

Published by Corrine

Dancing all the way.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: