I’m a guest blogger today for the Oxford University Press blog or “OUPblog” as they call it. They invited me to offer some additional thoughts on my article about the Metropolitan Opera’s HD broadcast initiative. I am grateful for the opportunity to muse on some of the more recent developments of this ever-evolving phenomenon! Read my post here.
Yesterday I made a long-overdue pilgrimage to a “Ballet in Cinema” event! A surprisingly full house showed up at the Chelsea Clearview Cinema for the 11 am(!) screening of The Pharaoh’s Daughter, as broadcast last fall from the Bolshoi Theater. As with the Metropolitan Opera’s “Live in HD” program, summer is the season for encore presentations of performances from the previous year.
As for the ballet itself, The Pharaoh’s Daughter is…something, all right. It was the first ballet created in Russia by Marius Petipa, using an exceedingly conventional “specialist” ballet score by Cesare Pugni with a libretto based on an orientalist tale by Théophile Gautier. Very briefly put: an English nobleman journeys to Egypt and in an opium-induced reverie falls into a star-crossed love affair with the daughter of the Pharaoh. Along the way there are innumerable occasions for every sort of 19th-century ballet number, including a dancing monkey and a “ballet blanc” featuring the spirits of the great rivers of the world. Most of it was innocent fun and games, with the exception of several characters in decidedly un-ironic blackface. One wonders when if ever Europe will get the memo that this sort of thing just can’t be done anymore.
French choreographer Pierre Lacotte oversaw this recreation of the ballet, which had not been performed since the 1920s, when Soviet authorities decided it was not in keeping with their aesthetic ideals. The choreography did not aim for or achieve any great innovation or reinvention, but neither did it live up to the more exciting dancing “after Petipa” that we are familiar with. I for one found myself longing for a more radical re-imagining, but you take what you can get.
Especially poignant was an intermission interview with Sergei Filin, the Bolshoi artistic director now famous as the victim of a horrific acid attack. This performance occurred before those tragic events, lending the show an retrospective mix of innocence and melancholy.
A fabulous conversation on Dido and Aeneas between Mark Morris and Joan Acocella, from last year’s Arts and Ideas Festival in New Haven. We were lucky to hear the perspective of Tina Fehlandt at our Agon of Opera and Dance conference in May. Equally wonderful to hear from Mark himself, with Joan’s expert moderation!
Very excited about the upcoming Dance Studies in/and the Humanities seminar at Brown next week, and proud to be representing my home field of musicology! Looking forward to comparing notes with fellow grad students and hearing new research from Mark Franko, Andre Lepecki, Kiri Miller (and more)…and exploring Providence for the first time!
I’m honored to be the recipient of a Mellon/ACLS dissertation completion fellowship for the coming academic year, and even more thrilled that two of my fellow musicologists at Princeton, Micaela Baranello and Jamie Greenberg Reuland, are also in this year’s class!
So exciting to see Rodgers and Hart’s On Your Toes at City Center Encores earlier this week – it finishes a sold out-run today! Of course Christine Baranski couldn’t help but steal the show as Peggy Porterfield – please Christine, do more Rodgers and Hart soon! If you missed the show this time, check out this clip of Vera Zorina from the film version (below), or catch NYCB doing Slaughter on Tenth Avenue this fall!
This story from a couple of years back passed me by until now, but it’s a great take on my amazing high school, Booker T. Washington. http://thislandpress.com/02/11/2012/the-making-of-miss-hornet/?read=complete