freebenchleo
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Notes. Brief or more detailed notes.
Joined December 2019
Wagner viewed his “music dramas”as a quasi-religious experience. His Bayreuth Festspielhaus was a temple-like space, embodying his belief that art could redefine or replace religion. 🔗Trailer for Barenboim/Kupfer Ring Cycle 1990-1992 Bayreuth Festival: https://t.co/aI5OW3yJ2f
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Wagner’s fascination with paganism, particularly Norse and Germanic myths, is evident in Der Ring des Nibelungen (1848-74). He drew heavily from the Poetic Edda and Volsunga Saga for Wotan, the Valkyries, & other figures, for a Romantic revival of the pre-Christian culture.
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Richard Wagner often used pagan themes, particularly those rooted in Germanic and Norse mythology, to create a “new religion of art.” He viewed these myths as a vehicle to explore deep human truths through music.
Richard Wagner Die Walküre Act III, Metropolitan Opera 2011. Conductor: James Levine, Director: Robert Lepage. Jonas Kaufmann (Siegmund), Eva-Maria Westbroek (Sieglinde), Bryn Terfel (Wotan), Stephanie Blythe (Fricka), Hans-Peter König (Hunding), … https://t.co/wl7aXXBvhM
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Moments with Sylvie Guillem - excerpt from “Sylvie Guillem at Work,”a 1987 film by André S. Labarthe. https://t.co/2Iv9AqLatr Before ballet stole the show, Sylvie Guillem was a competitive gymnast with serious Olympic potential — the legendary high extensions revealed gymnastics
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Sylvie Guillem in the Act III pas de trois from Nureyev’s Swan Lake, with Manuel Legris and Cyril Atanasoff, Paris Opera Ballet 1988. https://t.co/WtgFnsmRmJ 1988 marked a pivotal moment for Sylvie Guillem’s career. Her performances as Odette/Odile in Nureyev’s production of
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Sylvie Guillem in Maurice Béjart’s Boléro, live on Japanese TV on December 31, 2015. The performance ended right at midnight, ushering in January 1, 2016, and marking her career finale. https://t.co/ApjQNBcpOq Guillem also famously danced Boléro in Japan in 2007 as a memorial
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Building on his compelling Siegfried in the 2014 Stanislavsky Swan Lake, here’s a compilation that captures why Polunin’s dancing leaves people speechless. 27 fantastic moments of technique, power, and artistry in full flight: https://t.co/dRpc8FmLLa
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Polunin in Swan Lake 🦢 Choreography by Marius Petipa and Lev Ivanov, music by Pyotr Ilych Tchaikovsky. A 2014 production by Vladimir Burmeister, featuring Sergei Polunin, Natalia Somova, and Kristina Shapran, Stanislavsky Theater Moscow. Full. https://t.co/clN5jzNOxL Sergei
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Here’s the origin — Serge Lifar himself (age ~44) dancing the famous adagio pas de deux from his own Suite en Blanc in 1949, partnering the young prodigy Liane Daydé (soon-to-be étoile). https://t.co/KxqhXUGGQk
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Suite en Blanc, Serge Lifar’s 1943 neoclassical masterpiece set to Édouard Lalo’s music. A 1996 full recording, performed by Paris Opera Ballet, conducted by Alexander Polianichko: https://t.co/qCTAq3WlMd Created during World War II, Suite en Blanc is considered one of Lifar’s
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Die Meistersinger von Nürnberg, Act III Quintet (“Selig, wie die Sonne meines Glückes lacht”). Excerpt from the same 2001 Metropolitan Opera performance conducted by James Levine. Runtime 5:07. https://t.co/7ix0swBCKE Eva (Karita Mattila), Magdalene (Jill Grove), Walther (Ben
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Unapologetically Proud🤍🎼 Die Meistersinger von Nürnberg, Richard Wagner’s most overtly nationalist work. A live performance 2001/12/8, Metropolitan Opera, conducted by James Levine. Full. https://t.co/IbsrIMbJ2p ⚪️Conductor: James Levine ⚪️Director: Otto Schenk ⚪️Set designer:
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The confessions of Winifred Wagner — her 1975 interview with Hans-Jürgen Syberberg. Here’s a short extract from the 5-hour film: https://t.co/W96e1dNP0v “Everybody who knows me will confirm that I am an extremely loyal person. When I become attached to someone, I stick to them
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LA BAYADÈRE, Act III, Kingdom of the Shades excerpt, The Royal Ballet Corps de ballet, with Royal Ballet principals/soloists as leading Shades, 2018. https://t.co/QjApHArUA3 The Royal Ballet’s La Bayadère was choreographed by Natalia Makarova after Marius Petipa, but not a
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LA BAYADÈRE, Act III, Entrance of the Shades excerpt, Corps de ballet, Paris Opera Ballet (performance date unknown). https://t.co/1aXbGWBI95 The POB Shades sequence was a faithful reconstruction of Marius Petipa’s 1877 original by Rudolf Nureyev, and first staged in 1974 as a
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Michael George Somes CBE (1917–1994), English ballet dancer, principal with The Royal Ballet, and Margot Fonteyn’s frequent partner in the 1950s. A previous thread celebrates him as an outstanding danseur noble.
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#ClassicalDanseur Spotlighting Michael Somes (3/3) Margot Fonteyn & Michael Somes in Act III Sleeping Beauty, Royal Ballet 1955. https://t.co/XDtzkbNss5 Somes provided a reliable and elegant Prince Florimund, a perfect partner for Fonteyn, elevating the beauty of the classical
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#ClassicalDanseur Spotlighting Michael Somes (2/3) Margot Fonteyn & Michael Somes in Act II Swan Lake, Royal Ballet 1960. https://t.co/Eo7P6D9mjg Somes’ Prince Siegfried has been viewed by many enthusiasts of classical ballet as handsome, gracious, and a strong presence,
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#ClassicalDanseur Spotlighting Michael Somes, Dame Margot Fonteyn’s rock-steady 1950s Royal Ballet collaborator, far from “just a prop.” Starting with their Nutcracker Grand Pas de Deux, 1958 BBC. https://t.co/PTIY0x5w88 (1/3) The partnership of Margot Fonteyn (1919-1991) and
Fonteyn & Partners in Les Sylphides🩰 Dancing well into the 1970s with a timeless lyricism that inspired generations, Dame Margot Fonteyn (1919-1991) was the exquisite bridge between the golden age of Romantic ballet and the modern era. In Les Sylphides, her perfect classical
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