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From the graceful flutter of Princess Florine at Sleeping Beauty's wedding to the playful jetées in the first act of Giselle, the variation - or short solo work - is one of the key elements of classical ballet. Arguing that true artistry requires in-depth knowledge, author Nina Danilova has worked with students for many years to focus on performing individual variations with the greatest extent of technical proficiency and artistic sensitivity. Eight Female Classical Ballet Variations lays out eight variations in the ballerina's repertoire. Each chapter is divided into five sections: a piano reduction of the score; a contextual note covering the history of the ballet, the plot, and memorable dancers who have performed the role; and instructions for dancing the variation itself, illustrated step by step. Accompanied by a comprehensive companion website, Eight Female Classical Ballet Variations pairs Danilova's method of teaching students with her decades of pedagogical experience.
From the graceful flutter of Princess Florine at Sleeping Beauty's wedding to the playful jetées in the first act of Giselle, the variation - or short solo work - is one of the key elements of classical ballet. Eight Female Classical Ballet Variations lays out eight of the most important variations in the ballerina's repertoire, demonstrating how to perform them with excellent technique and consummate artistry.
Technical descriptions of classical variations taught at the Vilzak-Shollar School of Ballet and collected by former student Laurencia Klaja. The choreographer most represented in the collection is Marius Petipa (see page 16).
Profiles the life and career of the professional ballerina, covering from when she began dance classes at age thirteen in an after-school community center through becoming the only African American soloist dancing with the American Ballet Theatre.
Musicians who work professionally with ballet and dance companies sometimes wonder if they haven’t entered a foreign country—a place where the language and customs seem so utterly familiar and so bafflingly strange at the same. To someone without a dance background, phrases and terms--boy’s variation, pas d’action, apothéose—simply don’t fit their standard musical vocabulary. Even a familiar term like adagio means something quite different in the world of dance. Like any working professional, those conductors, composers, rehearsal pianists, instrumentalists and even music librarians working with professional ballet and dance companies must learn what dance professionals talk about when they talk about music. In Ballet Music: A Handbook Matthew Naughtin provides a practical guide for the professional musician who works with ballet companies, whether as a full-time staff member or as an independent contractor. In this comprehensive work, he addresses the daily routine of the modern ballet company, outlines the respective roles of the conductor, company pianist and music librarian and their necessary collaboration with choreographers and ballet masters, and examines the complete process of putting a dance performance on stage, from selection or existing music to commissioning original scores to staging the final production. Because ballet companies routinely revise the great ballets to fit the needs of their staff and stage, audience and orchestra, ballet repertoire is a tangled web for the uninitiated. At the core of Ballet Music: A Handbook lies an extensive listing of classic ballets in the standard repertoire, with information on their history, versions, revisions, instrumentation, score publishers and other sources for tracking down both the original music and subsequent musical additions and adaptations. Ballet Music: A Handbook is an invaluable resource for conductors, pianists and music librarians as well as any student, scholar or fan of the ballet interested in the complex machinery that works backstage before the curtain goes up.