la vivandiere mallory gaudion juliane mathis pierre lacotte

[@carmenridiche7984]

Very nice !!!! Thanks a lot for uploading this ❤❤❤❤❤❤❤❤

[@martinerousseau6607]

J ai adoré cette vidéo dansée en particulier par Mallory GAUDION. C'est un danseur doté d'une personnalité très attachante et qui exécute toujours un travail tellement propre ! Il a également réussi à revenir à très haut niveau après deux très grosses interventions successives au niveau d'un pied. Mille bravos.

[@TheBunduBallerina]

Absolutely marvellous! Thank you so much for sharing this video. i am so glad I found it.

[@giuliorenzobighin8165]

Ottime le.pose figurali assunte nel balletto d'ensemble collettivo e la comunicazione del plaisir e dell'esprit de joie della danza. Ottimo l'impadronimento dello spazio proscenico da parte del ballerino a balzi falcati amplissimi e sforbiciate volanti trasverse. Ottima l'impressione di facilità esecutiva d'acchito da parte di tutti. OLTREMODO BRAVI E CONVINCENTI. BIGHIN GIULIO RENZO

[@gretahassock8914]

Quality of the paris opera

[@gretahassock8914]

Well danced charming

[@chloealexa189]

Very beautiful except for the Bleating sounds.

[@markbeck8384]

So Vivandiere was where Balanchine got the fanned arabesques idea for Apollo?

[@chrisalloways-ramsey2134]

You've presented an interesting question...Vivandiere was out of the Imperial repertoire when Balanchine was a student and young dancer in the company. The two known reconstructions--Anne Hutchinson Guest's and Pierre Lacotte's--were completed in the 1970s. Are there lithographs of the original pose or another ballet that references the "fan" that Balanchine might have seen and used for inspiration? It's such a beautiful moment in La Vivandiere and Balanchine's Apollo. The Mariinsky's staging ends La Vivandiere with the same pose instead of the saute circle around the lead couple.

[@judithbooth4855]

Is this from the early 2000's? "I seem to recall that Anne Hutchison-Guest once wrote an article about her reconstruction of the Vivandiere pas de six in Dancing Times. In it (if I am not misremembering), she says that Anthony Tudor raised an eyebrow at the pirouette saute a la seconde she had assigned to the male, saying that this was too early a ballet to have featured a step so virtuosic. But, A H-G points out, the person independently responsible for the Kirov reconstruction of Saint-Leon's text (I seem to recall a Russian name, not Lacotte, but I could well be wrong) had come to the identical conclusion with regard to this passage--and so she felt vindicated." (From BALLET ALERT 2003)

[@mallorygaudion5145]

Sorry but its only reconstitution by pierre Lacotte and this video is not in 2000 but1995

[@judithbooth4855]

la citation était de Ballet alerte--je l'inclus parce que je crois que vous faites une pirouette de saute a la seconde que j'ai trouvé particulièrement impressionnante et j'ai pensé que je mentionnerais il--plutôt obliquement--mais j'ai eu tort avant sur une étape de ballet et je vais être pas mal plus si s'il vous plaît pardonnez-moi si c'est le cas.

[@Vraisedjou]

judith booth Pierre Lacotte's reconstitution according to Arthur Saint-Léon's sténochorégraphie was danced for the first time on September 15, 1976 in Paris' Opéra Comique (salle Favart). It was first performed by Florence Clerc or Claude de Vulpian with Patrice Bart. Bart was hurt 10 days later and Jacques Namont took his place. Afterwords on others occasions, these two dancers shared the masculine part.