Paquita - Grand Pas Classique

The Grand Pas Classique from Petipa's final revival of "Paquita", reconstructed by Alexei Ratmansky and Doug Fullington, with Daria Sukhorukova as Paquita, Matej Urban as Lucien and the variations performed by Nicha Rodboon, Severine Ferrolier, Alisa Scetinina and Zuzanna Zahradnikova.
History
The Grand Pas Classique is the most famous passage from Petipa's revival of "Paquita". It was created by Petipa and Ludwig Minkus in 1881 and was first performed in the world premiere of Petipa's revival on the 9th January 1882 [O.S. 27th December 1881] in Saint Petersburg. Perhaps the most distinguished feature of the Grand Pas is the selection of variations that is always performed. In the first performance, the Grand Pas consisted of seven variations for the likes of Ekaterina Vazem, who danced Paquita, Varvara Nikitina, Anna Johansson and Alexandra Schaposchnikova.
The Grand Pas Classique was first introduced to the west by a troupe of Imperial Ballet dancers led by Nikolai Legat, Alexander Shiryaev and Anna Pavlova on a tour of the Baltic States, Scandinavia, the Austro-Hungarian Empire and Germany in 1908 and 1909. The tour included an abridgement of the full-length "Paquita" ballet and they famously danced in this abridged staging in Berlin in 1909. Pavlova later included the Grand Pas Classique in her company's repertoire and danced it many times around the world. It was one of the pieces that she performed in her last matinee at the Golders Green Hippodrome in London in 1930 before her death. Among those who attended her last Golders Green matinee was the great Sir Frederick Ashton, who had first seen Pavlova perform in Lima, Peru when he was a teenager.
The variations performed in the reconstruction are the following:
1. Variation for Alexandra Schaposchnikova; music possibly by the composer Vasiliy. Schaposchnikova was the wife of the legendary Premier Danseur Noble Pavel Gerdt and the mother of the great Bolshoi pedagogue Elizaveta Gerdt.
2. Variation for Maria Anderson "L'amour"; music by Riccardo Drigo, originally composed for Maria Gorshenkova's performance in Petipa's grand exotic ballet "Le Roi Candaule". It was later interpolated into Petipa's grand ballet "The Vestal" as a variation for Maria Anderson's performance as Cupid and is known as "L'amour".
3. Variation for Varvara Nikitina; music by the composer Barmin, composed for Nikitina's performance in "Paquita" ca. 1885. This variation later became the Variation of Amour in "Don Quixote" after Alexander Gorsky interpolated it into the "Dream scene" of his 1902 revival.
4. Variation for Ekaterina Vazem; music by Minkus. This is the original variation for Paquita in the Grand Pas Classique composed in 1881.
5. Variation of Lucien; music by Leo Delibes from his ballet "Sylvia". When Petipa and Minkus created the Grand Pas Classique, they did not include a variation for Pavel Gerdt, who danced Lucien. Because of this, Ratmansky and Fullington reconstructed this variation from the Sergeyev Collection as a new variation for Lucien because it is very well notated and very much in the style of 1904, the year "Paquita" was notated, though the choreographer of this variation is unknown. It may have been Petipa or one of his danseurs.
6. Variation of Paquita (Variation for Anna Pavlova); music by Riccardo Drigo. This variation was created for Pavlova's performance as Queen Nisia in "Le Roi Candaule" in 1903. It is from the celebrated bathing scene of Act 2, "The Baths of Queen Nisia", in which Nisia dances to her slave's harp. This was one of Pavlova's favourite variations and she danced it many times with her company around the world. Since "Paquita" was notated during rehearsals in which Petipa was coaching Pavlova for the title role, it was only appropriate that her variation should be used as the variation for Paquita in the reconstruction.
Enjoy! :)

[@lottigroll]

It’s so interesting to see all the Flamenco elements that used to be part of the choreography.

[@sophieistiredandwantscooki8806]

Wow! I love the original choreography for the variation at 20:35, more exciting and full of life than the version Mariinsky does. Actually, I would say that about all the variations here, but especially that one. The notated version of this ballet is so much more musical, and just feels more alive if that makes sense. I know this is not a new video but thanks for posting! It’s lovely! ❤️

[@noblesetsentimentales]

Thanks for sharing! The more I watch reconstructions of Petipa works, the more I realise there's still a lot to be said for the classical vocabulary, whereas many modern versions of the classics that we see today are mostly based on tiresome tricks and choreographic clichés for which I have very little patience. Many of the enchaînements in these reconstructions strike me as pure Cecchetti, who had such a strong influence on Ashton's own brand of classicism. ETA: Now I understand why Ratmansky has referred to Ashton as an "heir to the old Russian school, maybe the closest of all" and that "it's really remarkable how the notated steps resemble his choreography and style. In his own words, he ‘has learnt more from the lessons that Sleeping Beauty has to offer than from any other choreographic experience’ of his life."

[@amygrowcott]

I know, I’m the same. At least Balanchine and Ashton avoid all these overused clichés that have ruined not only Petipa’s ballets, but his beloved art form. I think it’s time for someone to establish a new ballet company that would be devoted to Petipa with the repertoire full of the reconstructions and the works of Petipa’s followers.

[@pediatrapaola]

supposed reconstructions of petipa steps that ratmansky probabily recives due a three legs table from petipa in person

[@leslie982]

@@amygrowcott do you have the original recording of this? The resolution here is not that sharp

[@marystucker8922]

This was wonderful, so love the reconstruction and the history. Thank you so much for continuing to educate us out here!

[@juliettepeers5226]

Very pleased to see that what appears as the first variation here is danced by a woman and not assigned to Lucien as it sounds like a masculine variation, as so often happens outside Russia. This variation was intended for a female dancer.

[@natpakpartdeux]

I really hope this is brought back to ABT at some point. I'd love to see them try to tackle it!

[@rozpescador8469]

I compared this from the Vaganova performance. I think this original choreography has more footwork than the modern choreography.

[@TheDrTrish]

Hi Amy - I am doing some investigating on this myself so it was great finding this post. I am interested in finding the music for the variation at 18 mins which I have heard called various numbers but mostly called "vestale" . Do you know of any orchestrated music/albums available for the Grand Pas Classique? Thanks, this is great

[@marcosbarzagli]

❤❤❤

[@monicabragagnoli9922]

Thank

[@amygrowcott]

You’re welcome 🙂

[@pediatrapaola]

bellissimo?a me non piace per niente .ste supposte versioni originali sono tecnicamente inferiori e noiose .tu che ne pensi?

[@rayboucher3690]

19:32 who else recognizes this music from don quixote?

[@mikustannie3953]

17:30 for my own refs

[@FunkyAssSammy1]

I love how the kids got this amazing applause :) Nice people out there

[@rubenmsk]

why they bring small children to this events?????? wwwwwhy

[@maxloveschocolate]

What are those kicks called @29:28?

[@jiperezv]

Series of Balloné à la quatrième devant 45° sur les pointes (or just balloné en avant)

[@InsightsEnPointe]

I’m quite surprised to see that the tempo for this reconstruction is somewhat slower than the tempo that’s become tradition since the late 20th century. Certainly feels different to what the tendency has been with other Petipa ballets. I do feel that while the choreography is quite beautiful, it doesn’t feel particularly Spanish. So in hindsight, I am quite appreciative of other productions trying to add a more Spanish flavor into the ballet. As I said to you before Amy, thank you for sharing your knowledge and these videos. Seeing the reconstructions is definitely interesting, but what’s most lovely is that they get to coexist with new adaptations.

[@amygrowcott]

Really? I don’t get that impression. The tempo here is just as fast, if not faster than the traditional versions. Also, Petipa had a very good knowledge of traditional Spanish dance, which he obtained from the three years he spent in Spain and he really showed this in his Spanish character dances. This is meant to be a classical Grand Pas, not a character piece, so while the choreography does contain some Spanish style, it’s still meant to be classical dance. In fact, notice how it’s very similar in many ways to Balanchine’s choreography. Also, and this is something that traditional versions always leave out, the whole point of the adage is that Paquita and Lucien are supposed to show that they’re in love, not that they’re in an advanced Pas de deux class.

[@InsightsEnPointe]

DarkDancer06 oh I know he did. I guess the way I look at it is that this is meant to be a classical dance in Spain. So it doesn’t have to be a character dance, but have a bit of a Spanish feel to it. I think the tempo on the Adagio is definitely faster than what’s become traditional. It’s the rest of the piece that feels a bit slower. But that could admittedly just be my perception because Paquita is one of those ballets that has suffered, time after time, of truly hideous orchestration arrangements. Of particular hate is that 80’s/90’s one that ABT used.

[@amygrowcott]

Snowweisz yes!! Bad orchestrations are the result of Gergiev’s greedy politics that are jealousy keeping the original orchestrations under guard in Saint Petersburg.

[@InsightsEnPointe]

DarkDancer06 possibly, yes. I think it’s normal for orchestrations to change just because the arts evolve and that’s quite normal. But Paquita has had the worst treatment when it comes to orchestration. Possibly followed by Bayadere. Interested to hear how the music will be played in the upcoming Ratmansky reconstruction.

[@mrlopez-pz7pu]

What companies are adding "Spanish flavor" to the grand pas? The ballet takes place in spain, but that doesn't mean an endless parade of Spanish style. No one ever expects all of swan lake to sound german.

[@nicolehourcade]

Ireally want to see it with the choreography of Pierre Lacotte.He is awaking the 🩰 😤

[@amygrowcott]

nicole reding-hourcade Lacotte’s version is uploaded here on KZbin

[@altaischurale7324]

Lacottes version sucks....as does the POB......

[@alenales1384]

Смотреть на эти "лохматые" ноги не возможно. Деми аттитюд не просто делать аккуратно, его ещё и элегантно надо делать. Элегантно более менее получилось, аккуратно - нет( оркестру - браво!

[@altaischurale7324]

First of all , no one reads Russian on KZbin - it is exclusively in English . By the way , what are "shaggy " egs ? Poor dear , you are a fan of "Vaganova Robotic Dancing "...Russian ballerinas raising their legs up to their ears in Petipa ballets - vulgar , disgusting , to say the least ......Petipa did not like Vaganova dancing.......

[@Marcel_Audubon]

I can smell the mothballs through the screen

[@altaischurale7324]

You probably smelled your armpits....

[@pediatrapaola]

sincearly don't like it vastly prefear tradictional stagings

[@amygrowcott]

Ciao Enrico!! I love the notated version; when I saw it live, it made me wonder why anyone would even think of changing it. I was certainly delighted to see no fouettés anywhere in Petipa’s version!!

[@pediatrapaola]

l cant watch these technically inferior versions ,really

[@mrlopez-pz7pu]

Technically inferior? This is far more difficult than the modern steps, particularly the epaulment.

[@pediatrapaola]

probabily is a my limit but l can't frankly stand ratmansky's revisions with supposed original steps that he probabily recived by petipa &c due a three legs table

[@pediatrapaola]

is your opinion ....let's agree to desagree

[@IvanRibeiroize]

I don't like it vastly prefear tradictional stagingsl and cant watch these technically inferior versions. Totally devoid of style, variations absolutely out of harmony with the orchestra.

[@amygrowcott]

Thank you for your comment, but I must stress to you that this version is far more technically demanding than the traditional versions. The style is a different style from what you're used to, but that doesn't make it bad, and the choreography is very musical, which is the genius of Petipa's choreography.

[@altaischurale7324]

Sure...Ivan.......Watch your Russian "Vaganova Robots" slowing down the music , and raising their legs up to their ears...