John Cranko's "Onegin" (1965) — something of a nightmare for connoisseurs of choreography — is balletomane heaven.
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One definition of a balletomane is someone who cares more about dancers than about choreography, to or beyond the point of madness.
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Anyone can adore (or hate) ballet; but only a balletomane knows the difference between a sublime grand jeté and one that's merely passable.
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He relented and stayed with Ballet Theater until the next year, when he reformed Dancers, with substantial financial support from Joanne Woodward, the actress and balletomane.
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A cosmopolitan balletomane, he can compare New York City Ballet and American Ballet Theater not only with each other but also with the Paris Opera Ballet and other top troupes.
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The relentlessly busy life, aesthetic proclivities and multimedia achievements of Lincoln Kirstein — this country's most catalytic balletomane — are in high relief right now in New York, thanks to two exhibitions, "Lincoln Kirstein's Modern," at the Museum of Modern Art, and "The Young and Evil" at David Zwirner in Chelsea.
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It's from this insider's perspective that Jacobs is able to offer an all-encompassing guided tour behind the curtain, then circling back to the auditorium where the balletomane, the occasional fan and the newcomer sit side by side as they interpret the performance according to their individual experiences and beliefs.
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She married William Shine in 1942. They appeared together in the 1948 film The Red Shoes as "a balletomane" and "a balletomane's mate". Their marriage was dissolved in 1949. She had a son, Stephen.
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167-168 (Idzikowski and Cecchetti re the book). and later with the balletomane Cyril W. Beaumont, to preserve and codify the Cecchetti method of teaching. Until then it had been largely developed and handed down orally."Cyril Beaumont" at Cechetti website: method's evolution dated back to 1820s and Carlo Blasis.
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A performance of Perrot's La naïade et le pêcheur at Peterhof Palace. July, 1851 Ondine, ou La naïade is a ballet in three acts and six scenes with choreography by Jules Perrot, music by Cesare Pugni, and a libretto inspired by the novel Undine by Friedrich de la Motte Fouqué. Pugni dedicated his score to Augusta, Duchess of Cambridge, a long-time balletomane and patron of the arts in London. Whilst the original London production used the title Ondine, ou La naïade, Perrot staged a revival of the ballet under the title, La naïade et le pêcheur, a title which was used for all subsequent productions of the ballet.
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Count Étienne de Beaumont The Soirées de Paris was a short-lived attempt by Count Étienne de Beaumont (1883–1956) – socialite, balletomane, and patron of the arts – to rival Serge Diaghilev's Ballets Russes as an arbiter of Modernism in French theatre.John Richardson, A Life of Picasso: The Triumphant Years, 1917-1932, Alfred A. Knopf, 2010, pp. 256-262.Ornella Volta, "Satie Seen Through His Letters", Marion Boyars Publishers, New York, 1989, p. 168. He was famed for the extravagant annual costume balls he hosted at his Paris mansion and had enjoyed some success financing theatrical ventures, notably the Darius Milhaud-Jean Cocteau ballet Le boeuf sur le toit (1920).
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Duke Peter was a talented pianist and composer, and in 1842 he composed his first major piano concerto. In 1844 his second piano concerto was performed for the first time at the Mikhailovsky Palace by the great pianist Clara Schumann, and conducted by his longtime friend and colleague Adolf Henselt. As with most Russian nobility, Duke Peter was a longtime balletomane and patron of the arts. In 1857 he was commissioned to compose the score for Marius Petipa's ballet-divertissement La Rose, la Violette et le Papillon, which was given as a performance for the royal court at the Imperial Theatre of Tsarskoe Selo.
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The 49th Scripps National Spelling Bee was held in Washington, D.C. at the Mayflower Hotel on June 9–10, 1976, sponsored by the E.W. Scripps Company. The winner was 13-year-old Tim Kneale of Nedrow, New York, winning on the word "narcolepsy" in the 21st round. Second place went to 13-year-old Rachel Wachtel of Wooster, Ohio, who missed "yarborough". Both missed "emmetropia" and "chorography" in prior rounds before "yarborough" was used. Third place was captured by 13-year-old William Mulhern of Marysville, Kansas, who fell on "balletomane".(10 June 1976). 'Narcolepsy' is the winning word, Ellensburg Daily Record (UPI)Macino, Dick (11 June 1976). Wait Till Next Year, Defeated Speller Says, Pittsburgh PressCohen, Richard (1 July 1976).
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Time magazine described the premiere as "stranger and more wonderful than any of Hollywood's" and the experience of Fantasound "as if the hearer were in the midst of the music. As the music sweeps to a climax, it froths over the proscenium arch, boils into the rear of the theatre, all but prances up and down the aisles." Dance Magazine devoted its lead story to the film, saying that "the most extraordinary thing about Fantasia is, to a dancer or balletomane, not the miraculous musical recording, the range of color, or the fountainous integrity of the Disney collaborators, but quite simply the perfection of its dancing". Variety also hailed Fantasia, calling it "a successful experiment to lift the relationship from the plane of popular, mass entertainment to the higher strata of appeal to lovers of classical music".
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The work was presented for the first time at the Palace of the Grand Duchess Elena Pavlovna, a fanatic balletomane and patron of the arts. L’Étoile de Grenade was followed by La Rose, la violette et le papillon (The Rose, the Violet and the Butterfly) in 1857, Un Mariage sous la Régence (A Marriage Under the Regency) in 1858, Le Marché des parisien (The Parisian Market) in 1859, Le Dahlia Bleu (The Blue Dahlia) in 1860 and Terpsichore in 1861. All of Petipa's works during this period were tailored especially for the talents of his wife Maria, who performed the principal rôles to considerable acclaim, and soon was named Prima ballerina to the St. Petersburg Imperial Theatres. On 29 May 1861 Petipa presented his 1859 ballet Le Marché des parisiens at the Théâtre Impérial de l’Opéra in Paris as Le Marché des Innocents.
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Night and Day (La Nuit et le Jour or The Night and the Day) is a fantastic ballet in 1 act/3 scenes, with choreography by Marius Petipa and music by Ludwig Minkus. This ballet was produced for the festivities held at the Moscow Imperial Bolshoi Theatre in honor of the coronation of Tsar Alexander III and Empress Maria Feodorovna, who were crowned at the Uspensky Cathedral of the Moscow Kremlin three days prior to the ballet's premiere. The Tsar was so impressed by the work (being an avid balletomane) that he ordered the work be performed a second time two days later for a performance attended only by his immediate family. A March from the work was among the Tsar's favorite pieces, and he often requested that his orchestra play it during Imperial Balls and other social events for the St. Petersburg royalty and nobility.
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