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| | Vaslav Nijinsky - Wikipedia, the free encyclopedia |
 | | Diaghilev created Les Ballets Russes in its wake, and with choreographer Michel Fokine, made it one of the most well-known companies of the time. | | | A turning point for Nijinsky was his meeting with Sergei Diaghilev, a member of the St Petersburg elite and wealthy patron of the arts, promoting Russian visual and musical art abroad, particularly in Paris. | | | The subject matter included his work, his sickness, and his relationships with Diaghilev as well as his wife. |
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http://en.wikipedia.org/wiki/Vaslav_Nijinsky
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| | Diaghilev festival 2005 Groningen |
| | Diaghilevs Ballets Russes behoorden tot de belangrijkste drijvende krachten achter het onstuimige internationale artistieke broeinest dat Parijs tussen 1910 en 1930 was. | | | Diaghilev is vooral bekend geworden als oprichter en inspirator van Les Ballets Russes, maar was ook organisator van tentoonstellingen en opera's. | | | In de geest van Diaghilev is een zeer divers programma samengesteld, dat liefhebbers van ballet, opera, muziek en beeldende kunst vijf onvergetelijke dagen zal bezorgen. |
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http://www.edmundvangroningen.nl/nl/dept_64
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| | DanceWorks SideSteps - People: Serge Diaghilev |
| | Diaghilev was extraordinarily effective in stimulating the creative gifts of the people he worked with, and his drawing together of the major talents of his era was a catalyst for much of the art and music of the period. | | | Diaghilev soon joined a circle of writers and painters led by the Russian painters Léon Bakst and Alexandre Benois, then founded and edited the progressive art journal Mir Iskusstva (The World of Art, 1899-1904). | | | Diaghilev presented an extraordinary range of ballet genres, from the romantic Giselle (1910), to the light and surreal Parade (1917), to the lavish Russian Imperial style of The Sleeping Beauty (1921). |
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http://www.danceworksonline.co.uk/sidesteps/people/diaghilev.htm
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| | MSN Encarta - Search Results - Diaghilev |
| | Diaghilev, Sergey Pavlovich (1872-1929), Russian ballet impresario who, with the Ballets Russes (1909-1929), revived ballet as a serious art form. | | | The year 1979 was a notable one in dance for various reasons, not least of which was that it marked the 50th anniversary of the death of Serge Diaghilev, influential director of the Ballets Russes. | | | Ballets Russes, Russian émigré ballet company that toured outside Russia from 1909 to 1929 under the direction of Russian impresario Sergey... |
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http://encarta.msn.com/Diaghilev.html
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| | ON-LINE PICASSO PROJECT ARCHIVES |
| | For Diaghilev, it was good business to have a continuous supply of new ballets from a composer who was increasingly generating a succès de scandale, but he was also an astute enough musician himself to recognise the originality Stravinsky was offering him. | | | From 1906 he began masterminding shows of painting, music, opera and ballet in Paris and by 1911 had built up such an avid public there, he was able to establish his Ballets Russes as a permanent means of distributing Russian art in the West. | | | Right up to his death in 1929, Diaghilev's Ballets Russes operated as a modernist hot-house, providing a workplace for artists and disseminating their ideas to the intellectual and aristocratic elite of the western world. |
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http://www.tamu.edu/mocl/picasso/archives/2000/opparch00-257.html
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| | Diaghilev Arts, Music and Entertainment BBC World Service |
| | Diaghilev picked that up and teamed it with the kind of painters and designers that he had worked with in his exhibitions. | | | Diaghilev used bold set designs combined with golden theatrical costumes, inspired by traditional costumes, and mixed them with action dances and musical compositions which transformed old art forms into musical fantasies. | | | Diaghilev had a strong sense of public relations and was well aware that scandal fuelled the popularity fire. |
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http://www.bbc.co.uk/worldservice/arts/highlights/diaghilev.shtml
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| | Diaghilev Festival Groningen ( English version) |
| | Diaghilev is primarily known as the founder and source of inspiration of Les Ballets Russes, but he also organized exhibitions and operas. | | | In the artistic hotbed that was Paris in the period 1910-1930, Diaghilev's Ballets Russes induced the greatest theatre revolution of the twentieth century. | | | Diaghilev spent his youth in Perm, situated at the foot of the Ural Mountains in the east of European Russia. |
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http://www.edmundvangroningen.nl/nl/dept_67
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| | glbtq >> arts >> Diaghilev, Sergei |
| | Diaghilev's genius and his extraordinary knowledge of all the arts, from painting to music, led him to discover and inspire genius in others and to facilitate the collaboration of his discoveries. | | | The Russian nobleman Sergei (or Serge) Pavlovitch Diaghilev revolutionized music, the visual arts, theater, and dance, and he set the course of the arts for the twentieth century. | | | Moreover, Diaghilev's sexual relationships were integrally related to his artistic achievements. |
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http://www.glbtq.com/arts/diaghilev_s.html
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| | Serge Pavlovich Diaghilev |
| | This was to be the beginning of Diaghilev's organisation of major and originally displayed art exhibitions, such as the large 1905 exhibition of Russian portraits. | | | The basis of the publication led by the World of Art groups commitment to the art of modern movements, all art was seriously discussed and reviewed; painting, the applied arts, theatre, music and literature. | | | Throughout his career as an impresario/promoter Diaghilev’s job title was vague, being arrogant, stubborn and enthusiastic for the arts as a whole, he had his fingers in many pies and it was this imposing personality which enabled so many artistic success. |
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http://www.hatii.arts.gla.ac.uk/MultimediaStudentProjects/00-01/9705226m/mmcourse/project/gonch.project/Diaghilev.htm
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| | Sergei Prokofiev |
| | Prokofiev and Diaghilev met for the first time in London in 1914 and, as it was the shrewd and ultimately sagacious impresario’s practice to encourage young talent, he presented the composer with his first ballet commission. | | | For Diaghilev’s last Paris season of the Ballets Russes, Prokofiev composed the music for Prodigal Son with choreography by the young Balanchine. | | | Diaghilev’s Ballets Russes was in the forefront of artistic innovation, and every new production was expected to be even more astonishing than the one before. |
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http://www.balletmet.org/Notes/Prokofiev.html
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| | Serge de DIAGHILEV et les Ballets russes |
| | Diaghilev a réuni, d'une manière très éclectique, les meilleurs peintres de son temps: Picasso, Derain, puis Braque, Matisse, Utrillo, Chirico, Rouault, mais aussi les naïfs, les constructivistes, l’avant-garde russe, les surréalistes (Ernst, Mirò) de sorte qu'on lui a souvent reproché de laisser la peinture prendre le pas sur la danse. | | | Diaghilev a engagé des danseurs qui sortent de l’École impériale de ballet de Saint-Pétersbourg. | | | Diaghilev choisit des compositeurs qui ont intégré toute la puissance du folklore russe: ce sont les musiciens du Groupe des Cinq, Borodine pour |
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http://www.ac-orleans-tours.fr/musique/Stravinsky_analyse%20de%20l'Oiseau_Gien/Pr%C3%A9sentation/serge%20de%20diaghilev%20et%20les%20ballets%20russes.html
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| | Telegraph Arts He changed ballet, he changed lives |
| | Diaghilev was shocked into a new vision of art, abetted by a young Jewish artist, part of the St Petersburg group, called Lev Rosenberg, known to posterity as Leon Bakst. | | | Serge Diaghilev, founder of the Ballets Russes, is being celebrated at this year's Proms on the 75th anniversary of his death. | | | Diaghilev had hoped to repeat the operation, but the money was insufficient, so, almost by accident, in 1909 he planned a season of ballet. |
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http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2004/07/19/btdiag17.xml
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| | Commentary Magazine - After Diaghilev |
| | ...Diaghilev's enthusiastic if undiscriminating commitment to all that was avant-garde gave his group an impetus that survived his death... | | | ...For twenty years, until his death in 1929, Diaghilev brought avant-garde artists to the world of ballet, bullying and cajoling them into his temperamental little company... | | | ...One of Diaghilev's major innovations was to return control of the ballet to the choreographer... |
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http://www.commentarymagazine.com/Summaries/V74I1P71-1.htm
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| | Sergei Pavlovich Diaghilev |
| | Sergei Diaghilev and many of the members of the World of Art movement and the Russian ballet were gay. | | | Diaghilev collaborated with the most famous artists, composers and dancers of the period. | | | A must for balletomanes, here is a portrait of Serge Diaghilev, the genius behind the Ballets Russes de Monte Carlo--the legendary troupe that set the standard for ballet for generations. |
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http://www.queertheory.com/histories/d/diaghilev_sergei_pavlovich.htm
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| | Dancing Times Magazine - July 2004 |
| | Diaghilev could call on such artists as Roerich, Golovin, Bakst and Benois and, above all, he had the cooperation of composer Igor Stravinsky, who was commissioned to write the music for Firebird, Petrushka, The Rite of Spring and Les Noces. | | | Diaghilev had with him an outstanding choreographer in Mikhail Fokine, whose ballets, over the years, such as Shéhérazade, Les Sylphides, Firebird and Petrushka, are still in the repertoire of companies all over the world, including St Petersburg where he was originally seen as a rebel. | | | Diaghilev died in 1929 in Venice, and so ended the most extraordinary period in the history of ballet. |
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http://www.dancing-times.co.uk/DT200407/dancingtimes200407-3.html
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| | The Classical Music Pages Quarterly |
| | Benois was extremely upset with the Ballets Russes and with Diaghilev for not having received credit for the ballet Scheherezade, which had been credited to Bakst, another contributor to the Ballets Russes. | | | When Diaghilev came to hear these ideas, he was presented instead with "Petrushka's Cry" and "Russian Dance." The pieces impressed him greatly, and he referred to them as "works of genius." (1) Diaghilev eventually persuaded Stravnisky to let him turn it into a ballet, and the work began. | | | The Art of Enchantment: Diaghilev's Ballets Russes, 1909-1929. |
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http://w3.rz-berlin.mpg.de/cmp/stravinsky_shearer.html
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| | Diaghilev's influence on Strawinsky and vice versa ... |
| | The 3 ballets, Ballet Russes, and Diaghilev's influence. | | | However, Diaghilev's taste for big, massive, fat huge, sounds from a excessively large orchestral force led Strawinsky to change his style (in order to suck up to him) and eventually Strawinsky was allowed to compose ballets on his own, not just orchestraing what Diaghilev tells him to do. | | | It is only when he met Diaghilev that he started using folk tunes and developed a style of his own, and started to write what is often referred to as 'mature' works. |
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http://www.users.zetnet.co.uk/lexcie/strawins.htm
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| | Diaghilev Festival 2005 Review from Ballet.co |
| | Diaghilev brought Russian art, dance, music, design and opera to the surprised attention of Western audiences in the early decades of the twentieth century. | | | In addition, the Groningen art museum mounted a large exhibition called ‘Working for Diaghilev’, which included a selection of costumes from the collection of the National Gallery of Australia along with a range of works on paper and canvas from those visual artists who had contributed to the flowering of Diaghilev’s aesthetic ideals. | | | Diaghilev too explored many avenues in his search for new art. |
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http://www.ballet.co.uk/magazines/yr_05/mar05/mp_diaghilev_festival_0105.htm
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| | L'Histoire de Parade |
| | Quand Diaghilev reprit Parade au début de 1920, l’intelligentsia et le monde chic commençaient à accepter le Cubisme et Picasso était déjà une personnalité parisienne qui comptait. | | | Certains de ces ballets avaient été repris par Diaghilev du répertoire du Théâtre Maryinski de Saint-Pétersbourg, et montés sur une musique russe et dans des décors d’artistes russes. | | | Cocteau avait su que Diaghilev menait des discussions avec ses collaborateurs en vue de créer un des ballets de style nouveau. |
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http://www.faisceau.com/pic_the_par_hist.htm
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| | Telegraph Arts Sale of the week: Serge Diaghilev's handkerchief |
| | Lifar was one of the most glamorous and significant dancers in ballet history, outshining even the ballerinas of Diaghilev's Ballets Russes, and the first muse for the choreographic genius George Balanchine, who evolved his radical neoclassical style by creating the seminal ballets Apollo and The Prodigal Son for Lifar. | | | Two major items that failed to sell were Lifar's collection of material relating to Nijinsky (est £15,000-£20,000) and a remarkable series of 13 early letters by Diaghilev, setting out his artistic manifesto before he left Russia to found the Ballets Russes (est £10,000-£15,000). | | | The letters, artists' salary lists, telegrams and photographs were described by Sotheby's as "probably the last major archive of materials relating to the Ballets Russes likely to be offered for sale at auction". |
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http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2002/12/09/baib09.xml
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| | Amazon.co.uk: Books: Diaghilev's Ballets Russes |
| | Diaghilev's Ballets Russes is the most authoritative history of the company ever written and the first to examine it as a totalityits art, enterprise, and audience. | | | Diaghilev brought together some of the leading artists of his time, including composers Stravinsky, Debussy, and Prokofiev; artists Picasso, Braque, and Matisse, and poets Hoffmansthal and Cocteau. | | | Under the direction of impresario extraordinaire Serge Diaghilev (18721929), the Ballets Russes radically transformed the nature of balletits subject matter, movement idiom, choreographic style, stage space, music, scenic design, costume, even the dancer's physical appearance. |
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http://www.amazon.co.uk/exec/obidos/ASIN/0306808781
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| | The Newtown Bee |
| | From 1909 until Diaghilev's death in 1929, the Ballets Russes incited a revolution in the scenic and performing arts whose influence and legend time has not diminished. | | | Intent on restoring ballet to its rightful place among the fine arts, Diaghilev demanded a collaborative synthesis between choreography, music, painting and literature, with the aim of creating each ballet as a total work of art. | | | A Diaghilev designer who became a favorite early collaborator of Balanchine's was the Neo-Romantic painter Pavel Tchelitchew. |
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http://www.newtownbee.com/Features.asp?s=Features-2004-10-07-12-10-01p1.htm
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| | Directors & Impressarios: Sergei Diaghilev |
| | Diaghilev engaged the greatest Russian and Western European dancers (Nijinsky, Karsavina, Lifar), composers (Stravinsky, Poulenc, Satie), choreographers (Fokine, Nijinsky, Lifar), and stage designers ( Benois, Bakst, Goncharova, Roerich, Picasso, Cocteau) of his day and, despite almost continual financial difficulties, produced a dazzling series of collaborative productions until his death. | | | ABOVE: In emigration after 1917, Natalia Goncharova painted this witty cubo- futurist "portrait" of Diaghilev. | | | Even more successful were the ballet performances that Diaghilev began in Paris in 1909. |
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http://max.mmlc.northwestern.edu/~mdenner/Drama/directors/diaghilev.html
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| | RUSNET :: Encyclopedia :: D :: Diaghilev, Serghei (1872-1929) |
| | In 1909 he brought to Paris a season of opera and ballet and, with the assistance of the painters L. Bakst and Alexander Benois and the choreographer Michel Fokine, founded Diaghilev's Ballets Russes, a troupe that was to revolutionise the world of dance and which he directed until his death in 1929. | | | Serghei Diaghilev, Russian ballet impresario and art critic. | | | An imposing personality, he was associated with dancers of the first rank, such as Vaslav Nijinsky, Tamara Karsavina, Anna Pavlova, Alicia Markova, and Anton Dolin; Stravinsky, Debussy, Ravel, Dukas, Falla, Milhaud, and Richard Strauss wrote music that was first performed by his company, and Picasso and Derain often worked with him as scene designers. |
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http://www.rusnet.nl/encyclo/d/diaghilev.shtml
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| | UBC Fine Arts Library. Stravinsky display |
| | Diaghilev was the Russian impresario of the Ballets Russes, considered the most famous ballet company of the early 20th century. | | | Artists such as Picasso, Roerich, Larionov, Matisse, Benois, Noguchi, Gontcharova and Chagall were inspired by Stravinsky's music to design sets and costumes for these ballets. | | | Stravinsky and Balanchine first worked together for Diaghilev's Ballet Russes. |
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http://www.library.ubc.ca/finearts/stravinsky.html
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| | Ballets Russes |
| | Serge Diaghilev (1872-1929) was an impresario, the manager of the Ballets Russes that created a sensation in Western Europe in the early years of the 20th century. | | | Born in Perm and active as a young man in artistic circles, Diaghilev formed the Ballets Russes in 1909 and ran it until his death in 1929. | | | Here's the list of the ballets danced by Diaghilev 's Ballets Russes in their seasons in Paris. |
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http://www.cmi.univ-mrs.fr/~esouche/dance/dance1.html
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| | Agon in Context by Richard Jones on Ballet.co |
| | Diaghilev was the Ballets Russes; his company died with him. | | | Diaghilev negotiated permission to stage the opera, which received its premiere in Paris in May 1914. | | | A meeting with the violinist Samuel Dushkin was the prelude to a fine artistic partnership and a stimulus for Stravinsky to explore the possibilities of an instrument, which had not particularly been at the centre of his attention during the 1920's (and had even been excluded from the orchestral palette for the Symphony of Psalms). |
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http://www.ballet.co.uk/magazines/yr_04/apr04/rj_agon_in_context.htm
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| | Russian culture navigator |
| | Sergei Diaghilev is best-known in the western world as the organizer of the Ballet Russe in France in 1909, which introduced such brilliant names as Mikhail Fokine, Anna Pavlova, Waslaw Nijinsky and Tamara Karsavina. | | | Sergei Diaghilev, an outstanding ballet producer and an energetic impresario, who early this century brought Western Europe in contact with Russian art, seemed to be long forgotten at home, in Russia. | | | The famous Russian ballet producer Sergei Diaghilev, who became famous for his "Russian Seasons" in Paris at the turn of this century once said: "Surikov, Repin and Vasnetsov determined the trend of all Russian painting. |
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http://www.vor.ru/culture/cultarch21_eng.html
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| | Stravinsky, Igor |
| | Diaghilev asked Stravinsky to write for his troupe a ballet on a legend of andquotThe Firebird" because Anatoly Lyadov, the composer from whom Diaghilev first commissioned the score, failed to meet the deadline. | | | Diaghilev was delighted and for the next season Stravinsky wrote andquotPetrushka" (1910-11) another ballet for Diaghilev's troupe. | | | There he continued his collaboration with Diaghilev and choreographer Massine writing for them andquotPulcinella" (1920), ballet in one scene with song for soprano, tenor and bass soloists and small ensemble. |
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http://www.stevenestrella.com/composers/composerfiles/stravinsky1971.html
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| | Diaghilev, Sergei Pavlovich - Columbia Encyclopedia® article about Diaghilev, Sergei Pavlovich |
| | Diaghilev, Sergei Pavlovich (syĭrgā` päv`ləvĭch dyä`gĭlyĭf), 1872–1929, Russian ballet impresario and art critic, grad. | | | Diaghilev's productions were based on the principles of asymmetry and perpetual motion; both music and scene design became an integral part of the dance. | | | Massine attended the Imperial Ballet School, St. Petersburg, and became principal dancer and choreographer for Diaghilev 's Ballet Russe (1914–20) and for the Ballet Russe de Monte Carlo (1932–42). |
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http://columbia.thefreedictionary.com/Diaghilev,%20Sergei%20Pavlovich
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| | DIAGHILEV, Sergei (1872-1929) |
| | He was Sergei Pavlovich Diaghilev, who combined great music, painting, and drama with new types of choreography in the dance company he founded and directed, the Ballets Russes. | | | Stravinsky's masterpieces `The Firebird', performed in 1910, and `Petrushka' (1911) were appreciated, but the music of `The Rite of Spring' (1913) caused such booing from the audience that the dancers could not even hear the orchestra. | | | He began organizing art exhibitions and publications while in his 20s. |
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http://www.diaghilev.perm.ru/eng
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| | LES BALLETS RUSSES |
| | Les ballets russes de Serge DIAGHILEV ont entraîné dans leur sillage tous les arts: musique, peinture arts plastiques, entrant dans une légende qui rayonne encore sur la danse contemporaine. | | | Dès 1909 Diaghilev retint ridée d'un ballet tiré du conte pour enfants l'oiseau de feu. | | | DIAGHILEV suggère à Francis POULENC un ballet d'atmosphère, sorte de réplique moderne des Sylphides, les Biches " série de tableaux librement enchaînés «style Fêtes Galantes »chorégraphie de NIJINSKA, décors de Marie Laurencin, créé à Monte-Carlo le 6 janvier 1924 suivi des Fâcheux" d'après Molière, musique de George AURIC, décors de BRAQUE. |
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http://perso.wanadoo.fr/pat.hernandez/lesballetsrusses.htm
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| | Diaghilev |
| | Born in Kiev, Ukraine, Sergei Lifar was premier danseur in the Ballets Russes of the Russian impresario Sergei Diaghilev before becoming director of the Paris Opéra Ballet in 1929. | | | The programme traces key moments in the history of the Spanish artist's involvement with ballet, from his first two collaborations with Diaghilev's Les Ballets Russes to a much later one with the Paris Opéra, providing a unique insight into the evolution of a little known, but nonetheless essential part of his work. | | | Lifar believed that dance was more important than music and decor in a ballet, and maintained that, since ballet technique has its own innate formal values, its choreography should not derive from music. |
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http://www.diaghilevfestival.com/english/programma_bordeaux.html
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| | Anecdote - Sergei Pavlovich Diaghilev - Diaghilev |
| | Diaghilev, Sergei Pavlovich (1872-1929) Russian ballet impresario, director of Les Ballets Russes (1911-29) [noted for his production of Mussorgsky's Boris Godunov at the Paris Opera (1908) and for his mentorship of such talents as the dancers Nijinsky and Pavlova, the choreographers Fokine and Massine, the composers Ravel and Stravinsky, and the artists Bakst and Picasso] | | | In the 1920s in Paris, Diaghilev, though buoyed by the success of his Ballets Russes, nonetheless had difficulty consistently surprising a sophisticated and demanding public. | | | Jean Cocteau, having undertaken to provide a scenario for a new ballet, asked the great impresario for some direction. |
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http://www.anecdotage.com/index.php?aid=11605
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| | New York City Ballet About NYCB George Balanchine |
| | Diaghilev also had his eye on Balanchine as a choreographer as well, and after watching him stage a new version of the company's Stravinsky ballet, LE CHANT DE ROSSIGNOL, Diaghilev hired him as ballet master to replace Bronislava Nijinska. | | | All four dancers were invited by impresario Sergei Diaghilev to audition for his Ballets Russes in Paris and were accepted into the company. | | | Balanchine served as ballet master with Ballets Russes until the company was dissolved following Diaghilev's death in 1929. |
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http://www.nycballet.com/about/nycbgbbio.html
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| | Search Results for Diaghilev - Encyclopædia Britannica |
| | The artistic consequences of Diaghilev 's Ballets Russes were enormous. | | | Russian-born writer and ballet librettist who collaborated with ballet impresario Serge Diaghilev during the last years of the Ballets Russes, then became a major influence on post-World War II... | | | When Diaghilev died his was no longer the only ballet company touring the world. |
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http://www.britannica.com/search?query=Diaghilev&submit=Find&source=MWTAB
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| | Ekstrom Collection: Diaghilev and Stravinsky Foundation Catalogue of records in the Theatre Museum: Victoria and Albert ... |
| | Diaghilev, already showing signs of the low boredom threshold that was to drive him ever onwards towards the new and the novel, was increasingly to capitalise on sensationalism and novelty to keep the interest of the comparatively small avant-garde society on whom he depended for his audience and his backers. | | | In the mid 1920s Diaghilev developed his policy of seeking for fashionable novelty, and Bronislava Nijinska's ballets, including Le train bleu and Les biches, reflect the preoccupations of his society audience. | | | In 1912 Diaghilev began to develop Nijinsky as choreographer; his ballets Le Sacre du Printemps, L'après midi d'un faune and Jeux created scandalous furores. |
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http://www.theatremuseum.org/research/archivecatalogues/THM-7b.html
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| | ICP - Stravinsky |
| | Diaghilev did not have so much a good musical judgement as an immense flair for recognizing the potentiality of success in a piece of music or work of art in general. | | | No one could have been quicker to understand the publicity value, and he immediately understood the good thing that had happened in that respect. | | | Quite probably he had already thought about the possibility of such a scandal when I first played him the score, months before, in the east corner ground room of the Grand Hotel in Venice. |
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http://www.bsmny.org/icp/02-03/stravinsky/sergediaghilev.html
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| | Inauguration du buste de Serge de Diaghilev au Théâtre du Châtelet ! |
| | Grâce à lui, l’Ecole de Danse russe a essaimé dans le monde entier, puisque les anciens des Ballets Russes de Diaghilev porteront partout son héritage, formant des générations d’artistes. | | | Les Ballets Russes de Serge de Diaghilev, débordant la scène théâtrale, ont révolutionné l’esthétique du XXème siècle. | | | L’installation d’une buste de Serge de Diaghilev au Théâtre du Châtelet est opportune, puisque c’est là que sa troupe des Ballets Russes a connu ses premiers triomphes à partir de 1909, manifestation éclatante des liens culturels qui s’étaient noués entre la Russie et la France depuis deux siècles. |
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http://www.russie.net/imprimer.php3?id_article=493
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| | - NFT Diaghilev, Balanchine & Dolin season |
| | Part Two of the innovative Omnibus looks at the period of the Ballets Russes's history (1914-1929) in which Diaghilev and his company were cut off from their Russian roots by war and revolution. | | | Alan Bates' masterly performance as Diaghilev is at the heart of Herbert Ross's film, which focuses on the events of the 1912-13 season when the charismatic virtuoso Nijinsky (George de la Pena) met his wife-to-be (Leslie Browne). | | | This is followed by Petroushka (BBC 1962), staged for the Royal Ballet by Diaghilev's régisseur Serge Grigoriev, in which Margaret Dale's camera becomes an observer at the Butterweek Fair. |
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http://www.ballet.co.uk/dcforum/news/2371.html
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| | Adolph Bolm's career and his relationships with Anna Pavlova, Ruth Page, Karsavina, Stravinsky, Remisoff, Mordkin, ... |
| | Adolph Bolm and Elena Smirnova danced in Prince Igor at Chatelet Theatre in Paris with Diaghilev Ballets Russes; also presented were Fokine's and Benois' Le Pavillon d'Armide with Nijinsky and Karsavina, and Le Festin. | | | 1916 - Diaghilev traveled to Lausanne, Switzerland to persuade Adolph Bolm to gather together remaining members of Ballet Russes and direct first U.S. tour. | | | 1917 - Bolm injured during performance on US tour of Diaghilev Ballets Russes, decided to leave tour and stay in U.S. 1917 - Adolph Bolm organizes Ballet Intime in New York with twelve dancers, including Roshanara, Ratan Devi and Michio Ito |
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http://www.adolphbolm.com
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| | Tower Records - Trio Diaghilev / Trio Diaghilev |
| | Percussionist Ivan Gambini uses his instrumental expertise to expand the range of tone, and supply the solid rhythmical foundation necessary to convey the musical intentions of the composers. | | | The images are the exact opposite and approached with violence (coherently with the scenic conception of Diaghilev). | | | About This CD The two great ballets Petrushka and Rite of Spring arose from the close artistic relationship between Diaghilev and Igor Stravinskij. |
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http://www.towerrecords.com/product.aspx?pfid=2848484
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| | The Firebird - Ballet Academic Studio |
| | Diaghilev was a great talent scout and a visionary who promoted collaboration between the arts. | | | Impressed by the promising composer, Diaghilev, the incomparable impresario of the Ballets Russes, commissioned some arrangements for his summer 1909 season in Paris. | | | In February 1909, Sergey Pavlovich Diaghilev (1872 - 1929) had the opportunity to hear two short, but brilliant, orchestral works by the young composer Igor Stravinsky (1882 - 1971), at a concert in Saint Petersburg, Russia. |
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http://www.danceit.org/firebird.html
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| | The memorial part of the Diaghilev mansion |
| | They are brought from England, France, Venice, the USA, Monte-Carlo and other countries which had seen the famous Diaghilev troupe. | | | Here you can see the sketches of the future hall made by some artists. | | | If you look at the walls, you can see many posters of the Russian ballet abroad. |
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http://www.diaghilev.perm.ru/eng/page8.htm
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| | Amazon.co.uk: Books: Speaking of Diaghilev |
| | Diaghilev was a prime mover in the strand of modernism in Europe at the beginning of the 20th century, encouraging the extraordinary explosion of energy from artists such as Stravinsky, Debussy, Picasso, Fokine, Cocteau, Satie and Nijinsky. | | | And what is the aim of leadership in the arts today, when there are no more Diaghilevs? | | | The author has been Director of the Edinburgh Festival, and also of Radio 3 and the BBC Proms. |
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http://www.amazon.co.uk/exec/obidos/ASIN/0571195490
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| | Romanticism - Wikipedia, the free encyclopedia |
| | Yet Bartók began by collecting Hungarian folk music, Stravinsky with lush ballets for Diaghilev and Arnold Schoenberg 's later spare style had its roots in rich freely chromatic atonal music evolving from his late Romantic style works, for example the giant polychromatic orchestration of Gurrelieder. | | | In art and literature, 'Romanticism' typically refers to the late 18th century and the 19th Century. | | | The conscious ' Modernisms ' of the 20th century all found roots in reactions to Romanticism, increasingly seen as not harsh and realistic enough, even not brutal enough, for a new technological age. |
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http://en.wikipedia.org/wiki/Romanticism
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Topic: Diaghilev