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 «Пробуждение Флоры», Y'becca et Firth Of Fifth.

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yanis la chouette

Nombre de messages : 9988
Localisation : http://yanis.tignard.free.fr/
Date d'inscription : 09/11/2005

MessageSujet: «Пробуждение Флоры», Y'becca et Firth Of Fifth.   Sam 24 Mar à 10:24

Le Réveil de Flore (en. The Awakening of Flora), (ru. «Пробуждение Флоры», Probuzhdenie Flory) is a ballet anacréontique in one act, with choreography by Marius Petipa and music by Riccardo Drigo, to a libretto written by Petipa and Lev Ivanov.[1] First presented by the Imperial Ballet at Peterhof Palace on 6 August [O.S. 25 July] 1894.

Mathilde Kschessinskaya as the goddess Flora (right) and Vera Trefilova as the god Cupid (left) in the original production of Le Réveil de Flore, 1894.
Choreographer Marius Petipa
Music Riccardo Drigo
Libretto Marius Petipa and Lev Ivanov
Premiere 6 August [O.S. 25 July] 1894 (Peterhof)
14 January [O.S. 2 January] 1895 (Imperial Mariinsky Theatre)
St. Petersburg, Russia
Design Mikhail Bocharov
Genre Ballet anacréontique


Le Réveil de Flore was produced for the celebrations held at Peterhof Palace in honor of the wedding of Emperor Alexander III's daughter the Grand Duchess Xenia to the Grand Duke Alexander Mikhailovich.[2] The ballet was soon transferred to the stage of the Imperial Mariinsky Theatre where it was first performed on 14 January [O.S. 2 January] 1895.[1] This performance took place during a farewell benefit for the ballerina Maria Anderson, who had been forced into early retirement after sustaining burn injuries in a theatre fire.[3]

The choreography for Le Réveil de Flore was erroneously credited as a joint effort between Marius Petipa and the Imperial Ballet's second Maître de ballet Lev Ivanov in the original printed theatre programme.[2] A review in the St. Petersburg Gazette of the first répétition générale also credited the choreography to both Petipa and Ivanov. This caused Marius Petipa to write a letter of correction to the newspaper:
“ In no. 201 of your much respected newspaper, a not fully accurate communication was reported about the production of the ballet Le Réveil de Flore. The programme of the ballet was created by L. I. Ivanov and me together, (but) the production of the dances and the mise-en-scène belong exclusively to me; Mr. L. I. Ivanov had no part in them.[1] ”

Riccardo Drigo's score was issued in orchestral partition and piano reduction by the music publisher Zimmerman in 1914.

The ballerina Anna Pavlova included an abridged version of Le Réveil de Flore in the repertory of her touring company. Conductor Richard Bonynge recorded Pavlova's abridged edition of Drigo's score for his 1974 LP "Homage to Pavlova" with the London Symphony Orchestra.[4]
2007 Reconstruction

Le Réveil de Flore was given its final performance in 1919.[1] Marius Petipa's choreography for the ballet was documented in the Stepanov method of choreographic notation very soon after its premiere in 1894, being among the first ballets to be recorded in this method. Today this notation is part of the Sergeyev Collection, held in Harvard University Library's theatre collection.

In 2005, the choreographer and historian Sergei Vikharev utilized this choreographic notation to stage a reconstruction of Petipa's original 1894 choreography for Le Réveil de Flore for the Mariinsky Ballet. The production also included a complete restoration of the original décor and costumes. Riccardo Drigo's score was restored from the original hand-written manuscript held in the archives of the Mariinsky Theatre's music library by conductor Pavel Bubelnikov with the assistance of the musicologists Lyudmila Sveshnikova and Elena Belyaeva.[5]

The production was first presented at the Mariinsky Theatre during the VIIth International Ballet Festival on 12 April 2007 at the Mariinsky Theatre, St. Petersburg. The principal dancers were Evgenia Obraztsova as the Goddess Flora, Xenia Ostreikovskaya as the Goddess Aurora, Svetland Ivanova as the Goddess Diana, Vladimir Shklyarov as the God Zephyr, Maxim Chaschegorov as the God Apollo, Valeria Martynyuk as the God Cupid, Alexei Timofeyev as the God Mercury and Daria Sukhorukova as the Goddess Hebe.[5]

Sergei Vikharev commented to the St. Petersburg Times that the ballet was "... like an ornate Fabergé egg." [6]

The production of Le Réveil de Flore was awarded the 2007 Golden Mask award.
Roles and original cast
Role St Petersburg 1894
Flora, the Goddess of the Spring Mathilde Kschessinskaya
Diana, the Goddess of the Moon Olga Leonova
Aquilon, the God of the North Wind Alexander Gorsky
Aurora, the Goddess of the Dawn Anna Johansson
Apollo, the God of the Sun Pavel Gerdt
Zephyr, the God of the West Wind Nikolai Legat
Cupid, the God of Love Vera Trefilova
Mercury, the Messenger of the Gods Sergei Legat
Hebe, the Goddess of Youth Claudia Kulichevskaya
Résumé of dances and scenes

List of scenes and dances of Le Réveil de Flore taken from the piano score that was published in 1914.[7]

   №01 Prélude
   №02 L’apparition et danse de Diane–nocturne
   №03 L’apparition d’Aquilon
   №04 Scène et danse de la rosée–scherzo
   №05 L’apparition et scène d’Aurore
   №06 Valse de Flore, d’Aurore et des nymphes
   №07–a L’apparition d’Apollon
   №07–b Entrée et danse de Zéphyr
   №07–c Entrée et danse de Cupidon suivi des amours–pizzicato
   №08 Pas d’action—

       —a. Scène et Pas d'ensemble (cadenza for violin for Leopold Auer)
       —b. Variation de Zéphyr
       —c. Variation de Flore (cadenza for harp for Albert Zabel)
       —d. Grande valse-coda

   №09 L’arrivée et scène de Mercure, de Ganymède et d’Hébé
   №10 Grande marche–bacchanale
   №11 Grand pas
   №12 Galop générale
   №13 Apothéose: La révélation d’Olympe
   interpolation: Pizzicato d'Hébé (added after the 1894 premiere)
   interpolation: Variation d'Aurore (added after the 1894 premiere)


Taken from the original published piano score of 1894.[7]

Tableau 1 — It is night. Flora, the goddess of Spring, is deep asleep with her nymphs; Diana, the goddess of Moon, guards their peace. With the approach of dawn, a freshness is felt in the air. Diana hides in the clouds.

Tableau 2 — Aquilon, the northern wind, rushes stormily over the locale; his cold breath of wind awakens Flora and forces her to seek refuge in the foliage. The appearance of chilling dew brings Flora to despair, and she implores Aurora, the goddess of the dawn, to help them.

Tableau 3 — Aurora consoles Flora with tender caresses and announces that Apollo, the god of day, who will end their sufferings, is following behind her. Aurora, Flora, and her nymphs perform a waltz.

Tableau 4 — With the appearance of resplendent Apollo, everything becomes animated. Smitten with the beauty of Flora, Apollo kisses her. At his call, Zephyr, the god of the gentle west wind, flies to his beloved Flora's embrace. He is followed by Cupid and her little amours. "You must be his helpmate," Apollo tells her, "It is the will of the gods." Everyone is delighted; Cupid, amours, and nymphs rejoice over the lover's happiness. A classical Pas d’action is performed.

Tableau 5 — Mercury, messenger of the gods, announces Hebé, the goddess of youth, and Ganymede, cupbearer to the gods. They present Flora and Zephyr a cup of nectar and proclaim that Jupiter has given them eternal youth.

Tableau 6 — A procession. The chariot of Bacchus and Ariadne is accompanied by bacchantes, satyrs, fauns, sylvans, and others. A Grand pas is performed by all assembled, followed by a rousing finale.

Apotheosis — Olympus is revealed; Jupiter appears, Juno, Neptune, Vulcan, Minerva, Ceres, Mars, Pluto, Proserpina, Venus, and others.

   Victor Baranov as Apollo, Eugenia Obratzova as Flora and Maxim Chaschegorov as Zephyr with the corps de ballet in the Mariinsky Ballet's reconstruction of Le Réveil de Flore. St. Petersburg, 2007
   The apotheosis "La révélation d’Olympe" from the Mariinsky Ballet's reconstruction of Le Réveil de Flore. St. Petersburg, 2007
   Mathilde Kschessinskaya as Flora (left) and Vera Trefilova as Cupid (right) costumed for Le Réveil de Flore, 1894.
   Frontispiece for the published piano reduction of Drigo's score for Le Réveil de Flore, 1914.


Wiley, Roland John (1997). The Life and Ballets of Lev Ivanov. Oxford University Press. ISBN 978-0198165675.
Celebration at Peterhof, Ezhegodnik Imperatorskikh Teatrov. St. Petersburg Imperial Theatres, 426-9. 1894.
Wiley, Roland John (1985). Tchaikovsky's Ballets. Oxford University Press.
Manchester, P. W. Liner note for the LP record "Homage to Pavlova" (CSA 2232). Decca Records. 1974.
Souvenir program for the reconstruction of "The Awakening of Flora". State Academic Mariinsky Theatre. 2007.
"The Awakening of Flora: The Mariinsky Ballet". Retrieved September 11, 2013

   Drigo, Riccardo Eugenio (1914). Piano score of "Le Réveil de Flore". Zimmerman.

External links

   Vaganova School: Awakening of Flora/Пробуждение Флоры Pas de quatre

Genesis - Firth Of Fifth, I Know What I Like (When in Rome 2007)...
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yanis la chouette

Nombre de messages : 9988
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Date d'inscription : 09/11/2005

MessageSujet: Re: «Пробуждение Флоры», Y'becca et Firth Of Fifth.   Sam 24 Mar à 10:41


La Douma d'État (en russe : Государственная Дума) est la Chambre basse du Parlement de Russie. La Douma d'État peut exprimer sa défiance à l'encontre du gouvernement de la Russie. Si l'amendement de défiance est adopté à la majorité des voix de l'ensemble des députés, le président de Russie a le droit de déclarer le gouvernement démissionnaire ou de refuser la décision de la Douma d'État. Pour la Fédération de Russie, on parle plus précisément de Douma d'État (Государственная дума), pour la différencier des Doumas régionales ou de la Douma impériale. Le terme douma vient du verbe russe думать (doumat'), qui signifie penser. Au cas où la Douma, dans les trois mois qui suivent, exprime à nouveau sa défiance au gouvernement, le Président déclare le gouvernement démissionnaire ou dissout la Douma1.

Le Président du gouvernement peut poser la question de confiance devant la Douma d'État. Si la Douma refuse la confiance, le Président dans un délai de sept jours prend la décision de mettre fin aux fonctions du gouvernement ou de dissoudre la Douma et de fixer de nouvelles élections 1,2.
Historiquement, la Douma était le Conseil consultatif des grands princes de la Russie kiévienne et de l'Empire russe.

La première Douma d'État de l'Empire russe fut convoquée le 27 avril 1906 (10 mai 1906 dans le calendrier grégorien) au palais de Tauride à Saint-Pétersbourg par l'empereur Nicolas II. Cette Douma fut instaurée à la suite de la Révolution russe de 1905. Elle constituait la Chambre basse de l'Empire russe, tandis que le Conseil d'État de l'Empire russe devenait la Chambre haute. Cette concession accordée par le pouvoir fait de la Russie une monarchie constitutionnelle, mais non parlementaire, puisque le ministre, nommé par l'empereur, ne dépend pas de l'Assemblée. Le Parti communiste s'effondre. La modification du paysage politique russe ces dernières années s'est traduite par l'apparition des nationalistes de gauche (principalement Rodina).

Anna Christianovna Johansson (Russian: Анна Христиановна Иогансон) (1860–1917), was a Russian ballerina who danced with the St. Petersburg Imperial Ballet.
Life and career

Anna Johansson was the daughter of Christian Johansson, the noted Swedish choreographer, teacher and Balletmaster at the Russian Imperial Ballet. She studied ballet with her father and rose to a position as a noted soloist in the Imperial Ballet at the Maryinsky Theatre.

She created many of the most famous soloist roles in the Petipa/Ivanov repertoire. These roles include the following:[1][2]

The Fairy Canari and the Diamond Fairy in The Sleeping Beauty (1890)
The leading soloist of the Waltz of the Flowers in The Nutcracker (1892)
The Fairy Godmother in Cinderella (1893)
Aurora, the Goddess of the Dawn in The Awakening of Flora (1894)
The Black Pearl in La Perle (1896)
The female variation of the Grand Pas Classique Hongrois in Raymonda (1898)

After retiring from the stage, following her father's footsteps, she became a celebrated teacher of the classe de perfectionnement at the Imperial Ballet School until her death in 1917.[3]

Wiley, Roland John (1997). The Life and Ballets of Lev Ivanov.
Wiley, Roland John (2001). A Century of Russian Ballet.
Clarke, Mary; Crisp, Clement (1992). Ballet: An Illustrated History.


Christian Johansson (May 20, 1817 – December 12, 1903) was a teacher, choreographer and coaching balletmaster for the Russian Imperial Ballet. Born Pehr Christian Johansson in Stockholm, Sweden, he moved to Russia as a dancer and stayed on as one of the most important teachers in Russian history. He is remembered in Russia as exemplifying the artistic beauty of the male dancer. He began teaching in 1860 and by 1869, had become the leading ballet instructor at the Imperial Ballet School. He stayed there until his death in 1903. Johansson studied under Bournonville and partnered the great ballerina Marie Taglioni.

Johansson made his debut on the stage of the Royal Opera House in Stockholm. Naturally endowed to be a fine dancer, he was noticed by the great Danish choreographer August Bournonville. After studying with Bournonville in Copenhagen for two years, Johansson earned the right to be called his pupil and was trained in the French classical style, la belle danse. Beautiful, flexible and graceful in the best tradition of the French school, Johansson attracted the attention of critics. In addition, the great Romantic ballerina, Marie Taglioni, made it a condition of her engagement in Stockholm that Johansson be her partner.

Johansson went on to partner other great ballerinas as well, especially during his time in St. Petersburg. Some of these were Fanny Elssler, Carlotta Grisi, Adèle Grantzow, Yelena Andreyanova, Tatyana Smirnova, Marfa Muravieva, Nadezhda Bogdanova and Fanny Cerrito.

His move to Russia at the beginning of the 1840s helped Johansson's career as a dancer. At that time in Europe, the male danseur enjoyed less importance than that of the ballerina. Only in St. Petersburg could a male dancer achieve great success and there perform his own solos, rather than appearing only as a ballerina's partner. This perhaps explains the appearance of the great artistic talents, Marius Petipa, Jules Perrot, Arthur Saint-Leon and Johansson himself, at the Russian Imperial Ballet.

His stage career spanned four decades and included hundreds of ballets. When it ended in 1883, he continued teaching classes at the Imperial Ballet School on Theatre Street in St. Petersburg, something he had done for ten years already. By the end of the 19th century, there was not one ballerina appearing on the stage of the Maryinsky Theatre who had not been taught by Johansson, either at the Imperial Ballet School or at the Theatre's Classe de Perfection.

Tall and thin, with seemingly perfect posture, the aging Johansson would appear in ballet class with a small violin and thick stick. He used this in order to keep the musical beat underneath his mumbled counts of the music. Sometimes the stick was set aside and, instead of his melancholic voice, his violin would sing and enliven the class with simple melodies from the ballets of his youth. This was a novel approach for the relatively severe atmosphere of the school. A calm, well-mannered man, he set an example of graciousness and was admired by the students.

Among his students: his daughter Anna Johansson, Pavel Gerdt, Platon Karsavin, Tamara Karsavina, Nikolai Legat, Sergei Legat, Olga Preobrajenska, Maria Gorshenkova, Mathilde Kschessinska, Yevguenya Sokolova, Prackovia Lebedeva, Varvara Nikitina, Agrippina Vaganova, Anna Pavlova, Marie Petipa etc.

Johansson's pupils were not the only ones who were influenced by him. The Imperial Ballet Master, Marius Petipa, would often observe his classes, watching and remembering. After those visits, Johansson would say laughingly, "Once again the old man is stealing something from me..." In truth, Petipa usually sent male dancers to Johansson to have their variations choreographed. Dancers would occasionally recognize their teacher's classroom combinations in Petipa's ballets. It has been substantiated that Johansson himself created and choreographed most of the male variations in the Petipa / Tchaikovsky ballet The Sleeping Beauty (1890).

Christian Johansson's daughter, the ballerina Anna Christianovna Johansson (1860-1917), was a celebrated soloist of the St. Petersburg Imperial Ballet and created roles in nearly every important premiere throughout the late nineteenth century. Among the roles she created were: the fairy Canari que chant and the Diamond Fairy in the Pas de Quatre of the Precious Stones from Petipa's The Sleeping Beauty (1890), Aurora, goddess of the dawn in Petipa's The Awakening of Flora (1894), and the lead Ballerina of the Waltz of the Flowers in the premiere of The Nutcracker (1892).

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MessageSujet: Re: «Пробуждение Флоры», Y'becca et Firth Of Fifth.   Sam 24 Mar à 11:26

In Your Eyes (Secret World Live).

Peter Gabriel, Solsbury Hill Live
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MessageSujet: Re: «Пробуждение Флоры», Y'becca et Firth Of Fifth.   

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