Bibliographic record and links to related information available from the Library of Congress catalog.
Note: Contents data are machine generated based on pre-publication provided by the publisher. Contents may have variations from the printed book or be incomplete or contain other coding.
Contents List of figures Acknowledgements Note on the text Introduction 1 Cultural and critical backdrop Historical context and collaborative ballet network Ravel's writings on stage works: ballet and opera Creative-interpretative (poietic-esthesic) interactions Relations between balletic elements 2 Childhood fantasy and exoticism: Ma Mère l'Oye and L'Enfant Fairytale sources and musical evolution Ravel's derived scenario Musical literalism in portraying scenario: 'Danse du rouet' Balletic collaboration (Drésa and Hugard) Premiere and its critical reception Selected later productions (Leyritz and Bolender) Postlude: L'Enfant et les sortilèges (Colette, Balanchine and Kyli n) 3 Greekness and myth in Daphnis et Chloé Dramatis personae and collaborative intrigue Fokine-Ravel scenario Fokine-Ravel collaboration and aesthetic connection The challenge of endings for Ravel and Fokine 'The past is a foreign country': Ancient Greekness in Daphnis et Chloé Antitheses of emotion and character Selected interwar productions Selected post-war productions Contemporary Greekness: Ashton, Fonteyn and more myth 4 Essays on the waltz I: Adélaïde ou le langage des fleurs (Valses nobles) Genesis, orchestration and further evolution Extramusical themes of Valses nobles?Adélaïde Ravel's scenario for Adélaïde Ravel's scenario annotations on the score of Valses nobles Balletic collaboration (Drésa and Trouhanova) Premiere, contemporary criticism and interpretation Later productions and interpretations 5 Essays on the waltz II: La Valse and Epilogue Pre-war genesis of La Valse Orchestration, balletic status and the Diaghilev fiasco Ravel's musical and orchestral style Ravel's scenario for La Valse Choreographic developments and the Ballets Ida Rubinstein Parisian premiere and its critical interpretation Revised Rubinstein productions Classical choreographic reading of Ashton Epilogue: Romantic reading of Balanchine, via Massine 6 Neoclassical divertissements: Le Tombeau de Couperin and 'Fanfare' from L'Eventail de Jeanne Music and evolution of Le Tombeau Balletic design and dance Ballets Suédois premiere and its critical reception Balanchine's geometric reading Postscript: L'Eventail de Jeanne (Jeanne's Fan) and Ravel's 'Fanfare' 7 Spain, machines and sexuality: Boléro Genesis and evolution Ravel's aesthetic and compositional approach Musical essence: construction/destruction Premiere and further Rubinstein performances (Spanishness) Leyritz/Lifar wartime production (machines) Béjart and beyond (gender and sexuality) 8 Conclusion: 'Danse générale'?Ravel's oeuvre as ballet Motivations and collaborative relations Balletic relations within productions of works Additional Ravel ballet repertory Ravel ballet productions: highlights of time and place The challenge of endings: no perfect cadence Appendix Overviewing the feast: selected productions of Ravel's ballets Select bibliography Index
Library of Congress Subject Headings for this publication:
Ravel, Maurice, 1875-1937. Ballets.
Ballets -- History and criticism.