Music for the Dance: Reflections on a Collaborative Art

By Katherine Teck | Go to book overview

7
La Bayadère: From Rehearsals to Curtain Calls

A DAY WITH THE PIANIST

As one waits at the security desk of the Metropolitan Opera House, a hall door opens to reveal several people intently studying posted rehearsal schedules. Martha Johnson, ABT's pianist of long standing, finds out what she is supposed to play in a few minutes--having had no advance warning--and leads the way to a large subterranean studio.

The pianist is greeted in a friendly manner on all sides. Natalia Makarova walks in wearing one of her legendary bandanas, and the rehearsal for the "Shades" section of La Bayadère begins. 1

This is the prima ballerina assoluta's own staging, and so she seems to care deeply that the corps do everything right. Her comments to the pianist mostly have to do with tempo and where to begin. "Not so slow," she requests. The musician must have a fine sensitivity to tempo: exactly what is a little faster than "so" slow?

The music is by Ludwig Minkus, a French composer who worked with the choreographer Petipa in the Czar's court. Martha Johnson mentions that she tried to do research on Minkus and could find out relatively little. Unfortunately for the ballet world in the West, most of the more than twenty full-length works he composed are apparently lost.

Conductor Alan Barker offered this view of the composer: "It's popular in musicological circles to denigrate Minkus as being a bit circusy or rumty-tum and so on. I suppose that is understandable when one considers that he was just about contemporaneous with Tchaikovsky, who was working in such a different extreme, writing such wonderful big symphonic scores (which incidentally were often criticized by the choreographers of the day as being 'un

-113-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Music for the Dance: Reflections on a Collaborative Art
Table of contents

Table of contents

  • Recent Titles in Contributions to the Study of Music and Dance ii
  • Title Page iii
  • Contents v
  • Preface vii
  • CREATION 1
  • 1 - Choreographers Talk About Music 27
  • 3 - The Partnership of Movement and Sound 51
  • 4 - Composer-Conductor- Instrumentalists 67
  • PERFORMANCE 83
  • 6 - The Orchestra for American Ballet Theatre 103
  • 7 - La Bayadère: from Rehearsals to Curtain Calls 113
  • 8 - Maestro, Please. . . . 123
  • SILENT ARTISTS SPEAK 147
  • 9 - Dancers' Tales 149
  • 10 - What is Musicality in a Dancer? 167
  • TOWARD THE FUTURE 185
  • 11 - Building Theaters, Patronage, and Artistry 187
  • 12 - Obtaining New Music for Choreography 193
  • 13 - A Festival of Ballets to American Music 199
  • Appendix 209
  • Notes 213
  • Bibliographic Essay 221
  • Index 225
  • About the Author 231
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 234

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.