150:, had its premiere on 14 April 1948 at the Metropolitan Opera House in New York. Scenery, costumes, and lighting were designed by Jo Mielziner. The dancers were Igor Youskevitch, Hugh Laing, and Dimitri Romanoff (in "Six Idlers of the Bamboo Valley," set to song I); Alicia Alonso, John Kriza, and Mary Burr (in "The Abandoned Wife," set to song II); Ruth Ann Koesun and Crandall Diehl (in "My Lord Summons Me," set to song III); Diana Adams and Zachary Solov (in "The Lotus Gatherers," set to song IV); Hugh Laing (in "Conversation with Winepot and Bird," set to song V); and Nana Goldner, Hugh Laing, and Dimitri Romanoff (in "Poem for the Guitar," set to song VI). Photographs of the cast by Carl Van Vechten show elaborate costumes of flowing draperies in pseudo-Chinese style and the dancers in supposedly Oriental attitudes.
433:("always, always, always"), sounding, as one critic wrote, "like the never-ending echo of farewells in the night." It is a melancholy reminiscence of life's journey from the morning of youthful exuberance to the sunset of declining days and the gathering twilight. In his choreography, Spoerli associates the six musical episodes with the protagonists conjured up by Mahler's music and the Chinese poems, entitled in their English translations as "The Drinking Song of Earth's Sorrow," "The Solitary One in Autumn," "Youth," "Beauty," "The Drunkard in Spring," and "The Farewell."
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Divided), Galina
Mihaylova (The Girl), and Sarah-Jane Brodbeck (The Beauty). Spoerli did not attempt to illustrate the text of the poems, as MacMillan had done in his 1965 version. Instead, he took his choreographic clues from words, phrases, and moods of the text and created meditative dances for each song. "The result is a hauntingly beautiful succession of scenes, big and small ensembles, but hardly any solos, based on the contemporary classic vocabulary."
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damned it with faint praise. "To this combination of ancient
Chinese classic hedonism already screened through a process of Germanic Weltschmerz, Tudor has deliberately added the academic formation of the traditional ballet. The work had only three performances, the last of which played to a house
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portrayed La Femme. The work did not meet with unqualified success. The choreography was criticized for being overliteral in its interpretation of songs inspired by the ancient
Chinese poems, and the dancers were faulted for technical inadequacies. Only Ganio and Pujol won praise for their moving
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With scenery designed by
Florian Etti and costumes by Claudia Binder, Spoerli's ballet had its first performance on 2 April 2011 at the Opernhaus ZĂĽrich. The original cast of six soloists included Vahe Martirosyan (The Man), Karine Seneca (Eternity), Filipe Portugal (Death), Arman Grigoryan (The
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was made for the Paris Opera Ballet. With sets, costumes, and lighting designed by the choreographer himself, it had its first performance on 24 February 2015 at the Palais
Garnier, the company's home theater. The conductor was Patrick Lange, and the singers were Burkhard Fritz, tenor, and
146:. The six songs based on ancient Chinese poems, expressing the transience of human existence, had long interested him as a choreographic possibility. He explained their appeal: "Like the seasons, human experience is cyclical and has no sudden beginning or end." His ballet, entitled
250:, director of the Stuttgart Ballet, who promptly accepted it. MacMillan summarized the scenario of his work in these words: "A man and a woman; death takes the man; they both return to her, and at the end of the ballet we find that in death there is the promise of renewal." With
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adapted his original costume designs for the Covent Garden production. The choreography is described as "earthbound, non-classical movements that morph seamlessly into modernist curves in a work of breathtaking beauty and power."
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The ballet was an instant success, widely admired by German audiences and critics alike. The Royal Ballet took the piece into its repertory only six months after its
Stuttgart premiere. Presented under its English title,
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in 2011, as he was nearing retirement at the end of his long tenure as director of the Zurich Ballet. It was a fitting choice for him, as the last of the six songs ends with the words
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246:. He was refused because it was thought that such a major musical work was not suitable accompaniment for ballet. In 1965, however, MacMillan offered the idea to his friend
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In 2015, at the age of 72, choreographer John
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respectively. In 2017, on the 25th anniversary of MacMillan's death, five ballet companies across the UK presented a mixed bill titled
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in 1908–1909. It is scored for two voices and orchestra, and has been used for ballets by several well-known choreographers, including
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Carl Van
Vechten, photographs, "Shadow of the Wind" Jerome Robbins Dance Division, New York Public Library for the Performing Arts.
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as Der Ewig (The
Eternal One), it had its first performance on 7 November 1965 at the WĂĽrttembergische Staatstheater in Stuttgart.
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Heinz
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In 1959, Kenneth MacMillan asked the directors of the Royal Opera House in London if he might use Mahler's
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The ballet was not a success, receiving scarcely a positive word in the press. John Martin, writing in the
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330:(a guest principal) as The Messenger of Death. In 2020, the English National Ballet released video of
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in May 1966 at the Royal Opera House in London, it starred guest artist Marcia Haydée as The Woman,
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was a strong, melancholy presence as Le Homme; Karl Paquette was his shadowy double; and
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Joan Brodie, "Ballet Theatre: Premiere of Antony Tudor's 'Shadow of the Wind',"
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Laura Cappelle, "Le Chant de la Terre, Palais Garnier, Paris—Review,"
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the impact of the COVID-19 coronavirus pandemic on the performing arts
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830:"The Song of the Earth: Paris Opera Ballet," Classictic website,
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Gustav Mahler's orchestration of Beethoven's Symphony No. 9
596:"Shadow of the Wind," at American Ballet Theatre, website,
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609:"Shadow of the Wind," Antony Tudor Ballet Trust, website,
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the Ballets of Antony tudor: Studies in Satire and Psyche
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Repertory of the Vienna Court Opera under Gustav Mahler
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les Ă©toiles, les premiers danseurs, et corps de ballet
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In 2007, the ballet was broadcast live on BBC Two, as
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Kaspar Sannermann, "Zurich: Das Lied von der Erde."
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574:(New York: Oxford University Press, 1994).
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338:. This performance was filmed in 2017 at
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158:that had dropped to 24 percent capacity.
598:http://abt.org/education/archive/ballets
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342:, intended for internal archival, with
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1319:Ballets to the music of Gustav Mahler
819:http://www.danceviewtimes.com/2011/04
789:Heinz Spoerli: Weltbũrger des Ballets
767:http://www.danceviewtimes.com/2011/04
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633:Shadowplay: The Life of Antony Tudor
524:, baritone. Under the French title
646:http://www.antonytudor.org/ballets
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721:Parry, Jann (26 October 2017).
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1074:Gustav Mahler Jugendorchester
834:. Retrieved 17 December 2015.
821:. retrieved 17 December 2015.
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661:. Retrieved 17 December 2015.
648:. Retrieved 18 December 2015.
613:. Retrieved 18 December 2015.
600:. Retrieved 18 December 2015.
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847:(London), 26 'February 2015.
832:http://www.classictic.com/en
740:Parry, Jann (25 June 2020).
587:(New York), May 1948, p. 55.
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282:as The Messenger of Death.
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242:in a new commission for
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1324:Ballets by Antony Tudor
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209:Staatstheater Stuttgart
140:American Ballet Theatre
121:American Ballet Theatre
117:Original ballet company
98:14 April 1948
1237:Bernstein–Mahler cycle
962:Symphony of a Thousand
334:online in response to
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975:Das Lied von der Erde
517:Das Lied von der Erde
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370:Das Lied von der Erde
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45:Das Lied von der Erde
42:is a ballet based on
39:The Song of the Earth
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894:List of compositions
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526:Le Chant de la Terre
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421:Swiss choreographer
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1127:Mahler on the Couch
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704:"Song of the Earth"
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284:Nicholas Georgiadis
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64:(born 1940), and
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16:
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1276:
1232:Alma Problem
1196:Deryck Cooke
1163:Fritz Mahler
1125:
1117:
1109:
1055:
1048:
1041:
1034:
1027:
1020:
989:(unfinished)
974:
961:
947:
919:Resurrection
918:
909:
844:
839:
826:
814:
809:
801:
796:
788:
783:
774:
762:
754:
745:
735:
726:
716:
708:The Guardian
707:
697:
688:
679:
666:
653:
640:
632:
627:
618:
605:
592:
584:
579:
571:
566:
553:
529:
525:
516:
514:
453:Native title
435:
430:
426:
420:
413:Florian Etti
366:Native title
348:Joseph Caley
331:
311:
303:
289:
271:
268:
239:
237:
174:Native title
154:
152:
147:
143:
137:
131:Jo Mielziner
88:Antony Tudor
54:Antony Tudor
43:
38:
37:
36:
31:
15:
1216:Paul Stefan
1169:Otto Mahler
1151:Anna Mahler
1145:Alma Mahler
1130:(2010 film)
1122:(2001 film)
1114:(1974 film)
1089:Mahler Spur
1014:Vocal music
344:Tamara Rojo
260:Egon Madsen
248:John Cranko
1313:Categories
1211:Erwin Ratz
1153:(daughter)
545:References
481:2015-02-24
202:1965-11-07
102:1948-04-14
1171:(brother)
813:Koegler,
746:DanceTabs
727:DanceTabs
296:Gary Avis
256:Ray Barra
1298:Category
1281:(ballet)
1179:Scholars
1159:(cousin)
473:Premiere
386:Premiere
194:Premiere
94:Premiere
960:No. 8 (
946:No. 6 (
917:No. 2 (
908:No. 1 (
479: (
318:, with
306:at the
200: (
100: (
1147:(wife)
1138:Family
1111:Mahler
986:No. 10
955:No. 7
948:Tragic
506:Design
410:Design
227:Design
127:Design
981:No. 9
941:No. 5
931:No. 4
926:No. 3
910:Titan
298:and
1315::
744:.
725:.
706:.
687:.
561:?.
310:.
26:,
964:)
950:)
921:)
912:)
877:e
870:t
863:v
748:.
729:.
710:.
483:)
204:)
104:)
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