Lana-Giselle
🔞 ALL INFORMATION CLICK HERE 👈🏻👈🏻👈🏻
Lana-Giselle
Home
Latest
Top Rated
Most Viewed
Albums
Categories
Sites
Models
Playlists
Channels
Community
Upload
Most Relevant
Latest
Most Viewed
Top Rated
Longest
Most Commented
Most Favorited
Back
First
1
2
3
4
5
6
7
8
9
10
Last
Next
Most Relevant
Latest
Most Viewed
Top Rated
Most Commented
Most Favorited
Анонимный Сайт Знакомств в Moscow ?
Анонимный Сайт Знакомств в Moscow ?
2005-2022 wxx.wtf
All rights reserved.
just unrealistic huge collection of porn videos, a lot of anal porn, blow job, group sex, sex in the ass, handjob, penis caresses, incest, orgies, transvestites, juicy fucks in the ass, in the mouth, from mouth to anal, interracial porn, porn from studios such as BRAZZERS, forbidden porn from telegram channels, where young sluts tease their holes, fuck with hot milfs who simply perform unreal things with the members of young males and much more.
Sample SEO text for showing on Lana Giselle search page. Here you can use HTML tags . Here you can show random cool words.
From Wikipedia, the free encyclopedia
This article is about the ballet. For other uses, see Giselle (disambiguation) .
Carlotta Grisi in the first act of Giselle (1842)
Heinrich Heine 's De l'Allemagne
Victor Hugo 's "Fantômes" from Les Orientales
Giselle, a peasant girl
Albrecht, Duke of Silesia
Hilarion, a gamekeeper
Berthe, Giselle's mother
Bathilde, a princess
Myrtha, Queen of the Wilis
— Cyril W. Beaumont, from A Ballet Called Giselle , p. 58
^ "Giselle" . Dictionary.com Unabridged (Online). n.d.
^ Greskovic 2005 , p. 304
^ Kirstein, Lincoln. Four Centuries of Ballet: Fifty Masterworks . Dover Publications, Inc. 1984. ISBN 0-486-24631-0
^ Margaret Mullin (2014). Peasant pas de deux rehearsal . Pacific Northwest Ballet . Archived from the original on 17 November 2021.
^ Natalia Osipova (2014). Giselle Act I Variation . Opus Arte. Archived from the original on 17 November 2021.
^ Étoiles Myriam Ould-Braham et Mathieu Ganio (2016). Paris Opera Ballet – Giselle – Albrecht entrechats-six . Paris, France: Opéra national de Paris. Archived from the original on 17 November 2021.
^ Beaumont 1944 , p. 9
^ Jump up to: a b Balanchine 1979 , p. 459
^ Kirstein 1984 , p. 147
^ Beaumont 1944 , p. 16
^ Beaumont 1944 , pp. 13–14
^ Beaumont 1944 , p. 18
^ Jump up to: a b Beaumont 1944 , p. 19
^ Smith 2000 , pp. 170–72
^ Smith 2000 , pp. 172–74
^ Jump up to: a b c Beaumont 1944 , p. 20
^ Smith 2000 , p. 174
^ Beaumont 1944 , pp. 202–03
^ Smith 2000 , pp. 172–73
^ Cordova 2007 , p. 113
^ Guest 2008 , p. 349
^ Balanchine 1979 , p. 192
^ Robert 1949 , p. 169
^ Commire, Anne ; Klezmer, Deborah (2007). Dictionary of Women Worldwide: 25,000 Women Through the Ages . Vol. 1. Thomson-Gale . p. 1176. ISBN 978-0-7876-7585-1 – via Encyclopedia.com .
^ Robert 1949 , p. 160
^ Jump up to: a b c d Guest 2008 , p. 351.
^ Guest 2008 , p. 353.
^ Beaumont 1944 , p. 58.
^ Guest 2008 , pp. 353–354.
^ Guest 2008 , p. 357.
^ Beaumont 1944 , p. 53
^ Smith 2000 , p. 173
^ Beaumont 1944 , pp. 55–56
^ Beaumont 1944 , pp. 55–58
^ Kirstein 1984 , p. 146
^ Jump up to: a b Beaumont 1952 , p. 145
^ Jump up to: a b c Guest 1983 , p. 36
^ Smakov 1967
^ Petipa 1971 , p. 267
^ Jump up to: a b Travaglia 1929 , p. 74
^ Edgecombe 2005
^ Petipa 1971 , p. 266
^ Kirstein 1984 , pp. 150–51
^ Cordova 2007 , p. 116
^ Guest 2008 , p. 148
^ Guest 2008 , p. 149
^ Beaumont 1944 , pp. 85–88
^ Guest 2008 , p. 354
^ Smith 2000 , p. 176
^ Jump up to: a b Smith 2000 , pp. 191–95
^ Beaumont 1944 , pp. 64–67.
^ Jump up to: a b c Beaumont 1944 , pp. 59–60.
^ Ashton 1985 , p. 36.
^ Beaumont 1944 , pp. 60–61.
^ Jump up to: a b Beaumont 1944 , p. 126
^ Beaumont 1944 , pp. 126–27
^ Beaumont 1944 , p. 128
^ Beaumont 1944 , p. 130
^ Jump up to: a b Beaumont 1944 , p. 129
^ Robert 1949 , p. 163
^ Ostwald, Peter F. (1991). Vaslav Nijinsky, A Leap into Madness . London: Robson Books Ltd. p. 46. ISBN 0-86051-711-X .
^ Beaumont 1944 , pp. 126–28
The ballets and *revivals of Marius Petipa in Russia
Les Ruses d'Amour or The Trial of Damis (1900)
The Seasons (1900)
Harlequinade (1900)
The Heart of the Marquis (1902)
The Magic Mirror (1903)
The Romance of the Rosebud and the Butterfly (never presented)
Giselle ( / dʒ ɪ ˈ z ɛ l / ; [1] French: [ʒizɛl] ), originally titled Giselle, ou les Wilis ( French: [ʒizɛl u le vili] , ' Giselle, or The Wilis ' ), is a romantic ballet (" ballet-pantomime ") [2] in two acts with music by Adolphe Adam . Considered a masterwork in the classical ballet performance canon, it was first performed by the Ballet du Théâtre de l'Académie Royale de Musique at the Salle Le Peletier in Paris , France, on 28 June 1841, with Italian ballerina Carlotta Grisi as Giselle. The ballet was an unqualified triumph. Giselle became hugely popular and was staged at once across Europe, Russia, and the United States.
The ghost -filled ballet tells the tragic, romantic story of a beautiful young peasant girl who falls for the flirtations of the deceitful and disguised nobleman Albrecht. When the ruse is revealed, the fragile Giselle dies of heartbreak, and Albrecht must face the otherworldly consequences of his careless seduction.
The second act is largely dominated by the Wilis , the spirits of maidens who died after being betrayed by their lovers, and take revenge in the night by dancing men to death by exhaustion (a popular theme in Romantic-era ballets). Led by Myrtha, the Queen of the Wilis, they summon Giselle from her grave and target her lover for her death, but Giselle's great love frees him from their grasp. They gain their power in numbers as they effortlessly move through dramatic patterns and synchronized movements, and control the stage with their long tulle dresses and stoic expressions, creating an ethereal atmosphere that builds as they gradually close in on Albrecht. By saving Albrecht from the Wilis, Giselle also saves herself from becoming one of them.
Librettists Jules-Henri Vernoy de Saint-Georges and Théophile Gautier took their inspiration for the plot from a prose passage about the Wilis in De l'Allemagne , by Heinrich Heine , and from a poem called "Fantômes" in Les Orientales by Victor Hugo .
Jean Coralli and Jules Perrot created the original choreography . The role of Giselle was intended for Carlotta Grisi as her debut piece for the Paris public, and she was the only ballerina to dance it at the Paris Opera for many years. The traditional choreography that has been passed down to the present day derives primarily from the revivals staged by Marius Petipa during the late 19th and early 20th centuries for the Imperial Ballet in St. Petersburg . One of the world's most-often performed classical ballets, it is also one of its most challenging to dance. [3]
The ballet opens on a sunny autumnal morning in the Rhineland during the Middle Ages . The grape harvest is in progress. Duke Albrecht of Silesia , a young nobleman, has fallen in love with a shy, beautiful peasant girl, Giselle, despite being betrothed to Bathilde, the daughter of the Duke of Courland . Albrecht disguises himself as a humble villager called "Loys" to court the enchanting and innocent Giselle, who knows nothing of his true identity. With the help of his squire , Albrecht hides his fine attire, hunting horn , and sword before coaxing Giselle out of her house to romance her as the harvest festivities begin.
Hilarion, a local gamekeeper , is also in love with Giselle and is highly suspicious of the newcomer who has won Giselle's affections. He tries to convince the naive Giselle that her beau cannot be trusted, but she ignores his warnings. Giselle's mother, Berthe, is very protective of her daughter, as Giselle has a weak heart that leaves her in delicate health. She discourages a relationship between Giselle and Loys, thinking Hilarion would be a better match, and disapproves of Giselle's fondness for dancing, due to the strain on her heart.
A party of noblemen seeking refreshment following the rigors of the hunt arrive in the village with Albrecht's betrothed, Bathilde, among them. Albrecht hurries away, knowing he would be recognized and greeted by Bathilde, exposing him as a nobleman. The villagers welcome the party, offer them drinks, and perform several dances. [4] [5] Bathilde is charmed with Giselle's sweet and demure nature, not knowing of her relationship with Albrecht. Giselle is honored when the beautiful and regal stranger offers her a necklace as a gift before the group of nobles depart.
The villagers continue the harvest festivities, and Albrecht emerges again to dance with Giselle, who is named the Harvest Queen. Hilarion interrupts the festivities. He has discovered Albrecht's finely made sword and presents it as proof that the lovesick peasant boy is really a nobleman who is promised to another woman. Using Albrecht's hunting horn, Hilarion calls back the party of noblemen. Albrecht has no time to hide and has no choice but to greet Bathilde as his betrothed. All are shocked by the revelation, but none more than Giselle, who becomes inconsolable when faced with her lover's deception. Knowing that they can never be together, Giselle flies into a mad fit of grief in which all the tender moments she shared with "Loys" flash before her eyes. She begins to dance wildly and erratically, ultimately causing her weak heart to give out. She collapses before dying in Albrecht's arms. Hilarion and Albrecht turn on each other in rage before Albrecht flees the scene in misery. The curtain closes as Berthe weeps over her daughter's body.
In the original version, taken up again recently by a production of the ROB, Giselle stabs herself with Albrecht's sword, which explains why her body is laid to rest in the forest, in unhallowed ground, where the Wilis have the power to summon her. Most modern versions are sanitized and have edited out the suicide.
Late at night, Hilarion mourns at Giselle's forest grave, but is frightened away by the arrival of the Wilis, the ghostly spirits of maidens betrayed by their lovers. Many Wilis were abandoned on their wedding days, and all died of broken hearts. The Wilis, led by their merciless queen Myrtha, dance and haunt the forest at night to exact their revenge on any man they encounter, regardless of who he may be, forcing their victims to dance until they die of exhaustion.
Myrtha and the Wilis rouse Giselle's spirit from her grave and induct her into their clan before disappearing into the forest. Albrecht arrives to lay flowers on Giselle's grave and he weeps with guilt over her death. Giselle's spirit appears and Albrecht begs her forgiveness. Giselle, her love undiminished unlike her vengeful sisters, gently forgives him. She disappears to join the rest of the Wilis and Albrecht desperately follows her.
Meanwhile, the Wilis have cornered a terrified Hilarion. They use their magic to force him to dance until he is nearly dead, and then drown him in a nearby lake. Then they spy Albrecht, and turn on him, sentencing him to death as well. He pleads to Myrtha for his life, but she coldly refuses. Giselle's pleas are also dismissed and Albrecht is forced to dance until sunrise. [6] However, the power of Giselle's love counters the Wilis' magic and spares his life. The other spirits return to their graves at daybreak, but Giselle has broken through the chains of hatred and vengeance that control the Wilis, and is thus released from their powers and will haunt the forest no longer. After bidding a tender farewell to Albrecht, Giselle returns to her grave to rest in peace.
The French Revolution (1789–1799) brought sweeping changes to theatre in France. Banished were the ballets the aristocracy preferred about the gods and goddesses of Mount Olympus . Instead, ballets about everyday people, real places, real time, the historical past, and the supernatural took prominence. These sorts of ballets were preferred by the burgeoning middle class. [7]
Two ballets caused great excitement in Paris in the 1830s. In November 1831, Meyerbeer 's opera Robert le diable had its first performance. It featured a short ballet called Ballet of the Nuns . In this little ballet, scantily clad nuns rise from their graves to dance wantonly in the moonlight. The public loved this little supernatural ballet. [8]
In March 1832, the ballet La Sylphide debuted in Paris. [8] This ballet is about a beautiful sylph who loves James, a young Scotsman. Tragedy occurs. After dallying in the woods, the sylph dies when her earthly lover uses a bewitched scarf to trap her. [9] This ballet brought Marie Taglioni before the French public. She was the first to dance en pointe for artistic reasons rather than spectacle and was also the first to wear the white, bell-shaped, calf-length ballet skirt now considered an essential feature of the romantic ballet. [10] Poet and critic Théophile Gautier attended the first performance of La Sylphide . His ideas for Giselle would show touches of La Sylphide ten years later. It would be set in a real place and in the past, for example, and would be about everyday people and supernatural women. [11]
In an 1841 news article announcing the first performance of Giselle , Théophile Gautier recorded his part in the creation of the ballet. He had read Heinrich Heine's description of the Wilis in De l'Allemagne and thought these evil spirits would make a "pretty ballet". [12] He planned their story for Act II and settled upon a verse by Victor Hugo called "Fantômes" to provide the inspiration for Act I. This verse is about a beautiful 15-year-old Spanish girl who loves to dance. She becomes too warm at a ball and dies of a chill in the cool morning. [13]
Heine's prose passage in De l'Allemagne tells of supernatural young women called the Wilis. They have died before their wedding day and rise from their graves in the middle of the night to dance. Any young man who crosses their path is forced to dance to his death. [14] In another book, the Wilis are said to be jilted young women who have died and become vampires. This is assumed to be the reason that they hate men. [13]
Gautier thought Heine's Wilis and Hugo's fifteen-year-old Spanish girl would make a good ballet story. [15] His first idea was to present an empty ballroom glittering with crystal and candlelight. The Wilis would cast a spell over the floor. Giselle and other dancers would enter and whirl through the room, unable to resist the spell to keep them dancing. Giselle would try to keep her lover from partnering other girls. The Queen of the Wilis would enter, lay her cold hand on Giselle's heart and the girl would drop dead. [16]
Gautier was not satisfied with this story. It was basically a succession of dances with one moment of drama at its end. [16] He had no experience writing ballet scenarios so he called upon Vernoy de St. Georges, a man who had written many ballet librettos. St. Georges liked Gautier's basic idea of the frail young girl and the Wilis. He wrote the story of Giselle as it is known today in three days, [17] [18] and sent it to Léon Pillet , the director of the Paris Opéra. [16] Pillet needed a good story to introduce Grisi to the Paris public. He found that story in Giselle . Grisi liked it as much as Pillet did, so Giselle was put into production at once. [19]
The balletomanes of Paris became very excited as the opening night of Giselle approached. News reports kept their interest alive. Some reports said that Grisi had had an accident whilst other reports indicated that the conductor was ill with a tumor. Still others said that the stage hands feared for their safety. [20]
Hopes that the ballet would be ready in May were dashed and the opening night was postponed several times. Grisi was absent for a few days and her return was delayed to protect her health. Lighting, trapdoors, and scene changes needed further rehearsals. Cuts were made in Grisi's role to spare the dancer's health. Instead of returning to her tomb at the end of the ballet, it was decided that she would be placed on a bed of flowers and sink slowly into the earth. This touch preserved the romantic mood of the Act II finale. [21]
At last, on Monday, 28 June 1841 the curtain rose on Giselle at the Salle Le Peletier. [22] Grisi danced Giselle with Lucien Petipa as her lover Albrecht, Jean Coralli as the gamekeeper Hilarion, and Adèle Dumilâtre as Myrtha, the Queen of the Wilis. [23] Typical of the theatrical practices of the time, Giselle was preceded by an excerpt from another production—in this case, the third act of Rossini 's opera, Mosè in Egitto . In 1844 Marie Guy-Stéphan made her first appearance in the title role for the first production of Giselle in Spain. She performed in numerous works by Pepita. [24]
In spite of the chief machinist shouting orders to his crew that could be heard by the audience, Giselle was a great success. Grisi was a sensation. Ballet-goers regarded her as another Marie Taglioni , the greatest ballerina of the period. [25]
Giselle was a great artistic and commercial success. Le Constitutionnel praised Act II for its "poetic effects". [26] Moniteur des théâtres wrote that Grisi "runs [and] flies across the stage like a gazelle in love". [27] One critic made a detailed analysis of the music in La France Musicale . He thought the Act I waltz "ravishing" and noted that the scene of Berthe's narrative was filled with "quite new" harmonic modulations . He praised other moments in Act I (especially the mad scene), and was in raptures
Jenny Robertson Topless
Stephanie Charles Naked
Seesaw Nude