The Ballets Of Maurice Ravel: Creation And Interpretation
Tags: Deborah Mawer

Choreographic developments and the Ballets Ida Rubinstein The Parisian premiere and its critical interpretation Revised Rubinstein productions The classical choreographic reading of Ashton Epilogue: the 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 The Ballets Sudois 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: Bolro Genesis and evolution Ravel's aesthetic and compositional approach Musical essence: construction/destruction The premiere and further Rubinstein performances (Spanishness) The Leyritz/Lifar wartime production (machines) Bjart and beyond (gender and sexuality) 8 'Danse gnrale': Ravel's uvre as ballet Motivations and collaborative relations Balletic relations in and across 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