317:
the characteristic
Bournonville style that uses few familiar steps. A small circle is performed four times by the couple, with the man holding the woman in a low inclined position and she jumps right while doing fast jambe ronds. There is also a game of flirtation between the couple at the beginning of the coda, a fact that is not found in any other Bournonville choreography. Another element that it is not usual for Bournonville to use it is the fragment where she is held by the dancer arriving at the position of first arabesque, and then turns to the left which rotates in avant arabesque and then she turns again to return to the correct first arabesque, it is not a sequence that usually found in any of the other Bournonville choreographies. In the two solos of the man the soloists perform steps that use the strong rhythms of the music. However, in the man's first solo we observe that he only follows direct lines (performs a diagonal and then moves in parallel) and is very simple in the use of the stage. The man's second solo is perhaps the only part that is totally in Bournonville's best known style. It is not known which dancers performed the first Festival of Flowers in Genzano, but however there are old films in which the rescued pas de deux is shown.
188:
transition to naturalism (one of the stages of
Auguste's style) and is characterized as a masterpiece of Bournonville's international virtuosity, so that it is a clear example of the Danish style, with a very strong and quite good technique, giving greater importance to the feet. This is why he made use of the vividness and variety of the jumps, the softness of the feet, the speed and brilliance of the small battery. The original ballet disappeared shortly after its premiere, but in 1875, Bournonville made a
206:
22:
119:
316:
Regarding the performance of the work, it should be mentioned that the dancer performs a small gargouillade and her round of petit manège, with four grand jetés in the first arabesque at the end of the solo; also, the repeated series of fast relevés at the tip in his second solo. All this is part of
174:
Bournonville was a dancer, choreographer, ballet teacher and director. He was son of the dancer and French ballet master
Antoine Bournonville, who was a disciple of the great Noverre. Auguste was born in Copenhagen in 1805, studied with his father, and completed his training in France—with Vestris,
259:
and the composer of that work, Holger Simon Pauli, adapted
Strebinger's music accordingly. For this reason some current companies sometimes insert the pas de deux of Festival de Flores in Genzano in the pas de deux de six of Napoli. Although it is believed that the music of the pas de deux is from
187:
The ballet premiered on 19 December 1858 in
Copenhagen and was danced in its entirety by Denmark's Royal Ballet until 1929, when it was dropped from the repertoire. It is considered one of Bournonville's most perfect compositions. It has to be seen in the Festival of Flowers in Genzano which is a
196:
he had used in the montage he had already made for the Vienna
Festival of Flowers. This remained in the repertoire until 1929 but in 1949 Harald Lander (director of the Royal Ballet) took it to the stage. That is why the entire ballet is lost but the fragment remains. It is considered one of
178:
Bournonville's contributions to the development of romantic ballet, in the course of his long reign as head of the Royal Danish Ballet, far outweighed French influence. He created an entire balletic school and style, including a repertoire of more than 50 ballets, most noted for their strong
260:
the
Austrian composer Strebinger, when passing from Napoli it was reorchestrated by Paulli, since he, along with Helsted, had been the authors of the original Genzano Flower Festival, and that is why he continues have attributed to him the authorship of the piece.
313:. The music is completely representative of ballet music from the period. The decoration was designed by Messrs, Christensen and Lund.
217:
has become an extremely popular repertory piece with ballet companies and is often utilized in whole or in part by dancers on the ballet competition circuit. The music of this
632:
248:
163:, tells the story of a pair of young lovers, Rosa and Paolo, which alludes to the festival still celebrated each June in Genzano, Italy. The music is by
236:
221:
is often erroneously credited to Holger Simon Pauli and/or Eduard
Helsted in modern theatre programs, films, etc. The true origins of this famous
414:
86:
39:
58:
65:
622:
329:
72:
54:
407:
362:
105:
197:
Bournonville's most perfect compositions. It is often performed in ballet finery to show the
Bournonville style.
627:
43:
301:
400:
79:
155:, on the basis of Danes' general enthusiasm for Italy. The libretto, which is adapted from a tale in
232:
32:
582:
490:
576:
175:
the last virtuoso of the French classical style—before becoming a star of the Paris opera.
152:
8:
425:
168:
148:
144:
599:
284:
264:
358:
476:
380:
468:
296:
280:
227:
160:
132:
189:
164:
616:
310:
292:
498:
454:
193:
179:
characters, naturalistic (vs. exaggerated) movement, and exotic locales.
355:
The King's Ballet Master: A Biography of
Denmark's August Bournonville.
392:
205:
305:. The series of relatively short, tuneful passages continues and the
118:
21:
272:
140:
288:
276:
147:(1805–1879). Bournonville created the work for Denmark's
247:
for the third act to new music by the Austrian composer
239:—who performed the principal role of Gennaro in
46:. Unsourced material may be challenged and removed.
614:
633:Ballets premiered at the Royal Danish Theatre
408:
526:Far from Denmark, or A Costume Ball on Board
235:in Vienna. For this production, the danseur
225:stem from an 1842 staging of Bournonville's
357:New York: Dodd, Mead, & Company, 1979.
415:
401:
143:by Danish choreographer and ballet master
122:Hans Beck and Valborg Borchsenius, c. 1900
251:(1807–1874). Bournonville then added the
106:Learn how and when to remove this message
204:
117:
422:
615:
330:List of ballets by August Bournonville
215:Flower Festival in Genzano pas de deux
396:
44:adding citations to reliable sources
15:
13:
14:
644:
381:"The Flower Festival in Genzano"
309:concludes with a characteristic
20:
271:opens with an episode for solo
31:needs additional citations for
623:Ballets by August Bournonville
347:
257:The Flower Festival in Genzano
128:The Flower Festival in Genzano
1:
335:
182:
151:on December 19, 1858, at the
55:"Flower Festival in Genzano"
7:
323:
10:
649:
519:Flower Festival in Genzano
592:
569:
434:
279:-like section. After the
287:—this is set to a
200:
137:Blomsterfesten i Genzano
192:, in which he kept the
583:Charlotte Bournonville
560:From Siberia to Moscow
491:The Kermesse in Bruges
231:for the ballet of the
210:
136:
123:
628:1858 ballet premieres
549:The King's Volunteers
442:Acclaim to the Graces
208:
157:Impressions de voyage
121:
577:Antoine Bournonville
426:August Bournonville
153:Royal Danish Theatre
40:improve this article
255:to the full-length
249:Matthias Strebinger
209:Bournonville, 1841.
169:Holger Simon Paulli
145:August Bournonville
600:Bournonville House
302:Le Diable à quatre
233:Kärntnertortheater
211:
124:
608:
607:
283:follows the male
243:—created a
116:
115:
108:
90:
640:
477:Le Conservatoire
429:
428:
417:
410:
403:
394:
393:
388:
366:
351:
275:, followed by a
111:
104:
100:
97:
91:
89:
48:
24:
16:
648:
647:
643:
642:
641:
639:
638:
637:
613:
612:
609:
604:
588:
565:
430:
424:
423:
421:
379:
370:
369:
353:Terry, Walter.
352:
348:
338:
326:
320:
299:'s 1845 ballet
297:Joseph Mazilier
203:
185:
161:Alexandre Dumas
139:) is a one-act
112:
101:
95:
92:
49:
47:
37:
25:
12:
11:
5:
646:
636:
635:
630:
625:
606:
605:
603:
602:
596:
594:
590:
589:
587:
586:
580:
573:
571:
567:
566:
564:
563:
557:
551:
546:
540:
538:The White Rose
535:
529:
523:
515:
509:
503:
495:
487:
481:
473:
465:
459:
451:
445:
438:
436:
432:
431:
420:
419:
412:
405:
397:
391:
390:
375:
374:
368:
367:
345:
344:
343:
342:
337:
334:
333:
332:
325:
322:
237:Lorenzo Vienna
213:The so-called
202:
199:
190:divertissement
184:
181:
165:Edvard Helsted
114:
113:
28:
26:
19:
9:
6:
4:
3:
2:
645:
634:
631:
629:
626:
624:
621:
620:
618:
611:
601:
598:
597:
595:
591:
584:
581:
578:
575:
574:
572:
568:
561:
558:
555:
552:
550:
547:
544:
543:Bouquet Royal
541:
539:
536:
533:
530:
527:
524:
521:
520:
516:
513:
510:
507:
504:
501:
500:
496:
493:
492:
488:
485:
482:
479:
478:
474:
471:
470:
466:
463:
460:
457:
456:
452:
449:
446:
443:
440:
439:
437:
433:
427:
418:
413:
411:
406:
404:
399:
398:
395:
389:
386:
382:
377:
376:
372:
371:
364:
363:0-396-07722-6
360:
356:
350:
346:
340:
339:
331:
328:
327:
321:
318:
314:
312:
308:
304:
303:
298:
295:'s score for
294:
290:
286:
282:
278:
274:
270:
266:
261:
258:
254:
250:
246:
242:
238:
234:
230:
229:
224:
220:
216:
207:
198:
195:
191:
180:
176:
172:
170:
166:
162:
158:
154:
150:
146:
142:
138:
134:
130:
129:
120:
110:
107:
99:
88:
85:
81:
78:
74:
71:
67:
64:
60:
57: –
56:
52:
51:Find sources:
45:
41:
35:
34:
29:This article
27:
23:
18:
17:
610:
559:
553:
548:
542:
537:
532:The Valkyrie
531:
525:
518:
517:
511:
505:
497:
489:
483:
475:
467:
462:The Toreador
461:
453:
447:
441:
385:Bournonville
384:
378:
354:
349:
319:
315:
306:
300:
293:Adolphe Adam
268:
262:
256:
252:
244:
240:
226:
222:
218:
214:
212:
186:
177:
173:
156:
149:Royal Ballet
127:
126:
125:
102:
96:October 2023
93:
83:
76:
69:
62:
50:
38:Please help
33:verification
30:
499:A Folk Tale
455:La Sylphide
307:pas de deux
291:taken from
269:pas de deux
253:pas de deux
245:pas de deux
223:pas de deux
219:pas de deux
194:pas de deux
617:Categories
585:(daughter)
506:La Ventana
336:References
183:Background
66:newspapers
341:Citations
285:variation
579:(father)
512:Abdallah
448:Valdemar
324:See also
435:Ballets
373:Sources
267:of the
80:scholar
593:People
570:People
562:(1876)
556:(1875)
554:Arcona
545:(1870)
534:(1861)
528:(1860)
522:(1858)
514:(1855)
508:(1854)
502:(1854)
494:(1851)
486:(1850)
484:Psyche
480:(1849)
472:(1842)
469:Napoli
464:(1840)
458:(1836)
450:(1835)
444:(1829)
361:
273:violin
265:entrée
241:Napoli
228:Napoli
141:ballet
133:Danish
82:
75:
68:
61:
53:
289:waltz
281:adage
277:polka
201:Music
87:JSTOR
73:books
359:ISBN
311:coda
263:The
167:and
59:news
171:.
159:by
42:by
619::
383:.
135::
416:e
409:t
402:v
387:.
365:.
131:(
109:)
103:(
98:)
94:(
84:·
77:·
70:·
63:·
36:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
