Discover Serge Lifar (Ukraine), dancer: biography, videos and concerts streaming on demand, plus associated musical works and important dates.
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This set is composed of 2 items, around 1929/30: An Authograph Diaghilev Commemorative Card written and signed by Boris Kochno, Signed by Serge Lifar too. One page, single-sided. In French. On ivory colored paper. In excellent conditions, perfectly readable. Invitation for the exhibition of the Diaghilev's "masque", realized after his death, and shown at Le Quatre Chemins Galery in Paris (from December 5th 1929) Serge Lifar's Business Card with authograph notes to the Countess Pecci-Blunt. A message of invitation for a spectacle hold at Theatre Argentine in Rome. On letterhead paper "Serge Lifar Maitre de Ballet du Théâtre National de l'Opéra. Collect these unique pieces of the Russian Balletts history! The background: At the death of Diaghilev in 1929, the Russian dancers Boris Kochno with Serge Lifar tried to hold the Ballets Russes. Instead Lifar was invited by Jacques Rouché to take over the directorship of the Paris Opéra Ballet, which had fallen into decline. Lifar gave the company a new strength and purpose, initiating the rebirth of ballet in France, and began to create the first of many ballets for that company.These were immediately successful, such as Les Créatures de Prométhée (1929), a personal version of Le Spectre de la rose (1931); and L'Après-midi d'un faune (1935); Icare (1935), with costumes and decor by Picasso; Istar (1941); and Suite en Blanc (1943), which he qualified as Neoclassical ballet. For this reason he was called the new Icare at the Opera Theatre in Paris. Boris Evgenievich Kochno or Kokhno (1904 – 1990) The Russian poet, dancer and librettist, Boris Kochno, upon Diaghilev's death, together with Serge Lifar tried but failed to hold the Ballets Russes. The two inherited part of Diaghilev's archives and collections, which Kochno completed and part of which was acquired by the Bibliothèque nationale de France. In 1933 he co-founded, together with George Balanchine, the short-lived but history-making company Les Ballets 1933, which made its debut that summer at the Théâtre des Champs-Élysées. In 1925, Kochno had a "passionate affair" with American composer and songwriter Cole Porter, with whom he carried on a lengthy correspondences. Serge Lifar (Kiev, 1905, Lausanne – 1986) Serge Lifar was a French ballet dancer and choreographer of Ukrainian origin, best-known as one of the greatest male ballet dancers of the 20th century. Not only a dancer, Lifar was also a choreographer, director, writer, theoretician about dance. As ballet master of the Paris Opera from 1930 to 1944, and from 1947 to 1958, he devoted himself to the restoration of the technical level of the Paris Opera Ballet, returning it to its place as one of the best companies in the world. He made his debut at the Ballets Russes in 1923, where he became the principal dancer in 1925. At the death of Diaghilev in 1929, Lifar was invited by Jacques Rouché to take over the directorship of the Paris Opéra Ballet, which had fallen into decline. Lifar gave the company a new strength and purpose, initiating the rebirth of ballet in France, and began to create the first of many ballets for that company.These were immediately successful, such as Les Créatures de Prométhée (1929), a personal version of Le Spectre de la rose (1931); and L'Après-midi d'un faune (1935); Icare (1935), with costumes and decor by Picasso; Istar (1941); and Suite en Blanc (1943), which he qualified as Neoclassical ballet. For this reason he was called the new Icare at the Opera Theatre in Paris. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no official proof of authenticity, however it is well documented in design history. I take full responsibility for any authenticity issues arising from misattribution less
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Colette de Weck rencontre au bord du bateau "Augustus", qui l'amène en Argentine, le danseur et chorégraphe russe, Serge Lifar, né à Kiev et mort à Lausanne, qu...
Stage photograph of Serge Lifar and Alice Nikitina in La Chatte, performed by Serge Diaghilev's Ballets Russes, June 1927. Photograph taken at the Prince's Theatre, London.
ballet russe de montecarlo tamara geva, lubov tchernicheva, alice nikitina & alexandra danilova with serge lifar as the telegraph ...
Stage photograph of Serge Lifar and Alice Nikitina in La Chatte, performed by Serge Diaghilev's Ballets Russes, June 1927. Photograph taken at the Prince's Theatre, London.
Alexandra Danilova (1903-1997) trained at the Russian Imperial Ballet School and was a member of St. Petersburg’s Imperial Ballet. She left Russia in 1924, with George Balanchine, and both were soon picked up by Sergei Diaghilev’s Ballets Russes, she as a dancer and he as a choreographer. Her last ballet performance was in 1957, after which she debuted in a Broadway musical comedy “Oh Captain” starring Tony Randall. The show was a commercial failure and quickly closed. In financial straits, she came across Balanchine on the streets in 1964 and, when he heard of her plight, he hired her on the spot to teach at the School of American Ballet. She remained there as one of the most valued members of the faculty until her retirement in 1989. Serge Lifar (1905-1986) was considered the successor to Nijinsky in the Ballets Russes and one of the greatest male ballet dancers in the 20th century. He was the pupil of Bronislava Nijinska in Kiev. He left the Soviet Union in 1921 and made his debut at the Ballets Russes in 1923, where he became a principal dancer in 1925. He originated leading roles in three Balanchine ballets for the Ballets Russes and, after Diaghilev’s death in 1929, Lifar took over the directorship of the Paris Opera Ballet. During three decades as director, he led the company through turbulent times during World War II and the German occupation of France. In 1977 the Paris Opera Ballet devoted a full evening to his choreography. Zéphire et Flore [Zephyr and Flora], a ballet in three scenes, premiered in Monaco at the Théâtre de Monte Carlo on April 28, 1925, with music by Vladimir Dukelsky, set and costume designs by Georges Braque and choreography by Léonide Massine. “This ballet is set on Greece’s Mount Olympus, where Boreas, the north wind, is plotting to abduct Flora, the wife of Zephyr, the west wind. Boreas initiates a game of blind man’s bluff to separate the pair and leads Zephyr off, killing him with an arrow. After he takes Flora off to his cave, she swoons from fright. Meanwhile nine mourning muses bring Zephyr’s body to Olympus, where he revives after his funeral procession. The muses then tie Flora tightly to Zephyr’s wrist so that she will not be lost again, and Boreas is punished. “Flore et Zéphire was first produced by Charles-Louis Didelot (1767–1836) in London in 1796, becoming a popular part of the ballet repertoire throughout the nineteenth century. The original ballet became famous for its introduction of technical innovations such as stage machinery and strung wires to support dancers as if in flight, as well as pointe work for the female dancers. As a pre-Romantic ballet, its exploration of Anacreontic classicism found favour again during the neoclassical design revival of the 1920s. Its theme of lightness, characterising Zephyr’s role, also appealed to mid-1920s designers and audiences enthralled with the idea of speed and flight. The principal dancers’ brief costumes allowed for enough skin exposure to emphasise the sensual athleticism of their roles, while the short, sequinned, flapper-style shifts for the muses gave them a fashionable, if unflattering, modernity. Oliver Messel’s bronzed papier-mâché masks de-emphasised the dancers’ personalities, adding to the pared-back classicism of the production.” [Synopsis by National Gallery of Australia]
Extremely rare First Edition full-color print by Henri Matisse after his painting "Abstractions". Comes from a rare book published in 1939. Illustrations for this edition were prepared by very well known artists themselves - Matisse, Picasso, Berard, Dali and etc. And a rare black and white photogravure of Serge Lifar (Sergei Lifar), a French ballet dancer and choreographer of Ukrainian origin, famous as one of the greatest male ballet dancers of the 20th century. Not only a dancer, Lifar was also a choreographer, director, writer, theoretician about dance, collector, and a close friend of Coco Chanel and Pablo Picasso, who painted Serge Lifar. Excellent condition - minor edge wear, never framed. Matisse lithograph: 7.25"W x 10"H overall 7.20"W x 7.20"H image Serge Lifar Photogravure: 7.25"W x 10"H overall 5.75"W x 7.75"H image less
Serge Lifar in the ballet ‘Icare’ By Boris Lipnitzki from HDV
The last remnants of one of the greatest private collections of Ballets Russes material goes on view in Geneva.
The last remnants of one of the greatest private collections of Ballets Russes material goes on view in Geneva.
Serge Lifar as Apollo with Alice Nikitina as Terpsichore in Apollon Musagète, Photographer Unknown (New York Public Library, Jerome Robbins Dance Division: *MGZE [Apollo (Balanchine), no. 29]). Object exhibited during "The Ancient World and the Ballets Russes", March 6 – June 2, 2019.
Rare photos from Elsie de Wolfe's dazzling Circus Balls.
A unique collection of brilliant dancers Diaghilev troupe includes drawings, engravings, paintings by leading artists of the XX century, as well as photographs and autographs of celebrities
