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La Source


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THE TESTAMENT OF LA HOGUETTE AND ITS SOURCES

MONTAIGNE ET MONTESQUIEU: UNE SOURCE POUR LA LETTRE PERSANE XLIV?

FONTENELLE ET LA MOTHE LE VAYER: UNE SOURCE POUR L'HISTOIRE DES ORACLES

La Consolation érudite: huit études sur les sources des lettres de consolation de 1600 à 1650

Review: Les Sources du plain-chant et de la musique médiévale

Chroniqueurs et propagandistes: Introduction critique aux sources de la première croisade, by Jean Flori

Les sources de l’histoire de France en Russie. Guide de la recherche dans les archives d’Etat de la Fédération de Russie à Moscou (XVIe - XXe siècle)

Les Principes D’Unidroit Et La CVIM - Sources D’Inspiration Pour Les Tribunaux Anglais ? (Résumé)

Aux sources du roman colonial (1863–1914): l'Afrique à la fin du XIXe siècle

“A la Table de Magny”: Nineteenth-Century French Men of Letters and the Sources of Modern Historical Thought

A newly discovered source of vocal chamber music by Elisabeth-Claude Jacquet de la Guerre and René Drouard de Bousset

Le ballet de la nuit Louis XIV and dance: an examination of Waddesdon's source for Le ballet de la nuit, 6th Annual Dance Symposium, 21 April 2004, Waddesdon Manor and New College, Oxford

The International Chamber of Commerce: Supplier of Standards and Instruments for International Trade/La Chambre de Commerce Internationale: Source de normes et d’instruments du commerce international

737. Tu. 17 July '81. Thomas Astle. Address (T.A.'s copy): To T. Astle Esqr. Not traced; copy for JB, Isham—Boswell 1791, ii. 410 (Hill iv. 133); Nichols, L.A. 1812, iii. 205, perhaps from an independent source.

Shorter notice. Les appels flamands au Parlement de Paris. Regestes des dosssiers de procès reconstitués les registres du Parlement et les sources conservées dans les dépôts d'archives de Belgique et du Nord de la France. S Dauchy

Hilaire de Poitiers: La Trinité, volumes 1 and 2 (books I–VIII). Critical text by P. Smulders. Introduction and translation by M. Figura, †J. Doignon, †G. M. de Durand, Ch. Morel, and G. Pelland. Pp. 396 and 483. (Sources chrétiennes, 443 and 448.) Paris: Les Éditions du Cerf, 1999 and 2000. isbn 2 204 06232 4 and 06439 4. Paper €32 and €38.

 

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Ballet in three acts with choreography by Saint-Léon, libretto by Saint-Léon and Charles Nuitter, music by Minkus (1st and 4th scene) and Delibes (2nd and 3rd scene), sets by E. Desplechin, J. -B. Lavastre, A. Rubé, and Chapérone, and costumes by P. Loumier and Albert. Premiered 12 Nov. 1866 at the Paris Opera with Salvioni as Naila (replacing the injured Grantzow on whom the role had been conceived), Fiocre, and Mérante. It was created in an attempt to revive the public's flagging interest in ballet and combined spectacular stage effects with virtuoso dancing and a populist score. It tells the story of Naila, Spirit of the Spring, who is protected by the hunter Djemil from a gypsy who is threatening to poison her water. In return she helps Djemil to win his beloved Nouredda. Though the ballet made little lasting impact, it established a creative relationship between Nuitter, Saint-Léon, and Delibes which achieved much greater success in Coppélia. Saint-Léon choreographed a new version of the ballet as Le Lys for St Petersburg in 1869 and re-staged it as Naila for the Vienna Court Opera in 1878. Other productions include A. Koppini (staged after Saint-Léon as Ruchei, St Petersburg, 1902) and Vaganova and Ponomarev (staged after Saint-Léon as Naila, Leningrad, 1925). Staats choreographed a new version as Soir de fête using H. Busser's arrangement of the score (Paris Opera, 1925), and pas de deux versions were choreographed by Cranko (Stuttgart Ballet, 1964) and Balanchine (New York City Ballet, 1968, re-staged with additional ensemble in 1969).

Subjects: Dance.


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