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Italian, or French adage, meaning 'slowly, at ease.' Slow movements performed with fluidity and grace. One of the typical exercises of a traditional ballet class, done both at barre and in center, featuring slow, controlled movements. The section of a grand pas (e.g., grand pas de deux), often referred to as grand adage, that features dance ...
The cognates in the table below share meanings in English and Spanish, but have different pronunciation. Some words entered Middle English and Early Modern Spanish indirectly and at different times. For example, a Latinate word might enter English by way of Old French, but enter Spanish directly from Latin. Such differences can introduce ...
The Cachucha was created in Cuba though it is now considered a Spanish dance. Fanny Elssler (1810-1884, Vienna) popularized this dance when she introduced it to the public in the ballet from Rossini's opera La donna del lago in 1830s London, and cemented its fame in Jean Coralli's ballet Le Diable boiteux (1836, Vienna).
The ballet Don Quixote also features many character variations based on traditional Spanish dances. Popular character dance adaptations for ballet also include the national dances of Hungary , Russia, Poland, Italy and Spain: csárdás, mazurka, tarantella, flamenco, etc.
Notable examples include J. P. Rameau's "Les trois mains" (in "Nouvelles suites de pièces de clavecin", ca. 1729–30); Fandango forms #19 in the part 2 of Gluck's ballet Don Juan (1761); in the third-act finale of Mozart's opera The Marriage of Figaro (1786); in the finale of Luigi Boccherini's String Quartet Op. 40 No. 2 (1798) [2 ...
The Three-Cornered Hat (Spanish: El sombrero de tres picos or Le tricorne) is a ballet choreographed by Léonide Massine to music by Manuel de Falla.Commissioned by Sergei Diaghilev, the ballet premiered in 1919.
Ballet folklórico at the Celebration of Mexican political anniversaries in 2010. Baile folklórico, "folkloric dance" in Spanish, also known as ballet folklórico, is a collective term for traditional cultural dances that emphasize local folk culture with ballet characteristics – pointed toes, exaggerated movements, highly choreographed.
In 1986, Spanish director Carlos Saura directed El amor brujo based on the ballet, starring and choreographed by Antonio Gades. It was the third in his trilogy of dance films, following Bodas de sangre (Blood Wedding) and Carmen. The film filled out the story with spoken dialogue, but nevertheless used the entire score of the ballet, along with ...