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In this final lecture, we will focus on one of the best-preserved Diaghilev productions, The Prodigal Son, a strikingly beautiful ballet by Prokofiev/Balanchine/Rouault.
This lecture provides an insider’s brutally honest guide to what it's like to be a self-employed barrister - the highs and lows of the career, the work behind the scenes that makes a difference to outcomes in court, and the art of persuasion in it.
Diaghilev seemed to be the nemesis of traditional ballet, but he was ready to draw on the rigorous classical schooling of his dancers whenever it suited him.
This lecture examines the fascination surrounding works that are left unfinished at their composers’ deaths. It also looks at the urge that certain of us have to complete these uncompleted works, however unwisely and however unbidden.
Advances in medicine challenge allow us to sustain life for longer, but at what cost and at whose choice? Why might the court intervene when a devout Jehovah Witness parent refuses a life-saving blood transfer to their child?
We will trace the musical, visual and choreographical consequences of this new trend through several later Diaghilev ballets: Parade (Satie/Picasso), Chout (Prokofiev/Larionov), Le Pas d’Acier (Prokofiev/Yakulov).
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