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"It Must Be Preserved": Adolph Bolm's Revival of Le Coq d'Or

"It Must Be Preserved": Adolph Bolm's Revival of Le Coq d'Or CAROLYN J. WATTS “It Must Be Preserved”: Adolph Bolm’s Revival of Le Coq d’Or Upon the death of the impresario Serge Diaghilev in 1929, the Russian dancerchor - eographer Adolph Bolm (1884–1951) penned a retrospec - tive for an American publication, The Dance Magazine. Drawing from his tenure as premier danseur with the Ballets Russes from 1909 to 1917, he wrote of the late impresario’s character, accomplishments, and influ - ence on the art world at large. The now- familiar tr opes were rehearsed: Diaghilev was an autocratic “genius of the theater,” whose persistence and unfailing taste reinvigorated ballet in the West; Diaghilev mobilized Europe’s leading artistic figures for ballet, revolutionizing music and the scenic arts along the way; Diaghilev shone the spotlight on the male dancer and fostered the careers of the era’s leading Russian chor - eog raphers. Bolm ended his tribute with a simple, but imperative, appeal to his readers: “Diaghileff left a great legacy to the world of art, and it must be preserved.” How does one preserve a legacy? More crucially for Bolm, how does one preserve the legacy of a figure celebrated for his monumental impact on ballet, an artform notorious for its http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

"It Must Be Preserved": Adolph Bolm's Revival of Le Coq d'Or

Watts, Carolyn J.
American Music , Volume 39 (4) – May 4, 2022
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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

CAROLYN J. WATTS “It Must Be Preserved”: Adolph Bolm’s Revival of Le Coq d’Or Upon the death of the impresario Serge Diaghilev in 1929, the Russian dancerchor - eographer Adolph Bolm (1884–1951) penned a retrospec - tive for an American publication, The Dance Magazine. Drawing from his tenure as premier danseur with the Ballets Russes from 1909 to 1917, he wrote of the late impresario’s character, accomplishments, and influ - ence on the art world at large. The now- familiar tr opes were rehearsed: Diaghilev was an autocratic “genius of the theater,” whose persistence and unfailing taste reinvigorated ballet in the West; Diaghilev mobilized Europe’s leading artistic figures for ballet, revolutionizing music and the scenic arts along the way; Diaghilev shone the spotlight on the male dancer and fostered the careers of the era’s leading Russian chor - eog raphers. Bolm ended his tribute with a simple, but imperative, appeal to his readers: “Diaghileff left a great legacy to the world of art, and it must be preserved.” How does one preserve a legacy? More crucially for Bolm, how does one preserve the legacy of a figure celebrated for his monumental impact on ballet, an artform notorious for its

Journal

American Music – University of Illinois Press

Published: May 4, 2022

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