Diaghilev A Life by Sjeng Scheijen. Museum of Fine Arts
We would like to share with you an important update regarding the talk and screening on Friday September 17th by Sjeng Scheijen co-presented by the BRCP and the Boston MFA. In the September 20th issue of the New Yorker, out on newsstands now, there is an extensive and very positive review by Joan Acoccella, of Scheijen’s book, Diaghilev: A Life. You can read an abstract from the review here.
We hope that this new review, together with Alastair Macaulay’s praise for Diaghilev: A Life (read it here) and the excerpt from Scheijen’s book (read it here) will intrigue you to attend Friday’s event, or at least to read the book itself.
Scheijen’s book is available at many bookstores, or online at Amazon or at Barnes & Noble. Just to remind you, on Friday Scheijen will be discussing some new discoveries about Diaghilev that didn’t make it into the book, and will present and comment on excerpts from John Drummond’s classic 1968 BBC documentary, Diaghilev, which features remarkable interviews with Ballet Russes’ dancers and other company members. The event takes place on Friday, September 17, at 7:00 p.m. in the MFA’s Remis auditorium. For more information and tickets, please visit:
The Ballets Russes Cultural Partnership
‘Sjeng Scheijen’s Diaghilev: A Life is the first biography to do justice to one of the twentieth century’s most remarkable personalities. Russian by birth, cosmopolitan by temperament, and founder of the Ballets Russes, Diaghilev left a deep mark on all the arts of his era. He commissioned Stravinsky’s first ballet scores, as well as music from Debussy, Ravel and Prokofiev. Picasso and Matisse designed sets and costumes for him. He elicited masterworks from Fokine, Nijinsky, Massine, Nijinska and Balanchine that changed the face of ballet. He was a gay man who did not hide his sexuality and made men equal partners of women. By turns passionate and indefatigable, he was an impresario of genius, a man of the fin de siècle who welcomed the revolution of cubism, a barin who sympathised with the Revolution, even as he helped young Russian émigrés forge an artistic identity in the West. Drawing on a myriad of new Russian sources, many locked away for decades, Scheijen presents Diaghilev as a man devoted to beauty in all its manifestations and a cosmopolitan who carried Russia in his heart until his death in Venice in 1929.’ Lynn Garafola, dance critic, historian and curator.