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Tarantellen af Napoli

Peter Elfelt, 1903

‘Napoli’ (1842), ballet by August Bournonville (1805-1879), soloist, head of the royal ballet, and choreographer. Performed by Hans Beck (1861-1952), soloist and head of the royal ballet, and Valborg Guldbrandsen (later: Borchsenius), soloist (1872-1949). The scenes were performed in Elfelt’s studio, due to the lighting requirements, which then gave rise to a problem of lack of space.

Zigeunerdans af Troubaduren

Peter Elfelt, 1906

Dance from the opera ‘Il Trovatore’ (1853) by Giuseppe Verdi (1813-1901). Choreography by August Bournonville, 1865. Performed by Valborg Borchsenius (née Guldbrandsen).

Sylfiden

Peter Elfelt, 1903

Solo from ’La sylphide’ (1836), ballet by August Bournonville. Performed by Ellen Price (1878-1968), soloist from 1903. Ellen Price’s dancing in Hans Beck’s ballet ‘The Little Mermaid’ (1909) was the inspiration for Edvard Eriksen’s statue of the same name (1911).

Livjægerne paa Amager

Peter Elfelt, 1906

Ballet by August Bournonville 1871. With Hans Beck, Valborg Borchsenius (née Guldbrandsen) and Ellen Price.

Royal court photographer Peter Elfelt (1866-1931) was Denmark's first filmmaker.

Pas de deux

Peter Elfelt, 1902

A joyful pas de deux, performed by Clara Rasmussen and Margrethe Andersen.

Clara Rasmussen/Wieth/Pontoppidan (1883-1975) was to become one of the most famous actresses of Danish silent cinema; one of her most notable performances is in Dreyer’s 'Leaves from Satan’s Book' (1921), in which she plays Siri in the last of the four sections.

Royal court photographer Peter Elfelt (1866-1931) was Denmark's first filmmaker.

Børnedansen af Elverhøj

Peter Elfelt, 1902

The Children's Dance from 'Elverhøj', performed by Gudrun Christensen and Helga Smith.

Elverhøj (1828; literal translation, Elves’ Hill) by Johan Ludvig Heiberg, with music by Frederik Kuhlau, is considered the Danish national play. It was commissioned by King Frederik VI for the marriage of his youngest daughter Vilhelmine Marie to Frederik Carl Christian (later King Frederik VII).

Wania Tartakoff

Peter Elfelt, 1902

Spirited Ukrainian trepak dance, performed by Russian soloist Wania Tartakoff.

Royal court photographer Peter Elfelt (1866-1931) was Denmark's first filmmaker. He made his first recording in early 1897, the one-minute reel 'Driving With Greenland Dogs', and the following ten years he documented every important national event as well as daily life in Denmark.

Fra Sibirien til Moskva

Peter Elfelt, 1905

'From Siberia to Moscow' (1876) was August Bournonville’s last long ballet. It was inspired by an 1874 trip to Russia, where Bournonville met Marius Petipa and saw several of his ballets. The music was composed by Carl Christian Møller.

Mavedanserinde

Peter Elfelt, 1905

Erotic dance performed by an unknown female dancer.

Royal court photographer Peter Elfelt (1866-1931) was Denmark's first filmmaker. He made his first recording in early 1897, the one-minute reel 'Driving With Greenland Dogs', and the following ten years he documented every important national event as well as daily life in Denmark.

Glomdalsbruden

Carl Th. Dreyer, 1926

Tore takes over the rather run-down family farm. Full of youthful energy, he intends to turn it into a grand estate like Glom Farm on the other side of the river. At Glom Farm lives the beautiful Berit, with whom he falls in love, but her father has promised her to the wealthy Gjermund.

Borgslægtens Historie

Gunnar Sommerfeldt, 1920

In Iceland, the pride and honour of one’s family mean everything. Ørlygur á Borg is the most powerful man in the parish, and his son Ormarr is a man of action with a firm sense of justice, predestined to follow in his father’s footsteps. However, Ormarr has other plans for his life, and when one day he sets out for Copenhagen to study, his tyrannical brother takes advantage of the situation, seizing the farm and the role of ruler in the parish.

Store forventninger

A.W. Sandberg, 1922

A charitable childhood deed holds fateful consequences for poor Pip. An anonymous benefactor paves the way for Pip’s transformation and subsequent social ascent from peasant boy to gentleman. But he soon finds out that life among the upper-classes is no bed of roses, and Pip encounters a number of characters who shape his life for the better, and for the worse.