Posted 08 May 2003 - 12:24 PM
I mean, I know that she was a virtuoso, but cud it be THAT VIRTUOSO? Or maybe the video was altered somehow...
Apart from that, I admired the fact that the focus of her performance was artistry all along the ballets she danced, not only virtuosity. Maybe after one virtuoso display she did very simple steps, so you was that her objective was NOT to show how good she was, in the tecnical sense.
She seemed to have a perfect sense of what a truly prima was, and of the difference between a virtuoso and an artist.
Can anyone still clarify this issue of the 5 pirouettes for me? I find it hard to believe!!!
Posted 08 May 2003 - 01:39 PM
Posted 08 May 2003 - 01:40 PM
Any other insights for us? atm711?
Posted 09 May 2003 - 10:37 AM
Tell me what you think
Posted 09 May 2003 - 12:35 PM
One of my first teachers was in her company in Cuba in the late 50's - just before Castro came in to power - and he had many stories to tell of Alonso's technique AND artistry.
Posted 09 May 2003 - 06:58 PM
Posted 10 May 2003 - 07:30 AM
Posted 10 May 2003 - 06:23 PM
Posted 16 May 2003 - 05:20 AM
Anyway, I also took a course of the Cuban School of Ballet in Buenos Aires in 1991. This course was directed by her daughter Laura (who is a ballet mistress), and Alicia herself gave a master class, and it is one of those memories that remain with you forever. She showed the differences in styles, even within the different romantic ballets (I distinctly remember her showing how the pas de bourree for preparation for a supported pirouette shud be different in Fille than in Giselle, for instance). She also had 4 dancers modelling for the Pas de Quatre final pose, and I remember how she approached each one to correct details (with her poor eyesight and all!!!).
She also encouraged us to do strenghtening exercises for our pectoral? (spelling?) muscles to assist us in supported promenades.
Great Alicia - Most unforgettable!!!
Posted 16 December 2003 - 04:56 PM
Posted 18 December 2003 - 06:51 PM
Posted 10 January 2004 - 06:59 PM
Posted 02 July 2007 - 01:31 PM
Posted 03 August 2007 - 04:10 AM
Alicia Alonso was obviously an amazing dancer but when you think of the dancers who have come through her company and are adored world-wide for their technique and style you begin to realise her genius.
Posted 03 August 2007 - 05:00 AM
A couple of impressions that surprised me, and didn't quite fit with my previous impressions:
1) She obviously took complete artistic control of the way she is presented on video. Even regarding tempi. For example: the extremely slow, almost lugubrious adagio portion of the Giselle pdd (with Azari Plisetsky) -- switching abruptly to the fastest sequence of perfect soubresauts I've ever seen. I mean FAST. Both put the focus on things Alonso did particularly well.
2) Her hilarious, absolutely wacky scene with the mother in Fille Mal Gardee (1968) She was over 50, but she distills the manipulative teenager, just staying on the right side of caricature. You have to see it to believe it. Then there's her 1968 Swanhilda, posing as the doll, deliberately confusing and makiing fun of Dr. Coppelius. Wickedly funny, as Coppellia usually is not (for me at least). Yet it was as technically pure in its way as something very classical.
3) Something perhaps best forgotten -- the older Alonso's bedroom scene from Oedipus Rex, with a bare-chested and very young Esquivel and a weak, derivataive modernist score by the Cuban composer Leo Brouwer. Considering that Jocasta was, indeed, Oedipus's mother, the age difference may actually make sense. But it's an exercise in egoism and faux-modernity that is rather embarrassing.
The 1960 Pas de Quatre with Hayden, Kay, and Slavenska -- already mentioned on another thread -- is on this dvd.
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