Pas de Quatre
Posted 16 July 2003 - 12:07 PM
GRISI, CARLOTTA (Caronne Adele Jopsephine Marie Grisi: born 18 June 1819 in Visinada, Upper Istria,Italy, died 20 May 1899 in Saint-Jean, Geneve-Petit-Saconnex) Italian ballet dancer; Carlotta Grisi was a daughter of Vicenzo Grisi, an employee in the public surveyor's department, and Maria Grisi nee Boschetti.
[hope i didn't mistype anything, excluding that is the missing accents]
Posted 16 July 2003 - 12:13 PM
I was using current dancers in order to be realistic, but if we're going to go into dream casts (aside from the original one, of course!), I think I would cast:
Beriosova as Taglioni
Sizova as Grisi
Maybe Ayupova as Grahn?
Can't think of an ideal Cerrito right now, but I'm sure it'll come to me.
Thank you, rg .
Posted 16 July 2003 - 03:40 PM
I think Carla Fracci is charming as Cerrito in the cast I have on video.
Posted 16 July 2003 - 03:48 PM
Posted 17 July 2003 - 10:30 AM
Posted 19 July 2003 - 10:56 AM
Grahn must have been a jumper with a lyrical side. Maybe this is the quality that Alexandra has spoken of when describing excellent Bournonville dancers?
Cerrito must have been a flirtatious spitfire, executing steps with a lust for movement. Does everyone think she took that extra bow?
Grisi is hard for me to picture except standing in a front B+ holding her scepter of grapes - Act I Giselle. She must have been quite beautiful.
Posted 19 July 2003 - 11:06 AM
Yes--that's the reason she always wore bracelets and a necklace onstage: so her limbs wouldn't appear quite so long.
I've always thought that Taglioni might have had a gliding and floating quality as if she were wearing a crown. By the time of the Pas de Quatre performance she would have been older than the others and maybe had a gracious quality. I've read that her neck, arms and legs were very long.
I don't know about that extra bow, but considering that her variation was right before Taglioni's, it would have been extremely ill-mannered. Imagine Fonteyn instead of Taglioni and Lynn Seymour instead of Cerrito. It could have happened, but I think it's doubtful.
Posted 19 July 2003 - 11:12 AM
Maybe there was a rivalry. What an excellent platform for a spitfire to get back at the queen.
Posted 19 July 2003 - 11:47 AM
Posted 21 July 2003 - 07:20 AM
According to the Illustrated London News of the period, there was no moment which betrayed any jealousy among the four superstars
- interesting! maybe not enough people who stage this ballet are aware of that...
Posted 21 July 2003 - 07:54 AM
i suspect that the campy/competitive accent - sometimes more pronounced, sometimes less - is a result of assuming the 'feelings' of the ballerina/originators of the dance. or perhaps it was encouraged by dolin in his pastiche.
maybe some who know from experience hearing what stagers say regarding dolin's wishes can elaborate.
from my limited seeing of this number performed - as i recall the kirov tended to refrain from all eye-rolling/haughty interactions among the four - the less 'editorializing' of competitive attitudes the better. however much these individuals might have felt competitive it's unlike to my way of seeing that any would have telescoped those feelings to an audience. wearing insecurity on a sleeve hardly seems something an accomplished and confident ballerina might do.
still, it's important to distinguish what details are/were apt to perrot's ballet and what to dolin's.
Posted 21 July 2003 - 11:24 AM
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