24 replies to this topic

[djb]

Sandik, I don't care about the "olympian" aspect of dancing either, but to me, Fonteyn never looked strong. I'm not talking about high extensions, high jumps or multiple turns; I'm talking about something as simple as looking secure en pointe. When I saw Fonteyn live, I didn't notice her less impressive technique as much because her intangible assets were so much in evidence. But when I watch her in videos, it becomes clear to me that she was not a strong technician. According to her autobiography and the documentary about her, she did not consider herself a strong technician. However, when she made her first entrance as Aurora, no one that I've ever seen looked so right.

[Fraildove]

Did anyone see Kirkland in her post-recovery SB with Dowell? I never saw her perform live, but from the videos I have seen suggests a vulnerability that I feel she might have devoloped. Would have loved to have seen these performances.

[Cygnet]

Aurora to me represents light and hope in a world of dispair and darkness. Her first variation in Act 1 should show how enthusiastic and full of life she is. How she want's to embrace the whole world. The vision scenes in Act 2 should represent her as a sort of idealized version of true love and beauty. In Act 3 she should show how that idealized version of true love can grow into a mature and enduring love that will last through the ages.

I've always liked Irina Kolpakova as Aurora. She seems like such a warm and pure princess. Certainly deserving of all of the gifts the Fairies bestow upon her in the Prologue. The video of her dancing Aurora I saw was I believe made in the late 1970's or early 1980's. She must have been in her forties. But she looks as dewy and youthful as a teenager. Something I think Fonteyn was able to convey also.

There are two Aurora's I've never seen, much to my regret. Antoinette Sibley and Ekaterina Maximova. Perhaps someone has seen either one dance it?

Hi Perky, and Happy New Year to all!

I didn't see Sibley's except for the short exerpt in the movie "The Turning Point"
She seemed very regal in the opening developpe of the final ppd. I did see
several snippets of Maximova's Aurora on the "Stars of the Bolshoi" and another
Bolshoi Kultur tape (can't remember the title). The former tape was the complete
Act 3 ppd with her husband Vasiliev: Perfect and very romantic. The other tape
was a gala tape honoring Asaf Messerer in 1981 at the Bolshoi Theatre. She was
in her mid forties. She and other stars of the Bolshoi were in practice clothes on
stage. They gave an open class for the audience with the orchestra, and each
of the stars danced a variation from the repertroire. Maximova danced Aurora's
Act 3 solo. Her's was a very Russian character interpretation of the solo. I wish
I would have seen Sibley and Maximova (w/Vasiliev) in the entire work on tape
or IRL.

Another great Aurora was Ludmilla Semenyaka. I've seen her Rose Adagio and
Act 3 ppd with Alexei Faydeychev on her own tape "Bolshoi Ballerina - magnificent and spontaneous! Fonteyn was good but I agree with you: Fonteyn and no one
could ever compare with Irina Alexandrovna Kolpakova. I have the Kirov tape
from 1983 - she was 50. I can only imagine what she was like when she was in her
20s and 30s!. Her feet were completely flawless. She was flawless. She coached
Lezhnina when she started out, and she was greatly influenced by her coach.
Lezhnina is also exemplary. Asylmuratova was also excellent in the mid 90s.

Current Auroras: IMO Vishneva is too "experienced" for the role of Aurora. Also,
her interpretation is inconsistent. Her pyrotechnic approach is not suited for this
role (at least in the Kirov's reconstruction of 1890 production). She does not seem refined (behave like a King's daughter). Her characterization is that of a princess
who is slightly spoiled. Zakharova's Aurora tends to look glumly prosaic in Act 2
but she doesn't tell the story - her approach is to be correct but introverted.

Edited by Cygnet, 03 January 2004 - 02:07 PM.

[glebb]

Violette Verdy was my first and she was fresh!

I don't see the ballet live much any more but I very much like Viviana Durante on DVD.

[Natalia]

Oddly enough, my three favorite Auroras, by a mile, were (are) from the Royal Ballet & not the Kirov-Mariinsky:

Margot Fonteyn (the non-plus-ultra, judging by videos; she was a bit past her prime in the one 'live' performance I saw by her, with National Ballet in DC, in early 1970s)

Alina Cojocaru (best 'live' performance by an Aurora that I've seen, as guest with the Kirov last month)

Leslie Collier (saw live in DC, as guest with Ballet West, and she was fantastic!)

As you see, I like my Auroras relatively small, tidy, non-flamboyant. Ultra-feminine, angelic...forceful amazons need not apply!

I would bet that Evgenia Obraztsova will be a heavenly Aurora, when/if she ever dances it with the Kirov.

[atm711]

I have seen Fonteyn's Aurora many times; the first time when she was 30 years old. There have been many Auroras, but she epitomizes the role for me. I cannot see an Aurora today without images of Fonteyn creeping into the performance. I loved the joy she projected in her first entrance and the other-worldliness of the vision scene. Above all, it was her (non-exaggerated!) beautiful line which was shown to great advantage in this role. Her little touches, her mannerisms in the role seem just right. I write this as one who is not fully 'committed' to Fonteyn (although I love her Ondine as much as her Aurora). I have major reservations about her Giselle, Odette or Marguerite.

[dirac]

Thank you for reviving this thread, glebb!

In my limited live viewing experience, I loved Elizabeth Loscavio the one time I saw her in it. She was like a sprig of lilac, the perfect young princess.

On video: Sizova.

[glebb]

I love Margot!

Margot
Makarova
Gelsey
Violette

Viviana is great as Aurora. Too bad she chose to leave the limelight so soon.

[LooseLegs2]

I agree that Aurora must have a vulnerability. I believe that she needs to have this certain degree of being naive. Like seeing the world for the first time. She should feel as if every step she does is a new discovery. I also think that they should be able to correctly portray that youth in the first act. She needs something more ethereal in the second act. She should have a more floating quality. And she should also have an obvious draw to the Prince. You should be able to feel the chemistry drawing them together. Then in the third act she should be able to portray that maturity that comes with age. And she must also, as you all said, bestow all the qualities that were given to her by the fairies in the Prologue. Because after all, it should become a part of her at that point. I also think that in the third act she should have a hopeful feel. Shes entering marriage so she should have a hope for the years to come!

I have seen (on video) Viviana Durante and Sofiane Sylve. I loved Durante's youthfulness, it was perfection. But on the other hand, i loved Sylve's strength. She was so sure footed that it was easy to watch her. I couldn't chose between them because it would be like comparing apples and oranges, so i loved both of them for very different reasons!

[carbro]

Then in the third act . . .she must also, as you all said, bestow all the qualities that were given to her by the fairies in the Prologue. Because after all, it should become a part of her at that point.

A very good point that is not often articulated!

I also think that in the third act she should have a hopeful feel. Shes entering marriage so she should have a hope for the years to come!

Tchaikovsky is very good at creating a mood of expectancy -- in the Wedding Act it is bright and optimistic. I think any ballerina who really has absorbed the music will be unable to resist showing that.

A commendable debut from you, LooseLegs. Please introduce yourself on our Welcome Page.