Posted 02 March 2004 - 08:06 AM
Does someone know why Balanchine choreographed it that way, and what he meant on doing this? (if I am not over- analyzing, of course)
Posted 02 March 2004 - 09:27 AM
Posted 02 March 2004 - 09:34 AM
Posted 02 March 2004 - 09:36 AM
Posted 02 March 2004 - 10:14 AM
Now I wonder: where can I read that essay you are referring to? Is it in any of Croce's books commercially available?
Also would like to know if that quality is still preserved in NYCB by the other ballerinas who have danced this same pdd - the only one I saw dancing the pdd was Wheelan (back in 1998), but this was BEFORE I got hold of Farrell's tape and also a live performance as New York State Theater, so I am unable to make comparisons now. I live in South America!!
Posted 02 March 2004 - 10:36 AM
Posted 02 March 2004 - 12:55 PM
Posted 02 March 2004 - 03:11 PM
One of the most endearing moments of my early years watching NYCB was during Midsummer, Act II. Jacques and Suzanne were dancing the divert, and for several seconds, he was looking into the wings for her to make her entrance. It reinforced his devotion to her, his protectiveness of her, and our anticipation. So I don't think Balanchine wanted the man not to look at the woman.
Posted 02 March 2004 - 03:26 PM
Another of her essays from that book that comments on Diamonds is "A Balanchine Triptych" page 449. It has a wonderful passage describing Farrell in the adagio,
"And when she bends her head low and stretches both arms out above a forward extension of her leg, "horse" passes into "unicorn," and the "hunt scene" becomes an allusion to the unicorn tapestries. Farrell is both the lady and the unicorn, and in a sense she's the hunter, too, on the scent of her own mystery."
A dancer I would have liked to have seen dance Diamonds is Allegra Kent. I believe she danced it for awhile after Farrell left the company in 1969.
Posted 02 March 2004 - 03:30 PM
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