Posted 17 August 2004 - 08:36 PM
Posted 17 August 2004 - 09:13 PM
(Ears perking up) Which Part interview? In what publication?
Veronika Part in a recent interview cited her as a favorite, or even her most favorite.
The last time I saw GM live was with a little group at the Pace University theater downtown. The program was made up of the usual pas de deux done at galas. Obviously in a group of 2nd and 3rd tier Russian dancers, GM stood out as the class of the field, despite being twice the age of some of the other dancers. But she also stood out for her knowledge of stage craft, and yes, the soul she brought to the stage. For GM didn't perform as if she was on the stage at Pace, but as if she was at the Met, La Scala or the Maryinsky. She's not my type of dancer, but she had my respect and I can see why many people find her so powerful. And maybe that quality is hard to come trough on videos.
Posted 18 August 2004 - 01:18 AM
As the poster that mentioned those tears (and by the way I referred to them to illustrate her immersion in the role; I didn't say I was impressed by them). Don't you think that any woman who had just discovered that her lover was a two-timing rat would be crying at the very least?
Posted 18 August 2004 - 04:34 AM
In real life a dead woman doesn't rise from the grave to dance with Willies either.
You know, those tears were no big deal to me, either way, better or worse. As I said I was just a little puzzled. But I would never consider it a plus, since there are many very great artists who do not cry "on the show", and their performance is not colder for that.
BTW Albrecht is not a two-timing rat, but a two-timing count. Big difference.
Posted 18 August 2004 - 04:34 AM
But ballet is a stylized art that doesn't make its impact through the use of realistic effects (at least not in classical works like Giselle). When I see such added touches -- they crop up occasionally, like Odette and Siegfried kissing in the last act -- I find that instead of moving me they jar me. It's out of context with the rest of the production.
Don't you think that any woman who had just discovered that her lover was a two-timing rat would be crying at the very least?
Posted 18 August 2004 - 06:00 AM
The person who wrote couple of posts above is absolutely correct. Mezentseva on stage and on tape are two different things. When she was on stage one doesn't see her physical imperfections, she becomes a true queen...no, an enchantress.
And also her arms is something else: long, very long. And thin and expressive. They sing! Those of you who saw Uliana Lopatkina know what I mean. They definitely share something in common. Perhaps it is the ability to engage, to capture, to draw us into their mystical world. And when they do, we don't stand a chance to break out of it until the show is over. One leaves the theater with real tear and a bitter sweet notion that one touched something outer worldly, the mystery of true art.
Posted 18 August 2004 - 08:08 AM
Posted 19 August 2004 - 09:25 AM
This discussion has made me immensely curious about Mezentseva. I never saw her, live or on video. I'd love to see her and get my own impression. Which are considered her best video performances?
Posted 19 August 2004 - 09:42 AM
giselle 1983 wuth konstantin zaklinsky
swan lake 1986 with konstantin zaklinsky
pas de quatre from "night of classical ballet" 1981
Posted 11 September 2004 - 02:18 PM
although I maintain my opinion,probably I was too harsh expressing them
jose manuel (mezentseva fan)
Posted 11 September 2004 - 03:08 PM
There is something that did impress me about this tape----and I hope someone (rg?) can enlighten me----In Act IV who were the two soloist white swans? The closing credits are in Russian.
Posted 11 September 2004 - 03:30 PM
a listing that preceeds this for the TWO SWANS, and listed as BIG SWANS reads as follows:
but as noted, the previously listed dancers are given credit as 'Two Swans" and so i assume these are the dancers you inquired about.
Posted 12 September 2004 - 11:25 AM
Posted 14 September 2004 - 12:07 PM
and the first line of Wilis in Act 2.
Posted 20 October 2004 - 10:37 PM
still get goosebumps from her ballonne in Act1 and develope in Act2.
Myrtha is also the best I have ever seen.
Like Jose said, GM is an epitome of classical ballet and lyricism.
She only needs to pause for one second to present the ultimate beauty
when those acrobatic, super-flexible, technique-driven, and overly emotional
ballet dancers today have to turn and jump around like rythmic gymnasts do to achieve less than half of what she does with one ethereal jete.
I think the best of Ms. Mezentseva is though-despite all the incredible qualities she has-her delicate and graceful lines. It's not something you can achieve from being just thin (and I find it offending when people say that the only quality that stands out in her is being "thin"). Just wonder how she does it!!!
I noticed people here saying that GM is one of those dancers people either get or don't. I am so blessed that I belong to the former group. A big part of my definiton of beauty was formed by her Giselle.
Edited by eunheejun, 21 October 2004 - 09:06 AM.
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