Do you cast for Act I or Act II?
Posted 02 March 2005 - 01:23 PM
For those who have a longer viewing history than me (paging ATM. . .) were Giselles once ever more comfortable in the first act than in the second? Of course, there are ballerinas who are great in both, but even the great ones seem to have a preferred act.
Posted 02 March 2005 - 02:14 PM
Posted 02 March 2005 - 05:33 PM
Posted 02 March 2005 - 07:16 PM
Posted 02 March 2005 - 08:25 PM
It's been some time since I've seen a Russian dance this role, but at least in Soviet times they could be depended upon to understand innocence. I remember especially Nina Ananiashvili's performance of the role in the mid/late 80s, when she must have been in her early twenties. She had a lovely unspoiled quality that I've never seen in a Westerner. I ascribed it to her having been "protected" from cynical, commercial Western culture. I have no idea if today's Russians have been "ruined" by their exposure to same, but somehow I suspect they haven't been. Whether we have coaching to thank for this (if it's true) or an artistic culture that trumps whatever's available commercially, I don't know. But I wish we had some of it.
Posted 02 March 2005 - 08:56 PM
Posted 03 March 2005 - 01:13 AM
ANd you've reminded me how much we lost in San Francisco when Julie Diana left for Philadelphia.
She could play a plausible virgin. I remember seeing her as a student in Suki Schorer's class and noticing htis quality in her then, and she still had it after almost a decade here -- her first act Giselle was our best by far
There was an extraordinary hush that came over evrything when she saw Bathilde's dress go by. That was the first indicatoinof her suddenly having to imagine a world really beyond anything she'd known -- when she saw the dress cross the stage in front of her. most Giselles don't give you hte idea until they go lift the skirt; but she communicated it to us before bathilde had sat down. I don't know how she did it -- but it had the proverbial effect of "opening her eyes."
and Carbro, I have no doubt that Kirkland was just as you say -- she had a special affinity with the character.
Posted 04 March 2005 - 06:36 AM
Posted 04 March 2005 - 08:04 AM
Posted 04 March 2005 - 10:48 AM
On the other hand, I think I know what Carbro means about her first act looking like "a ballerina trying to be a village maiden". I'd already seen Makarova's Giselle several times before the first time I saw Kirkland/Barysh. Kirkland's first act Giselle was so vulnerable & touching that Makarova's seemed contrived in comparison. Kirkland's Giselle was dewy eyed, and hopelessly in love with Baryshnikov's Albrecht. She may have been naive but she was also innocent & delicate and wore her heart completely on her sleeve. I remember during their 1st act pas de deux, when she did a penchee arabesque - it seemed like she actually stepped into it on point & went down into penchee (180 degrees!) while still on point & then held it there before coming down off point- all the while gazing adoringly over her shoulder at Albrecht! I know that it must have been an illusion but it was so amazing that the whole audience gasped, and yet the way she did it was completely in line with her characterization. AND she tossed it off as if it was nothing & had been totally spontaneous. Her 2nd act was very moving, very spiritual
Later that same year (or soon after) I saw a very young Ludmilla Semenyaka with the Bolshoi in Giselle. I thought she was equally good in both acts & I remember thinking that her portrayal seemed like a combination of Makarova & Kirkland's best attributes. I also think Carla Fracci was very good in both acts.
Posted 04 March 2005 - 10:56 AM
were Giselles once ever more comfortable in the first act than in the second?
There are three that I saw who come to mind---Tamara Toumanova, Mia Slavenska and Nora Kaye who were much more successful in Act I. Toumanova was my very first Giselle (with Dolin) and I realized how unsuited she was to Act 2 when I saw Markova and Alonso. Slavenska was a very healthy village girl and her Act 2 was a real "hoot!". She had a very glittery tutu with a plunging vee neck, topped by her flaming red hair. Nora Kaye had a very successful Act 1 and she proved she could be quite vulnerable; she really was not suited to Act 2, and she also had to put up with those awful Berman sets with the blue/black tutus of the Corps. (The Nora Kaye Giselle was broadcast live in July of 1950 and there must be a kinescope (?) of it somewhere)
Posted 04 March 2005 - 10:59 AM
Posted 23 June 2005 - 11:44 AM
Carbro, I saw Ferri's Giselle at the Kennedy Center a few months ago, and for all my criticism of her fading technique (although her movements were incredibly plush and velvety) I would say that she does approach the ballet as an organic whole and succeeds.
Posted 23 June 2005 - 01:21 PM
A condensed version, telecast by NBC-TV. Commentator: Ben Grauer.
Choreography: Anton Dolin after Jean Coralli and Jules Perrot. Music: Adolphe Adam. Decor: Trew Hocker. Cast: Nora Kaye (Giselle), Igor Youskevitch (Albrecht), Diana Adams (Myrtha), Dmitri Romanoff (Hilarion), Mary Burr (Giselle's Mother), Edward Caton (Duke), Norma Vance (Bathilda), Michael Lland (Wilfred) and artists of Ballet Theatre, including: Lillian Lanese, Virgina Barnes, Ruth Ann Koesun, Barbara Lloyd, Jenny Workman, Irma Grant, Isabel Mirrow, Liane Plane, Dorothy Scott, Charlyne Baker, Lila Popper, Jack Beaber, Kelly Brown, James Hicks, Vernon Lusby.
(The Nora Kaye Giselle was broadcast live in July of 1950 and there must be a kinescope (?) of it somewhere)
Posted 07 November 2005 - 09:32 AM
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases. (If it doesn't appear below, your computer's or browser's adblockers may have blocked display):