Giselle's act one solofirst Giselle to dance this
Posted 22 April 2011 - 06:39 AM
the point here is the filmed interview with her in Nycack about Giselle and specifically, in the case of this thread, about Giselle's act 1 solo, which is notes, accurately, as not being in Adam's score, but which in the presentation of a casual exchange for "Portrait/Giselle" leads one to believe that Spesivtseva was the first to have danced it, calling it "her solo," which we know is not so.
a good deal of the conversation turns out to be Dolin's talking about Dolin.
Posted 22 April 2011 - 11:07 AM
Posted 22 April 2011 - 12:26 PM
Alonso always talks of Dolin with such reverence, and considers him her main source of her learning of the romantic style, alone with her other idol Markova. Agree with Leonid about remarking of his efforts leading to Miss Spessiztseva's placement in the Tolstoy's state to end her life in a dignified way. A lovely action.
Thank you Cristian.
As I did not introduce Sir Anton Dolin into this thread, but knew and liked Sir Anton when others were unsure of him,
I would like to add some further comments arising from my experience.
There was an effort by Sir Anton Dolin to bring Olga Spessitseva back into the limelight with the film in question. There is no doubt as to his sincerity in this matter, but we find ourselves today evaluating a former aged ballerina in a state of confusion, making statements within a context that was problematic.
Having had some experience with former dancers and those associated with dance in states of dementia, it is always difficult to keep a conversation flowing without prompting. What follows, can be confused response in some areas but entirely accurate statements in other areas.
I have found such an experience may seem to be an invasion into a world which the subjects have retreated from, sometimes by their own volition, but also because cognitive impairment is present.
It becomes difficult when all one wants to achieve is to resurrect the subjects earlier life, not for ones gratification, but to illuminate their achievements and this, in the hope, that they will recognise them and somewhat rejoice in them.
When elderly persons are institutionalised, their language dysfunction is exacerbated by inabilities in their retrieval
functioning. I have found that proactive interference works in some respect, but not necessarily over periods of time.
When Doug states, This variation, including the hops on pointe, is included in the Stepanov notation of Giselle Act One, which was made circa 1903, the year Pavlova first danced the role. The music is included in both the piano score (a manuscript interpolation) and full score of Giselle that are also part of the Harvard Collection.
When rg wrote, somewhere on ballettalk of late mention was made of Bessone? - as in Emma Bessone? - and in connection with her, the non-Adam-composed act one solo, probably? by Minkus. There should be no assertion that Minkus wrote the music, which Cristian has clarified.
Far from being sad as RG suggests when he writes, Dolin qualifies as another sad and sorry example of chatty celebrities posing as authoritative commentators. Dolin has in fact, a status beyond mine own and no doubt many other commentators.
As to,GISELLE with a history that is still being revealed and studied to this day by scrupulous historians and scholars, my breath is bated.
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