Posted 26 November 2007 - 06:31 PM
Continuing on with one Jewel at a time, so that after each I can go back and see all the comments, seeing it now after it's become passe, at least as a hot topic (like a movie hitting the drive-ins after doing the metropolitan cinemas, then the small town theaters, decades ago.)
I can see what nysusan and carbro meant about the 'soft' look, but I think it applies more to Gillot (especially) and also Dupont, somewhat, but not at all to Carbone, who makes this performance work even with all that soft look. That 'soft movement' goes against the angular, clipped sound of the music and so these women, especially the 'tall one', Ms. Gillot, seem very creamy-voluptuous, a very French thing to find no matter what domain, but M. Carbone is fabulous. I kept looking for traces of McBride type sparkle in the women, but he's the one who has it--he's mercurial. As a counterpoint to his sparkle, the women are satisfying to me anyway, even though they're apparently wrong. I thought it interesting to see it performed this way, and I liked it more than what I saw at NYCB in 2004, definitely the set is so much more tasteful.
I watched some more of 'Emeralds' again, and now I do understand the meaning of 'port de bras'. This is what I saw the most extreme version of softness in when others and I were recently discussing South Indian dance. But I was finally really looking at the arms, and Osta was sublime this way.
I love POB, and imagine that they are probably, all things considered, my favourite of all companies, if I were to see them in person. Anyway, I'll see Diana Vishneva do 'Rubies' with the Kirov in April or May, like many others here, and i imagine that will be more 'Balanchinian'. But the French do 'Emeralds' better than NYCB to my perception, although I didn't see Violette Verdy, and anyway she's French too. Faure is more 'purely French' than either Debussy or Ravel (who can be also, but also can seem a bit more explicitly 'Parisian'), and I've noticed the difference in French orchestral performance of Faure, which is always able to resist the attempt to break out of the introspective and richly meditative nature of Ravels' 'cher Maitre'; they know how not to rush through it. Anyway, except for Robert Tewsley, this POB 'Emeralds' I very much prefer to the two NYCB ones I've seen, the DIA and the live 2004 performance. And I think M. Carbone is really great in this very youthful kind of way.