Darcey Bussell,why so little "talk" about her on Ballet Talk
Posted 17 December 2006 - 12:16 PM
Posted 17 December 2006 - 12:27 PM
Posted 18 December 2006 - 10:25 AM
I was also fascinated with her concentration and enunciation in Symphony in C.
Posted 19 December 2006 - 05:31 AM
I have always loved this typical Balanchine movement which is most often described as 'jazzy'. But this movement, for most of us, was our entrance into this world---and it's completely involuntary on the part of the mother. Isn't this a more subtle form of Graham's 'contract and release'?
Posted 19 December 2006 - 03:26 PM
Posted 09 January 2007 - 10:44 AM
- The paperback edition of Pilates for Life is available for pre-order on amazon.com for release on 25 April 2007
- Darcey Bussell's Dance Body Workout, published 2007 in paperback, is available from Dance Books Ltd.
No "My Life as Aurora", huh??????
Well she seems to be moving in some different career directions that seem to give her fullfillment.
No rut for her.
I say, "good for her".
Posted 24 February 2007 - 07:52 PM
For me, I just get a cold feeling whenever I see her, esp. her pictures and live perf.
I saw her perform "Pavane for a Dead Princess" live in London's ROH in April 2005 (w/ Jonathon Cope) and was very dissappointed. I remember thinking that she was only dancing steps - not becoming part of the music. Even if she had a sorrowful face and seemed emotional, all of it seemed impassive to me, with no depth nor soul connected to it.
Perhaps it was the music she didn't connect to? (Pavane is one of my favorite pieces by my fav. composer - I would have a different expression and feeling to it since I can relate to the music, than if someone else just had to dance to it.)
I would have though that having children would bring more depth due to experience. But it looks like it went the opposite way. It was like she was a "normal woman" than a dancer. I watched Pavane clips on her website (http://www.darceybussell.com - under 'fan club') before I saw her live, and thought she looked better in the clips. At ROH I had set the standard to see at least what I saw in those clips, and was let down. Is this due to age? to her birth?
However, I have seen her on the DVD "Ballet Favorites" in "The Prince of Pagodas - Act III PDD" w/ J. Cope and really enjoyed it. Her footwork, chaines [turns], lines were wonderful. But I think this was in 1998 (i haven't watched it in a while).
I don't know the date of her "Pavane" clips, but I have to say I liked her better on these videos than live, maybe it is her age, since P.of P. was around '98. So, I would have to disagree with Leigh's review quoted by Bart (on the first page)
But how could older age have less emotional connection? ?? Is it only the camera that loves her and not me?
Posted 24 February 2007 - 08:15 PM
Posted 24 February 2007 - 08:18 PM
Posted 25 February 2007 - 03:32 AM
It could be, but in that case I should complain to have had off nights only from her (quite a lot indeed).
She is a good technician, with good jumps and turns, but I don't like her upper body and arms at all.
IMHO she is in no way an actress or a moving dancer, even if she could be really nice to watch in some ballets.
Posted 25 February 2007 - 11:19 AM
I will add that clips of her in Sylvia from BBC look just terrific.
Posted 25 February 2007 - 12:08 PM
Posted 25 February 2007 - 02:07 PM
Posted 25 February 2007 - 02:56 PM
From Jennifer Dunning's Times review of that memorable performance:
Ms. Bussell is an atypical forlorn waif, so big and forthright is her dancing. But her Cinderella was utterly believable, a wise child with moments of endearing spunkiness whose quick, high extension reminded one audience member of children's eager arms shooting up to answer classroom questions.
Her airy descent of the ballroom stairs and her growing joy, captured in one of Ms. Bussell's signature big, blooming arabesques, suggested a young girl's discovery of her love not just of a handsome young prince but also of the act of dancing itself. Her third-act Cinderella was torn, though gently, between delicate hesitation and new boldness.
The schedulers-that-be at the Met stuck Cinders as a matinee ballet, probably thought it was for children.
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