What ballets are the corps favourites?
Posted 10 September 2008 - 05:51 PM
What ballets please the corps?
Posted 11 September 2008 - 08:35 PM
Posted 11 September 2008 - 11:46 PM
Posted 12 September 2008 - 08:53 AM
Posted 13 September 2008 - 05:37 PM
Posted 01 March 2009 - 08:31 PM
Posted 12 March 2009 - 10:06 PM
Posted 13 March 2009 - 04:59 AM
Posted 13 March 2009 - 05:25 AM
Keep the posts coming!
Posted 14 March 2009 - 07:16 AM
I especially loved (NYCB):
Square Dance (hard, fast, very rewarding)
Emeralds, Diamonds (each one a diff beauty and joy to dance)
Symphony in C (corps or demis, another joy all around especially the 4th movement as it builds to a conclusion)
Brahms Schoenberg Quartet (gorgeous music and a joy to dance -- demis or corps)
Cortege (gorgeous music and choreography, tough stamina wise, the demi tutu'd girls, but rewarding)
Sym in 3 movements (corps or demis) -- fun!
Ballet Imperial (corps or demis -- difficult but gorgeous to dance and to listen to)
Suite #3 (ditto with the gorgeous music and choreography)
Stravinsky Violin concerto (ditto the above)
Valse-Fantasie (ditto the above)
Actually, most ballets were favorites except:
Concerto Barocco -- only because I was constantly afraid a toe shoe ribbon or skirt ribbon might pop out of the hidden knot tied, and I'd be stuck the entire time on stage unable to put that end of the ribbon back under the knot. In Barocco, as you know, the corps is on stage from beginning to end, all three movements. A stray ribbon never happened, but it was on my mind, often.
Coppelia -- Balanchine's - just toooooo cute - gave me toothaches.
Posted 19 March 2009 - 06:19 PM
Posted 19 March 2009 - 06:59 PM
Concerto Barocco (only because I was constantly afraid a toe shoe ribbon or skirt ribbon might pop out of the hidden knot tied, and I'd be stuck the entire time on stage unable to stick that end back under the knot. It never happened, but it was on my mind, often.)
When I watch a ballet and imagine what's going through the dancers' minds it's usually things like the pleasure of the movement, the mechanics of a difficult step, checking radar to make sure they're aligned right in relation to the other dancers. Never did I imagine ribbon misbehavior! But of course it's all part of the performance, and it makes perfect sense.
I now have a whole new level of appreciation. Thanks, sz!
Posted 19 March 2009 - 09:35 PM
Les Sylphides (1st time I got to wear romantic length, and concentrate on that precise form/style, and made mom cry) but Giselle best.
Stars & Stripes (couldn't stop smiling: because of the music, US flag backdrop in finale, and it was the Bicentennial--felt patriotic.)
Serenade (ditto most others' reasons)
Ancient Airs & Dances (because I knew the history of Respighi's music sources, and loved the costumes and choreography)
A ballet my old company did to Enigma Variations, (sorry, name escapes me, but every time I hear "Nimrod" chills still go up me)
And of course my all time favorite was Swan Lake. (All those rehearsals, I was in heaven: so proud and happy to be continuing that long line thru history of dance, adoring the music, costumes, and of course choreography; but tortured by perfectionist tendencies in 4-cygnets, and then heartbroken/crushed/forever afterwards stricken by never getting to dance it onstage because of the idiocy of the USAF.)
What I remember most is the comraderie of everyone working together towards the same perfection of image/technique, and also just as friends. Trying to keep my eyelines correct, and being a stickler for linear placement/spacing, and correct epaulement. (Wish I'd had a chance to do Bayadere, but not sure back would stand it now.) And oh yes, I too worried about those ribbon knots, and where my shoe was darned, too much rosin/not enough, and one half-sewn costume threatening to come undone.
PS. I hated doing Paquita for some reason--thought it was boring, even though music was "giddy" I wasn't.
Posted 20 March 2009 - 06:22 PM
>....When I watch a ballet and imagine what's going through the dancers' minds it's usually things like
>the pleasure of the movement, the mechanics of a difficult step, checking radar to make sure they're
>aligned right in relation to the other dancers. Never did I imagine ribbon misbehavior!
>But of course it's all part of the performance, and it makes perfect sense.
Sometimes there was sufficient time to sew the ribbons where they should be/stay, ideally, but at
other times, eg, a quick change for the following ballet was needed.... then ribbon risk had to be taken...
It's multi-tasking for sure! And as a perfectionist....as many dancers are.... one focuses on so many details constantly...
I didn't think Barocco was very difficult for the corps, just a strong focus on cleanliness, pure (not showy) joy of movement is needed for most of it.
Still, one got a bit winded by the end of the 3rd movement when the most difficult choreography was demanded. Today, the dancers don't really do the sissones to pointe (arabesque) and jump back to tendu fourth as exaggerated as Balanchine demanded of us. Other bits of Barocco are done less dangerously today as well... But it is a beautiful ballet, one of my favorites to watch....
Btw, yes, the 2nd movement is heaven listening to while on stage!
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