I didn't mean to imply that Tschaikovsky was psychologically transparent nor, that with all great artists, that his temperament was anything like his art.
For what it's worth, Quiggin, I didn't put that construction on your post at all.
Posted 31 December 2008 - 02:02 PM
I didn't mean to imply that Tschaikovsky was psychologically transparent nor, that with all great artists, that his temperament was anything like his art.
Posted 31 December 2008 - 03:48 PM
Posted 02 January 2009 - 03:28 PM
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Posted 05 January 2009 - 03:17 PM
Posted 05 January 2009 - 07:04 PM
Posted 05 January 2009 - 07:44 PM
CCBM had Clara pretending to take off her shoe, but didn't do it for real. During the confusion during the battle she subtly retrieved to the left wing and bent over simulating the act, when in reality she took a third shoe that had been placed on the floor for her-(hidden to the audience). She threw in to the mouse and then kept on dancing...You know, I don't remember how Day had Clara get a shoe to distract the mouse king--maybe one of her dolls surreptitiously handed her one--but she didn't remove her pointe shoe. I'll have to ask around.
Posted 09 January 2009 - 05:29 PM
Does anyone know what "students" means here? Advanced students of in their late teens?In contrast to the casting practices of many modern revivals, students [Belinskaya, Stkukolkin, and Legat] were assigned the roles of Clara, Fritz, and the Nutcracker. p. 207
Children's dances were loved in the highest circles ... for which reason Petipa, in practically all his new works, included a children's divertissement.
Posted 09 January 2009 - 05:36 PM
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