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Coppelia, 3-13News, Casting, Reviews-Peter Boal to Portray Dr. Coppelius


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#31 Helene

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Posted 03 July 2010 - 07:06 PM

I just found this compilation of comments sent to PNB about "Coppelia" on the PNB website:

http://www.pnb.org/P...s_coppelia.aspx

Several people thought that PNB should ditch the Balanchine Act III. I love Act III, mainly because had Balanchine staged/choreographed "Sleeping Beauty", as he is said to have wanted to do for Darci Kistler, the fairy variations would have been restricted by the length of the music, and I love how the choreographer for Dawn, Prayer, and Spinner is an extended characterization for each that would have been restricted to the Lilac Fairy in SB.

#32 Helene

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Posted 11 March 2011 - 02:07 PM

San Francisco Ballet opens their performances of this co-production on 19 March 11, and in their trailers and in their 30-second TV spot they use footage of Pacific Northwest Ballet:

http://www.sfballet....id=712402170001

Click "Watch "Coppelia": Behind the Scenes" or "Watch Trailer".

Mara Vinson is Swanhilda, James Moore is Franz, it looks like Jeffrey Stanton as Dr. Coppelius, and Chalnessa Eames is Spinner in the black and white deco dress.

#33 jsmu

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Posted 12 March 2011 - 02:59 PM

Several people thought that PNB should ditch the Balanchine Act III. I love Act III, mainly because had Balanchine staged/choreographed "Sleeping Beauty", as he is said to have wanted to do for Darci Kistler, the fairy variations would have been restricted by the length of the music, and I love how the choreographer for Dawn, Prayer, and Spinner is an extended characterization for each that would have been restricted to the Lilac Fairy in SB.
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Exactly; the Act Three solos also provide the only ballerina dancing in the entire work except for Swanilda, who needs a rest SOMETIME...
I think that, alas, the Act Three solos rarely have such deluxe casting as Imler in Dawn and Korbes in Prayer, who I'm sure were both
nearly as good as the creators of the roles. Also, Dawn in particular was originally so difficult (especially the a la seconde turns
and the final leap into a pose on pointe) that even Merrill Ashley changed/modified a few steps in it; its later exponents changed nearly
everything in the variation, unfortunately, especially after Balanchine's death, and I doubt that unless Ashley staged it one would get
most of the brilliant original choreography back. This is no disrespect to Fugate, who is a wonderful stager and teacher; simply how
steps and variations get lost in ballet. two further examples of deluxe original casting were Colleen Neary in Discord and War (which may
not be the greatest number, but Neary had presence for days) and especially Marnee Morris in the Waltz; I am sure no one has ever done
the pique-fouettes in the recap the way she did, just as no one ever does her steps in My One and Only, sadly.


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