37 replies to this topic

[Helene]

Hallberg's turns in the variation were so smooth, almost like slo-motion.

[Michael]

atm711, on 04 April 2011 - 06:44 AM, said:

Her interpretation is much too playful---par for the course of a corps dancer but not a Ballerina.  Hallberg tried valiantly to maintain his Danseur nobility but her broad smiles cast a shadow on his performance.---try viewing Farrell or Lopatkina.

Boylston is a good counterfeit ballerina at this point - she's faking it but fakes it fairly convincingly:  nerves evident (but few would't be); facial expressions often tense and forced ; as a whole her dancing is very cautious in this video - but cautious in order to look finished - it's evidently a trade off.  She doesn't go through her back in arabesque, but finishes her poses neatly at the expense of that depth and real form in her steps; just as she doesn't  go through her back deeply (but stays on balance and neat); in attitude she doesn't  present a finished line in her  working leg, front and back, doesn't bend it much, doesn't raise it.  All of this enables her to keep in control, look composed.  But far from being a corps dancer, she's  yards, miles ahead of what you often see in this role at ABT, particularly Yuriko Kajiya - who often has been paired with Hallberg.  However ATM you have the gold  standards in your minds eye and I defer entirely to them.   MP

[Natalia]

Oooo...too much smiley-smiley from Isabella Boylston. She must have been nervous. Sarah Lane had it right last month at the Kennedy Center -- a more queenly and dignified approach.

[macnellie]

Is there a video of farrell in T&V?

[richard53dog]

macnellie, on 05 April 2011 - 08:22 AM, said:

Is there a video of farrell in T&V?

That's a bit of a loaded question, isn't it. As far as I know there is NO complete T&V video, at least in legal terms in general distribution. There are various fragments that are used by ballet companies in trailer videos promoting their seasons which I assume they have worked out with the Trust. And there is the section of it, pdd to the end, from the Balanchine celebration in the early 90s

http://www.amazon.co...02023447&sr=1-3
But that's all that's out there, legally.

Of course there are "non-licensed" versions, maybe the most widely held is the Baryshnikov/Kirkland version from the ABT telecast from the late 70s, but it doesn't officially exist.

[puppytreats]

"Of course there are "non-licensed" versions, maybe the most widely held is the Baryshnikov/Kirkland version from the ABT telecast from the late 70s, but it doesn't officially exist."

If it were telecast, a video made for personal use should not be wrongful.  I am sure someone could lend/gift/bequeath it, as well.  I think the position taken on these boards is a bit overstated.  I am not an IP specialist, and I have not done the research recently, so I invite any corrections, but the scoldings I have received and seen given to others on this board, in this regard, are, with due respect, a bit misplaced.

[Helene]

puppytreats, on 05 April 2011 - 01:31 PM, said:

"Of course there are "non-licensed" versions, maybe the most widely held is the Baryshnikov/Kirkland version from the ABT telecast from the late 70s, but it doesn't officially exist."

If it were telecast, a video made for personal use should not be wrongful.  I am sure someone could lend/gift/bequeath it, as well.  I think the position taken on these boards is a bit overstated.  I am not an IP specialist, and I have not done the research recently, so I invite any corrections, but the scoldings I have received and seen given to others on this board, in this regard, are, with due respect, a bit misplaced.

If it reappears on YouTube or an official site, you're welcome to post the link, although in general, posting a link is generally asking the Balanchine Trust to have it removed, if they haven't found it already.

Our policy simple:  

1.  Links from YouTube and official sites are welcome, regardless of whether the video is available commercially or of the source.  

2.  News about commercially available videos for purchase or licensing and commercial and institutional copies available at/from institutions are welcome.  

3.  Listings (past and present) of performances broadcast on TV or in theaters are welcome.  

4.  No requests for or offers or "I haves" of non-commercial copies, regardless of how couched -- i.e. tape trading -- are allowed.  

What happens off the board is not our concern, and that includes tape trading, bequests, copies made for personal use, gifts, etc.  Also not our concern is what you think of our policy, which is based on over a decade of experience, much of it painful.

[Helene]

richard53dog, on 05 April 2011 - 09:15 AM, said:

And there is the section of it, pdd to the end, from the Balanchine celebration in the early 90s

http://www.amazon.co...02023447&sr=1-3
But that's all that's out there, legally.

This is with a luminous Darci Kistler and guest Igor Zelensky, who had danced with NYCB before.

[mira]

Is it just me who thinks that, in these videos, David Hallberg is the most beautiful person on stage?  I realize he is beyond compare in so many ways, but shouldn't a company like ABT should be able to pair him with a female who at least equals his beauty?  Hoping I don't offend anyone.

[vipa]

This is a hard, hard ballet.  This was a cautious, cautions performance.  They both seemed scared and gamely getting the job done as far as I am concerned.   Yes, the smiles were there but no freedom of movement at any moment. I thought he was playing it safely and again blandly in his performance.  She is way beyond corps dancer, but not a ballerina either.  She'll be promoted to soloist next go round.  

I've seen this ballet many, many times over maybe 35 years.  Lane/Cornejo are the best ABT team at this time.  

It is a really hard ballet and it is tempting to declare anyone who gets through a star.

[vipa]

mira, on 05 April 2011 - 05:37 PM, said:

Is it just me who thinks that, in these videos, David Hallberg is the most beautiful person on stage?  I realize he is beyond compare in so many ways, but shouldn't a company like ABT should be able to pair him with a female who at least equals his beauty?  Hoping I don't offend anyone.

I'm not sure what you mean by equal in beauty.  OK I am not the biggest Hallberg fan.  I've seen him great in some things and not so good in others.  But what do you mean by beauty?   Is it face, instep, shape of the leg?

[Marga]

To each his own, of course, but Isabella is known to have one of the most beautiful bodies in ballet, from her small head to her gorgeous feet. She has a lovely countenance, strong supple back, beautifully shaped long legs, fantastic line, long hands/fingers and feet/toes, narrow hips, tiny waist, and is lithe and lean. David Hallberg has all these things, as well, but his head could be a little wider to appeal more to me. But that is something he can't change and I'm sure that many would quibble with me about my preference.

[atm711]

Marga, on 05 April 2011 - 08:41 PM, said:

To each his own, of course, but Isabella is known to have one of the most beautiful bodies in ballet, from her small head to her gorgeous feet. She has a lovely countenance, strong supple back, beautifully shaped long legs, fantastic line, long hands/fingers and feet/toes, narrow hips, tiny waist, and is lithe and lean.

Absolutely, I could not agree more---but it is not enough to tackle a true ballerina role---give her all the soloist variations out there (and there are some beauties); she needs to grow artistically.  In promoting their dancers, it appears to me, ABT relies heavily on technique alone.

[mira]

yes - agree - very hard ballet.  I do see freedom of movement from Hallberg but not from his partner.  He is a principal and she is in the corps - that is my point - that there is (to my eye and to their AD's eye i.e. their status) a qualitative difference in their work and performance quality.  But this is how younger corps dancers grow - by having opportunities like this.  For me, this ballet is so special - I'd prefer Uliana Lopatkina!


edit:  atm - just saw your reply - sorry to duplicate!  :-)

[vrsfanatic]

Having been a ballet teacher for many years, I am interested in your comments atm711 regarding the progression and development of a member of the corps de ballet, through soloist to principal levels. As we all know, performance snippets on Youtube are no comparison to live performances. I go to the ballet often times without prior knowledge of casting or anything about a particular dancer. Living in an area of the country that does not have regular availablity to performances of ABT, NYCB, The Joffrey Chicago, PNB, Houston Ballet, Boston Ballet or San Francisco Ballet (to name a few),does not allow for in person impressions to play a role in my viewings of ballet dancers in new roles on Youtube. Youtube is a wonderful tool, however I try very hard not to formulate opinions of a dancer from what I see in a snippet on Youtube. That being said Boylston is a former student of mine, therefore I take myself out of the running in discussions of her particular performance, however I am intrigued as to how the ballet loving public thinks a dancer develops from the corps, to being a soloist, to being a principal dancer.

If a dancer is never given the opportunity to show the principal roles publicly until the role is "star" quality, the dancer cannot develop themselves as true artists. Dancers need to perform roles publicly to develop themselves. They need to be seen by their ballet masters, director and coaches on that stage in order to be advised as to how to look even better the next time. It can take many performances. This was Ms. Boylston's second performance of Theme and Variations, the first having been in Havana (up until now, still no footage). There is always room for growth in all dancers, however comparing a corps de ballet member who is just beginning the journey to a seasoned performer such as Farrell is a large step indeed. Ballet dancers of merit always have an interest too improve themselves. They are guided (sometimes misguided) by teachers, ballet masters, coaches, directors and of course their own instincts. Experience is the best teacher of all.