Ray

Albrecht's Entrechats sixes

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In

, he does a remarkable extended series of entrechats sixes (right at the top of the clip). Does anyone know the history of this choice? Most versions have brisees here, right? (I've been told that Bujones used to do the sixes). IF this has already been a topic of discussion, kindly let me know and I will go there.

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There was a video of the Nureyev/Fracci Giselle on Youtube that showed him doing the sixes so they go back at least as far as Nureyev and probably further. Not sure if he was the one who stuck it there originally but they sure are breath taking.

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Hallberg discusses this in an inteview published in the NY Times earlier this week:

Q.

Is there any particular mark that you’re putting on “Giselle” tomorrow night?

A.

The most prominent change that I’ve made in “Giselle” with the Bolshoi Theater is that in Act II Albrecht, my character, is begging for his life. Myrtha, who is the queen of the Wilis — I’ve come into her forest and she’s going to make me dance to my death. And I’m begging for my life. There’s a scene in what we call the coda, where he comes out in a diagonal — a shooting diagonal, begging — doing these things called brisé. And you do a set, and then you run back and you do another set. So, there’s that version.

But there’s another version that’s done primarily through Europe and in America, where the Albrecht comes out center stage and he does these beats — a series of beats called entrechat six.

And you do 24 or 32 and you do them over and over and you just keep going and going. And it’s really hard and it’s really tiring. And that’s not the Bolshoi version. And that’s what I will do.

http://artsbeat.blog...lberg%22&st=cse

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As far as I know, it was Nureyev. I believe this is in the Percival biography. (Someone who is reading this will know :) :) :) ) They are breathtaking!!

In a later interview, Nureyev said he would do 24, and if the audience wasn't clapping, he would stop, but if they were, he would do 32.

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Wow! Both look amazing in the video clip! Is this going to be released on dvd?

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It certainly was Nureyev. Those sixes were a bit of a sensation when he interpolated them, leading to a bit of stage mimicry in Swan Lake when Nadia Nerina substituted 32 entrechats-sixes for Odile's fouettés. Nureyev, as Siegfried, looked on and seethed, realizing that he was being mocked, but she did it!

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