A New Yorker at the Bolshoi BalletViewing "le style royale"
Posted 22 November 2011 - 12:33 PM
Posted 22 November 2011 - 04:48 PM
I agree with all the comments expressed above:
NOT SO HAPPY:
Z's tutu too short, and camera placement a little low so ...
The bland beige backdrop looked like a street scene from 19th c. St.P!
Where were the thorns?!!! An ivy overlay of the backdrop didn't express much passage of time, certainly not 100 years
and the stationary pillars for the wings didn't convey a forest (though I tried to ignore that)
The costumes didn't change to show a 100 years; it still looked 18th century. Most other productions I've seen have a definate change between 17th century styles and 18th century.)
Zhakarova's extensions were expected and not surprising, but I'm beginning to think it's a lost cause to complain anymore since the consensus is ballet as acrobatics. Her epaulement was interesting--all neck and arms, NOT shoulders; very classical up/out/strong motion, no softness here!
Lilac fairy danced okay, correct, but bland. She did smile, but it was a tight smile and never varied. That was annoying, so were her hands which varied between dropped third finger and little paddles.
The mime for the Lilac Fairy's fix rushed by so fast I never saw it. And having all the courtiers exit except for the six at the back who froze instead of slumped in sleep didn't help anyone know what actually was happening. (The lack of thorns/vines etc. growing over all didn't help either.)
The cameras missed EVERY entrance by Hallberg except one. You would look up and suddenly he would enter frame (in a pdd or whatever), with no idea how or where he materialized from. And missed the final curtain call, after making us sit thru the usual Russian mid-perf bows of everyone from the lowest corps on up.
I liked the camera staying in FS most of the time, but for EVERY male variation they cut to a close FS which didn't give any perspective when a menege occurred or other jumps. I could appreciate DH's beautiful form/line etc. without ever being sure the ballon was what it should be. I hated that.
(In future, I think sitting further back in the theater--so the screen appears like a large tv--might help the overall view.)
Amazing to see it live. Amazing to see the inside of the Bolshoi. Mother was impressed, but I had seen many other countries theaters with similiar abundances of gold and red. (She was also concerned about what the ladies were wearing--kept asking if they 'dressed up' in Russia vs. here.)
The tutu bodices of Aurora (and probably most of the solists/corps) were smooth, supple and easy to dance in, not boned horrors. The sparkles and jewels were subtle, elegant, and perfect. (How come the tops were fine, and the tutu itself so wrong?)
The men's costumes also were extremely beautiful (loved the colors/jewels) and looked comfortable to dance in. (I could commiserate with dancers at other company's productions.)
I went to see David Hallberg's historic performance--if only because now the rest of the world would see and appreciate his 'debut' with the Bolshoi. He was gracious & composed in the interview, and as usual, the perfect prince onstage. (I thought I saw Princess Florine?--wearing blue & feathers--wishing him success during the background in the pre-show backstage views)
I am VERY VERY grateful that the Cinemark theaters of Hadley, MA had the courage to show these broadcasts (despite the lack of publicity) when other larger towns/cities remain ignorant and mired in the gutters of pop culture.
Posted 22 November 2011 - 05:52 PM
Posted 22 November 2011 - 06:20 PM
Oh, no, those bows can sometimes be a performance in themselves, especially without the constraints of union time.
Posted 22 November 2011 - 09:59 PM
I want the DVD for Hallberg, Abdullin, Katpsova, and the costumes.
Posted 22 November 2011 - 10:55 PM
First, this was a different cinema, we didn't have surround sound, and I arrived 10 minutes early to be *sure* I got to see the pre-show interviews and tour of the theater. But the projector operator cued up DirecTV and fast forwarded up to the start of the ballet - despite my loud protests! I will pick the first theater for the next trip, with surround sound and the full show.
Posted 23 November 2011 - 07:26 AM
I confess to feeling envious of those who live near theaters participating in this program.
Then, I discovered to my shock that II DO live next to such a theater.
This possibility had never occurred to me, despite the wide availability of Met HD/Live in theaters all over our area. As others have mentioned, there has been no publicity. The presenter (if that's the word) is fandango.com, which also distributes the Met HD/Live series.
On the plus side, I discovered they are also showing the NYCB Nutcracker , so I was able to get those tickets.
I'll defnitely have to pay closer attention to the various HEADS UP postings here on Ballet Alert, since this locality now seems to be in the cinematic ballet loop.
Posted 23 November 2011 - 08:34 AM
I must admit I do too.
Posted 23 November 2011 - 09:54 AM
Posted 23 November 2011 - 05:43 PM
Posted 23 November 2011 - 07:13 PM
Oh there have definitely been periods where it was more in vogue to give the ballet classics a "reinterpretated" set--though probably not much as extreme as some opera productions. But that (thankfully) seems to have fallen out of vogue now.
After having thought about the production some more, I'm more and more disappointed by the sets. Why did every setting look basically the same? Particularly for the "hunt" Act--whyw as the Prince and his courtiers hanging out in what looked like the courtyard of Beauty's castle already? Was it meant to be some ruin they hang out in, unaware that just a little ways away were hundreds of sleeping people under a spell?
Sleeping Beauty was created partly to be a spectacle, as much as some people hate that word. For a long, story ballet like that, that takes place over a century, I think it makes little sense to have what is basically a "unit set" with different lighting--for one thing, it starts to tire the eye.
From what I've seen, the set is very similar to the POB and Scala productions, as Natalia so well analyzed in her post--if they wanted to re-use a set, why not go all out and try to use Bakst's designs for the famous Diaghilev production, or at least something inspired by them? (I know there was discussion here: http://balletalert.i...-princess-1921/ about any chance of reviving those designs, and I have no doubt they'd be expensive, but...) They were by no means awful, but I'm even wondering now if they're all that much of an imrpovement on Virsaladze's previous designs for the Grigorovich production, even if they are dated. When you compare with the Royal Ballet's production, or, of course, with the reconstruction of the original production, you realize how important a different look for each act becomes.
Natalia said: "Team Frigerio is the 21st-C equivalent to Georgiadis, who designed nearly-identical Sleeping Beauties for various companies in the 1960s/70s/80s."
I've never seen Nureyev's production in full, just clips and photos, but in general he seemed to go through a period of using Georgiadis for all his ballet restagings, the way Grigorovich used Vrisaladze for most of his. My mother talks about the first time she ever saw Sleeping Beauty live--when the National Ballet of Canada toured it to our city in the very early '80s. She said she found it long, and heavy, and she's now convinced it was partly just because Georgiadis' designs were SOOO *heavy* in texture and feel in egenral, they weighed the entire ballet down.
Posted 24 November 2011 - 01:08 PM
Speaking of which, where was my titanic struggle between good and evil. Almost every musical cue in the prologue, act 1, and act 2 that points to this was squandered. The Lilac Fairy and Carabosse looked like they should have been tossing chairs at each other on Jerry Springer instead of fighting for the soul of the world.
Zakharova's dancing was 1 dimensional --- I have never before seen the Rose Adagio reduced to such an undramatic plodding --- and was totally outdanced by Hallberg. Even her great gifts of beautiful feet and hyperextended legs looked like they were perfunctorily and haphazardly deployed, and never in service of the dancing. Hallberg on the other hand showed how you should properly use such gifts. A really stunning moment was the end of his act 2 solo where he came out of pirouette with a leg extended in front, and landed kneeling. It was like the perfect confluence of musicality, line, and drama.
I was also shocked by the lackadaisical use of port de bras and epaulement by the company in general. At times during the garland dance, the kids looked better prepared than they did! In general, the rest of the company, with a few exceptions, looked lethargic. The only highlights in the rest of the company for me were the yellow fairy, any time character dances were done (why do they only come alive then?), and most of the fairy tale dances at the end.
Posted 24 November 2011 - 02:04 PM
- The tutus, I've hated this type of tutu since I first saw it (a POB production I think, maybe it was Raymonda). The tops were really pretty, though.
- Zakharova's port de bras in her vision scene variation. If there's one variation that needs Mariinsky port the bras, I think it's this one. From seeing her dance this SB, I would never have thought she'd danced there for several years. (Also, I was kind of expecting a different variation in this spot; in the Semizorova DVD of Grigorovich's SB you have the "Sergeyev act III Lilac Fairy variation" danced by Aurora in the vision scene, and it is like that as well in the Vikharev reconstruction. I'm starting to wonder where the variation danced in this performance/Sergeyev version came from? But that's material for another thread I think.)
Nina Kaptsova looked like she was enjoying being on stage so incredibly much, watching her made me feel happy as well. Of course, she had just been promoted and had every reason to be happy, but still. All of the others on stage seemed much less enthousiastic to be there.
Posted 24 November 2011 - 03:58 PM
I completely forgot about that, but while watching tried to make a mental note about which version was used in the earlier Grigorovich. You're right--he used the Gold Fairy music version, which Petipa used in the original 1890 production--but this time they used the originally composed music--which I admit fits the scene better, but is also what the Kirov/Mariinsky uses, with them then giving the Gold variation in Act III to Lilac. LOL--confusing.
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