Posted 21 October 2012 - 01:51 AM
Back to the Odile Variation's fondu/double-frappe 'grace note' step. Checking my 'sources' I see that the following all did it correctly (although seldom as clearly and cleanly as Marianella Nunez in above clip:
Kirov-Mariinsky version by K. Sergeyev Dudinskaya (1953 film), Evteyeva (1960s film), Chenchikova ('86 Wolf Trap), and '04 Vostrotina (she alone, among 3 debutantes that summer - Bolshakova and Somova the others -- did the steps, fully & beautifully). Terioshkina did one passage in her debut, only after the very first series of pirouettes...but she did one. So much for the 'grace note' not being a part of recent Mariinsky traditions!
POB-Nureyev version seems to have the move, as both Guillem and Letestu (in commercial DVD) did it.
NYCB-Martins-after-Petipa version - Miranda Weese did it for PBS telecast!
Royal Ballet/1985 'Harvard Notes' version: in addition to Nunez, Bussell did it (and partial Sarah Lamb, as per below)...but another Royal lady, Cojocaru, did not do it in the Romanian TV telecast of Swan Lake...but maybe that's because she was in Romania?
Partial (just the first one...performed easier tendu into developpe a la second in all other sequences): Kirov-M's Terioshkina in her debut and, at RB, Sarah Lamb.
Done with a twist:
Frankfurt/Neumeier version: Eliz. Loscavio - a single frappe (not double)
Berlin/Malakhov version: Stephie Scherzer - does the 'easier' developpe a la 2nde...but throws in a rond-de-jambe as the leg is going up!
The gal who did it all, in all variations:
POB's Pontois is the fanciest of all (in early 80s gala with Dupond): like Scherzer, the double ronds de jambe during developpe, preceded by the double-frappe! All of this preceded by incredible pirouette sequence of a double-pirouette into triple-pirouette in attitude. (Whew!) Not as smooth as Nunez but still quite impressive.
I stopped checking half-way though collection; that was enough of an unscientific sampling. There may be others.
Note: All Bolshoi ladies in the past 50+ years perform the Grigorovich Odile variation, with altogether different choreography and even music. The same 'Grigorovich music' is heard in the Bourmeister version of the Odile solo, as we can see in films of the Stanislavsky, La Scala and the pre-Nureyev POB version (which is still performed occasionally).
Edited to add Dudinskaya and Pontois.