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How viable is the ROMANTIC/CLASSICAL distinction today?-- and how do weuse or misuse it?


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#46 AlbanyGirl

AlbanyGirl

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Posted 25 February 2013 - 02:24 PM

What the Fille with Nerina and Blair is on DVD? Is it really, Albany Girl? How lovely! What I am finding rather satisfying, as they release all these archive films, is the fact that my heroes of yesteryear were actually as good as I remember them to be! I have a film of Giselle with Ulanova, whom I saw for the first time when the Bolshoi came to London in 1956, and her technique was amazing and her acting was unbelievable - She seemed to live the part. And the divine Beriosova in the Les Sylphides extract posted above was indeed divine! And now Nerina - such ballon, such technique and such quality. With all their legs round their ears and multiple pirouettes, I find that many of the incredibly athletic dancers of today lack the quality of the dancers from my youth. But that's another whole thread, which I believe has already been done!


Hi Hamorah,
Regarding your statement above in blue, I apologize for any confusion. The DVD to which I refer is an ICA Classics DVD of BBC performances of Les Sylphides and Giselle. If you look at my post to Cristian that I mention in the earlier post today, it has the DVD catalog number. This is a wonderful DVD, in my opinion. I agree with your view about Markova and Beriosova. And I absolutely love Galina Ulanova. My understanding from some readings (where I cannot remember), is that Miss Galina would wear soft slippers en pointe when dancing Giselle so that not a peep was heard from her shoes. She is divine. Older dancers did have a particular quality of refinement, didn't they? Not to discount the current crop of many fine, young dancers of today.

#47 AlbanyGirl

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Posted 25 February 2013 - 03:04 PM

Congratulations on your 100th post, AlbanyGirl, and thanks for your contribution to this thead especially.

Quiggin, I'm grateful for your point about Tchaikovsky Suite No. 3. Nancy Reynolds quotes a critic who thought that this work had a "split personality." Llike most people, I usually see Theme and Variations as a stand-alone work, without the sections Balanchine added to it. On the few occasions on which I've seen the multi-section piece, I tended to think that it was a bit disjointed in terms of style. It never occurred to me that this might have been a comment by Balanchine on the romanticism/classicism dichotomy, with romanticism actually leading to (or culminating in) the triumph of classiscism.

Cristian, thanks for those links. Dupont is a gorgeous Sylphide, though not the most ethereal. She is more glamourous than "fairylike" in its original sense, but lovelyi to watch nonetheless. Fracci's Giselle with Vasiliev is a marvel, especially considering her age at the time. I prefer it to the much earlier ABT Fracci-Bruhn film, with its over-active camera work.


Bart, I noticed that 'split-personality' aspect this season. I mentioned it in the forum Winter Season earlier, but it's worth responding to your post here. I found it exceptionally odd, honestly, although I enjoyed it. It was like movements 1-3 were one ballet and movement 4 a separate, entirely different ballet!Posted Image IMO, if this was indeed a comment by Balanchine on romanticsm/classicism, I don't think it succeeds. This summer T&V will be performed at Saratoga and I'll see it then, in its original incarnation as T&V.


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