bart, on 21 February 2013 - 06:44 PM, said:
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!
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.