ord7916

Giselle?

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As for Osipova? if you have the chance? I don't think you will regret seeing her Giselle. In fact, I think you will be very glad you did.

I think so too.

Iconic moments with Osipova's Giselle.

Act I. Pas Seul.

http://www.youtube.com/watch?feature=player_detailpage&v=omqyVhJqozk

Act I . Scene de Folie

http://www.youtube.com/watch?v=c_Dz3zgarUM

Act II. Apparition de Giselle.

http://www.youtube.com/watch?v=VzdOBx_cRvE

Act II. Adagio

http://www.youtube.com/watch?v=eSnivcjR_Do

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I think the 2nd act is the more beautiful, but act 1 is full of acting moments including the mad scene, so you can judge the ballerina on being the "complete package" when you see both acts......for me the transformation of Giselle into a more ethereal creature in Act 2 has more impact if you see her young, country girl in Act 1 so full of love and hope for life......the mad scene was a common element of theatre (I'm sure many of you know this already).....many 19th century operas have mad scenes which are the piece de resistance in many operas of the time, most notably Lucia di Lammermoor (probably the most famous Mad Scene in opera), and so I think for the time period it is fascinating that this also appeared in ballet. Madwomen appeared in literature of the time also.

And I have to say that when I saw the Mariinsky's corps dance even in Act 1 with that unique style, I had an "Ahhhhh.....so beautiful" moment even when it was just the peasants dancing. And, of course, the corps was gorgeous as Willis also in Act 2. I would say the corps is the beauty of the Mariinsky. But that is my personal opinion. For me it is as if I need a swooning couch when watching them.....it is like eating a piece of double chocolate cake......so rich and puts you into ecstasy!!! Of course, the chairs are crammed in the Mariinsky boxes, so no space for a couch or for swooning......LOL

Go!!!

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Giselle's variation and the Peasant Pas de Deux in Act I are wonderful pieces.

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Giselle's variation and the Peasant Pas de Deux in Act I are wonderful pieces.

I agree with this. In the Mariinsky's peasant pas de deux, the female soloist has to turn and end with her arm hooking the male's arm twice in a row, and it looks incredibly hard. I think many would fall off pointe when stopping (the linking of arms is what stops her. A good ballerina makes it look so easy.

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In this scene the music sounds very slow. Slower than "normal", isn't it?

innocent.gif

The PDD tempo has become very slow with time-(one would had to know what clue is given from period manuscripts of the score or "authorized" transcriptions.). In any case, this could had been the result of the ballerina, conductor or stager's preference.

I particularly don't care too much for an extra laaaaaaaaaaaargo tempo here...

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I particularly don't care too much for an extra laaaaaaaaaaaargo tempo here...

I thought, that could be harder for Osipova-Giselle's jumping to match the music, if music is played slower. ...... I might be wrong. I have never danced Giselle. dunno.gif

I like the slow motion from 4:20 - 5:00 very much. Albrecht was swaying Giselle a little bit, then carrying her two steps further down. Very beautiful and full of emotion! wub.png

In some Giselle performances, I saw Albrecht just liftting Giselle and putting her down, I would cry out in my head: hey, Giselle is not a box! beg.gif

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I particularly don't care too much for an extra laaaaaaaaaaaargo tempo here...

I thought, that could be harder for Osipova-Giselle's jumping to match the music, if music is played slower. ...... I might be wrong. I have never danced Giselle. dunno.gif

I like the slow motion from 4:20 - 5:00 very much. Albrecht was swaying Giselle a little bit, then carrying her two steps further down. Very beautiful and full of emotion! wub.png

In some Giselle performances, I saw Albrecht just liftting Giselle and putting her down, I would cry out in my head: hey, Giselle is not a box! beg.gif

Well...thing is-(and I would love to be corrected here by doug)-that older versions, which were probably closer to the turn of the century Russian stagings, usually have Albrecht lifting Giselle while she stays in a stiff arabesque position. The "swaying" motion seems to have been added in more modern productions.

Also...didn't Dolin say in "A portrait of Giselle" that those lifts hadn't always been a part of the standard stagings...? Or something like he didn't used them with Markova...?

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Well...thing is-(and I would love to be corrected here by doug)-that older versions, which were probably closer to the turn of the century Russian stagings, usually have Albrecht lifting Giselle while she stays in a stiff arabesque position. The "swaying" motion seems to have been added in more modern productions.

Also...didn't Dolin say in "A portrait of Giselle" that those lifts hadn't always been a part of the standard stagings...? Or something like he didn't used them with Markova...?

I think he's talking about the lifts being overhead as "Soviet." There's a film with Dolin and Markova where he lifts her but not overhead. But this might have been specific to Markova because she was famous for being very particular about lifts. She wanted to maintain the illusion of weightlessness so she disliked any lifts that would have required her to visibly push off the ground.

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