Who is your favorite Odette/Odile?
Posted 27 June 2007 - 10:06 AM
Posted 27 June 2007 - 12:03 PM
2 Nina Ananiashvili (on DVD) -beautiful in everthing she does, and lovely swan arms
1. Judith Simon. http://www.voiceofda...wanlakeswed.jpg
-especially for her Odette, but beautiful as Odile to
2. Marie Lindqvist. http://balletbooksto...ic/lindqv01.jpg
-impressing as Odile!
3. Nathalie Nordquist. http://balletbooksto...pic/nordq03.jpg
-the sweetest and lovliest Odette I've ever seen!!
Posted 04 August 2007 - 09:03 AM
Posted 04 August 2007 - 10:23 AM
1) -- performances that are live as opposed to those which have been captured (and to an extent manipulated) on video. Several posters have already referred to this.
This is especially true when the seats are far away from the stage. I appreciate and remember very different things from a stage performance as compared to the closeness possible in a video performance. It's much easier to experience the entire trajectory of a characterization when I see it live, even if you lose some of the details.
2) -- seeing a dancer perform bits and pieces in gala pdds, dvd "highlights," and YouTube clips/ as contasted with watching her create, sustain, and modulate a role for an entire evening..
Many ballerinas stick in the memory in short versions. It's harder to come up with those who moved me -- and carried me along -- throughout the entire evening.
"Live" and "full-length" category/ the whole package: Fonteyn (with Nureyev, not necessarily an advantage, in the early 60s); a young Guillem (early 90s).
"Full-length video" category: Makarova with Dowell (Royal, 1982)
"Live/ highlights": Cynthia Gregory (ABT, 70s)
"Highlights on video": this changes all the time. Currently it's Plisetskaya.
Posted 04 August 2007 - 10:45 AM
This is a hard question. The most mature, dramatic Odette/Odile is still Maya Plisetskaia, in my opinion. Gillian Murphy danced a seemless performance on the ABT DVD, that is technically speaking. Maybe the most lyrical and technically perfect second act was Alicia Alonso, whom I saw many times in the theatre.
Posted 06 August 2007 - 08:52 AM
at the Lorca, right? Oh, Mariano, THOSE were the times...!
Posted 06 August 2007 - 05:02 PM
Rojo is all music, a vibrantly feminine, tender, and very 'present' vision that comes and goes in different guises as her Siegfried dreams her to be - she is about as 'human' an Odette as I have ever seen. She is sexually charged in both disguises, and there is real horror in seeing such a beautiful woman enslaved, and a real urgency in one's desire for her to be released. I suppose it's a modern kind of horror.
Lopatkina is elemental, she doesn't come across as a sensate woman you might meet, but something more like the mythical soul of a nation. Her Odette seems to be resigned, her feelings muted, after centuries of enchainment. Sexual attraction, trust, faith, all these things went long, long ago. She is like one of Michelangelo's stone slaves, a ravishing form struggling in vain out of cold stone.
It matters with Rojo who her Sigfried is, because that is how she fashions her performance. It really does not matter with Lopatkina, because she would represent the permanent suffering of the damned whoever the current villain was. They both fashion their Odiles with equal care, Rojo flamboyantly to dazzle, Lopatkina, on at least one occasion, to repel. Either way, the message about evil is irresistible and neckprickling. Rojo's finale is heartbreaking because she is lucky enough to have the Royal Ballet version to dance, and one's tears just pour; Lopatkina, who is made for tragedy, is saddled with the implausible Soviet 'happy' resolution which she never appears to believe in. I wonder if Lopatkina will ever get the right ending for the story she tells in her Swan Lake, or whether she will remain trapped in artificial optimism for all time.
Posted 06 August 2007 - 06:41 PM
It is a tribute to Rojo and Lopatkina that, out of all the Odette/Odiles you've seen, these two dancers stand out in your memory so vividly. And that they convey the dreadful emotional complexity of imprisonment in such different ways.
Posted 07 August 2007 - 12:57 AM
Posted 12 August 2007 - 01:47 PM
Then, quite by accident, I came across a photo of Yulia Makhalina as Odette, and that image struck me inside as 90 minutes of Gillian never could. I watched the White Act and I was left breathless, unable to move from my seat as everything I had hoped for and imagined came true. Odette, albeit silently, SPOKE to her Sigfried and her audience. The same happened as Odile. Though I didn't like Makhalina's Odile as much as I loved her Odette, I was mesmerized by both.
Lopatkina has done that to me too, Meznetseva, to a lesser degree, and, of course, Nina. They sing and mourn with their very arms and legs.
Of the older generation, I am not as picky, for they have that soul in their dancing that very few dancers now have. Ulanova, Semenova, and Plisetskaya transcend all expectations. Who cares if the legs aren't at 180 degrees? They were miles ahead of dancers now, with the pure depth of emotion.
So, after that long-winded rant my favorites are: Makhalina, Lopatkina, Ananishvilli, Meznetseva, Ulanova, Semenova, and Plisetskaya.
Is it odd that my favorites are mainly Vaganova trained?
Posted 12 August 2007 - 03:19 PM
Posted 12 August 2007 - 05:31 PM
Odette/Odile--- tie: Nina Ananashvili, Larissa Ponomarenko- Boston Ballet
Posted 13 August 2007 - 03:05 PM
Posted 14 August 2007 - 03:43 AM
Posted 14 August 2007 - 04:41 AM
I do have a soft spot for Plisetskaya (Odile) and her bouncing head feathers.
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