Kistler in Duo Concertant
Posted 04 February 2001 - 08:29 PM
Well, I have nothing but sheer, unreserved praise for Kistler's performance. Every moment was danced -- lived -- in full, radiant bloom. Michael1 commented recently on the difficulty of coming up with a vocabulary of praise, and I'm afraid I don't have the vocabulary to do justice to Kistler's extraordinary presence as a dancer -- its richness, responsiveness, and joy. This was a gorgeous performance and a gorgeously danced one -- full of detail yet expansive and performed AS IF with utter spontaneity. (I want to emphasize the quality of dancing because I do NOT mean she "compensated" for other weaknesses by being beautiful Darci Kistler; I have seen this ballet before -- Mazzo, Farrell, Borree -- and this was as true a ballerina performance as I hope to see in it.) By the by, I struck up a conversation with the person sitting next to me; he had never seen Kistler before and had specially come to see her. He was NOT disappointed and said repeatedly (something we all know about Kistler, but still worth valuing): "she glows." He did say that her feet may not be as sharp as some twenty year olds (and I agree), but also that it didn't matter. Still, in emphasizing the quality of her dancing, I would say, that her entire body has a sharpness -- in the sense of a quality of responsiveness and aliveness -- far in excess of dancers with sharper feet; moreover, her dancing is all of a piece...ALL of her is dancing. Leigh Witchel recently commented on his memories of her dancing the final secion of Duo Concertant and certainly her simplest gesture was memorable. I particularly liked the way she held her hand up into the spotlight with her fingers splayed apart so that it appeared like a miniature lyre; I, at least, thought of the picture, now on display in the promenade, of Balanchine holding the Orpheus "lyre," and the way in which that image can super-impose itself on the ballerina/muse image that closes this ballet...and when she drew her hand down and touched her cheek it had great delicacy and pathos -- she's a human being as well as a muse. But her performance in the earlier sections was just as wonderful -- the way her entire body seemed to swing into the opening "conductor" like moves with which the dancing opens and her large open fourth positions which seemed to just radiate outwards, the playfulness of her skips and turns, the fluidity of her arms etc. etc. etc. I'm a little embarassed at writing such an obvious fan letter -- but based on some recent remarks I've read on this board I would never have guessed I was in for such a treat, so I decided to offer a no holds barred tribute.
[This message has been edited by Drew (edited February 04, 2001).]
Posted 04 February 2001 - 09:13 PM
Posted 04 February 2001 - 09:45 PM
Posted 04 February 2001 - 11:43 PM
I figured I'd skip it 'cause she probably would end up cancelling and there was nothing else on the program I wanted to see.
WHY didn't I go?
Miserable on 56th Street
Leigh Witchel - firstname.lastname@example.org
[url="http://"http://members.aol.com/lwitchel"]Personal Page and Dance Writing[/url]
[url="http://"http://members.aol.com/dnceasever"]Dance as Ever[/url]
Posted 04 February 2001 - 11:56 PM
One day, a friend of mine asked him why he came ever night and he said, "Because you never know which night will be the good one."
These are among the wisest words I have ever heard spoken about ballet.
Posted 05 February 2001 - 08:50 AM
Well, I have nothing but sheer, unreserved praise for Kistler's performance. Every moment was danced -- lived -- in full, radiant bloom
I agree, it was a remarkable performance, and she never looked better. It was the highlight of a rather good day, all around
Posted 05 February 2001 - 11:28 AM
Posted 05 February 2001 - 12:04 PM
Posted 05 February 2001 - 01:48 PM
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