Is anything vulgar (in dancing) today?
Posted 21 November 2001 - 12:46 PM
Posted 22 November 2001 - 06:59 AM
yes you are right, and yet i always considered the music's echoing when carabosse enters to be a perversion of the original use of the music to introduce the ballet, since when it is first used it is so glorious and when it is echoed it is so sinister. anyone care to comment?
as for the company's musical integrity, i'll say only that it must be a hard thing to fight for in any case!
Posted 21 November 2001 - 12:37 AM
Another pet peeve of mine is excessive extensions. Some artists - Guillem, for example - know how to control this. We all know that Sylvie can wrap her legs around her head, but she has demonstrated that she doesn't HAVE to do this all the time. It's great however in something whose whole point is vulgarity - eg. the Grand Pas Classique. rolleyes.gif
Posted 26 November 2001 - 02:52 AM
Posted 18 November 2001 - 11:41 PM
Posted 20 November 2001 - 04:40 PM
I think it's even been reviewed as "vulgar"
Posted 20 November 2001 - 11:33 PM
Now, I know the Boston Ballet has had bigger troubles than cuts and I know that if you keep the orchestra exactly one minute overtime, you may need to declare bankruptcy, BUT! there's great music in some ballets and when there is, it's kind of important, right?
Here's how they transgressed. In last season's production of Sleeping Beauty, they started the overture, and right after the opening 8 bars of Carabosse's music... they cut the rest of the overture - no Lilac Fairy music, no dramatic juxtaposition. In this season's Stanton Welch Midsummer Night's Dream, they started the overture, and right after the opening long chords in the winds, guess what? they cut the rest of the overture.
This music is not by Minkus. It is integral to the drama - in the case of the Mendelssohn, it is very grateful to dance - at least for Balanchine it was. To me, doing cuts like this suggests something of a disdain for music.
Is this defensible in anyone's view?
Posted 21 November 2001 - 11:51 PM
You are of course right about Boston Ballet's Midsummer Night's Dream choreographer. Stanton Welch's Madame Butterfly will be later in the season. I mixed up the leading "Wel"s.
It's impossible to hum a tune over Bulletin Board, but what I call Carabosse's music is the tune we first hear in the overture. It's played again at Carabosse's appearance in the intro and little bits of it show up again in the 1st and 2nd acts, either when she actually appears or when we're supposed to feel her influence.
As to the cuts, maybe it's the fact that I go to Sunday matinees and the company wants to finish early. But there's just no question that in both Midsummer Night's Dream and Sleeping Beauty, the overtures were more than merely cut - they were hacked to death. Practices like this (IMHO) put in question of the musical integrity of the company.
Posted 19 November 2001 - 01:55 AM
My mother and I were watcing Alessandra Ferri as Giselle (on tape) the other day and we both commented on how very soft her shoes looked. While it does provide a beautiful line for her feet while she's off-pointe, en pointe they look like they're about to send her toppling over her arches onto the floor. I'm sure they're strong enough to hold her, but I'd much rather prefer a little less arching in order to make the ballerina look (and probably feel) that much more stable. During her variation in Act I she didn't look very stable at all during the hops en pointe because she was so over her arches...
Perhaps I'm saying this because my Serenades aren't 3/4ed and beautiful, so therefore I'm being spiteful towards over-pretty feet. tongue.gif
Posted 20 November 2001 - 12:10 PM
Posted 17 November 2001 - 06:19 PM
Posted 18 November 2001 - 05:50 AM
Acknowledging stars at the end is one thing, but the Kirov descended to the depths during their Swan Lake in London (ROH, 2000). After Odile's celebrated fouettés the conductor stopped the orchestra and Odile came down to the front of the stage to milk the applause. Since the music is in full flow at that point, the cut was very nasty indeed, and we then had to wind up the orchestra again in order for Siegfried to start his fireworks. Horrible!
Posted 19 November 2001 - 01:46 AM
Perhaps the English are more restrained! I hadn't encountered that effect before seeing the Kirov. Is this caesura generally observed in the USA?
Posted 20 November 2001 - 12:30 PM
for me half the excitement of the pdd is the way that the music and dancing builds to a climax, i f all of this is constatly being interupted then i feel the whole eefet is ruined.
i certanly feel people should applaud the dancers and of course there are plenty of opportunities for this at the end of the act but it seems a pity to sacrafice the overall effect of the act for needless arrogance!
Posted 21 November 2001 - 12:23 PM
i see what you are saying about the diffrenet etiquettes etc ...some of the hamming was quite funny!
it was this particular instance when it really annoyed me as it felt like the priority of the dancers/company wasmore to milk milk their applause then to really show the pdd in the best way possible!!
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