68 replies to this topic

[BlackbirdBallerina]

hey,
Does anyone have any particular favorite variations?  I'm looking for some, and I wondered if anyone knew of any that aren't too long, but that are on pointe.  Just for one person please.   I'm looking for these for an auditon for a scholarship, just so you know.

Anyway, thanks for any help.  

[Calliope]

Sleeping Beauty has the various fairy variations.

[su-lian]

Personally, I like the Raymonda's varaition in act three, but it would probably seem odd out of context without the sets and the court around. Then there are all the classics like Don Quichotte, Le Corsaire... Actually, it's difficult to choose ONE. I can understand why you ask!

[Doris R]

Kitri's variation from Don Q -- the one with the "hops on pointe" shows off both style and technique quite nicely and is short.  The fairy variations from Sleeping Beauty of course, Paquita,  they aren't used often for this, but what about Balanchine's Divertimento variations?    One hint, if you are performing to recorded music opposed to an accompanist, take time to listen to several different recordings to find the one that best suits your dancing before buying -- sometimes music recorded for listening is not the tempo you want for dancing.  Good luck!

[Mel Johnson]

It's "Divertimento #15" and I'd hate to cross swords with the Balanchine estate over using his work for any purpose.  This use might fall within the "fair use" doctrine, but then again, it might not, as a student could realize "real and valuable considerations" from its use.  I'd hate to find out whether it does or not in a courtroom.  Students using Balanchine for competitions have had to obtain permission to use the material.

[Doris R]

Whoa... well that explains why we don't see Balanchine at auditions doesn't it?  I never thought about that aspect of needing permission for an audition -- but  I'm quite sure you are right.  Thanks!  So....forget Divert!
(#15 yes, brain went numb)

[BlackbirdBallerina]

Thank you for all the replies!  I actually need two variations prepared, but I'm not sure if that means I'll have to do them both.  
Anyway, I got some good ideas from this, thanks!



ps. If anyone didn't get a chance to respond yet go ahead!  I'm not saying this is enough ideas.  More ideas are always helpful.  ;)

[silvy]

I believe that the best is to judge yourself honestly to identify where your strengths (and your weaknesses) lie.  For instance, if you do not have a nice jump I wud not recommend the variation of First Soloist in Don Q grand pas.  

If you tell which these good and bad points are, then I shall be better equipped to give you some advice, as I am constantly dancing variations at guest appearances and I know quite a few

silvy

[Hans]

As mentioned before, Sleeping Beauty has a great many variations from which to choose--not just the fairies in the prologue, but Aurora has a variation in each act, Princess Florina, and the Fairies of the Precious Stones and Metals in Act III have variations as well.  Paquita has many variations, and so does Le Corsaire--the Odalisque pas de trois, the Pas d'Esclave, Medora's variations from the Act II pas de trois and Le Jardin anime, not to mention Gulnare's variation as well.  Don't forget La Bayadere.  You really have a lot to choose from!  My advice is to find one that suits your technical strengths well while not really exposing your weaknesses, but try not to change the choreography to cover anything up.  Also, find one that's fun and has enjoyable music.

[BlackbirdBallerina]

Hey again!

My strengths...

Adazio, waltzy stuff, attitude turns, grande allegro.

My weaknesses...

turns, petite allegro, arabesque turns in particullar.

But over all I can turn ok, so don't drop a cool variation just because it has some turns.  fouettes are not so good.

Thanks again!

[silvy]

Ok, then –here are my suggestions:

1) Gamzatti of “la Bayadere”: it has: grande allegro (grand jetes stuff).  There is also a diagonal with waltz en tournant followed by an attitude turn.  There is also a diagonal of turns: pique en dedans single, pique en dedans double, soutenu, chaines, and over again.  If you cannot tackle this, you can do high developpes a la seconde instead (Nina Ananiashvili does this).

2) Raymonda 1st act (“dream” act): lots of developpes a la seconde, piques arabesque, etc.  But you need good balance on pointe – I dont know if that is one of your strenghts.  Also a sort of romantic quality.

3) Queen of Driads in Don Quixote – somewhere else in Ballet talk I have wrote down the choreography I am dancing.

4) Don Quixote – first soloist of the grand pas: the one with the big jumps.  It has a diagonal of waltz stuff followed by chaines.

Any doubt, you can PM me!!!

Good luck

silvy

[SwanQueen]

Hey! I'm looking for variations too. Maybe Silvy can help me out.

My strengths are: TURNS, waltzy stuff, fast stuff with some "attitude", grande allegro

My weaknesses are: Pettite allegro, adagio

The variations I have considered are Tchaikovsky Pas de Deux, Raymonda (not sure which one) and Giselle Act I. I would appreciate any replies!

[silvy]

HI Swan Queen

Well, the Tchaikowsky pas de deux does have some petite allegro – plus I dont know if you do not have to ask fo permission, because it is Balanchine – better find out first

Let me see:

1) As to Raymonda, the one with the bourres is nice-  You need a good leg line to show in those bourres, and to have enough stamina to get to the fast end.  And to get the style, which is quite difficult.  If you feel up to it, then tackle it:  it is wonderful to dance!!! Then you have Raymonda in second act, which has a lot of turns: en attitude, and a great deal of point work.  You need to be able to hop on pointe well to do it.

2) Giselle Act I.  VERY SUITABLE, provided you can get the style correctly as well, because that is the most difficult par of it – getting the style.

3) the third odalisque in Corsaire (I wish I cud do it, but I am not a good turner!!!): LOTS of turns.

4) Gamzatti: do the diagonal with all doubles if you can!!! (envy, envy....)

5) Black Swan: full of difficult turns en dehors, and renverses, and attitudes (depending on version)

6) Don Quixote first soloist (or Kitri's as danced by Tatiana Terekova of the Kirov).  It has jumps, and you can end it like Tatiana: with a diagonal of all doubles en dedans.

If you wish, you can PM me

Good luck!!!!


silvy

[Mel Johnson]

And in either case, what about the Waltz or the Mazurka variations in "Les Sylphides"?