duffster

The great Margot Fonteyn, I believe, is a perfect example of what Sir Fred was looking for in a dancer,who uses their eyes to draw you in. Her Sleeping Beauty and Cinderella especially come to mind. I don't know if this can be taught. With Margot it seemed very natural,not as though she had been coached to focus her eyes a certain way. This is difficult to explain- I had the good fortune to see her close up, as she guested with us in Washington DC, quite often.

I was impressed with Arantxa Ochoa ( Pennsylvania Ballet ). Her interpretation was very controlled,seductive with a hint of evil. This is in no way an easy role- just working with the heavy cape is a challenge. I also would have loved to have seen Doubrovska in this role.

My first ballet performance was at 11 seeing the Kirov performing Swan Lake. The ballerina was the great Inna Zubkovskaya. I had been taking lessons since the age of 8,but this was my first trip to a theatre-as I remember it was a birthday present. I was so enthralled with everything- the costumes, the dancing, the lighting, that I think it influenced my decision to become a professional dancer. I kept the souvenir book until it was in shreds, and would do the poses around the house, of the ballerinas in the program, hoping to dance like them some day.

I recently watched this version and could not believe how very difficult the grande pas and the variations are. Being a former dancer in a ballet company, as I recall, you had to do the steps as set. Sometimes if a choreagrapher is creating a new piece with you, if your are fortunate enough, he would work with your facility. In Nureyev's Nutcracker, the viewing audience really has no idea of the difficulties until you see the dancer struggling. This is one tough version but I think Rudi liked to stretch his dancers.

The Changeling with George C Scott- the story is very believable, it really frightened me.

It was a miserable rainy day here in Phila. but I was able to see an excellent performance (matinee 12pm) of the Nutcracker. The Academy of Music is a wonderful theatre for viewing this ballet. It was built in the 1800's, and recently was refurbished along with an enormous,magnificent chandelier,that hung directly overhead,as I had an orchestra seat. This is a glamorous production with live music. The party scene costumes were all very elegant, all lush velvets, with bright colors tastefully done. The mice had an interesting combination of green and purple with triangles of yellow cheese down the front of their tops. The children were well rehearsed, from the party scene, soldiers,mice and angels.The principal children-Marie, Fritz, and the Nutcracker prince's mime was very clear and believable. William De Gregory did a good job as Drosselmeyer, but I prefer him to be mysterious and a bit strange. I was especially impressed with the corps, ( Snow and Flowers ) Everyone was together with the quick tempi in these two diverts with good clean dancing. Amy Aldridge was a warm Sugar Plum. Her variation showed her easy technique, beautiful feet and calm elegance. I would have liked to see more of Sergio Torrado- her cavalier. In this version you only see a brief look at him in the coda. However he was a very good partner, and the grande pas just flowed - even with those shoulder sits that sometimes (not here) look awkward. The Dewdrop was danced by Lauren Fadeley who in the program is listed as being a member of the corps. She was clearly enjoying the role, dancing with wonderful attack and energy.The house was packed with mostly families and unfortunately the applause did not match the beautiful dancing that I saw in the performance this afternoon.

My thanks to both of you,I'm glad we all agreed about this Dvd.- the part with Clive Barnes got to me too. Looking forward to the info on Rudi.

I recommend this documentary "Margot", having recently viewed it through Netflix. It was very informative, I learned alot more about her day to day routine and her financial struggles towards the end of her life. When she guested with us in Washington, you would never have known of her problems. In this dvd, there is an extended segment of her gala in which Sir Fredrick Ashton joins her on stage to do the "Fred step". Maybe I'm too sentmental, but watching this section,I find myself getting teary. I would now love to see a documentary on Rudi of the same caliber.

I'm planning to see a performance here in Philadelphia as well,if my scheduling permits. I haven't seen the updated sets and costumes. Will report back.

Thank you for this video clip, It was very interesting. I had never seen Gerd Larsen dance before. I had only seen her perform in character roles. Did anyone see her triple endedans piroette? I also enjoyed watching Helpmann. Andree Howard's ensemble was very chic.

There was a story about Robert Helpman I had heard many years ago. He apparently had developed the talent for reading writing upside down. He would go into De Valois office just to chat. While he was speaking to her would gather information from the papers on her desk. He would later report back to his fellow company members about casting and any news about the company. What a talented and interesting man Helpmann was !

I agree with Nanarina, having recently seen this DVD, I enjoyed this production as well. The Lilac Fairy, is a central role, and I thought that the mime was especially clear and not lost,as it sometimes can be. I don't remember any male variation being as long as the one in the vision scene here in Nureyev's version! Magnificently danced by Manuel Legris. Rudi certainly loved his rondes des jambes!

Maybe dancing and setting these Balanchine ballets is the secret to youth.

It looks as though she is trying to prevent the top of her costume from falling down to her waist.

Still, to this day, I remember a performance of Fall River Legend, so powerfully danced by Sallie Wilson. It really shook me and gave me the chills. For me, she truly epitomised that role.

It took me a while to appreciate Heather Watts. Her port de bras and flexed wrists were hard to take. I think my opinion comes from my own training - I was taken to task during a company class by Ben Harkarvy, where I was using my arms (I guess) in not a truly classical way. So watching her perform, in later years, I grew to admire her versatility in the Balanchine rep. Still her arms bothered me.

During rehearsal weeks about 6 pairs a month - during performance weeks, a few more as needed. You would use your shoes intelligently-some ballets require a soft pointe shoe,as in Lilac Garden. In Concerto Barocco, you need a very strong shoe, barely broken in, because of those hops on pointe.

La Bayadere I have seen many companies perform this ballet. The entrance into the Kingdom of the Shades I think is truly beautiful -It still inspires me, either seeing it live or on tape.

Years ago Peter Falk came to see us at the Harkness Ballet in LA, he also came backstage, I was fortunate to meet him. With the Penna. Ballet, Christopher Reeve came to see us in Brooklyn NY when we would have a series there. Juliet Prowse also saw us in LA.

She looks and dances like a real person- not someone who has "ballerina" stamped on her head. She keeps the movement flowing. I don't know for sure cubanmiamiboy, if those turns were speeded up - they looked like the real deal to me. Amazing!!!

Thais with Sibley and Dowell. The mirror pas de deux from Onegin with the incomparable Haydee and Klaus. I have always enjoyed watching the pas de deux in Scotch Symphony. My least favorite is from the last act of Coppelia. Did too many performances of it.

The entrance of Aurora in Sleeping Beauty. It sets the tone for the rest of the ballet. Margot was unforgettable in this entrance. You had to see her do it live. I had the good fortune to see her closeup as I was in the production as well. It still gives me chills to think about it now.

Many years ago, when the Royal Ballet would visit NYC, several members would take Mme Pere's class. One class I remember had Fonteyn, Beriosova, Derek Rencher and Lynn Seymour. It was difficult to concentrate. Nureyev also came several times as well. Mme's adages were just beautiful, I remember the tempi of her combinations as being extremely slow. When Rudi was there, he did everything twice as slow as she had demonstrated. Mme was always very stern, however when Rudi was in class, her eyes would sparkle and looked as though any minute she would burst into a smile! Mme would also take care to place each member one by one, where you were to stand in the center. It was almost like a ceremony. The most thrilling day for me, was when I had the honor of being placed next to Margot. I loved her classes, I never knew of her background until I read about here. Thank you

Walter Gore, as I remember ( I'm wiping away the cobwebs ) also set the principal roles, for Eaters of Darkness for the National Ballet of Washington DC. I was not in the ballet, but I was able to watch some rehearsals. He was very quiet and quite particular about certain sections of this piece. In one rehearsal Carmen Mathe was not doing what he had wanted. So as she was dancing, he was walking behind her shaking his head! In the end, Carmen got it right and the company did a few performances of the ballet. Being very young, he frightened me a bit, until I bumped into him at the grocery store and gave me the warmest hello with a huge smile.

I admire the beautiful articulation of her feet and her calm upper body. Her hops on pointe have a floating unworldly quality. You feel as though you are really watching the true Giselle. Thanks to all for this beautiful record of Gelsey's artistry.