Birdsall

I see your point, although I think the Bolshoi's version is the one that gives Abderakhman actual dancing. I was corrected and reminded that Nureyev's version does too. But This Grigorovich version is on the two 1980s videos too. If you haven't seen Taranda dance this role in the Grigorovich version on those two versions, you might want to check it out. He is so outstanding that I think most of us have shrugged off the stereotype (not saying that is good or bad, but we love Taranda's performance so much that we didn't stop and think about it). Actually, I find the entire ballet Raymonda sort of not PC at all.....European girl scared of Eastern guy and prefers Western guy and then at the end after killing off the inconvenient Eastern guy they celebrate European culture by dancing Hungarian style dances. So by today's standards Raymonda is about the least PC ballet that exists. But for some reason I still love it to death. I re-interpret it for myself as our Western culture being intrigued by Eastern culture but still not comfortable with it, and that is where we still are in today's world still, so it actually still reflects today's world pretty well. That is my take on it.

Cristian, When you return from Paris, if you have not seen the Zurich Ballet's Swan Lake with Semionova, you might want to check it out to get an idea of Semionova. Although it is choreographed by Heinz Spoerli (after Petipa), Semionova's Odette/Odile is basically traditional. Everything else is not, but it is worth watching for her. She is a lovely Odette/Odile with some nice balances and I think she characterizes the two roles well. This video has very sparse sets, modern dress, and lots of new choreography (for most characters other than Odette/Odile). It also has a storyline between Rothbart and Siegfried that I don't quite understand (not sure what is going on). With all that said even the new choreography is classical ballet style and overall it is more traditional than the Amazon reviews would lead you to believe. I think it is worth getting just to see Semionova's swan. I wonder if anyone on here has seen this video and her recent Swan Lake with ABT. If so, please comment on whether she has improved, etc. I think the video, despite some non-traditional things, is a must have for Semionova fans. It gives you a great idea of her dancing. Birdsall

I was hesitant to get this dvd and/or watch it, b/c I have heard bad things about it especially the music, but I guess since I expected unlistenable music, I was pleasantly surprised. I enjoyed this ballet. I think the whole concept of trying to create a story about the Degas sculpture (the girl who was the model) is a touching idea. There are moments that don't work, but for the most part I find the whole thing a worthwhile venture.

I will be willing to give some of the Morphoses projects a try and see if I like collaborations with that company. I just hope that the main season will continue to be based on classical and Balanchine ballet styles. I hope this will mean more dance presentations and not just adding modern pieces into the regular evenings. I do think that the average person on the street is more interested in modern dance. I'm talking about the students and parents I used to work with in the schools. They just want to see and hear modern things. That's probably normal. Even most of my friends in my age group and even older want to watch vampire television shows and find it odd that I have no clue what is on tv. From exposure to some modern dance event they might then get into some classical ballet. By the way, did you read that the Executive Director Nicholas Goldsborough is out, according to the Miami Herald? The staff is nervous. The board says it is a temporary financial issue. Luis Cordero (board member and attorney who handled immigration paperwork for dancers) was quoted saying that there used to be camaraderie and now there are secret meetings. I hope Lopez can pull the board and the staff and dancers together back into a family.

Great idea, Nanushka!!!

Who danced last night? Aurelie Dupont or Dorothee Gilbert or someone else?

Great to hear! Hope he dances it next season again. Maybe I can catch it then! This is very heartening news!

When he did do the Bronze Idol in Bayadere he looked very thin but danced wonderfully. He looked like a little doll though, and that works for the Bronze Idol (looked like a statue instead of a human). Please report how he does....he deserves leading roles b/c he's talented, but his look might hold him back. Hope not!

OMG! Sounds very Jean Benet Ramsay!!!!! LOL

One thing I really do like about Grigorovich's version of Raymonda is that the "Danse Orientale" in the score becomes a sort of dance for Raymonda and for Abderakham. The music has that sexy Arabian sound to it, and it is Abderakham trying to win her over, and I interpret it as Raymonda TRYING to see value in him and his culture (making an attempt). I don't think any other version uses this music (except La Scala and it is used for miming and is apparently what it was originally used for, but I think the music screams for some dancing).

I loved Alexandrova in every act. And, no, she's not passive at all. That is not part of her make up from what I can tell. I usually like Raymonda to be like a little sweet princess in the first act, and Lopatkina actually conveys that very well.....sort of the untouchable, young, sweet, rich girl everyone would love to have. And I would say that Lopatkina's Raymonda (which I love) is actually sort of passive. So I think her third act is less "on" but Alexandrova's stage persona is a lot more "active" (for lack of a better word), so I think her last act is maybe her best.

Oh, maybe that is it! When you look for info about Raymonda it is often referred to as a Pas de dix, but that could be because of what you say, and some people have accidentally called it that nowadays even within the full-length.

I was talking to a friend about this whole issue. People of different shapes and colors are totally loved in principal roles once they get there, but the corps is usually the first step into professional dancing, so how do these people become principals without first being in a corps? That is a catch. Luckily, I think that most companies are starting to realize that a corps can have different colors and sizes to some extent. I know I read the book *Cuban Ballet* and Alicia Alonso was very proud that the Cuban National Ballet was the first company to have a totally mixed corps. That is proof that it can work.

I mentioned above how Alexandrova's knitted brows (I didn't specify but mentioned her facial features) are an issue. In this performance I felt it was less stark (maybe new make up) than in La Esmeralda. She has a stern look on her face simply because I think her eyebrows are close to her eyes or something about her face's structure makes her look strict or stern. She would be great cast as a Catholic nun, for example, if she were an actress. I don't mean to be negative about her looks. I think she has a beauty unique to her, but it is a stern look to me. So I understand how her look might not do it for people, but I thought she acted the part well and danced wonderfully. For me she has a Carol Vaness-type face (opera singer). They both have a very stern face that they can't really change even when smiling. I have to say that the Bolshoi's actual production makes me want to gag. I don't like it at all. I think the sets look very cheap and ugly and the costumes look like something from a 1980s music video. Such a shame the Bolshoi doesn't invest in a new production. They can keep Grigorovich's choreography. I am okay with that, but the costumes and sets have GOT TO GO!!! Ultra dated!!! It screams 1980s to me. I'm surprised they don't stick the Olivia Newton John headbands on the women's foreheads also! And, like I said, Grigorovich needs to get rid of the whole Raymonda falling asleep against the column. That is the worst part about this staging besides the sets and costumes.

Birdsall, do I understand correctly that Alexandrova's Raymonda will be shown again? I'd gladly jump in my car and drive into Manhattan to see it. Read above. There is a posting of the entire Raymonda that played yesterday that you can watch on YouTube!

It must be that it was once a Pas de Dix and has been changed over time but the label sticks. Thanks for the link! I will read later!

I'm sure you'll see Emiliene's posting! You can now watch it at your leisure!!!!!

Emiliene, thanks for posting! I am glad I can watch it again at a later date. Loved Alexandrova! Duffster, I agree it is worth watching. I'm glad I saw it. I was looking forward to it since they announced it as one of this season's transmissions almost a year ago. I didn't know Alexandrova would be the Raymonda though. Very pleased with her!

Nureyev's final version for POB could almost be subtitled "Abderakhman" it has so much new dancing and 'funky-modern' solos for that character. I happen to love it because it is so Nureyev...totally what RN was all about! Besides, RN was smart enough to maintain most of the existing Kirov-Mariinsky portions -- building & adding to them, in his fashion. It is THE longest production of Raymonda, beside the La Scala...most complete use of the music, I mean. The old Kirov production has Abderakhman from the very beginning. He's constantly on. In this production he looks and acts like in the movie Thief of Bagdad. Anyone agree or think otherwise? Yes, he is in a lot in the Kirov version. It is fun to compare and contrast. I think I like his dancing best in the Bolshoi version.

I'm hoping someone knows the answer to this. In the Raymonda Pas de Dix (Act 3) it seems to always be performed with 8 couples (16 people) plus Raymonda and Jean de Brienne. So why is it called a Pas de dix?

I saw this Raymonda live in cinema transmission today. Quite enjoyed it, but I had forgotten some things about the Bolshoi's Raymonda. Raymonda does not pick up flowers at her entrance like in the Mariinsky's version or the La Scala version. I miss that in this version. Also, in the 1980s video Raymondas from the Bolshoi Mukhamedov and Vasyuchenko (both as Jean de Brienne) leap for joy at the impending entrance of Raymonda. It is something Grigorovich added, but I actually liked that touch and felt it actually fit the music and helped to build excitement in the audience for Raymonda's entrance. Today Skvortsov did one jete that I remember and Alexandrova entered almost as an after thought. In fact, the entrance timing was so off, in my personal opinion, that you actually thought Clemence or Henriette was entering and nobody really cared! LOL But once Alexandrova began dancing, she more than made up for the entrance. She was wonderful in all three acts, in my opinion. I love this ballerina. Her facial features do create a sort of stern look to her in any role she plays, but her dancing itself is a dream. She is the first Raymonda I have seen who truly looks scared and unnerved by Abderakham. She ended her famous Hungarian variation in Act 3 with a very loud clap. I like that. Skvortsov warmed up and got better as the ballet progressed. He is also very handsome. I do miss Raymonda picking up flowers though. The other thing I do not like about the Bolshoi's version that I had forgotten about (long time since I watched the videos) is that Raymonda falls asleep standing up against a column. This is the dumbest idea that Grigorovich had. Nobody falls asleep standing up! In fact, I think if someone were seeing this for the first time he/she would think she is just resting and have no clue that what is about to follow is her dream. The Mariinsky version has her fall asleep in a chair. La Scala has her lie down and the White Lady guides her outside during her dream. The Bolshoi's 1980s videos (Semenyaka and Bessmertnova) has the White Lady come along, but today's version omitted the White Lady for some reason. During the intermission the conductor was interviewed about Glazunov's wonderful score, and he also said that he thought Grigorovich's version was the best version of Raymonda. I disagree. I think there are good things about this version, but it is far from the best. Also, the Bolshoi's version really needs a new production. Today's sets looked like the 1980s version just slightly changed, but overall, very ugly and dated sets. The costumes look VERY dated too. Half the time Jean de Brienne looks like he is wearing Michael Jackson's hand-me-downs (big shoulders on capes, for example). I did like the black and gold costumes for some of the corps in the Hungarian last act, but those are about the only costumes I liked. The Bolshoi has so many beautiful productions, and Raymonda is mainly done (regularly) in Russia, so the Bolshoi really should do a new production of this ballet. Abderakham's choreography is nice in the Bolshoi's production, but today I felt Pavel Dmitrichenko was a pale version of Gedeminas Taranda who is featured on both commercially available 80s videos. I will have to go back and rematch Taranda's dancing, but I remember much more acrobatics. It looked simplified today. Maybe I am wrong. I will have to re-watch my old videos. Dmitrichenko wasn't bad at all. I just have a memory of Taranda being INCREDIBLE in the videos. During intermissions I noticed that the Bolshoi has the same problem that the U.S. has with audiences. I saw people in the lobby (they showed the lobby of the state academic theatre....this was not performed in the renovated Bolshoi theatre, by the way) wearing jeans and even hooker type dresses. I really don't care how people dress. I rather they show up than not, but at the same time there are so few reasons to dress up anymore. I think it is nice and fun to dress up to go to the theater. But I say this as I sat in the movie theater in my cargo shorts and tshirt! LOL But when I enter a real theatre I always have a sport coat even in the heat of Florida, although sometimes I am just carrying it. Did anyone else see this today? What did you think? Overall, it was worth it to see Alexandrova. Loved her. The two men were not bad either, but they are competing against my memory of Mukhamedov as Jean de Brienne and Taranda as Abderakham. But, please, Bolshoi, invest in a new production of this ballet!!! It is such a gorgeous ballet and should not look so dated like the 1980s!!!!!

In one way, what Copeland talks about in that video makes ABT seem like an "American" ballet company after all. I think we all think of it as a showcase for international stars and so it is barely American, but actually what Copeland describes is a very American concept.....melting pot and to have people from all over the world coming together and creating a whole culture of differences. I liked her clip. By the way, if nobody ever mentioned she was African American I would never know. I would actually think she is white with a tan. But I am a total mix (Japanese American) too, and many people can never tell what I am.

Ling, You are probably right. I do see American dancers who are terrific at Miami City Ballet, and I have seen New York City Ballet known for strength and speed. Even Sofiane Sylve says in the Sleeping Beauty documentary that ballet class at NYCB was more rigorous than she was used to (at the time she had just joined NYCB but has since left). So there are no absolutes. There are American dancers who go the extra mile. I was just throwing out an idea. I know when I go to yoga class and do my practice in a more spiritual frame of mind I feel that my practice was easier even though I worked harder and did better, it seems to come easier when I stop thinking about doing the yoga just for myself. I find that letting go of "I want ME to do well" as opposed to "I offer up my practice to the universe and bringing love to all beings" helps me do a lot better. Ironically, when I get into an ego state of mind of wanting to compete with the pretzel lady next to me, I end up doing worse and losing balance and I get frustrated. I think working for a higher reason is always a better way to approach things. Don't mean to get all far out hippie on anyone. Most people look at me and think I am very square and conservative! LOL Birdsall

I didn't mean for this to become a discussion about race. For me I was just wondering if dancing for "your people" causes a dancer to go above and beyond. I think American Olympic athletes have the feeling that they are representing the United States, but I would be surprised if American ballet dancers feel they are representing the U.S. when they dance. Maybe they do. I tend to think they are dancing for themselves and/or dancing for their particular companies, but not necessarily to represent the U.S. In contrast, I think there is a strong feeling among Cuban dancers that they are Cuban dancers and have a Cuban heritage and tradition. I am not trying to be racist. Cristian has been teaching me all this. I feel that Russians are sort of the same way. The French too. They are very proud of their history and traditions. Also, in both countries ballet seems to be known and loved by the majority of citizens. I have read that Cubans watch ballet the way many people watch soccer or football. The average American doesn't know anything about ballet, so it is a much more niche art form for the U.S. There is no national pride in any particular ballet company from what I can tell. I think American ballet dancers might aspire to dance with ABT or NYCBallet, but they are just as likely to long to dance at the Mariinsky, the Bolshoi, Paris Opera Ballet or Royal Ballet. Anyway, this whole thought of mine was an attempt to answer Cristian's question. I think it is possible that dancing for something larger than yourself (for your country, for your culture, etc.) might help you go above and beyond what you would do for yourself. But with all this talk that sounds nationalistic and patriotic, I want everyone to know that I am not conservative. LOL

I am wondering how much nationalism and patriotism play a role when it comes to dancers being incredible and almost military-like as Cristian calls the Russian corps. I think during the Iron Curtain days the Russians wanted to really show the world what they can do in sports and also ballet. I think Cuban dancers are also extraordinary, and it could be due to being sort of cut off from the world to a certain extent. That creates a hunger and desire to really show the world how great you are. I suspect America takes a lot for granted and people in general do not necessarily go the extra 10 yards to excellence. Ballet in America is not something the average American takes pride in. No one I know cares if New York City Ballet or American Ballet Theatre (despite being very international) represents America. If you think about it, people can get famous and make millions simply releasing a sex tape nowadays in the U.S. There is less pride in excellence and less pride in representing your country. I also don't picture many Americans dancing for their country. I think they dance for themselves. I suspect American dancers simply say, "I am a dancer." They rarely say, "I am an American dancer." In contrast, it seems that Cuban and Russian dancers take great pride in being a product of their cultures. I think the Russians and the Cubans feel they represent their country and are very proud to do so even when they have defected. I think the French might also have a certain pride about being French and dancing for the Paris Opera Ballet. I am not sure Americans feel that way when they dance. What do you all think? I am just talking out loud and could be way off base here. My main idea is that I am wondering if the more you feel you represent your country to the world the more powerful your presentation might be, and the more powerful your will and desire to go beyond your limits might become, but this is just an idea. I could be wrong.