Birdsall

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 & additing to them, in his fashion. It is THE longest production of Raymonda, beside the La Scala...most complete use of the music. Oh, I forgot about that! I have only seen it online, but you are right. I liked watching the new choreography too, although sometimes it doesn't blend as well. I keep hoping a commercial (clean) copy of the Nureyev Raymonda will be released. Agnes Marie Gillot's Wikipedia entry lists it as one of her videos (in preparation), but it has been "in preparation" for a long time while the La Scala Raymonda came out within the same season as it was performed! I wonder what the hold up is. Dorothee Gilbert's solos are the main reason I want that version. But at this point I guess the Nureyev Raymonda is not going to be released. I also love the way the corps moves in wild circles interweaving among each other at the apotheosis. That was a Nureyev invention, and I like it.

Taranda is amazing in the Raymonda.....I think the Bolshoi's Raymonda is really the only Raymonda that gives Abderakhman any kind of thrilling choreography, so that is part of the reason, but he is amazing period.

I suspect it is no fun falling down in front of the Met's audience, especially when you are a rising up-and-coming dancer trying to make a good impression on your bosses! LOL Some people have a daredevil personality and they do whatever it takes and will use speed and strength and do amazing things, and that is quite thrilling to watch, but I suspect the vast majority of people are more cautious people. The special stars are special because they are better than average. You can't have everyone dancing like a superstar, b/c then nobody would seem special. I also think that "stars" start to take more risks once established, b/c they are constantly trying to prove themselves. A young, up-and-coming dancer is going to be more cautious. Not all, but I think it is a normal human reaction to the task at hand.

Who should be in the cast if ABT (if an international company) ever staged Canto Vital???? Gomes and Vasiliev need to be in it! LOL

Wow! Canto Vital is a tour de force! Wish I could see it live!

This is, interestingly, not the case in opera (to the extent that singers are severely criticized if they break character for even a moment). For both opera (where end-of-act bows are quite typical) and ballet (with bows after every movement of most classical pdds) the traditional 'fourth wall' is not at all an impermeable boundary. I can't remember (lived in Germany and Austria in the very early 90s) because it has been a long time, but I have heard it is more common for opera singers to take a bow or acknowledge extra heavy applause after an aria in Europe. Maybe that has changed. I know that you are quite right here in the U.S. Here a singer is not supposed to break character and take a bow despite plenty of applause after a difficult aria. A singer will be raked over the coals if she or he does that here in the U.S. But I think the rules are slightly different in Europe. At least they used to be. Getting used to the applause and cheering during ballet while music is being played by the orchestra has been hard for me. In opera you really aren't supposed to clap at all during the music so that you can hear every note, although many audiences start applauding as the curtain is descending even if a beautiful last note is being played by the orchestra ruining the mood. There is a short video (or there was) of Barenboim getting bug eyed as the audience at La Scala breaks out in applause right as the final note is sounded in Tristan und Isolde. It is quite funny. To my chagrin most opera audiences applaud the scenery as soon as the curtain rises as well, even when the sets look like crap! Occasionally a very famous singer will be applauded on her entrance, but that is usually reserved for very famous ones who have proven their worth (not the bright star that hit the scene this year). I am enjoying the discussion of the various opinions of Osipova's Juliet. My gut reaction without seeing her in the role was that I didn't think it would be the right role for her (and I am a fan), but it sounds like some people really enjoyed her in it, so I will keep an open mind about it.

Yes, I am glad to get a chance to see Alexandrova's Raymonda! Zakharova's is available on a Japanese video, so it will be better to see someone different.

Cristian, One thing I love about the Cuban dancers you have introduced me to is that they are all unique, and they are not ashamed or afraid to show it. They dance the choreography, but if they can do something special, they do it. One very obvious example is when you see Viengsay Valdes show off her long held balances to the amazement of audiences. This weekend Sarabia showed off his turns and how he ends them so special. As much as people don't want to admit it, there is a certain circus aspect to ballet. Yes, it is supposed to be more elegant than circus acts, but the circus aspect and the star power that certain dancers exude will never go out of fashion. I am coming to ballet via opera, and in opera it is the stars who are not afraid to show off that become singers that we practically worship. Montserrat Caballe showed off her pianissimi all the time in her prime and maybe a little too much at the end of her career. She held them forever and used them even when the score called for a forte high note. But it was okay overal, b/c she was so amazing at what she did do. She was unique and showed the things she did best. If your high notes are not the best feature at the end of your career, you should not show them off and crack and screech. Instead, sing it piano in a ravishing way. Sutherland was unique with her incredible coloratura abilities and ability to embellish bel canto so thrillingly. These "special" things that made each singer special is frowned upon by conductors and voice teachers, I suspect, but it is what made these singers amazing and special. Opera companies are trying to stick young artists on the stages in regional companies, and, in my opinion, it does not work. The arts have always and will always thrive on a star system. Singers or dancers with experience who know their stuff but also dazzle and show off a little. I think dancers and singers should be encouraged to show off their unique qualities that make them special. I don't like Stepford Wives singers or dancers. I like each one to be unique and special like jewels. Birdsall

By the way, I did not mean to say the dancers I mentioned above were from Spain. De Luz is, but Scheller is from Argentina and you all probably know that Sarabia, Gutierrez and Feijoo are from Cuba! All wonderful dancers. There were dancers from other places, but I was trying to say that this "Spanish Night" was a collaboration between the Cuban Classical Ballet of Miami and Spain where they apparently premiered the show. They Lola Greco (dancer from Spain), Sergio Bernal, and Elena Cerro (a little person with a big personality). All the pieces on the program were Spanish-themed or by Spanish composers. Great night, although I have to say I liked Paquita and Don Quixote PDD the best!

Just back from a short weekend trip to Miami to visit CubanMiamiBoy and to see the Cuban Classical Ballet of Miami's "Spanish Night" which included dancers from Spain. I had so much fun! Seeing Rolando Sarabia and Hayna Gutierrez and Lorna Feijoo were the highlights for me. Sarabia and Gutierrez danced the Don Quixote PDD at the end, and it brought the house down. Sarabia was better in this than a few weeks ago in Orlando. He pirouettes and ends in coup de pied or a la seconde. It is just thrilling and amazing. It is a shame he doesn't have a permanent company, although maybe he prefers to be independent. Lorna Feijoo and Nelson Madrigal danced "Nuestros Valses (choreography by Vicente Nebrada), and they showed off old world style that was divine even in a modern piece. The whole night started off with a Paquita Grand Pas with Ana Sophia Scheller (just promoted to principal at NYCBallet), and Joaquin de Luz (also principal of NYCBallet). More later. I am super late for my current job.

Btw, I am the poster formerly known as "Bart Birdsall".....I will be "Birdsall" from now on and will try to remember to sign posts as "Birdsall".....

Kristen, It sounds like it was so much fun! I think I would have done an arabesque on the ramp anyway! It would have been awful!!! But I ran up the library steps in Philadelphia like Rocky even though people laughed! So I wouldn't have been able to resist making a fool of myself on the Shades ramp! LOL You should have done it!!!! LOL Visited Cuban Miami Boy this past weekend to see Cuban Classical Ballet of Miami, and we did some quasi arabesques and hopes en pointe in the ocean! LOL The Ballet Gods got back at me for this by having a jellyfish sting me though! Bart

Make sure to read about Bayadere on Wikipedia. http://en.wikipedia.org/wiki/La_Bayadère Early on people warned that Wikipedia can be wrong since people submit info but now I think Wikipedia has people looking for mistakes. I find Wikipedia fairly accurate the times I have read something I am familiar with, but there could be mistakes. It is actually hard to find info on particular ballets, but there is a LOT of info on Bayadere on Wikipedia. I think there used to be more, but someone has edited it. Just don't necessarily base research solely on Wikipedia's info. You will want to look in other places and maybe fact check on your own, although you might not need actual extensive research on the actual ballet itself. You will understand why there are different versions of the ballet after reading about it. Natalia Makarova (a ballerina) was responsible for staging the Kingdom of the Shades for the first time in the U.S. and then later she staged the full ballet in NY. Later Nureyev staged the whole ballet in Paris. I think his version is closer to the Russian version of the ballet and includes the character dances. But, like I said, Makarova's version is probably what most Americans and the British have seen, and plus her version has been staged all over Europe as well. I could be wrong, but I suspect more people know her version than any other. It is a more streamlined and more "tragic" (atmosphere-wise) or "serious" version, in my opinion. The 1991 video is Makarova's version, but Asylmuratova supposedly demanded to dance the "Happy" dance (my term for the basket of flowers dance). But normally you will not see that in the Makarova version. Instead, she gets the basket and does a more slow dance (which actually fits better dramatically). As much as I like the "happy dance" it is a bit over the top when she knows Solor is still getting married to Gamzatti. LOL If you're being dumped, even getting a basket of flowers from the guy dumping you would not normally cause you to jump around with glee! LOL Maybe it would, but I doubt it! LOL

To answer another question of yours La Bayadere as performed in Russia has many character dances that are not included in the American Ballet Theatre's (and many European ballet companies') versions. I think the Mariinsky, the Bolshoi, and probably other companies in Russia AND the Paris Opera Ballet's version (by Nureyev) have these character dances. One example is a variation for a girl with a jug of water on her head which is very cute. There is also a group drumming. The Golden Idol is most often danced during these character dances. In the one that most people in America and many places in Europe see, however, it is the Makarova version, and when she staged it she cut out a lot of what I call "the silly stuff" (I don't mean to say I dislike the character dances.....I enjoy them). She made the work into a much more serious story. She also created a final act (that had been lost during Soviet Russia). You might want to read online (maybe Wikipedia) to find out how there is quite a complicated history behind La Bayadere and how it came to Europe and America. There is too much to go into and Wikipedia probably explains it better than I do. I have to admit that I am probably in the minority, but I love Makarova's version of Bayadere. I think most people prefer the Nureyev production that he staged in Paris which is on video and is probably a more "traditional" Bayadere. But I love the Makarova production b/c there is closure (an ending that is actually quite scenically beautiful). So my personal vote is: get the 1991 Royal Ballet Bayadere w/Asylmuratova (she includes the "Happy Flower Basket Dance" that Makarova's production normally omits, by the way). This is the Makarova version. Also, get the Bonynge recording of it on audio (either order the cd or get from iTunes). I actually listen to the music of Bayadere while doing cardio! Bart

You might want to buy a Bayadere recording on iTunes by Richard Bonynge (conductor) which is the Lanchbery orchestration of Minkus' score. It is probably the sequence of music most familiar to Americans and many Europeans. It gives the musical terms (Ex: "Tempo di marcia giocosa") for each piece. It doesn't tell you which dance is happening, but after watching a dvd of it (I would suggest the Royal Ballet's 1991 version with Asylmuratova since it coincides with the Bayadere audio recording for the most part with minor changes that I suggested above). Once you've watched the whole ballet on dvd (over and over if possible.....when I bought this particular Royal Ballet Bayadere I found it quite easy to watch over and over) you will know in your mind what is being danced at any moment once you just listen to the recording I mentioned from iTunes. You'll know when it is a variation for Nikiya or Solor or when the corps dances, etc. That is my suggestion. Bayadere is one of my favorites, so please let us know when your book is published! I will read it!

The only reason I posted about Shonda Rhimes' tweets is that I think it is something that comes into discussions about ballet. I haven't watched the show, and it might actually portray the actual demographics of the particular town it is set in. I have no idea. I just was reading this topic thread, b/c I want to see Bunheads, but I don't even know if I can get ABC, b/c we never watch tv, and we have no cable. I think ABC is not cable so I probably can get it unless you need cable nowadays to watch the old "regular" networks. My partner has the tv set up with Wii, video games, Netflix, online programming, and there are like 5 remote controls, so I never even try to figure it out. I just watch ballet or use the internet upstairs on my computer! LOL Anyway, I would like to see this show, so I've been reading this topic thread. Then, I saw the item on Perez Hilton and just found it interesting. The general public does seem to criticize ballet sometimes (Euro-centric, too white, dancers too skinny, etc). These are things I have heard come out of the mouths of non-ballet lovers. But I saw a black dancer in Miami City Ballet's corps last season, although she's no where on the roster online or in the programs. Maybe she is an apprentice (without a picture) I also saw Misty Copeland at ABT. But even in Miami and New York the ballet companies are not bursting at the seams with black dancers. I think there are more Asians and Hispanic ballet dancers than blacks. So I think Bunheads might actually depict the experience of most girls who go into ballet. I wasn't trying to get anyone mad at anyone or start a controversy or get anyone mad about PC ideas. Just think it is good to have healthy discussion on the topic. I imagine if I were a black mother like Shonda Rhimes I might wish for more depictions of blacks on shows like this simply so my daughters would think it is normal to want to do ballet, etc. I think she was expressing more of a wish than a demand or expectation that the show become PC. Maybe the show will introduce a black character later on. The movie First Position did show how the one mother had to dye her daughter's garments a dark flesh color for her daughter Michaela DePrince, who was black. I found that interesting, b/c I never even thought about that being an issue. DePrince even said she's been told blacks are too muscular, not enough elevation, etc. So a character based on her would be fascinating for a show like this. But I don't pretend to know the main themes of this series, so maybe there is an overall plot that is very specific, and the aim is not to go into issues like this. Either way it sounds like everyone on here likes the show, so I will find out if I can watch.

I haven't seen Bunheads and never watched Grey's Anatomy but happened to be reading Perez Hilton this morning and he reported that Grey's Anatomy creator Shonda Rhimes has apparently criticized Bunheads for not having any girls of color on it. She used twitter to say, "“Hey @abcfbunheads: really? You couldn't cast even ONE young dancer of color so I could feel good about my kid watching this show? NOT ONE?” Then, apparently she felt like she was too harsh and tweeted, "“did love seeing girls of all shapes and sizes. That was great. Am a huge Gilmore Girls fan. Just pointing out one issue…” I'm just reporting b/c I have been reading this topic and then happened to see this. What do you all think of her criticism?

It really is a beautiful voice, but the top register is problematic. Yes, a gorgeous voice. I totally agree with you though about her upper register. What's funny is that years ago when she was just starting out I heard an impressive Lakme in Sarasota with her. I think she sang it in NY also. She seemed more comfortable in the upper register back then, but the voice has grown darker and thicker to my ears. She exploited the pianissimi like Caballe in the Traviata, and the first act of Traviata I thought would have been her easiest, but it wasn't and she got better due to the role becoming more lyrical and then dramatic at the end. So that was the first time I noticed the problematic high notes. Then, her Lucia totally disappointed me, and I was convinced then that she was singing the wrong repertoire. I think she should be singing lyrical roles. Those roles would showcase her good points.

Absolutely agree. I went to see Kent/Bolle performance, and having never seen this ballet before, I wish I did not read (and love) the actual poem. I love the Pushkin's book, and it did not help me to enjoy performance at all.. I think if I did not read the poem, it would be easier to tolerate ridiculous ballet story. Also, costumes in Act I were laughable.. (why Tatiana and Olga are dressed as peasants??? Other girls of their circle are also dressed as peasants, while man are wearing proper evening attire. And vice versa during the peasant dance ) I think Pushkin's poem/novel is so wonderful that it is hard to enjoy the ballet the same way after reading it. I think it is best to go from poem to Tchaikovsky's opera (which has more moving music, in my opinion) and then to the ballet. Then, the ballet doesn't seem as inferior, but if you go straight from the novel to the ballet, I can imagine it would be disappointing. I went from the book years ago to the opera many years ago and was disappointed but came to love the opera over time. The ballet which I know from video is not too different from the opera, so I actually enjoy it for a fairly "modern" ballet. I am not sure I would understand the entire story if I just started with the ballet. There were several moments that I thought would be confusing if you didn't know the story already. Also, the whole flirtation with Olga at the party which upsets Lensky does come off as too sudden in the ballet. I suspect (just guessing) that the costumes in Act 1 are to underscore how Tatiana seems more provincial. She is a wealthy landowner's daughter but immersed in country living, but Onegin is cosmopolitan and used to city life and fancy balls. He comes to the country and I believe part of the reason he rejects Tatiana is that he finds her and her life very provincial ("cute" but not for him). I think the class issue comes across much more in the novel/poem. But you have a good point that all the men are dressed up and all the women are dressed down. Not really sure. Some people interpret Onegin as being gay. There was a recent production of the opera in Munich, I believe, that did that, but I don't think it was the first production that has done that. That explains his dismissal of her love and then later his sudden reversal when she is wealthy and admired (sort of a glamorous diva in his eyes suddenly). Of course, that is just pure interpretation with no basis in the original text, and I don't think the ballet makes him seem gay.But it is interesting to analyze Onegin's character from all possible points of view.

Mussel, I sent you a private message which you've never read. Just a head's up. I am concerned my private messaging doesn't work on here. Lois Kirschbaum is famous among opera lovers too. I might get like that when I am old. Bart

You are so lucky to have seen her in all her roles, Cristian! It must be exciting to be in an audience who treats ballet like a football game. I think the Italians do that for opera also at La Scala. They consider it almost like a blood sport! LOL

Yes, she seems to want to be a bel canto singer. I saw her for the first time years ago in Lakme in Sarasota, and I thought she was extraordinary. Back then her coloratura sounded great. Then, she happened to be singing in I Puritani when I was in Seattle, so I went to see her in that, and I thought she was wonderful. It was when I heard her in La Traviata and Lucia at Florida Grand Opera that I started to notice that the high notes did not seem to come easy to her and she was more cautious. If she can substitute a piano high note she will. Sometimes this is a very fine choice, but sometimes it is not the appropriate option. She actually has wonderful pianissimo notes. So I think she should sing lyric roles and exploit the really good things about her voice. With the dark coloring in her voice she might eventually move to spinto roles, and spintos are getting rarer, so she would be in high demand. I think she started out as a coloratura and it probably came easy to her, but as her voice has grown and matured it has taken on a heavier and darker sound, and so the coloratura is not coming as easy as it once did. The whole point of coloratura is that it should sound like the easiest thing in the world. If it doesn't sound easy and free it defeats the whole purpose. But out of the crop of young singers I do ilke her. Don't get me wrong.

I heard she sang "Depuis le jour" as her encore. Now that is an aria that I think she would be terrific at.....the gorgeous song "L'heure exquise" and "O quante volte" (Giulietta's aria) were probably exquisite too. All of those items are perfect for her voice. I love the quality and sound of her voice. I just think she's in the wrong repertoire. I don't know why she wants to sing so much bel canto. Maybe it is the challenge.

I missed some of the videos unfortunately. I saw some but some were already removed by the time I viewed them.

All of those choices in repertoire sound like good choices for her because even the coloratura pieces have a slower mood. I love the actual quality and sound of her voice, but I really think she is a lyric soprano who wants badly to be a "bel canto" coloratura, and her coloratura is pretty good but not effortless. I think it was smart to choose mostly baroque pieces as coloratura pieces. I would be interested in knowing how her Ombre legere and tornami a vagheggiar were. I find that she is better at pianissimo or piano high notes and not very full or rounded on her forte high notes. She usually uses the Caballe trick in substituting a piano high note. When she does do a forte high note it sounds squeezed out and not full or rounded. Of course, the great Montserrat Caballe sort of had the same sort of issue, and she is one of the greatest singers of the 20th century. But I hope she has worked on her high notes, because the raw talent is there. Her voice has a full, dark sound that I absolutely love for a soprano to have. I really think she should sing lyric roles and one day move into spinto roles if her voice grows. Personally, even though she can do coloratura, I don't think it is her best quality. Her best quality is in soft singing, sustained lines, coloring the voice.