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Paul Parish

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Everything posted by Paul Parish

  1. It's so sweet, re-reading this conversation. Rest in peace, glebb. Sandpaper comes back into SFB's rep next week. Alexandra, the Post must have messed with their links -- I tried to read your review, but the link isn't working, alas.
  2. I see that Yuri Possokhov's Classical Symphony was nominated also, for choreography. There's no mention in the article, but Kochetkova was the ballerina at the premiere in San Francisco. The article did not mention what critic nominated it nor what company the nominating critic saw perform it nor where -- it has been danced in Moscow and I think in Berlin. I'm glad to see it was nominated --I think it's a wonderful ballet and that American critics don't rank it high enough.
  3. I'd say that van Patten, though she's been a star since she was young, is an old soul. Her Juliet [in Denmark] actually slipped on the stairs as she made her ballroom entrance and it didn't bother her.
  4. THanks for posting, pherank. I have seen Sarah van Patten stop the show in the middle of an adagio [within hte Golden hour]. She is an awe-inspiring dancer.
  5. MORE GELSEY VIDEO! And wonderful, too http://www.youtube.com/watch?v=zGAXPd_JEus In Balanchine's Tarantella -- without music, alas, but as I watch it I can hear the music. Fantastic performance -- she gives great respect to McBride's creation, keeps to McBride's big effects all the way, but throws her head back on her travelling steps and does her Rockettes-kick with her own attack and REALLY sits down in the echappes; also a fantastic Suzy Q exit, almost as if this were Bulerias.... Funny, , funny, funny, she's a scream in this. Also interesting that she's not bothered by obsessive perfec
  6. Paul Parish

    Skorik

    I'm with Quiggin.
  7. Thank you Rosa for posting that. Tee choreography is in many passages SO BEAUTIFUL -- and so difficult -- it really reveals Obrastzova's modesty and greatness of heart, to see how scrupulously and generously she moves through these paces. Ashton contrived a more wonderful entrance -- never was there ever a more wonderful entrance than Cinderella's floating descent of that precipitous staircase -- but Sergeyev's dances are more moving and more expressive and no less exacting than Ashton's. I'd never seen this version before - -and I can't imagine a better case being made for it.
  8. Paul Parish

    Skorik

    Doug Fullington IS an authority on questions like these-- I would love to know his opinion on this issue -- or rather, ALL these issues, which are starting to look like a can of worms. Mercy, wonder who choreographed Alonso's version, which -- though it's IMMACULATELY danced -- rarely touches down on the usual steps. I've never seen another dancer bourree upstage with her back to us in this variation before. Thanks again for the wealth of information everybody. Birdsall, sorry, my inbox is full. It was opening night, Wednesday, that my friend identified Ivanova as the first Swan out.
  9. Paul Parish

    Skorik

    Thank you all for your thoughts on these matters. Especially Natalia, for that splendid collection of links, but really all of y'all, even those not sympathetic to my view, since it's such a stimulating conversation, and you all know so much. Birdsall, you raise a point about why the men's variations -- I have not heard that argument, but I remember hearing it was common knowledge that Petipa did not choreograph the men's variations, but let the men choreograph their own most effective solos.
  10. Paul Parish

    Skorik

    TIara, if I was given false information by the director of the company, what would THAT mean? And I would say, from my own experience as a dancer, that develope in ecarte with a releve is not a difficult step, BUT that the releve with double frappe pique into a releve with a developpe in ecarte IS a difficult step -- the small work requires a very strong standing leg, the beat must be brilliant, and the co-ordination is tricky to link all the moves into one phrase
  11. Paul Parish

    Skorik

    Here it is immaculately done by Marianela Nunez -- with truly astounding pirouettes in attitude as well......
  12. Paul Parish

    Skorik

    Thanks you Cinnamonswirl for posting that. [NB Even Lopatkina only does the "beat-beat-down" move ONCE-- the other developpes happen without their grace-note.] This little ornament is, I'd argue, MUSICALLY very important -- it is like the grace note before a long-held note in music. Think of the mordant before the first note of Bach's Toccata and Fugue in d minor; it's KEY to the power and beauty of the big gesture, that it started with such a brilliant attack. The lustre of the long-held pose looks dull without the jewel-encrusted edge it should have begun with. If we're talking canonical m
  13. Paul Parish

    Skorik

    Tereshkina is very strong -- the only one strong enough [management told me, during the intermission at Zellerbach] that Tereshkina is the only ballerina who can do the petite batterie in Odile's variation -- the double frappe into fondu after the pirouette in attitfude, before the big devellope in ecarte. None of the ballerinas did it here [though I'd bet Kondaurova could do it]. I asked point blank why they did not do it, and the answer was "because they can not do it."
  14. Paul Parish

    Skorik

    Birdsall -- my friend said one of the cygnets was ill that night and Ivanova was the first one out. Thanks for putting up the picture. it's the feet I would recognize her by, not the face -- the way she did coupe, the way she shaped her pas de chats was what was remarkable.... Leonid of course has a point -- with so many at the top of the hierarchy out, slots have opened up that have to be filled. It's also the case that the movie has given Skoryk a following, and dancers with a following will pull people into the theater.... There are always many factors. Ballet, like opera, is a Gesammtk
  15. Paul Parish

    Skorik

    Thanks for posting that article about ivanova -- i saw her in the cygnets' dance in Berkeley and thougth she was visionary beautiful. I didn't know who it was, but asked Catherine Pawlick who that was [first cygnet out] and she identified her as "my friend Ivanova." Beautiful coupes, beautiful pas de chats.... like gelsey kirkland's, beautiful.
  16. A scholarly friend asks what she might read about the lives of great character dancers -- I'm stumped. Do NOT know where to send her. "Anything on Derek Rencher or Nils Bjorn Larssen. Or Gerd Larssen. Stanley Holden. Wayne Sleep. Sorella Englund." Or those two great dancers at the Maryinsky who always play the king and the queen [Elena Bazhenova]. Rencher was the greatest Rotbart I've ever seen -- powerful and beautiful, mesmerizing. Balanchine himself was great as Drosselmmeyer and Don Quixote. WHo are your favorite character dancers and what do you know about them and how do you know i
  17. Paul Parish

    Skorik

    Christian, what was it that you did not like about "the worst Odile ever?" And how was her Odette? Her many detractors, and her many fans, seem to argye askew from each other. People who post YouTube clips in her DEFENSE put up instances of such bad dancing it's hard to believe the "supporter" isn't really an enemy in disguise. But anything can be done with edited, compilations to make a dancer look unmusical. I'd like to know what someone who saw a whole performance thought of her ability to BUILD a performance over the whole evening, and would LOVE to know your opinion, since I share your
  18. I love love LOVE the way Spesssivtsiva opens her arms on the pique arabesque - -from high fifth the upper body blooms as he arabesque endures -- her arms are so soft and "natural," Blasis-esque in every pique, the finger-tips are so alive. I don't think I've ever seen this quality in any other GIselle, not in this solo -- they usually "hold" the arms-- "drier," as Fonteyn would say. This is all so radiantly simple -- she looks like Snow White, if I may say that without prejudice. Thank you Mme Hermine.
  19. Thank you, Christian, for posting haina -- beautiful in every way. the sharp precipite, the arabesques so pure and so light, perched like a bird on a bough -- everything about it, lovely generosity in performance. This diagonal is taught by Frederick Frankilin when he sets Giselle. oakland Ballet does it. I haven't see n Dance Theater of Harlem's in some time, but I believe they did it. It's the Ballets Russes version.
  20. I believe she was second violin in the CBC recording of Concerto Barocco with Suzanne Farrel -- she was thrilling in it ,esp the last movement....
  21. Hats! What a moment for hats. It seems necessary to hide the forehead with the hat, if you're under 30. Cleavage may be shown, but not the forehead. What's up with THAT? Victoria Beckham was most noticeable -- her beretta was perched almost in front of her hairline -- but keep looking, and most everybody in the fashionable set had hats growing out of their foreheads. Wonder how they kept htem on.... I thought the queen looked happy in yellow -- it looked like she was showing her approval of the match.
  22. 'How's the new outdoorsy ballet workin' fer ye?' which, god knows, would be another form of ballet death knell. WELL-said!!!!! I don't know that it’s at all necessary to see women on pointe in the light that Mr. Macaulay sees it. For me, women on pointe are MORE independent, freer, than anyone in a soft shoe. Alonzo King, to name only one, is using pointe work in pdd that are shared-center -- he's not supporting her any more than she is supporting HIM, they're often pulling away from each other, or knotted up in the kinds of tangles Balanchine used in his more advanced work -- Mr. B was n
  23. I had never seen Evdokimova until today, on these two youtube clips -- which are among the finest interpratations of those roles I have ever seen. She is out of this world. In the Giselle, she seems like Allegra Kent in Sonnambula -- finding him "by echolocation." Of course I'm moved by the news of her death, but still, right now I feel that I have never seen truer or deeper interpretation of these dances. The phrasing is her own, and it is so appropriate. Her dancing is multicentered, like African dancing -- the breast-bone has its own rhythms which are different from those of the pelvis, an
  24. Mel which clip are you referring to? Re the clip of the variation danced by Lorena Feijoo, which is choreographed by Helgi Tomasson and is a fine example of Tomasson's craftsmanship (which Christian posted), SFB supplies thefollowing productions credits about the music for San Francisco Ballet's Giselle:
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