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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. And she was the best Kitri I've ever seen -- nobody else comes close. Awesome performance.
  3. Well, just before that instagram was taken, Arthur Mitchell was standing up -- he left his hand in hte same place and fell to the floor, and Allegra stayed on pointe, though her standing leg has turned in and her neck shortened and the left arm is a little out of whack -- he is about to skitter around on his back to his left, which pivots her to the left to croise [if I remember right] and put her foot down. She may be on the move already.... So this is a classic case of ballet being contemporary dance; Balanchine was very much about dance being MOVEMENT moving through positions, not just p
  4. I like the British usage; i went to grad school there and adopted some Briticisms [ though by no means all -- I still say "fetch" and "y'all"] -- but this one appeals to me because it's emotionally right, and I use it in reviewing when what I'm really talking about is company performance [if I've got the dancers on my mind]; if I'm referring to the institution, I'll usually use "its." I treat it as one of those entities that can be both a mass noun [e.g., "so much water"] or a count noun [e.g., "so many chairs"].
  5. Thank you Mme Hermine. Yes, Aurora does the move - -and Fonteyn did it with great amplitue and authority and musicality == and a really nice recovery, too. At the end of Symphony in C, Balanchine has all 4 ballerinas lined up across the front of the stage and they do this move on the final note of the symphony, and they [with the support of their cavaliers] hold the arched pose in a final tableau, without returning to vertical. Aurora does hte move as the "finish" of a supported releve pirouette, with the working leg in passe [aka retire] and a cavalier standing behind her to help hold her
  6. LOVE it! So that's Nancy Johnson Sally Bailey, Nancy Johnson, Conrad Ludlow [who's been coached to play it as a nervous wreck, probably by Lew Christensen....] in the galloping pd4 Johnson reminds me a little of Carolyn Brown. all I know is that Nancy Johnson is terpsichore I really like it, too -- it has a definite character, a mystery that's real, and their movements have moods behind them-- they hold out, and join in for their own reasons, it's like watching animals in a zoo, you see they have relationships.... Thank you for posting this.
  7. Thank you both, Pherank and Sfcleo, for those fascinating posts. Thanks for doing the research; I enjoyed both those clips, and -- well Alexandrova and Osipova are both thrilling even if they DON"T do the the 'quick reverse" [which they most certainly do not]. I still want to know more. Maybe Cecchetti invented it? [he did a restaging in 1894 (when Petipa was sick?)? In any case, Pherank nailed the move with her clips , so now we know what we're talking about [and what to call it for shorthand -- "The quick reverse"]. Did you notice how much bigger Vanessa's cambre was?? Masha did it very cla
  8. As I was reading up on Coppelia for my review, what I kept wanting to find out, and haven't been able to, was the origins of Swanilda's sudden unsupported tilt in passe -- you know at the end of her big 1st act variation, she poses on pointe in retire/passe and suddenly takes her whole torso sideways. Frances Chung did this with amazing aplomb. [so did Masha, with less power.] Question is, is that move Cecchetti, Petipa, or St Leon? It's such an arresting image, and so powerful! Aurora does it, with the prince's support, in the wedding pdd in Sleeping Beauty. Obviously it affected Ashton, who
  9. Thank you all -- this is so sweet! I'm with you. I miss her. I saw our mutual friend Verna after SFB's Coppelia last night and wondered what she'd have thought of our dancers. It would have been so great to have the three of us hash it out. I have so many questions to ask her, about dancers I think she'd like. But also, I associate her with certain places in Berkeley -- i met her here, on BA, but in person, I met her in Berkeley, where she'd come to attend an inauguration of a scholarship program that a relative of hers had founded. I never pass the dorm at Bowditch and Channing without "se
  10. Kronstam's production [with Hubbe, Englund, and Jeppesen] has the advantage of Kronstam's powerful mind organizing the whole production; it is magnificently integrated in its psychology, and in the tempi, tone -- and then there are those performances! Evdokimova and Thesmar are both superior to Jeppesen in lightness, mystique, and silken execution.... truly amazing performances; but Jeppesen's tenderness makes the whole drama seem plausible, she's lovable like neither of the other two are. I couldn't say no to her....
  11. Dirac, thank you for remembering Haggin -- a wonderful critic, fantastically observant. Yes, he was the first I ever encountered who wrote about the dancer's production as many music-critics write about a singer's, and indeed, his phrase "the ballerina operation" gave me a lot to think about. I think of Garis, whom I studied with at Berkeley when he'd come out here as a guest professor, as being in much the same mold as Haggin. And thanks, Helene, for the tribute to glebb [though I still can't find any of his posts about Violette, and they showed her in such a human light].
  12. Beg, borrow, or steal the old video of Agon with Violette as the castanet girl -- she was vivid in everything, but the way she danced that role is singular, sparkling, radiant, sovereign, and nobody else danced it like that. It's truly startling, the way she made it seductive was nothing like the way most NYCB dancers do it, since it was so perfect, so restrained, but so sudden, so impulsive, she melted into a that attitude effacee like a rainbow, soft, but very very fast. The coquetterie was intense, but in no way obvious -- It was pure offering. Nor did she need you to takethe bait -- she
  13. I remember being surprised how much I liked Grigorovich's Raymonda when they came to Berkeley some years back. Actually, I more than liked it, I loved it. I feared it would be crudel not so. Allash was fabulous. Semenyaka is my favorite Raymonda ever - -even over Plisetskaya and Kolpakova [who was sensational! -- 16 entrechats-quatre to pointe, travelling backwards!! back in the 60/70s]. Novikova is also stupendous. WHat a wonderful role!!!
  14. Thanks for picking that up, Sandik. Yes, was curious about the Ratmansky comment. I haven't noticed THAT, but I'll be on the lookout; pivots, directional changes are the name of the game in classicism [one of the great things in the Bournonville rep is the 22 1/2 degree changes from effacee to en face, which happen all the time, esp in glissades -- Balanchine uses those, I think, but then Ratmansky might, too -- he was in the Danish company for a while . Anyway, I'm just speculating as to what you might mean. Though I've seen the whole Shostakovitch trilogy a couple of times [atSFB], I never
  15. Re Ratmansky? Are you talking about the character in "the Bolt"? That's a very special idiom -- Anyway, thanks for posting the Pulcinella excerpt, which kinda plays on my machine here, very jerky, long pauses, hard to get a sense of the overall rhythm among so much business and mayhem, but still, I think I can get the feel for it. I guess that's Scaramouche? Like a whole world of scaramouches? A friend who knows a lot of dance history tells me that Scaramouche was the only creature who could get infant Louis XIV to stop crying.... I don't know the source for that, maybe one of you does and
  16. Thanks, everybody!!! THis is the most wonderful thread! Re baryshnikov -- yes that chandelier is frightening!!! I'm glad to see this -- though I'll have to watch it again. They're so cramped, especially him. I'm not sure I like it. He looks like hte kind of kid who could become a drug dealer just by hanging with the wrong crowd, rebellious without a cause.... Seems to me that McBride is putting on a good fake of how much she likes to dance with him ... not. With villella, it feels like the relationship is mutual. These two, I don't believe it. And Baryshnikov keeps looking at the floor. It
  17. Ratmansky's performance in Balanchine's "Tarantella" looks Harlequin-ish to me -- It's the only interpretation of the role that can stand next to Villella's immortal one. Of course they both do the commedia gestures, the palms up "who knew" gestures.... but Ratmansky makes it much more of a "class act" -- there's a premier danseur elegance in his bearing, whereas Villella's appeal was very earthy. Of course, Villella had McBride to dance with, and they managed to keep up a real flirtation throughout that superseded the steps completely. Ratmansky's partner isn't interested in him; she's
  18. I can't add any names, but I sure hope someone else can. I want to know the answer to this question.
  19. Those of us in SanFrancisco will remeber the thrilling Joseph Phillips, who danced here before going to ABT. Where exactly is Primorsky?
  20. Mary Clarke wasn't just a good critic, she was a strong-minded woman of formidable energies and large sympathieslike Lilian Bayliss or Ninette de Valois, who provided a balance of good criticism to the pioneering work those ladies did in producing ballet, without which the art would not have gained the prestige and the place in the culture that it did very rapidly. She was not there in the first generation, but the critics whom she joined when she arrived on the scene welcomed her and by all accounts really befriended her and welcomed her into the enterprise. And she was good to the next gene
  21. I think about her all the time. I remember seeing a DonQ in New York the same day she was there in which Zakharova managed to kick herself in the back of the head without arching her back, and we both agreed there was NOTHING Spanish about it.... It was just a stunt, and we hated it, and we were friends for life.
  22. Fantastic news. This wonderful magazine was incredibly hard to find if you did not subscribe. The new site is neat and has some truly choice articles from its archives offered -- my favorite is the interview with Francis Mason, who tells how he collaborated with Balanchine on the "Stories of the Great Ballets for Doubleday and how when he was a US cultural attache he brought ballet, modern dance, the New York school of painting, Martha Graham, and Isaac Stern during the Cold War behind the "Iron Curtain" to Belgrade, the only place it was possible under Stalin to see any alternative to Socia
  23. It played for me.... with some catches, till I closed all other windows, and then it was fine. I don't think this video does much for Kronstam -- his choreography is 'ungrateful -- or as a dance-friend used to say, "hard and ugly." I admire most his graciousness throughout. but Simone really does look wonderful -- her timing, focus, and generosity serve the dance and the audience in a wonderful way. WOnderful phrasing, and wonderful stillness. The finale's fouettes are very exciting. Thank you for posting this.
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