trieste

http://bourree.tumblr.com/image/24004625697 I find this photo of great use in discerning heights -- and in it, Gillot looks to be taller than Letestu.

I agree, pherank -- in Chicago, she walked right by me and my 5'6" friend (plus three inch heels) and was a bit taller than my friend, I have no doubts. I would say she is, at the very least, 5'8"-5'9". Either way, she is magnificent as a dancer and a person.

I saw that chart as well, but my French is nonexistent so I had no idea what it meant. What is a defile?

They are really pushing Ludmila Pagliero in Balanchine works, hm. I Would like to be impressed by her, but I haven't been. It'll be interesting to read Dansomanie.

I like to imagine Osipova coached Vasiliev as Kitri!

Yikes. Those Rubies clips are awkward. Such shallow plies! I saw bits of Osipova doing it, she seemed to get it.

That is a rather bizarre blanket statement of ballet. Methinks the source of the quote is none too familiar with the art. Still, love that shoot and hope to have a chance to see Kochetkova some day, either live or in a live-in-cinema situation.

I personally like the aesthetic the POB goes for. There could not be more difference between Myriam Ould-Braham and Marie Agnes Gillot, but both dance in the French style and both are well loved. Their dancers look healthy and athletic and...well, like there's not one correct physique to have at the company, so no one is clearly at a weight unnatural for them. They 'vive la difference' in physique and hammer the uniformity into style. I think this approach works quite well for companies with feeder schools.

From what I've seen, it's a beautiful ballet, and they should at least release a DVD... I'd love to see it become a classic, performed by companies the world over.

Recently, I went to show my non-balletomane friend Swan Lake for the first time. I wanted a version that was loyal to Petipa, included mime so the story made sense...basically, I wanted an ideal Swan Lake to show her, but I found that most versions of SL are not for the uninitiated. True, the ballet is almost cliche...but not to those who know nothing about it! (For those wondering, I showed her the Nureyev/POB version with Letestu, since I know she likes the French style and finds Russian dancers extreme and jarring. She loved it. ) I started fantasizing about what a loyal academic reconstruction woukd be like. What variations would we get or lose? Would the story and characters resonate more, making SL less an abstract backdrop for the choreography? I feel like it would hardly resemble some current Lakes in terms of mood and overall aesthetic (Purple Rothbart, I'm looking at you...) Also, would it even meet modern expectations of what Swan Lake should be, or would it be a museum piece for dance historians, a novelty? I, personally, wish Vikharev would be given the reins here, so that we would get Russians dancing Swan Lake like only they can, but with the mime and drama that they've stripped from their productions... Forgive me if this has been addressed specifically or extensively.

I just watched a clip of hers...her debut in the work of a certain choreographer who shall not be named. Her dancing is beautifully transparent -- that is, her technique is without reproach, clearing the view to the choreography and to details. I particularly appreciate her consistent turnout and use of wrists and hands to punctuate those gorgeous Vaganova arms. I'm hard pressed to think of many dancers with such steely technique and the artistry to put it to use. I've heard she's controversial, due to her age and rapid promotion, but mon dieu, what a loss for the Mariinsky.

Someone mentioned their feelings on Mieville's Embassytown, and I echo them. Also on the table: Nijinsky's Diaries (Unexpurgated), The Brothers Karamazov, various Lovecraft short stories.

I think there will be less one overarching trend and a greater appreciation for a variety of physiques. There will be short Odettes and Myrthas, athletic Auroras and Giselles. And I think it will be a good thing, because artistry and stage presence will count for more than size. It seems to be happening already, with small dancers like Osipova and Obraztsova leaving their home companies for greener pastures with more acceptance of dancers breaking type.

Sounds like malarkey to me. Osipova and Hallberg have stunning chemistry, and she certainly doesn't dial it in when they dance together.

Possibly off topic but I believe worthy of note, that article contains a blurb by Kristina Shapran, who's listed as dancing Swanhilda, correct?i can't quite cipher the machine translation, but it's good to see she's getting roles at the Stanislavsky!

I think it's for the best, but a little extreme. There should be a minimum number of classics each season, ideally more than are billed for 2012-2013, and modern works should be selected very carefully. The thing is, if the were any other company, I'd maybe say it was too much, but they infuse modern pieces with an artistry that most ensembles just can't match. Now, whether such fantastic dancers should be dancing choreography that needs them to make it shine, rather than speaking for itself...

Haha, I wondered if the kids got to come! And that was my problem too...what else is there to say? That and shyness makes for a tonguetied balletomane. As a sidenote, its unfortunate they had to use Midway...but maybe I'm in the minority for preferring O'Hare.

It was probably a good thing that Dupont and LeRiche didn't slather on the eroticism. I don't think its inherent in the choreography, and it certainly shouldn't be forced, but Gillot gave it a good amount of very French heat. One lovely moment was during the curtain calls, she broke out in a very genuine smile and pulled the two nearest members of the corps up with her.

Just got home from the mixed rep matinee. It was my first time seeing the three pieces in their entirety. Suite en Blanc's standout for me was Aurelie Dupont in the adagio section, whose balances seemed impossibly long and secure without being forced, showish, or off the music. I kept holding my breath, everything she did was magical, and the rest of the audience seemed to agree. Alice Renavand was amazing too -- she has moxie and presence in abundance. Nitpicking: I had hoped to be surprised by Emilie Cozette in La Cigarette and Dorothee Gilbert in La Flute, but I had issues with both. Emilie Cozette just doesn't seem as 'complete' as her fellow etoiles. Her hands went dead here and there during difficult passages. And for indiscernable reasons, I can't appreciate Dorothee Gilbert's amazing technique. I recognize her talent and artistry, of course, but for me there's something missing. Or maybe tension in her upper body that I find distracting, I'm not sure. L'Arlesianne struck an odd note after a pure dance piece like Suite En Blanc, but Ciaravola and Belingard danced it beautifully. Her feet are some of the best, as strong as they are wonderfully supple and expressive. I have to stress expressive -- they move like hands. Aside from showing off good feet and legs, I wished it had been Jeune Homme, or another 'dancier' piece. The audience liked it better than I did, I think. Then, Bolero with Marie-Agnes Gillot. I can't really enthuse enough about her. She's a rare modern example of a dancer who doesn't dance everything, but who is nonetheless extraordinary. Not dancing Giselle and being quite too tall and intense (I would say perhaps more than even Veronika Part or Kondaurova) for similar roles does nothing to diminish her contribution to dance. And outside of issues of type, she is versatile -- as stunning as Myrtha as she is in Bolero. I feel very fortunate to have seen her in both. She danced Bolero fiercely and fearlessly, visceral and spiritual at once. I see Bolero as a piece very illsuited any 'look at me!' attitude, and Gillot danced almost as if unobserved, in effortless command of the audience and the corps. She was very much at home in the music and choreography, and the audience loved it. I didn't count the curtain calls, but there were many. Another 'moment', beforehand, occured just as my friend and I entered the lobby from the 'back' entrance connecting to the parking garage -- which also happens to be right next to the artist's exit. Who shound emerge but Gillot, dressed down but striking. Recognizing her, I stopped my friend, who then saw her as well, and we stood (likely making the same stupid starstruck face) as she passed not more than a few feet by us. I think we were the only ones to recognize her, making the moment even more serendipitous. Those of you in New York have much to look forward to!

Beautiful, even in the last row of the upper balcony (stuck in an acoustic deadspot no less)! I was pleased to see Marie Agnes Gillot as Myrtha -- and what a Myrtha she was, as if on wires. The corps was stunning. One thing though -- was Ciaravola injured? She did the act 1 hops left to right, and didn't make it very far. Other than that she was gorgeously romantic. ETA: Hm, it seems the French do the hops that direction, rather than right to left as I'm used to? Can anyone clarify?

Snagged tickets to see Giselle tomorrow and the Sunday mixed rep. Didn't think I'd get to see Giselle, as it was evidently sold out when I got my Sunday tickets, but today the Harris sent out a newsletter for $30 nosebleeds. Anyone else going?

I have to agree about Agnes Letestu. Beautiful, yes, but she is a very remote presense...I'm sure her mood would be perfect for some things, I'm just not sure what. And sometimes Dorothee Gilbert strikes me as laking in depth, but perhaps that will come to her with years. Ciaravola is wonderfully alive -- I consider her underrated and one of my favorites. Those feet! And of course, Gillot, Dupont, Osta...

I am always confused when I hear about the technical perfection of the POB imparting coldness to their dancing. I find that their technical security allows their etoiles to be consumate, passionate artists. They may have a more refined style, more restraint in movement and emotion, but I find the French style tasteful, not cold at all. Of course, their caution during some Balanchine (Tchai PDD fish dives!!!) is to the detriment of the choreography....but pure class and restraint in an artform that can be prone to 'circus' overtones of late is to be admired... But maybe I'm strange... I, personally, gather much more 'feeling' and artistic expression from the French than many Russian dancers of late... Just my 2cents. Thank you so much for the report!!!

Congratulations on her recent nomination to etoile. She's currently double listled on the POB website as an etoile and a premiere danseuse. While I am not quite a fan yet, she is very good technically, and I think she has potential to grow into her position. Dansomanie users seem of two hearts about this as well -- congratulatory, yes, but also thinking of Mathilde Froustey.

I believe she was injured recently (around Ludmila's etoile nomination), and is no longer slated for any Bayadere performances, or Manon. I read she was replaced mid performance by Mathilde Froustey, who was expected to perform Gamzatti for the broadcast, but that went to Pagliero.