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tempusfugit

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About tempusfugit

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  1. EAW, you are confusing the work of art with the poorformance, as I often refer to it. Giselle's miming is not supposed to be 'coy', nor is the mad scene supposed to be 'never-convincing'...if you have been unfortunate enough to see ballerinas perpetrate such things, you need to see real ballerinas in the role. The work of art , ANY work of art, cannot withstand abominable performances, and it requires very careful insight to perceive the masterpiece under the krill. In the immortal words of Cecile Genhart: 'when you encounter a work of art usually called great and you do not like it, ALWAYS SU
  2. Silvy, Alonso was remarkable in every way, not least as a virtuoso. There was also (some time ago) a video on YouTube of Alonso dancing Black Swan on a checkerboard (black and white, probably) floor; as the squares are vividly delineated, it is possible to see EXACTLY how little the ballerina travels in her fouettes. Quite stunning, and may still be up.
  3. I also saw the Saturday and Sunday performances in West Palm Beach. Found P. Delgado lovely and very expressive in the Verdy role; Manning was correct but cautious and much too constrained for me. The pas de trois, on the other hand, was as young, reckless, and crazily happy as I have ever seen it--a real highlight. This male part was made on John Prinz, at the time the rising danseur noble of the company, and Wong, although shorter and more compact, has not only freshness but promise of many mature virtues. Noelle was superb as the tall girl in Rubies (the exit with the penchees was indeed gr
  4. Saw the last three performances. Helene, you are sooooooooo right about Imler (I remember your saying elsewhere she was like a waterfall made of cream...). having seen her and plotzed at her Polyhymnia, I was looking forward to more of her dancing. Dazzling is an understatement. On Saturday night, I couldn't understand why I was the only one to gasp loudly (nearly shriek) at her pas de chat vole exit in Square Dance. On dead shoes, no less. I always remember Nichols' exquisite brio in the echappe/releve/whathaveyou (ok, 'wickety-wack' is easier, lol) sequence, and how impeccably briliant Ashl
  5. I was astounded at the idea that Hubbe was less than brilliant and Borree more than barely passable in Duo. I saw Martins and Mazzo in the roles in their time, had no difficulty understanding OR distinguishing the steps, role, or choreography in Hubbe's dazzling performance, and preferred him to Martins. To think that Croce used to complain about Mazzo...!!!! "sketchy, infirm legs and feet", a phrase Croce applied to Mazzo once, defines Borree. Tension in every part of the body, so severe that it is literally debilitating, an utter lack of presence or dramatic capability ( Mazzo had not only s
  6. Actually, it seems quite clear from the astounding avalanche of Borree support and chiding remarks here that it's NOT okay in this instance to say "this performance SUCKED", or even "this ballerina is incapable of fulfilling the duties or meeting the demands of the roles in which she appears". In my opinion, performers appearing in public are fair game for responses and feedback both positive and negative, and occasional harsh evaluations of the performers' PERFORMANCES-- not their private lives, their personalities, or any aspect other than their dancing, for example, under the aegis of NYCB
  7. Anne, it is true that Balanchine did sometimes change steps for dancers (Verdy in the pirouette variation of Raymonda Variations, Farrell in Apollo and Barocco, Ashley in Sanguinic, the alternate men's variations of Tchaik Pas for D'Amboise and Villella, etc, etc) and that he sometimes OFFERED to change them and was refused. Adams recalls that she thought she was "awful in the finale of Symphony in C with everyone else whirling around...." and Balanchine said he would change it and she said no, don't. The 32 fouettes are a special case because they were originally a stunt (at the time of the
  8. I'm afraid that a virtuoso is the LAST thing Borree is, will be, or ever has been. She is not even a passable technician any more, and next to Whelan, Weese, Sylve, Bouder, et al, she is appalling. Her inadequate, tension-filled dancing is not only disgraceful in Balanchine, it is nervewracking, perturbing, and infuriating for the audience. There can be no good reason for putting a dancer into roles in which she fails miserably, publicly, repeatedly, and conspicuously. As she does in every difficult part she performs, Borree simplifies, omits, and smears LARGE amounts of the steps in Square D
  9. La Source is exquisite; the pas de deux are ravishing, and as it was made for Verdy the ballerina role is chock full of beautiful arabesques and foot positions. best Delibes ballet I know, by light years.
  10. Alas, Borree has neither the technique nor the personality to get through Square Dance even adequately. Having suffered through her atrocious accommodations and omissions of steps in this role more than once, I must say I agree with Robert Gottlieb that wild horses would not drag me to see it again....
  11. EXACTLY! The kinescope of her in Square Dance is breathtaking. Robustness, precision, joy, and overwhelming virtuosity at once....
  12. A sad departure-- one of the last surviving links to real singing, real voices, real training, and real artistry. an irreplaceable presence.
  13. Oberon, re Marzipan, Pat Wilde says that she was the original Shepherdess (or whatever one wishes to call Ms. Lead Marzipan) and that her choreography had entrechats-six from pointe to pointe, jetes on pointe, tour en l'air landing on pointe.... and then she became ill, couldn't do the premiere, and the version we now have is completely different. and we thought THIS variation was hard!
  14. The ballerina's "float" (on the moving plate) was instituted considerably later on; the original climax was Tallchief in a sustained unsupported balance in arabesque, I think. seems to me the moving "float" first appeared in the early Seventies? Agree with Oberon that the arabesque version of Coffee's coda passage is more brilliant. I'd bet anything that Gloria Govrin, on whom the solo was made, did the more difficult steps; she had better double sauts de basque than most men!
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