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Dunham16

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About Dunham16

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    Ballet Alert!

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    retiored producer, director now avid balletgoer
  • City**
    YONKERS
  • State (US only)**, Country (Outside US only)**
    NY
  1. Not sure Raymonda is a big seller among all but insular ballet groupies. It is one thing to see Sergeyev at 38 dancing with Dudinskaya at 36 in filmed excerpts of the dream scene in Act I and the marriage divertissement which closes the ballet produced more than 65 years ago. It is quite another for general audiences to experience a tale of often slow moving medieval chivalry with a danseur who does not have too many appearances during the entire stage time to not that generally in the public domain Glazounov music. The excerpts and the full length ballet are more specialty pieces for a specif
  2. What seems interesting in this regard is the way the 1956 commercial film of the Bolshoi London Ulanova/Fadeyechev GISELLE was edited into a commercial Paul Czinner film before the era of videotape or VHS. One gathers the entire ballet was filmed but not included in the final print. The edited version includes multiple cuts, one this solo. It was assumed that because UIlanova danced with Sergeyev at the Kirov/Maryinsky as early as 1930, years before this solo was standard choreography in GISELLE, it is possible Ulanova did not dance this solo in her many GISELLES in Russia and later when the B
  3. I saw the Ulanova GISELLE film with her final partner, Alexei Fadeyechev's dad, Nicolai. It was for many years on commercial Hollywood reel type film shown publicly in library and other musical venues. Apparently the entire ballet was filmed in 1956 at the time the Bolshoi visited London and Ulanova was 46 but the entire performance is not included in the edited film. I recall the peasant pas de deux was NOT edited in as well as the lyric poem dram ballet at the time Albrecht arrives repentant at Giselle's gravesite. Although Ulanova's great passage of 16 entrechats quatres en diagonale is sup
  4. The three dancers are schooled differently, hence approach their roles from different perspectives even when their work melds together dramatically into a storyboard whole. One does not need biographical information to quickly grasp Shkylarov is from the Kirov, Semionova is from Berlin via the Bolshoi school and Seo is not Russian in training. With the cast changes and apparent limited rehearsal time discussed earlier in more formal published reviews.there was an issue in the pas de huit. With the stages of both the Royal in London and and the Met narrower than the Russian stages, the cast ch
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