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Foreign Correspondent
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About leonid17

  • Birthday 09/17/1945

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Ballet researcher, Co- curator of Pavlova Museum (John and Roberta Lazzarini archive and Pavlova's Furniture collection) London with Geoffrey Whitlock, Event Producer, contributor to several Ballet History studies,with Geoffrey Whitlock entertained Bolshoi and Kirov Ballets and variously Galina Ulanova and Alla Osipenko also a good number of Pavlova's dancers. , event producer
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    United Kingdom of Great Britain

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  1. Markova I think is marvellous - in that 1942 version - with those stunning gargouillards and the manner in which she talks about to the young French dancer is quite lovely and for me, she comes alive completely with what is a truly magnificent memory. I am not sure I really care for Danilova's sparky and spiky quality. Almost like the RB Ashton style of earlier times, quick and staccato and very short breathed. Markova had true lyricism in her performance and as a friend remarked allied to that great quality which all great artists have - the suspension of time and the feeling that they all the time in the world to execute those movements without showing the slightest element of their difficulty.
  2. Thank you very much for posting the two films. I enjoyed the insight into watching the Nutcracker rehearsal but became puzzled in the second film of Markova's dancing as I have seen much better examples of her on film. However, when Markova is coaching the French dancers for me she really brings it all to life. PS Watching the film of Markova a second time I have posted below.
  3. Thank you Helene for posting the news. I am especially happy to see the the award for Gabriela Komleva an extraordinary interpreter of leading ballet roles and being amongst the sweetest of personalities of the Kirov dancers.
  4. . Thank you Sasark for your review of the Prague “Swan Lake”. A good number of years back I was researching two of the Directors of the Prague National Ballet ie Julius Reisinger and Augustin Berger who both directed the Prague ballet and who would at different times, direct the Bolshoi Ballet. Some time back, an issue about these choreographers appeared in an article published in Sovietsky Ballet. Reisenger of course staged the first ever production of Tchaiksvky's “Swan Lake” at the Bolshoi. He later left the Bolshoi and on September 18, 1883 the inauguration of the Prague National Theatre was celebrated. Once again, the head of the ballet company was Vaclav Reisinger.
  5. So far, I have only come across the following. THE TOPEKA DAILY STATE JOURNAL—WEDNESDAY EVENING DECEMBER 14 1921 Which displays an advertisement for Theodore Bekefi and the Imperial Russian Ballet at the Vaudeville Theatre.
  6. Thank you rg for posting this news. I saw the Moiseyev company twice and though not my primary interest in dance, I found the skill, vigour and a large amount of charm was absolutely refreshing. For an obituary. See:- http://www.telegraph.co.uk/news/1568250/Igor-Moiseyev.html
  7. http://www.themoscowtimes.com/arts_n_ideas/article/casting-disappoints-in-legend-of-love/510670.html Raymond Stults writes about his disappointment of the revival of Yuri Grigorovich's "Legend of Love."
  8. I am saddened to hear of the passing of Nina Timofeeva at the age of 80 having watched her performances on a good number of occasions. Nina Vladimirovna Timofeeva was born in St.Petersburg on 11 June 1935 - 3 November 2014. A graduate of the Vaganova Academy in 1953 having made her original theatrical debut as Masha in The Nutcracker in 1951. From 1953 to 1956 she was a soloist with the Kirov Theatre and later became a soloist with the Bolshoi Ballet. Her major roles were, Odette/Odile (1956), Kitri (1959), Mistress of the Copper Mountain in The Tale of the Stone Flower, Aurora(1964).Lilac Fairy(1977) both in The Sleeping Beauty, Mekhmene Banu in Legend of Love(1965), Phrygia (1958) and Aegina (1968) in Spartacus and Later in Molchanov's Macbeth(1950). In 1980 she graduated from the Russian Academy of Arts and in 1989–91 worked as a choreographer of Bolshoi Theater. In 1991 she moved to Israel, together with her daughter Nadya, who is also a professional ballet dancer. Two years later she published her memoirs, "The world of ballet history, creativity and memories." "Terra" - "Terra". ISBN 978-5-85255-274-7. Nina Timofeeva was married to the composer Kiril Molchanov. Nina Timofeeva had technique in abundance which sometime split the Royal Opera House audience as to her qualities, but she became a truly firm favourite when in her very best roles. Humble in nature, sweet in disposition, lovable. SEE:-https://www.youtube.com/watch?v=NaqouUlHX5M http://wn.com/nina_timofeyeva Edited: Due to memory lapse.
  9. I think many devotees of Sir Fred would agree. More than once or twice we got into a discussion about a performance and he would get hold of my hand and slap it fairly gently as if I was a naughty boy and said, " It's too late for me to fight but I believe there will always be some colleagues who will continue to support my works and the best of the companies works which after all, it was my created works that fully established the company in a way that others couldn't quite achieve." There were many who shed tears at his Westminster Abbey Memorial Service.
  10. I seem to have got rather lost where to post this link for "La Fille mal Gardee." Here is a description of a performance which regrettably, I would not cross the road to see considering the casting for Widow Simone as a ridiculous giant. Is it an abuse of power on Mr. Tsikaridze part? http://izvestia.ru/news/578638
  11. Earlier in June this year I was more than pleased to attend an event at Ivy House home of the London Jewish Cultural Centre where a most interesting recreation of a solo from Kenneth MacMillan's ballet "Le Baiser de la Fee" was revived using the original Benesh notation with the wonderful Donald McCleary, the originator of the original "Boy" coaching a young very talented young Royal Ballet School dancer James Hay recreating the solo that we had earlier seen in a film of the original production. See: http://jelterps.blogspot.co.uk/2014/06/sir-kenneth-macmillan-source-wikipedia.html Personally I was less happy with the recreation of the original. See http://www.kennethmacmillan.com/ballets/all-works/1977-1992/le-baiser-de-la-fee.html PS. I did not see the opening night of the production in 1960 but in 1961 I saw Svetlana Beriosova as The Fairy( and fell in love with her performances) and Donald MacLeary as the Young Boy.
  12. He was after all husband number three or four?. Her first husband was the balding concert master Isaak Melikov who she married at 17. Her second husband was the distinguished actor Yuri Zawadzki and People's Artist of USSR (1948) but lived in separate apartments. A relationship followed with actor and director Ivan Nikolaev Bersenyev believed to have lasted two years and around 1950/1951she consorted with then married costume and stage designer Vadim Ryndin whose opera credits at the Bolshoi Theater include Prokofiev’s War and Peace (1959), Verdi’s Don Carlo (1963), and Molchanov’s The Unknown Soldier (1967) and was too boot a Lenin Prize winner. Due to his drunkeness, Ryndin as one elegant writer stated, "He was booted out." by Galina Sergeyevna. PS I have endeavoured to be as accurate as possible in the above without having to write a full biographical sketch. Thank you rg for posting the photographs.
  13. On reading the review of Eva Kistrup on the Nikolaj Hübbe revision of the Royal Danish Ballet company's "La Sylphide," I have no comment other than "NOT IN FRONT OF ME." My memories of "La Sylphide" from the 1960's onward suffice.
  14. Thank you for the clarification. Best Leonid17.
  15. Thank you. My apologies to Iana Selenko. It is pronounced in the same way or is some other way.
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