leonid17

The event was attended by the First Lady of America and the First Lady of Russia. Oddly enough, Diana Vishneva has a foot or two in both countries and as a distinguished representative of her art, it appears to me that she was the perfect choice to attend the occasion. I would also add that whilst she doesn't have the status of Mrs Medvedev as a representative of Russia she certainly has the status as a representative of Russian ballet. There is some odd idea here that Vishneva would not or did not meet the first ladies, what a thought. Check here for some perspective as Michelle Obama honours the ballerina. http://www.huffingtonpost.com/2010/06/24/m...m_n_624847.html Ps Has Vishneva not been introduced to the First Lady before at gala events?

I find your rather sour comments extraordinary. In this day and age celebrities are good enough to give their time to raise the profile of all sorts of worthy organisations and a school of arts seems highly appropriate for someone ov Vishneva's status.

Off the point a little, the population of Beijing is about 13 million. There are just over 200,000 foreigners working in Beijing and I think few of them are ready to become members of the Peking Opera. To see diversity in this instance is expecting too much and there is of course the question of respecting a 200 year old tradition. Training for the Peking Opera begins at an early age and these days only takes place in China. I respect dance companies that reflect their countries traditional heritage and who employ indigenous nationals to that end and I have over a long period of time witnessed many companies whose excellence is peculiar to their ethnic traditions. I know that whilst ethnic others are accepted in leading roles of academic classical ballet, a single ethnic corps de ballet member may to some audiences appear not to be integrated among 31 others, in Swan Lake for instance. I am also sure that the management of some companies are nervous of taking steps to employ dancers of other contrasting ethnicities as I am sure was once the case of the Royal Ballet who now employ a number dancers of Chinese origin, Japanese origin and an African American all with real talent. Would the Kirov or the Bolshoi permanently employ dancers of an obvious ethnic difference? Do people condemn them because they do not? Is there an aesthetic problem here rather than an ethnic one? There is no easy solution or even a necessary solution to companies that see no problem existing. I would hope to see more precise funding for other ethnic children to have the opportunity to enjoy training and perhaps become professional ballet dancers. As the Baynihan company was mentioned I think ther following is of interest from their website. "Bayanihan, the national Dance Company, looks back at its triumphs as it moves onward with each new presentation. From Folkdance translated into the modern stage, Bayanihan carefully advances into Folklore, and beyond, with Filipino History and national identity as its guide. After all Bayanihan literally means patriotism or love of country, its root word being bayani (hero), - a kind of hero that renders personal service to his community which during Spanish times was known as polo and, or, falla. In this regard, we dare say that each one of those involved in Bayanihan are literally national heroes and artist who reiterate through dance, music, percussion, dress and action what is Filipino."

Here is a (quaint) translation forr the Kommersant article on the occasion of Madame Plisetskaya's 80th birthday by Tatiana Kuznetsova as posted by drb. Anniversary Ballet In the Kremlin Palace of the gala concert in honor of 80 anniversary of Maya Plisetskaya. Tatyana Kuznetsova b-sure that this ballet in the evening in the world has not yet happened. Start the audience in the Kremlin began as early as half past five, and those who cared to come in advance to avoid a lot of stress. Inexperienced as spectators, who arrived shortly before shown on the ticket 19.00, run into a gigantic place, blocking the entire Alexander Park. Sturm Kutafia tower danger of becoming Khodynka. Ten to eight after the gala began, but long in the dark rear-guard spectators roamed the room, driving from their seats resourceful riders. Complimentary concert was packed in a wrapper of "Don Quixote" - the benefit of this divertissement ballet allows liberties. Directed by Alexei Ratmansky and Dmitry Chernyakov kept scenery and the general course of events, drastically changing the stuffing scenes. Almost no changes, save only the first - "On the area of Barcelona. The "tavern" define love duets of different ages and countries, as well as the Spanish "flamenco Prince" Joaquin Cortes, "the mill" to the gypsy campfire sent Cossack Regiment of the ensemble of Alexander and variations of Soviet times Hero of the Day from the repertoire performed by approx Bolshoi in "The Dream "Don Quixote dreamed Shaolin monks, and the final parade consisted of a classical pas de deux and variations of guests from different countries and was crowned by the performance itself Maya Plisetskaya. Such plot plan may be deducted from the programs from, but the actual events unfolded unexpectedly. In the first scene on the floor collapsed, one of the three Kitri - Cuban funny, slap toes, like slippers. After her defectively-hilarious variation is the same on a giant screen hurricane danced young Plisetskaya. Half-dead audience burst into applause, came to the stage name day in another stunning dress by Cardin and the microphone to proclaim that now, the audience sees what could be the old "Don Quixote" in modern processing. Here in the neat crowd of ballet "Spaniards" cut a break-dancer in the group Da Boogie Crew - in sports trousers, stretched T-shirts and ski caps - and under optimistic Muzychko "seguidilla" zabatsali their crazy "helicopter" and "Sunshine," with Maya Plisetskaya slammed them with unfeigned enthusiasm. The most sincere in the "Tavern" was a love scene Manon and the Chevalier des Grieux in the performance of the prime ministers of Great Britain's Royal Ballet Alina Cojocaru and Johan Kobborga - a tiny Romanian and Danish guy hot kissing so enthusiastically, as if no notice that this dance is one of the most difficult of the world ballet duets repertoire. The most stylish ballerina looked graduate of the Moscow Academy of Choreography Polina Semionova, which in Berlin polished to the level of world stars: with partner Artem Shpilevsky it turned quite banal duo Uwe Scholz - another variation on the eternal theme of "want, but I can not" - a small encyclopedia of emotions and an ode to classical perfection. But all the ballet visitors Tavern Uel Joaquin Cortes, have his own show in the anniversary gala. With its own musicians and in their own little acoustic stage, he enthusiastically pitch improvisation for improvisation, sparks sapateado, arranging a bullfight with adapted by Mulet his own jacket, from Variety conducting an audience and not paying attention to the increasingly scarce applause or the lonely cry of "Basta !. Exhausted, furious Spaniard brought onto the stage Maya Plisetskaya and jokingly made it a couple of steps. And then began a real bullfight. Fixed his eyes on the bridge of Partner, 80-year-old dancer to the challenge: stamping silver heels, whip hand Spanish monograms, she arranged Joaquín Cortés pereplyas such that the poor Spaniard, no longer looked for him to finish: and kissed the hands of partner, and on his knees grew, and then simply dragged their feet shoes and presented the Hero of the Day. Not at all discouraged by Maya Plisetskaya, proudly shaking booty, though conquered in fair fight ears of the bull, triumphantly withdrew from the arena. The second act started well chosen photo chronicle of how year after year, the high official guests of the Soviet Union visited the Bolshoi Theater, watching the same "Swan Lake" with Maya Plisetskaya always informal. Kinoryad reinforce living variations of ballet heroines of that era, but has withstood the test of time unless Laurencia performed by Maria Alexandrova. The absurdity of socialist realism was replaced by pure nonsense. Under purring Minkus music on the background backdrop of the Himalayan mountains slender ranks of Shaolin monks in orange robes wildly demonstrated their superhuman skills: laying legs behind her ears, tumbled just not at the nostrils, jumped on a couple of yards up and collapsed back on the floor, in an idyllic Finals were broken on the heads of large clubs. The last evening was a dance extravaganza set to music usher Cupids, tore the most thunderous applause (except for performance of the heroine herself pm). To perform selected the most respectable ladies and complete, and how elegantly and artistically they were dressed keeper theatrical history with baskets of flowers in their hands! Against the background of this unique rally faded, and many times he had seen the pas de deux from "Don Quixote" and the subsequent variation in the performance choice of artists. The evening ended with the promised performance of Maya Plisetskaya in bezharovskom room "Ave Maya!" - In my opinion, too mournful to the festive burlesque, stretching for four hours. The audience screamed, ballerina encore in the next row was sobbing aged Patrick DuPont - one of the many Partners Maya Plisetskaya, Etoile and former artistic director of the Paris Opera. And no one greeting government did not darken this popular fraternization.

I only saw Verdy with Villella in this pas, which remains one of my fondest memories. Did you see Ludlow Robert and if so, how did he compare to Villella in a partnership with Verdy? Was the balance equal?

Of course one is grateful to hear that Osipova is physically ok. I am somewhat surprised that she was was she not escorted back to her hotel?

Thank you Alison for recording this in Links. I cannot remember of reading of such an assault on a ballet dancer before and am shocked. http://artsbeat.blogs.nytimes.com/2010/06/...na-is-attacked/

Absolutely, she is often more than arresting, but her challenging of one's perception of a piece,is always a worthwhile experience. I first heard Martha Argerich at her London debut in 1964 and have several recordings she made with the London Symphony Orchestra. Not having listened to them for a long time, I will listen to them again today. As to Chopin she is definitely far from being my first choice as I grew up listening to Rubinstein, Cherkassky and Richter which led me to live performances with Ashkenazy and later Pogorelich and Zimmerman. For the mazurkas, its Horowitz. Ashkenazy was an inspiration for Londoners in the 1960's and with his teaming with a group of other leading young virtuosi for a series of summer concerts, he became a great favourite of mine.

Tempi, engineering and conductor's interpretation are a matter personal taste. For a Western conductor's take on the complete '77, I've always loved Lanchberry. For the Soviet take on the '77 - Rozhdestvensky and Svetlanov. For the '95 performance edition, for me it's Fedotov all the way. Fedotov makes the '95 dance out of your speakers & headphones. The engineering, the clarity, the musicianship, the drama, the love for this score by the late conductor and the Mariinsky musicians -all comes together perfectly in this recording. Fedotov's is a real performance that you can "see" as well as hear. There are two "Lakes" to avoid. Gergiev recently recorded the '95. It was the soundtrack for the Mariinsky's recent "Swan Lake" dvd, a live performance with Lopatkina & Korsuntsev. The entire CD is a phoned in affair. The overture is devoid of drama and sets the tone for the rest of the score. The overall tempi is erratic, the sound is muffled and the engineering is below par. If you blink (or doze off), you'll miss Act 1. Act 2 (Act 3 at the Mariinsky), lacks excitement, the Czardas is taken at snail's pace, and the Swan Suite and last Act are played with Nascar speed. The other "Lake" to avoid is Pletnev's '77 CD on Ondine with the Russian National Orchestra (2009). Pletnev's approach is like Gergiev's, but it's the whole enchilada. I am with you with Fedotov. The recording takes me into the theatre reviving memories of the live performances he conducted and lets not stop with Swan Lake. For me he was the most sensitive ballet conductor of his era, who knew what the spectacle required and always with great taste. He was also a wondefully simple and sweet natured man.

A number of productions have used huntsment at the beginning of the Act II, but I have never seen any playing dice. Its a naturalistic touch that shows they are not afraid as night falls and it is only when the wilis or Myrtha appear, that they flee the vengeful spirits. The score merely says No.16 Introduction Entrance et scene. No. 17 Entrée et danse de Myrthe.

I am so glad you mentioned Lupe Serrano. I never saw her in Giselle only in Swan Lake and a number of "fireworks" number and I was impressed. Royes Fernandez was the perfect gentlemanly Prince who convinced me he really belonged on the stage.

Your question made me laugh out loud. But not nearly so loud as when I read a whole lot of comments about him on youtube.

Thanks for the info. I will download it. Brigitte Kelly had published a memoir of Marie Rambert last year in paperback.

Lacking the glamour of some of the leading dancers of her era, Sokolova's life is difficult to track down, despite her creating a number of roles with Diaghilev's Ballet Russe and as a significant member of his company for many years. Post 1929, and at various times, Lydia Sokolova was a teacher in London and among the dancers who studied with her were, Joan Benesh (of Benesh Notation), Diana Gould, the choreographer Andree Howard and Peggy van Praagh. I have read that in 1932* Sokolova joined Woizikowski’s company at the Opera Comique in Paris and also appeared with the Camargo Society on London. She late appeared in somewhat experimental films for television in the 1930’s. It was perhaps, her misfortune that two lower status members of the Diaghilev Ballet Russe, Marie Rambert and Ninette de Valois formed companies in London and it was not until 1962 that she was invited to appear in the Royal Ballet’s revival of “The Good Humoured Ladies” staged by Massine a production which I witnessed. Off-stage, I remember her as a tiny, animated spirit who wore an improbable wig. Later she became well known to British audiences through the Diaghilev documentaries made by John Drummond for BBC TV. She died in Sevenoaks England in 1974 aged 78. * Cannot confirm this date and Woizikovsky was creating role in Balanchine ballets this year for Rene Blum's Ballet Russe and more possibly it was in 1935 she joined his company.

The Adam score for Act 2 ends with No 13 Lever du soleil et arrivée de la cour. I have seen productions with this last scene and although it makes sense in the context of the Romantic era productions, I think I prefer my ending to be with Albrecht left alone on stage.

Thank you Cristian. Such expressive arms and back. Certainly an indication, but not enough to show why she was so revered, but I am sure much more representative of her qualities than the Swan Lake film made too late in her career which she insisted on filming, despite friendly discouragement from her colleagues.

Her husband was a victim of the purges. His name was Lev Mikhailovich Karakhan a senior diplomat who was murdered in 1937. Added: The reason she was considered to be a "saviour of the art", was because in her early years she epitomised the highest aspirations of Russian classical ballet and was of course one of Vaganova's most important early students. Regarding Marina Semyonova I remember her also in London taking great care of Nina Ananiashvilli.

I am saddened to hear of the death of the legendary Marina Semyonova her life was marked with enormous success and deep tragedy. I well remember her from her visit to London and felt something approaching awe being able to stand next to her. The Russian News Agency Itar-Tass today carries the headline, “Last legend of Bolshoi ballet’s golden age dies aged 102.” Despite an attempt to prevent her from travelling abroad as quoted above by Cristian, extraordinarily she was able to appear as Giselle with Serge Lifar in Paris. Semyonova was so carried away with both the occasion and her performance that as she made the fatal run to her mother, she exclaimed, “Mama” which shocked the French audience. When interviewed in the 1940’s with reference to Ulanova, Lepeshinskaya and herself she said without vanity, “One of us may not occur for another 100 years.” As Marc says, both the Bolshoi website and Geoff Whitlock’s appraisal of Semyonova’s career, pay homage to this remarkable woman and artist. The Bolshoi site is remarkably frank mentioning the fate of her husband.

The ballet is called "The Great Elopement" and the suite from it is Love in Bath. Of the original 19 (supposed) numbers, the suite only uses 12 and some 6 recorded. Recordings of which I remember listening to at school, are available as below. The ballet depicts the love affair between the playwright Richard Brinsley Sheridan and Elizabeth Linley (daughter of the composer Thomas Linley), all presided over by the famous dandy Beau Nash. The music is mostly taken from Handel's operas Rodrigo, Serse, Ariodante and Il Pastor Fido etc. Sounds fun. On the available recordings, Ilsa Hollweg sings a Serenade towards the end of the suite. http://www.cduniverse.com/search/xx/music/...ove+In+Bath.htm Coupled with Solomon or http://www.arkivmusic.com/classical/album....album_id=264528 This time with music used by Balanchine for Gods go a’Begging

Here in London it is a joy to read all your comments about the evening and so nice to hear about your get togethers. I truly envy your moments and would have loved to have been there. So much symbolism. I consider it was privilege to see have seen her both dance and teach. God Bless Alicia Alonco a true servant of the dance.

I have watched them a number of times and like you I still have absolute admiration for Mme Alonso. In this youtube clip that Cristian posted, she remains extraordinary no matter her age(65). http://www.youtube.com/watch?v=Vm1Frz5jlFs I think it is wonderful that she will celebrate her birthday with ABT.

For me this woman remains extraordinary and always watchable no matter what the age.

And ... what does this have to do with whether she dabbled in the questionable politics of her playboy husband? It was a response to the second sentence of JMcn post(quoted here in full) in which he wrote, "Although it is some years since I read the book, the incident is covered in Margot Fonteyn's autobiography. I'm sure the archives add more detail but I'm not quite sure why anyone (ie the British press) is dealing with this as fresh news given that she did write about it herself!" That is to say I was writing to explain why there was such an explosion in the UK press and television. As pointed out by dirac it was also as result of the end of the 50 year embargo rule on the release of cabinet papers to the public for the first time. Dame Margot remains a noteworthy historic figure of interest, as televisions recent biopic confirms.

I rarely been to the cinema the last 20 years and have relied on the television to see Mr Hopper's later films. 74 is not so old. http://abcnews.go.com/Entertainment/Media/...ory?id=10214007 Memorable film quotes. http://www.telegraph.co.uk/culture/film/fi...ilm-quotes.html Mini Biography from IMDB http://www.imdb.com/name/nm0000454/bio

It is huge news across newspapers and televison and its not even the 'silly season' of summer when all sorts of stupid stories get published. You are right it is covered in her autobiography, but the event is a lifetime away from today's general public and most journalist editors who are probably not to be found among those reading about the life and times of ballet dancers in the past. It was gossip then, today they try to make it a scandal. The British Ambassador to Panama of the day was put out because Dame Margot and Her husband had failed to appear at an event at which the Duke of Edinburgh attended and to the Foreign Office in London he writes to my mind somewhat spitefully about Dame Margot's activity as if she had spoiled the numbers to be seated at dinner and caused a diplomatic gaffe. Dame Margot does remain the most significant British historical dancer to this day among older generations and for non-ballet enthusiasts it is propably the only name they will know, alongside that of Pavlova and Nureyev which I am sure you are aware.