Hans

It's interesting to read these polls and see what those of us who have danced think vs. the audience's point of view--just goes to show you how difficult it is to make things look easy.

Again, I choose Giselle. It's deceptive, but the partnering is incredibly difficult, and all of it must be so perfect that it's extremely draining.

You'll find lots of helpful information over on our sister board, Ballet Talk for Dancers, which you can find here: http://dancers.invisionzone.com. In general, it takes at least three years of good training, with at least three classes a week before one can dance en pointe. You don't need to practice anything outside of ballet class, although pilates is a good idea. Your flexibility and strength will be a big help!

I'm not sure who the choreographer is, but I believe that according to the original score, the national dances are intended to be Hungarian, Russian, Neapolitan, and Spanish (not necessarily in that order). The mazurka is listed as a dance for the members of the court.

I'm surprised no one has yet mentioned Suzanne Farrell. On video, at least, she is the epitome of a Deep Freeze.

I have been informed by UBA that Maria Bystrova danced, but I don't know what part.

Can't explain that one.

I think part of my dislike of Rent also stems from the time I sang Schaunard in a full-length production of La Bohème in college. Rent is based on LB, so whenever I hear it, I think about my lovely recording of Renata Tebaldi.

Even though the Sergeyev is not what Petipa did--I believe Doug mentioned that the Royal Ballet's version is closer to the notation--I like it, I suppose because it's what I'm used to. Just thinking aloud, perhaps the confusion that Florine is a bird started because of the hand-fluttering?

NYCB's corps de ballet is better trained? You may wish to re-read the bios of ABT's dancers... From a teacher's perspective, I consider them equally well-trained. Of course, what I'd really like to say is ditch them both and see the Kirov--now, that is a corps de ballet!

Born to be Wild?

I think she just listens, but Mel will know for sure. As far as personal preference goes, I've had my fill of hand-fluttering for the entire evening by the time Canari Qui Chant's variation ends.

Ok, I know this is bad, but I just have to ask--does Spongebob make an appearance?

I agree with Old Fashioned--I too find the music unbearable, but that probably has something to do with my roommate playing the CD approximately 800 times a day back when it first came out....

I still have the tape of NYCB's Swan Lake, and I drag it out occasionally, usually turning it off before Act II. As I recall, Martins altered the black and white pas de deux a little, but not substantially. However, Woetzel and Weese's styles of performing them are so strange that I receive the impression that the choreography is entirely different, and he added some annoying complications to the various dances of the swan corps. They also dance the entire ballet practically in fast forward, so many nuances are lost, along with any semblance of plot. Martins completely re-choreographed the Act I pas de trois, and removed the big swans pas de quatre. The little swans are still there, with small changes. He also altered the ending, which appears to have been stolen from "Giselle"--that is, Odette remains a swan and bourrées offstage, and Albrecht--I mean Siegfried--kneels in grief or something.

Perhaps there is a difference between a dancer's technique or movement style and his or her stage personality. To take an example from the opera world, Renée Fleming achieves an icy vocal perfection, but her stage presence is said to be very warm. Are there dancers whose personality is warm but whose movement style is coldly correct?

No fluttering! Princess Florine is a human who has been imprisoned in a tower (I forget by whom, but Mel knows!) and the bluebird is teaching her to fly, hence Florine's "listening" gestures. There are many little stories flying about (forgive the pun) regarding this pas de deux, but from what Mel has said, that is the original one, although there's more detail to it than what I have posted.

That will pretty much depend on your taste. If you prefer a more traditional version, ABT probably won't totally satisfy you, but it will contain more of the usual Swan Lake elements than NYCB's production. However, if you'd rather see something new and different, NYCB is probably the way to go.

Wild horses could not drag me to a performance of NYCB's Swan Lake. Supposedly, Martins retained the choreography from Balanchine's condensed version, but many who saw the Balanchine question that. ABT's SL at least has some mime and beautiful costumes.

Chenchikova also dances Paquita on Essential Ballet, in addition to the Russian Dance.

Does McKenzie's Nutcracker for ABT count?

Cygnet, I'm so envious I think my skin has actually turned green! Thank you for that description; what I would not give to see Lezhnina dance live.

I voted for Giselle. It looks easier than Swan Lake and Sleeping Beauty, but the choreography demands more stamina.

Silvy, you saw Lezhnina live?! I am SOOOO jealous!!!

Doesn't Miss Julie involve a rape scene? I certainly wouldn't call that erotic.