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Hans

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Everything posted by Hans

  1. Now I understand--that is really, really interesting! So you were not counting the Lilac Fairy as one of the six. I guess the question now is...what happened to that other fairy?
  2. I know this is late, but I've been reading the reviews of Bayadere in the Mariinsky forum and watching my tape of the Royal Ballet, and I noticed that in the RB (Makarova) version, Nikiya is handed a basket of flowers, which what's-her-name, Gamzatti's servant, tells her is from Solor. The way Nikiya's dance is played, she seems to think Solor really is in love with Gamzatti, then this changes with the arrival of the flowers. So wouldn't Nikiya then think that if the snake was in the basket of flowers sent from Solor that he was the one who murdered her? She mimes to him after she is bitten that he swore eternal love to her, &c, then dies. Or does she see through the plot immediately and realize that it was Gamzatti & the Rajah's doing? Or perhaps it's explained to her during Kingdom of the Shades (though there's no mime indicating it that I've seen). What happens with this?
  3. Thank you for that link; it is extremely interesting, although his terminology is vague, probably out of necessity (it sounds as if precious little of the steps was actually notated). It's interesting to see how much of the Royal Ballet's production is accurate, and also to see that I prefer some of the newer steps to the original, mostly in Princess Florina's variation, which was more clearly described than the other dances, though I may have just filled in gaps with what I already know.
  4. Those numbers don't add up properly--you wrote that there were six fairies and six variations, the last one danced by the Lilac Fairy. By my count, that makes one fairy per variation. As for it having been done that way originally, perhaps someone who saw the Kirov's reconstructed Sleeping Beauty could tell us for sure? I'm wondering if this isn't a vestige of the time when somebody found a picture of Marie Petipa dressed as Lilac Fairy Act II and mistakenly added a fairy to the prologue.
  5. I've never seen the 2nd variation danced by two people before. To what production are you referring, su-lian?
  6. There's nothing wrong with reversing a section as long as you don't mess with the variation's choreographic integrity. If reversing a section would mean the variation was danced mostly on one side of the stage, for example, or if you had to do some convoluted changes of the feet to make it work, I wouldn't recommend it. But if it's an easy change to make and preserves the feeling of the variation, I think it's fine.
  7. Leigh wrote: Thank you--that does make more sense. Perhaps the line about the wall could be translated as "who approaches so proudly, breaking down all the walls"?
  8. Leigh, are you certain those lyrics are entirely accurate? Then again, perhaps its my translation that is wrong--my voice teacher said the French translation of the Russian was not very good. In my copy of the score, it is a bass duet, and it reads: Et vous, pere et mere, benissez votre enfant/Qui s'approche si fierement/Toutes murailles renversants/Pour ravir sa douce promise/Qu'il entre dans l'eglise/Et qu'il baisse la croix d'argent. Which translates to: And you, father and mother, bless your child who approaches so proudly, all walls (renversants is difficult to translate--roughly, the phrase means "all obstacles [between the parent and child] removed") to claim (I believe) his soft promise, that he enters the church and kisses the silver cross. [Edited after reading Leigh's post below] This has a somewhat different meaning from the text you posted...is anyone able to translate the Russian directly into English?
  9. One question about this production: just before the gypsy dance, Kitri and Basilio perform a pas de deux to music that I am sure is used in the ABT/Royal Ballet Bayadere. If I am correct, in which ballet does this music 'really' belong?
  10. I haven't danced the ballet, but I've sung the second tableau, and I think Nijinska's choreography is rather odd--she makes it seem more horrifying than I think it is. In her choreography, it seems as if the bride and groom don't really like each other and their relatives are all annoying and self-centered. Rather, I found the music evocative of a joyous celebration, though of course there is some sadness in the children leaving home, &c. I sang it in French, but was coached by a former Kirov Opera singer who spoke both Russian and French and was therefore able to read both texts. She seemed to be extremely familiar with the work.
  11. Yes, the Russian Ballet Society does offer exams and training courses; in fact, I am hopefully going to start in a teacher training course soon in Virginia. They offer summer programs in Italy and Scotland that I've heard are very good, though I can't attend this summer. There is a form to contact them on their website, but they've lately been having problems with their email, so you might find it easier to write to: The Secretary, Russian Ballet Society, 15 Cramond Vale, Edinburgh EH4 6RB. They're extremely helpful, and the president (!) of the society replied to my letter very promptly. If you have any other questions, the website is really good, or you can pm me and I'll tell you what I know (though at the moment the site would probably be more informative!). Hope this helps.
  12. Maria Kowroski is going to perform Swan Lake at the Mariinsky? That should be an interesting performance. Please let us know what it looks like!
  13. Does anyone know what sort of reviews the Kirov's reconstructions of The Sleeping Beauty and La Bayadere received in Russia? I suppose they could have been tempered by the fact that the Sergeyev versions remain in the repertoire, or by the fact that they were danced by Zakharova and Vishneva, but were the reconstructions seen as 'backward' there?
  14. I think that taste has to do both with appropriateness and extremes or moderation. To take Alexandra's example, pink organdy bows are inappropriate for an austere, modern building, but they would fit right in with a Victorian gazebo. However, some might find the already heavily-gingerbreaded and cupola-ed gazebo decked in pink organdy to be so over-the-top that it's tasteless. It still might be fun to look at, but after a while, it starts to make you feel a bit ill. If all the elements of a performance are harmonious and nothing is jarring or out of place, it will probably be viewed as tasteful as long as the subject matter is not inappropriate for the performance's intended audience. It is when the performance goes too far in a certain direction--legs always at 180 degrees, consistently fast tempi, consistently slow tempi, all costumes and sets made of blue brocade or red silk or whatever--that I would deem it tasteless. For example, The entrance of the shades, dressed all in white, moving slowly down the ramp, is very beautiful, but the entire performance isn't slow--there are quick variations and slow variations and waltzes and pas de deux and pas de trois that keep things interesting and varied, while the music and the similar costumes of the corps, contrasting against the dark background, act as a unifying force, with the different colors of Solor and the more elaborate decoration of Nikiya act as a focal point. It all ties in, bringing various elements together to form an interesting but harmonious whole. Of course, you could take that example and say, "Well, what about a ballet that contrasts gold lame costumes with red velvet sets, alternating Makarova-crawl adagios with Balanchine-on-speed marches? It has varying tempi and costumes in the same color scheme, but don't you think it's tacky?" Yes, because it goes too far in the extremes. The idea is not just to provide variety, but to keep the contrasts from being too harsh. In the above example, there's no transition from one extreme to the other. Kingdom of the Shades builds from the slow entrance of the corps to Nikiya's lightning-quick tours de basque. If something is in good taste, it will not be found tiresome when experienced repeatedly. Haydn's "surprise chord" might make you jump the first time you hear it, and 32 fast fouettes might indeed be thrilling, but an entire symphony played fortissimo or an entire ballet of fast pirouettes will become boring fast. Such details must be used sparingly; only then will the audience retain its interest for them because they are seen within their proper context.
  15. It was on PBS a few nights ago in some regions, and I wondered what everyone thought of it. I loved it, although there were a few parts in which the choreography was rather hyperactive, but that's Nureyev for you. One thing that surprised me was the energy throughout the entire production--every last member of the corps de ballet seemed to radiate it throughout the ballet. Highlights for me were Mercedes, Lucette Aldous as Kitri (although her Dream Sequence variation was rather too slow and overcareful), and seeing Nureyev in his prime. The grand pas de deux in the last act was especially thrilling--Nureyev and Aldous delivered much more than the standard technical blaze without making it seem over-the-top--no ear-mutilating extensions, pirouettes/balances that continued long past the music, or jumps that rightfully belong to the circus. The gypsy dances, too, were very good; the dancers actually appeared to have some real character dance training. They were wild, which is what gypsy dancing demands. Surprisingly, the weakest part was the Dream Sequence, in which the dancing was mannered and slow (thought I did love Cupid's costume). Also, there wasn't much differentiation between Dulcinea and the Dryad Queen. If I hadn't already known whose variation was whose, I would have been quite confused. It was nice to see the Dryad's Queen variation danced by the Dryad Queen in Don quixote, instead of being danced by Medora in Le Corsaire! I also enjoyed seeing the original Kitri variation from the grand pas de deux instead of that strange Gorsky thing that usually shows up. However, I rather missed the flower girls during the Grand Pas de Deux; they're nice variations, whether they're original or not. I should mention that before the credits at the end, I honestly thought I was watching the Paris Opera Ballet, not remembering that they were in a slump at that time and didn't improve until later, when Nureyev was the director. Congratulations to the Australian Ballet on a very impressive performance!
  16. Did anyone ever see Ulanova? How about Sizova? (I know Mel has.) My Top Three are Asylmuratova, Ayupova, and Lezhnina. I've heard a great deal about Tatiana Terekhova and Yelena Yevteyeva, but have never seen them live. I can't wait to see how Michele Wiles and Maria Bystrova turn out.
  17. Two good choices for petite allegro are the first Shade from La Bayadere and the first Odalisque from Le Corsaire. Also, Cupid's variation from Don Quixote. For adagio, there is a slow variation in Paquita, as well as the third shade in La Bayadere.
  18. Thank you, Grace--that helps clarify a great deal about the RBS. I had a roommate once (RAD-trained, no less!) who insisted that the RAD and the RBS were the same institution! I only found out later when I met someone from the RBS that it wasn't true.
  19. As mentioned before, Sleeping Beauty has a great many variations from which to choose--not just the fairies in the prologue, but Aurora has a variation in each act, Princess Florina, and the Fairies of the Precious Stones and Metals in Act III have variations as well. Paquita has many variations, and so does Le Corsaire--the Odalisque pas de trois, the Pas d'Esclave, Medora's variations from the Act II pas de trois and Le Jardin anime, not to mention Gulnare's variation as well. Don't forget La Bayadere. You really have a lot to choose from! My advice is to find one that suits your technical strengths well while not really exposing your weaknesses, but try not to change the choreography to cover anything up. Also, find one that's fun and has enjoyable music.
  20. IMO, it should be approximately at the height of one's waist, or perhaps just a very little bit higher. This allows you to make sure your arm is relaxed and you're not gripping the barre.
  21. Why exactly do children ages 2-7 need to understand ballet? Ballet training doesn't start until one is at least eight, usually ten. Then again, it sounds as if the place has little to do with ballet and is more like a fantasy daycare center. It's a cute idea, but I can understand the lack of boys--if I had a son, I wouldn't want him going there, either. Ballet has enough of a "girly" image as it is. Also, what's up with those first few paragraphs? The article makes ballet look first harsh and cruel, then saccharine and silly, and the very last line appears to try to make it seem as if the school is on a par with the great European academies "handing ballet down to the next generation." While it's probably a fun place for the girls to go once a week, I don't think people should try to equate it with real ballet training. There are pre-ballet programs out there that teach useful skills such as musicality and coordination--they actually prepare the child for more intense training while still being fun. There isn't a need for costumes and drawbridges when the classes have substance; in fact, from the descriptions of the class in the article, all the "atmosphere" isn't enough to keep the children's attention. However, I would like to say that if these "students" eventually become (grown-up) audience members (or even dancers), I am all for Ballet d'Enfant!
  22. Sorry Alexandra--I must have been paying too much attention to the snow when I wrote that! (We have more than fourteen inches here .) I think what I meant is that there isn't really an American method the way there is a general Russian method--or do I mean style?--(which is not necessarily Vaganova), French method, &c. For example, you can't really look at a dancer and say s/he was probably American-trained (unless there's an obvious Balanchine influence) the way you can guess a dancer has been trained in Russia or France or England, as the US has imported most of its methods from Europe--I do not know of one that has originated in the US. As for the Balanchine quote, it is, like most of his quotes, overused and misinterpreted to the point where I usually zone out when I hear it. The fact that Balanchine said it doesn't make it true.
  23. Typing "ballet music" into Google produces some good results. Amazon.com also has a pretty good selection.
  24. Perhaps we should differentiate between European/American syllabi and European/American dancers, although I have noticed a tendency in the US towards sort of a hodge-podge method of ballet training--go to this school for a few years, then change to that one, &c. Dancers don't tend to follow a complete method of training for all their school years here, and while I know that is not always the case in European neighborhood schools, it is definitely more common in the big academies there than it is here. As far as I know, the current RBS director does not officially use Vaganova, though some of the teachers, mostly for the boys, are Russian. I know the RBS doesn't use RAD; I believe the current director (Gailene Stock?) revised the syllabus that was already in place when she got there.
  25. Once during the second act of Washington Ballet's "Where the Wild Things Are", a little girl near me commented quietly to her parents, "This is a long movie." However, she and the many other children around me behaved quite well for the most part.
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