Solor

excellent! I was under the impression that it was only film of Zhakarova.

NATALIA -

DO U KNOW WHAT COMPANY IS RELEASING THIS BALLET IN THE USA?

Ive already posted this topic, but I want to put it up again for more hits - heres the topic again-

I was just curious (I put this topic here because I wasnt sure where it should go) - After the fall of the Commuinist government in Russia, where does the Mariinksy/Kirov (or Russian Ballet in general) get thier money now that the old system is gone? I know Im like 15 years to late in asking this question but Im curious now that Russia is a democracy. ANY INFO WOULD BE COOL

Has this video been released in USA? WANT TO SEE IT BADLY!

I LOVE STARTING GREAT DISCUSSIONS

I SHALL START MORE!

I am totally fascinated with the Bolshoi's reconstruction of this almost 'extinct' ballet of Petipa. I am curious - I know its available on DVD in Europe but is it in the West (Its the only film I know of with Zhakarova dancing)?

Did any parts survive at the Kirov over the years? Any of the music ever been thrown into another ballet?

What happened to this ballet? Why did the Kirov (Or then the Imperial Ballet) stop performing it long ago? (I have many pictures -studio portraits- in books of mine from the turn of the century of various dancers in it-including Pavlova) It seems at some point in the 1910s or 20s the Mariinsky stopped performing it - WHY??

If anyone on the forum has seen it, what were your impressions?

What about Pugni's score - I would be so EXCITED to hear it.

I know that little George Balanchine performed as a monkey in it! And in the ballet was shot down from a tree by Kchessinksa!

ANY and ALL info would be greatly appreciated!!!!!!!! I am so FASCINATED with this ballet

I was just curious (I put this topic here because I wasnt sure where it should go) - After the fall of the Commuinist government in Russia, where does the Mariinksy/Kirov (or Russian Ballet in general) get thier money now that the old system is gone? I know Im like 15 years to late in asking this question but Im curious now that Russia is a democracy.

Maybe its my own observation of how dancers today think about technique more than emotions (on stage anyway) because in todays dancing world, technique has become, well, like, THE FUTURE....if you get my meaning. Right now, my fave ballerina is Svetlana Zhakarova of the Mariinsky. Talk about night and day compared with Fonteyn! But both give emotional performances........I guess one will pay more attention to technique instead of emotion when the dancer they are watching is performing 8 pirrouttes or has sky high extensions. I came to this conclusion after careful thought of this topic I started here. I guess I noticed Fonteyn's emotions more than her technique because her technique, however great, does not make a performance of itself, than say, (for example) a ballerina like Zhakarova.

Zhakarova, and some of the Ballerinas today (Most of them Russian it seems to me) - are, like, SUPER BALLERINAS. They are so technically awesome and so evolved, that I suppose one can get lost in the 'extreme-ness' of these highly evolved dancers and not notice the 'heart' of the role being danced. I am guilty of this! (especially in a ballet I have seen 100,000 times).

Anyway, in conclusion, I think this is why I have noticed todays dancers being more technical than emotional. IM just NOTICING the technique more, because, well, theres more to see TECHNICALLY than the OLD SCHOOL dancers!

But hey - theres no school like the old school......

I just watched her in Nuryevs Swan Lake for the Vienna Ballet. Her Odette and Odille was so splendid....she was like a real swan. I have noticed, that dancers today seem more occupied with the technique of thier bodies, which are more evolved, than say the acting or the "heart" of the roll. Fonteyn was an "Old School" ballerina - she didnt have high extensions or that linky-ness that dancers today have, but she had more than that - the emotions! Why do dancers of today differ so much more then the dancers of the time she came from? Is it becasue they are more occupied with technique?

Im sorry if i offended.....but I did notice it, and was just asking if anyone had heard of her being ok or not. BTW she is one of my favoeite ballerinas!

oh no.....this is a shaking....like a parkenses (is that how you spell it?) shaking. Im not trying to suggest that our dear ballerina has that unfortunate ailment. For example, in "paquita" : the kirov ballet, on a video called "the maryinsky ballet" also released as "ballet classics" (it has Makhalina and Zelensky in the leads) Lezhnina dances the 3rd solo - the one where the xylophone is used for the meoldy, and u can see her left hand shaking, when the camera closes in before her last combination and she makes a pose before the final combination. Also, and VERY beautifully i might add, she dances the pas de trois from Fairy Doll on the same video, and again, same thing. There is a part in the coda where she shakes her hands on purpous, which is part of the choreography, but I am not mistaken about the other times.

Svetlana Zhakarova. To me she embodies the very idea of a 21st century St. Petersburg Grand Ballerina. That woman is to me - through her body, technique, and style - the achievement of 500 years of ballerina evolution

I have many films with Lezhnina dancing. I have never seen her live. She is one of my favorite dancers of all time - she has the most "tidy" technique, and she is so "opulent" when she dances! I have noticed in the performances I have of her on film that her left hand shakes when she is dancing - seriously in EVERY film I have of her her left hand shakes. It doesnt appear that shes nervous or shaking her hand on perpous. I was thinking if perhaps she has a medical condition or something....I dont know. Has anyone noticed this to? Does anyone know if she has a medical problem?

"Do something three times, then do something similar but which stops, thus ending the period."

That whole "32-bar" thing makes perfect scense! A teacher of mine said once that same thing thats Mel J. said when I was learning the variation form Corsaire Pas d'esclave, and I remember thinking that you can see it through just about ANY classical variation.

I could be wrong, but I am pretty that somewhere in the history of Giselle Petipa had Minkus write a Pas de deux for the 1st act of Giselle. As you may know Minkus also wrote the "coda" for the Act II pas de deux (the music that follows Albrecht's variation) and the Variation of Giselle in Act I (according to Spessivtseva who 1st performed the solo) though the music is from some other ballet I cant remember (i read that in an old book I have). I have that same film of Giselle with Olga Vtorushina dancing in the Peasent Pas de deux (with Mezentseva as Giselle and Zaklinsky as Albrecht), and I have wondered myself where that music she used comes from. I could be wrong, but its a theory. Im not certain, but Im pretty sure I read somewhere that the Joffery (i think) ressurected this music and performed this pas of Minkus that is no longer used in Giselle. Ill post a topic to see if anyone knows.........

Im not sure who, I think it was the Joffery Ballet, but I recall reading somewhere that theer was a pas de deux that Minkus had written for one of Petipa's revivals of Giselle. The pas was for Giselle and Albrecht in Act I, and it was definatly not the Bergmuller Peasant pas de deux used in every production of Giselle. The music is not used in traditional productions of the ballet anymore, but it was written for it. Does anyone have any info on this piece? Or perhaps know of a recording of it on film or just the music on CD?

More Tatiana Terekhova on Film

Theres also, "The Magic of the Kirov" available from Kultur video, where Terekhova dances "Le Corsaire" pas de deux with Ruzimitov. This one was filmed in 1986 . Ruzimitov is young - he is exotic and flamboyant but not to much like he got later in life; here its JUST RIGHT! In his variation his tour jete in the coda gets a perfect split, also, his sequence of turns around the stage, along with double saut de basqeue are wonderfull. Terekhova is in prime in this pas. Her variation is FLAWLESS and I dont use that word lightly, I mean really, it is! in the adagio she has feet of steel and is effortless. In the coda her fouetees, beginning and ending with a double pirouette dont move at all from the place she started, and she balances perfectly in su su 5th after shes done. You know, as far as Im concerned, its the best Corsaire Pas Ive ever seen live or on film!

I have to agree with those who are fans of Terekhova's Myrtha....she the best I have ever seen on film or live. This pas (the Wilis in Giselle Act II) is ballet perfection, the corps is totoally flawless. In Don Q, Terekhova is awesome, with great style. And my own Favorite from this film is her "Garden of Dulcinea" variation. Again, the best I have ever seen live or otherwise. I have had this video since I was abou 14 and when I saw her dance this variation I could not believe it, she is so lovely in it!

WHOA! IM SORRY! Didnt mean to soud like an a**. MY BAD! Look I wasnt slinging mud, just stating a fact. Like- "Im a bad typist" or "Baryshnikov had perfect technique" but I seem to have overlooked the "admire" part.

I admire Nureyev. If I never saw him in Corsaire when I was a kid on A&E on TV I would have never took my 1st ballet class! No, his technique wasnt perfect, but I think in his prime it was right up there!

Hey, If its any consolation, I have a film of Bylova in Spartacus, that I watched today actually, and she is great in it -she dances the role of Crassus's lover (I cant remember the name). Her, um, less than perfect technique is well suited for the role, and she is very feminine, and very beutiful, I like her legs! I think that she is a natural dancer, depsite her technical flaws, as is Gracheva. But ayway they are having fun, there is no mistake about that, so ITS ALL GOOD! I think I talked about this b4, in some other topic concerning the way that some dancers at the Bolshoi handle technique

YES FANDEBALLET I AGREE!

In his prime (a good record of it is a film of his Swan Lake for the Vienna Ballet with its GREAT 60's style sets) Nureyev was WONDERFUL! His technique was NEAR flawless due to his hard work, with the exception of his tours a la seconde which were never really that great........his grrrrrrrreat technique then was the obvious result of his work with Erik Bruhn, and his desire to mimic him. Anyone know what Im talking about?

As far as technically poor dancers go, I have issues with a Bolshoi ballerina named Maria Bylova that I have in a few films on video. How this woman became a lead soloist is beyond me. Sloppy Sloppy Sloppy.

Another one is Nadia Gracheva of the Bolshoi, though not nearly as bad as the danseuse i just mentioned. I have them both in Bayadere and being put to shame by thier male lead, Alexandr Vetrov, whose technique and overall performance, not to mention his AMAZING jumps, are a sight to behold! Anyone know what Im talkin about?

Anyone know anything about this ballerina? I have her performing in a film I have called "Kirov Soloists". Shje performs the pas from Satenella/Carnival in Venice and is great! I have never heard or read about her. Anyone got any info?

I have a CD that has the Pas d'Esclave and credits the music to pugni, credits the trio de odalisques to minkus, and the grand pas to drigo. It is by the Nice Orch. After studying and hearing these composers music for a long time I think that the composers credited are correct. The pas d'esclave is a typical Pugni pas where the same theme of music is used in different ways throughout the entree, variations and coda - a good example is his type of pas is the pas de deux from Satenella/Carnival in Venice - he uses the same tune in differents ways. The Odalisques music sounds like Minkus big time. Its easier to tell by his original arrangements. I always thought this pas had great tunes! If you wanna hear the original orchestrations watch the Kirovs version of the full work, or in a gala they did: the Kirov in London. Everyone knows Drigo did the Grand Pas. He was really good at orchestration, and when you hear his original arrangments, so rarely recorded, you can see he was a great composer.

Does anyone know who reorchestrated Pavlovas Bayadere, the one recorded by Bonynge? I have the CD "the art of the prima ballerina" and It is obviously re-arranged, very colorfully. I really enjoy thse arrangements, and I have always been curious about who did them. How about the arrangemetns for Corsaire done by ABT?

I have both the Kirov and ABTs versions of Corsaire on film, along with a few other videos (gala performances) with scenes from the ballet. I was wondering why ABTs version and the Kirovs version differ so much musically? The incidental music, along with overtures, etc., is totally different from the Kirovs (the foundation of ABTs production). The famous numbers of the ballet are the same, like the grand pas, the trio of odalisques, the pas d'esclave, the act II mazurka, teh scene 'jardin anime'; but everything else is totally different, though the same composers are credited.

I also noticed that the music in the more famous numbers is re-orchestrated (the trio of odalisques, the grand pas, the pas d'esclave - which I think is fine in the original by Pugni. The 'Jardin Anime' scene was left alone 'orchestration-wise' however. ABTs version gives no credit to a 're-orchestrator' or anyone writing additional music, though I can tell that this has happened.

so what gives - does anyone know?

Solor

BUT IT IS EXCEPTIONAL..........ITS BY FEDOTOV!!!! I have both recordings. Fedotov lets the music dance, Gergiev lets the music be symphonic, which it can be. Of course I lke ballet music to sound like it should in the theater, not the concert hall. I think both recording are valuble, though fedotov was a far better conductor of ballet.

the music is from a recording of the Bolshoi Theater Orchestra on cd (out of print) of Paquita, though the music is from the ballet "Le Corsaire" and for the scene in this ballet - 'La Jardin Anime'. Throughout the history of ballet variations have been switched round and round. In this case, the music is by Riccardo Drigo for the last revival of Corsaire by Petipa. The variation is danced by Gulnare in the scene La Jardin Anime, and comes right after the the big adagio with corps de ballet for Medora. How it got into the Bolshoi's Rep. for Paquita I do not know. If you want to see a good example on film of this piece, DO NOT get ABTs version of Corsaire, but the KIROVS! TAKE MY ADVICE! Though Paloma Herreras performance is dazzling in the ABT film of this variation. Also, you can see this scene performed by the Kirov, along with other gems of Russian ballet, on a film called "The kirov ballet in london" available from Kultur. In it Lubov Kunakova dances the variation to slightly different choreagraphy. Well there you go enjoy!

HEY ALL............ I just got a recording of Sleeping B. by the Leningrad Philharmonic under maestro Viktor Fedotov (RIP). IT IS THE PERFORMANCE SCORE! It is conducted EXACTLY as it would be for the stage, and has the all the proper cuts, changes, etc! I was so excited when I got these CDs. I cannot put into words how great Tchaikovskys music sounds under the baton of ballet conductor Fedotov - He did such a magnificent job with this music. More likely than not if you have a film of the Kirov dancing they are dancing to the orchestra conducted by Fedotov.

I know that many people have asked over time on this site about certain parts of Sleeping Beauty on CD - particulary Auroras Variations. The score used in this recording is the Sergeyev staging......I know this because in his version, Auroras Vision Scene solo is the one Tchaikovsky orignally composed, not the Gold Fairys solo as substituted by Petipa. And it is this version that is recorded here. Although I do think that that is the only big change made musically in his version (I would have rather heard the Petipa version, with the preceding number refashioned by Drigo, my one and only complaint about these CDs)

All of the other 1892 Drigo changes are here though - little cuts, changes in expression to certain numbers, etc.........the music has a wonderful "ballet music-symphonic" cross to it if you get what i mean.

The Rose Adagio, along with the vision scene pas, has the extended Harp arpeggios at the begining and is WONDERFULLY conducted by Fedotov. HE LETS THE MUSIC BREATHE!

Auroras solo in Act 1 is at performance tempo and played with great feeling! It has all the right cuts. For those familiar with The Kirovs "older" version the last portion is cut and the variation ends with what I can only describe as a more "Minkus-like" finish. It is what is recorded here....I like it better myself.

Auroras grand pas wedding solo in act III is the version we know as dancers, not the longer one Tchaikovsky originally composed. Many on this site have been in need of this version of the solo on cd.

These are but a few of the treasures on these discs (its 2 CDs) GET THIS! You can get it on TowerRecords.com or Amazon.com....ITS IN PRINT! Snatch it up!

Pjotr Il'yich Tchaikovsky - The Sleeping Beauty. op/66 in Three acts

Leningrad Philharmonic Orchestra / conductor: Victor Fedotov

Audiophile Classics apl 101.756

Qualiton Imports LTD.

HEY RG! - U are MISTAKEN...............the variation of Jaffe in the ABT Video is DIFFERENT than thatof the one danced by Makhalina...........the Variation danced by Jaffe I have never seen before, on film or live. Howevere the variation of Makhalina is the standard "lead ballerina of Paquita" solo danced everywhere. So which one are u speaking of as far as Drigo being the composer? As far as what I hear, the "standard lead ballerina of Paquita" variation is Minkus........it sounds like him. However the variation danced by Jaffe sounds alot lke Drigo. I dont know why it just does! I am quite familiar with the 2 as I have many recordings of them both. When I was studying at the PNB school when I was a kid, I remember hearing the "Jaffe" variation in class. I went up to the piano player and she showed me the sheet music and it said R Drigo "Le Reveil De Flora Solo and Variation". I asked her where she got it and she said at a store in New York that had sheet music fo ballet class. I wasnt sure so I have asked a few times in this forum since.

Solor