canbelto

There was a Lopatkina gala televised on Russian tv and the usual warhorses are there but there's one number that I found baffling. A person comes out in a black tuxedo and hat. Very androgynous. A closeup reveals it's actually Lopatkina. Her hair is her offstage short red crop, and she does this weird little jazzy dance with ballroom dancing shoes. It's more Dancing With the Stars than ballet. Does anyone know what this piece was, who choreographed it, and whether Lopatkina still dances it? It really seems a strange piece for her.

Classic: Giselle "Modern": Symphony in C

The good thing about Somova is that her career has been pretty well-recorded through the years. Maybe not officially but on youtube definitely. She's also "out there" in Mariinsky tours, and is usually heavily cast, so ... well people have lots of opportunities to see her. For instance here's a more recent Rose Adagio, from February of this year: http://www.youtube.com/watch?v=9IVFxbMvDMk In any case, some things are toned dowm. Her hair is a more natural shade of blond, the first set of balances are more secure, and the position of the chin less extreme. But the basic problems are still there -- the lack of elevation or any kind of spring in her jump, the jerkiness of her movements, the way she distorts the old-fashioned tutu by insisting on on an ear-whacking penchee at every opportunity, and the awkward way she holds her arms and shoulders. Also, she has maybe the worst case of smiling sickness I've seen -- the frozen, vacant smile that she uses for every role. Here's recent video of her Giselle: http://www.youtube.com/watch?v=zprL29_XFjI Again, in the very exposed choreography again she's jerky where she should be fluid, earthbound when other Giselles fly. There's a kind of heaviness to her movements that it weird for someone so thin, but I think it's because of the jerkiness of the movements and the way she emphasizes her joints when she dances. Her entrechats are weak. She is reminding me a bit of Yvonne Borree. Obviously very different dancers, but for years Borree was cast in the NYCB in roles where she just obviously was technically out of her league. She became the dancer I avoided when casting came up. I think Somova maybe just doesn't have the talent to justify all the roles she's given, and that's all it really is.

Alina might have a lot of hip/joint flexibility but in other areas her flexibility is lacking. For instance, she has an extremely stiff back and upper body. This makes her dancing kind of seem very disjointed -- a hip that is constantly swinging, but the back, neck, shoulders, and arms are held rigidly. Again, here's a comparison: http://www.youtube.com/watch?v=_U6Z_UnaiR8&feature=related http://www.youtube.com/watch?v=ZMQ9tLBxx6U Same exact ballet, same exact variation. Diana Vishneva again doesn't have Alina's physique. Diana's a lot shorter, for one, and doesn't really have very long legs for a dancer. But Diana uses her back flexibility to imitate the Oriental belly-dance style, and is able to control her body so Nikya's variation looks like one long dance of grief. Somova's lack of flexibility in her back and the jerkiness of her movements take away from her characterization of Nikya. But when the Kirov came to the City Center, opening night the company closed with the Kingdom of the Shades scene, and it was given to Somova.

See I've seen Somova live and on video and I disagree that her lines have great amplitude. I think it's sort of the opposite -- her overly bent joints make her dance "small" despite the extravagant extensions. The constantly jutting chin and flapping wrists and weird way of holding her hands make her dancing look, as you said, jerky, but more importantly, it takes away from any sense of classical line. Many dancers who are not nearly as long-limbed as Alina Somova manage to have more amplitude in their penchee arabesques, simply because there isn't the constant jerk/joint effect I see with Somova. For instance, let's do a comparison: Alina Cojocaru: http://www.youtube.com/watch?v=eG4XpSF9j1c Alina Somova: Same exact ballet, same variation (Rose Adagio). Alina Cojocaru is not blessed with long limbs, a long neck, or attractive feet. But her elevation, and the fluidity and grace of her movements give her dancing more "sweep" than Somova, who is never able to get off the ground in her opening series of jumps, and has an irritating way of pausing between her jumps to jut her head sideways, which cuts off the continuous movement. I'm not even bothered by Somova's hyperextensions anymore. They're fairly common for a lot of ballerinas. It's her jerky, awkward way of dancing that irritates me.

I agree that I find weird similarities between Mezentseva and Somova as well. Both of them kind of accentuate the boniness of their body by their movements. Hard to describe but both are/were really into jutting out their chin or flapping the wrist in a way that just makes them look all skin and bones. It contrasts with the fluid port-te-bras I associate with many Mariinsky ballerinas. Also, both of them seemed to lack elevation, giving all their performances a rather earthbound, jerky look. But anyway, the depressing thing is the few times I've seen the Mariinsky since Somova, many of the corps de ballet seem to be striving for her look. Ultra thin, blond, chins jutting out and flapping bent wrists. It just doesn't look healthy for any woman to be that thin. I mean, I understand ballerinas are usually tiny as is, but the Mariinsky corps de ballet now looks like they are on a gulag diet.

I would definitely get the Bayadere. It remains the only commercially available Bayadere from the Mariinsky/Kirov, and despite a middling Solor, Gabriela Komleva and Tatiana Terekhova are both excellent as Nikya and Gamzatti. Komleva is soulful and vulnerable, Terekhova cold and icy, and the two ballerinas play off each other very well in the scenes they have together. I'd also say that for those who are only familiar with the Makarova version of Bayadere watching the Kirov's version (or the POB's) is necessary to get a better feel of Petipa's actual ballet.

The best ones I've seen have been Sara Mearns, Wendy Whelan, and Ashley Bouder.

I went to this afternoon's performance. What a great triple bill! Serenade, Interplay, and Who Cares? All masterpieces, and this time, all well-cast. No more Yvonne Borrees or Darci Kistler's. Some standout performances: Sara Mearns and Janie Taylor in Serenade, Daniel Ulbricht in Interplay, Tiler Peck in Who Cares? Sara Mearns has such a unique way of moving -- she often seems like she's dancing in another company. She favors slow and expansive movements, rather than the lightning-quick style of the rest of the company. Lovely. Tiler Peck danced the Patty McBride part in Who Cares, and was mesmerizing. Earned a well-deserved ovation. The corps de ballet looks in great shape. Sharp, uniform, and these are obviously ballets they know like the back of their hands. I often feel during the winter and spring season that there are so many World Premieres and such a relentless schedule that the corps looks ragged and tired by the end of the season. So I'm really liking the idea of this short "just the basics" fall season.

I agree that this is overall a great video of Sleeping Beauty. I love the "no fuss" way Durante does her Rose Adagio. Like it doesn't scare her at all, and I love seeing that confidence. The only other Aurora I've seen who radiated such confidence with the balances was Margot Fonteyn, who from beginning to start seemed to know she would rock the balances. Durante and Fonteyn both even end the Rose Adagio with a final firm staccato snap of the arms, like "ok you may applaud now." christian if you enjoyed Durante in this you might get the video of Mayerling with Mukhamedov and her. Very different role but she's definitely a dancer whose career was shorter than I expected.

Here's an idea: Mariinsky stars, in times past and present, have had a history of rebelling against the famously dictatorial, top-down management style. It's not really gossip -- stars have complained about being cruelly treated, poorly paid, restricted in their repertoire, and being worked to exhaustion. It's kind of always been like this too, from the days of Petipa onwards. But historically so many Mariinsky stars have left the nest either by guesting extensively or flat-out defecting to other companies/countries. But this can only happen if the star is talented enough to build a fanbase abroad. Perhaps the Mariinsky management likes/needs a Somova-type? In other words, a house ballerina who's willing to dance as often as possible, but without risk of defecting elsewhere or rebelling against management.

I agree that the Baryshnikov Nut is kind of weird, and definitely has a creepy pedophilia tone in the pas de deux/trois. But I also kind of don't know if the weirdness is magnified by: 1. it being a studio filmed production, that might have been slightly changed from the stage production. 2. the presence of Gelsey Kirkland. When I watch this video it's Kirkland's persona that is the most striking. She looks girlish enough, but just seems to have a moody intensity that seems a little ... wrong for Nutcracker. I notice that most "filmed" studio Nutcrackers tend to seem a lot more adult-oriented. The NYCB film of Balanchine's Nutcracker for instance doesn't particularly strike me as being a joyous family affair, and we all know that Mr. B's Nutcracker is probably the most child-like of all Nutcrackers. In fact, it's been accused of being too childlike. I don't know, does anyone remember seeing the Baryshnikov Nutcracker staged and if they did, did it indeed have the creepy overtones that the film has?

I'm reading "Last Train to Memphis," the biography about the early life of Elvis. Highly recommended, and I can't wait to start "Careless Love," the sequel, now.

Well color me excited. As much as I love Mr. B's Nutcracker it will be interesting to see Ratmansky's take. I'd also like for Ratmansky to choreograph more full-lengths for ABT, as their recent full-length productions have all been in some ways disappointments.

I agree with Bette Davis in so many films literally leaping off the screen. My favorite is when she starts screaming at Leslie Howard in "Of Human Bondage." Barbara Stanwyck also, as I said, really just crackles with vitality in so many of her films, as does Carole Lombard, Katharine Hepburn, or even the slightly lesser known screen goddesses as Margaret Sullavan, Claudette Colbert, Jean Arthur, Rosalind Russell, Irene Dunne, etc. All from the same era as Garbo. The difference is that all of these ladies were less beautiful than Garbo and had less mystique. But because they were less beautiful, I often felt like they compensated by creating a very lively, engaging screen presence. I agree that Garbo maybe wasn't even the most beautiful screen actress of all time (for me, that honor goes to Audrey Hepburn), but she definitely had an aloof, mysterious look and persona that added to her legend but makes her films seem somewhat static and more like star vehicles than truly great films. Another thing about Garbo was that she was notoriously stubborn with directors. She didn't like listening to their directions, and sometimes barred them when she shot scenes altogether. I do wonder whether this contributed to the "star vehicle" feel of her projects. She worked well with Ernst Lubitsch but then decided never to work with him. A stronger director with less tolerance of star antics might have been able to draw a better ensemble from her films.

I'd actually say that what Brantley is talking about (Garbo's famous aloofness and mystique) is what gives her films a slightly dated quality, whereas the movies of, say, Carole Lombard or Barbara Stanwyck still crackle with vitality. Garbo in most of her movies is sort of static, and always seems like Garbo Playing Christina, or Garbo Playing Marguerite, etc. Her screen persona was based on the idea that in real life, you'd never see someone that beautiful and mysterious. It's like a mannequin came to life. It works well, but there is a distancing effect. I wonder what directors like Alfred Hitchcock might have been able to do with Garbo, since Hitchcock wrote the mystery and aloofness into his movies.

One thing I always loved about the Beatles' singing voices was that even after their speaking accents became more internationalized, when they sang they never lost that droll Liverpool accent.

I always thought that when he cleaned up George was the most handsome Beatle. Like that crooked grin got me every time. John = most talented Paul = most savvy George = hottest Ringo = nicest That's my call anyway. And it's not just the early stuff that has the ability to make me really happy. "Across the Universe" always makes me incredibly happy, no matter how many times I hear it.

Aww, happy birthday Ringo. I didn't really like Ringo's songs but I appreciated that out of the Beatles he always seemed the nicest, most down-to-earth, and never went through an "I am too cool for the Beatles" phase. Leonid, I think people of all ages and backgrounds loved the Beatles, simply because their songs had an ability to make people happy. I remember the first time I watched "A Hard Day's Night." "This is so corny," I thought. But at the end of the movie I was slack-jawed and giggling and just flat out happy.

I've always read that Shearer got put into Thalberg's "prestige pictures" because her husband favored that sort of thing, and ironically this sort of ruined her movie career reputation in the long run because it gave her an undeserved reputation as this rather starchy, matronly actress. It's strange because Shearer married Thalberg in 1928, and didn't star in the "prestige pictures" until the mid-to-late 1930s, when the Production Code took over. And Thalberg was dead by 1936, so the theory that Thalberg unintentionally ruined his wife's career might be more myth than anything else.

Or better yet, just look at the large, wide shadows on the pictures of her feet. They don't match the doctored toe-shoes at all. Not surprisingly, Anna Pavlova was known to hold her balances for an extreme length of time and rival ballerinas sniped that it was cheating, because of the type of shoe she wore.

Alina Cojocaru has said in interviews that her career was nearly ended by a series of horrible injuries. She had a stress fracture in her foot that never really healed, then developed bunions so severe that I believe she has special shoes designed for her by Gaynor Minden. She also suffered a neck injury. The fact that she's still dancing so beautifully (and the fact that she still takes risks) is a miracle. When I saw her up close she was wearing orthopedic shoes, and I only recognize them because my friend who also has a severe foot injury wears the same type of shoes. Let's cut her some slack.

I'd also add that I waited at the stage door to see Alina and to have her sign my Giselle dvd. It was worth the wait. The sweet humility she projects onstage are absolutely not an act -- she was so kind and patient with every last girl who wanted to have her picture taken with Alina. She must have been tired but that didn't stop her from endlessly signing programs and posing for pictures.

I just came from back to back Sleeping Beauty's. I saw in the afternoon Alina Cojocaru/Jose Manuel Carreno/Stella Abrera, and in the evening Natalia Osipova/David Hallberg/Michele Wiles. I think overall, the afternoon performance was stronger, mainly because of the incredibly radiant Aurora of Alina Cojocaru and the Lilac Fairy of Stella Abrera. Cojocaru is a pro at Aurora, and it shows -- the Rose Adagio had some shaking, but she soldiered on, and held her hands up triumphantly in 5th every time. This dancer's persona of girlish delicacy is blended with an incredibly strong technique. She can at times seem ethereal, and then thrill the audience with incredibly fast, snappy turns. Her airy jump, her delicate use of her arms, her ability to transition seamlessly between a sixteen year old girl, a fairy sprite, and finally a regal princess -- I just felt incredibly lucky to have seen it. The audience loved her too, judging by the rapturous ovations she got throughout the performance. I'm so glad I saw Stella Abrera again -- what a lovely, lyrical dancer, and it's too bad her career seems to have gotten sidetracked by injuries. The afternoon fairy set of Gemma Bond, Simone Messmer, Maria Bystrova, Yuriko Kajiya and Luciana Paris in general was stronger than the evening fairy set. Jose Manuel Carreno gave a good, solid performance, but it was not as memorable as the performances of Cojocaru and Abrera. In the evening, Natalia Osipova made her debut as Aurora. The house was sold out to the max. Alas, the performance was excellent, but I didn't feel that Osipova's Aurora was quite at the level of her Giselle and Kitri. And I wouldn't expect it to be -- this is after all her debut. But she was noticeably nervous. Her face during the Rose Adagio turned into a hard grimace, and she didn't hold her hands up in 5th in the first set of balances. She did in the final turns with the princes, but the effort showed, and she for once seemed workmanlike. She still had that incredible elevation and ability to hang in the air, but there was definitely a lot of caution in her performance. I think with time she will become a great Aurora, but she's not quite there yet. Her dancing perked up noticably when David Hallberg strode onstage. My friend noted that their partnership is a lot like Astaire and Rogers -- the classical purist with the whizbang phenom, and they have a great rapport. The fishdives in the Act 3 pdd were executed with a lovely snap. Daniel Simkin predictably brought the house down as Bluebird but I find the choreography of the ABT to be very watered down during Act 3. It's funny how the NYCB can make a Sleeping Beauty that also is streamlined, yet somehow complete. The divertissements of Act 3 are given their due in the NYCB version. Michele Wiles was a very disappointing Lilac Fairy. Somehow she gives the impression of dancing, but not moving. Everything is very careful, by the numbers, and she doesn't add much body to the Lilac Fairy's choreography. Her habit of holding her head and arms in this one stiff position doesn't help. I certainly hope she can find a way to make her performances right now more exciting. I find the production at this point pretty unoffensive, but definitely one of the weaker productions among the major ballet companies of the world. The NYCB for instance has a much stronger production, and they're not even known for full-length evening classics. It's a strange phenomenon -- the ABT routinely has some of the best dancers of the world dancing in such weak productions.

Looking back, I think it was good that my first ever Giselle was Diana Vishneva. I had seen Giselles on video, and had seen excerpts performed live. I always thought of Giselle in Act 1 as a very sweet, innocent village girl, and in the second act as this gentle weightless spirit. I saw Vishneva and she completely erased all my previous conceptions of what Giselle "should" be. I had never thought that in Act 2 Giselle could be such a strong, even angry spirit. That during her initiation turns she was turning out of fury, and that the entire Act 2 could be played as a thrilling battle of wills between Giselle and Myrtha. I'll never remember how Vishneva, with just the right amount of dark eyeshadow, pitch dark hair, and the sternest expression in the world, made a Giselle that literally made my hair stand on end. I also remember how beautifully Vishneva and Malakhov complemented each other. Both are what some people might call "over the top" performers, but they seemed to be dancing at times as one person. Both of them jumped at the same height, their body line was exactly matched, and it was just unforgettable how at the end of the ballet Malakhov seemed to be crawling after Giselle. Vishneva closed her hands together, as if to block Albrecht, as she returned to her grave. She gave Albrecht one last flower and was gone. This Giselle had exorcised her demons. I might also add that I've seen DV now in a wide variety of roles. And that she's generally one of my favorite performers. But nothing she has ever done will in my mind ever match her Giselle.