silvy

There is a most tragic story in the history of the Colon Theatre (Buenos Aires - Argentina). I think it was around 1970-1971, when I think seven of the ballet's most important figures (including 2 principals that were known internationally: Norma Fontenla and Jose Neglia) died in an air accident. They were travelling south, to dance in one of the provinces, when the aircraft plunged into the River Plate. They all died drowned. After this was that Liliana Belfiore took the place of prima ballerina at the theatre, as this place was left vacant after Fontenla's death. There is a memorial of them near the theatre now. Silvy

I recently saw the Giselle film starring Nureyev and Seymour. I could not help but find Seymour's performance at the mad scene remarkable. I admired her courage in playing it ugly, not pretty as most ballerinas do. All of a sudden she transforms into a madwoman in a madhouse. It gave me the creeps!!! Maybe the rest of her portrayal is not very much to my liking, but that mad scene.... My God!!! Anyone agrees? silvy

Hi I have seen the tape you are talking about, Solor, and I am sorry to say I totally disagree with you. I found Nadezdha Gracheva magnificent, a whole rounded performance indeed. Delicate, moving, and also technically impressive, though this is not for me the feature I cherish most. Also maria Bilova, though she has rather "old schooled" Bolshoi arms manages to move me with her performance of Gamzatti. she is a true princess: proud, sure of herself. I also appreciate the way that her GAmzatti contrasts with Gracheva's Nikia. She is also techically outstanding, but, again, this not the most important feature for me. As regards the three soloist shades, they truly do justice to the 3 solo parts. As for Alexander Vetrov, he is the most satisfying Solor I have seen so far. silvy

Estelle: Thanks for your news - sadly that Ballet du Rhin only does modern works now silvy

I wonder if there are other commercially available videos of Paquita other than Kirov's (starring Makhalina and Zelensky) and ABT's (starring Cynthia Gregory and Fernando Bujones). In particular, I would very much like to see the other variations that are in the score (I heard it online on www.christopherseminars.com), which do not appear in either of these 2 videos. thanks silvy

What ballet is "Berengaria de Castille"? silvy

thank you very very much, Alexandra. I think that this is the key to many parts in the ballet (the maids finesse, for instance, and the "prelude et la Romanesque" section, which somehow reminds me of French troubadors). I remember that once I saw a video in which Alicia Alonso said that a dancer should get as much information as possible about the ballet she/he is about to dance. And I know that this is not always the case - I have talked to dancers in companies who do not have a clue what they are dancing!!! That is why I value information such as the one you have just given. thanks again silvy

I wanted to post this in the "Raymonda" forum, but it is closed -that is why I am posting it here. I would like to know why being Raymonda of French royalty (as I read in the forum I mentioned above), does she do all those "czardas - Hungarian" arms in her third act variation (the wedding one- the one with the million pas de bourres). Is there any hint in the libretto, or something? I am most curious!! silvy

Oh, thank you everybody!!! so, would you say that all the variations in Paquita's grand pas should be in that "noble" vein? It is interesting to contrast Kirov's and ABT versions on video. Kirov is just like nobility: Paquita even wears a tiara!!! However, Cynthia Gregory (and Susan Jaffe, Leslie Browne, and all the other dancers in the ABT Makarova's version I have seen) are dressed more like "Don Q" (I mean, red tutus, flowers on one side of the head, etc). silvy

Hi I was wondering about the real differences in style between these 2 ballets, particularly regarding the grand pas (on both). I would like to know what a ballerina should know of these differences in order to show she is truly dancing Paquita, instead of Don Q. I think it is very important to know differences in styles when you are learning a new role, that is why I ask. thanks silvy

you are welcome!!!!! dancers here regret that the ballet master is leaving!!!!! They were all worn out, tired but very happy!!! silvy

to everybody, especially Estelle The name of the French ballet master who was guesting in Uruguay is James Amar. I am reading from the stagebill that he was born in 1970 and that he studied at the Paris Opera Ballet school under Serge Golovine, Daniel Franck, Gilbert Mayer and Lucien Duthoit. He danced at France's Youth Ballet, and was a soloist at the Nantes Opera House ballet. He then danced at Rhine's National Ballet . He has worked as guest ballet master in the National Ballet of Nancy, in Lyon's National Conservatoire and Montpellier's Conservatory. He has been invited as ballet master by the National School in Belgrad, the Bakou ballet, Cairo's Opera ballet and Shanghai Ballet. He holds a certificate in Classical Dance Teaching. He has danced Balanchine, Limon, Tudor, Lifar, Fokine, Jooss, Kylian, Carlson, Preljocaj, Brumachon hope this info is useful!!! silvy

I have talked with member of the company that danced the "Napoli" I saw last weekend. Contrary to what I thought, they did not find the ballet tiring at all (despite all the little jumping steps), but very enjoyable to dance. They liked it very much. They are also enjoying the classes a lot (there is a new French ballet master now, who is the one that staged Napoli) I am glad that we could finally get a glimpse of Bournonville's style down here!! silvy

I do not much about the goings of the ballet world in USA, or Europe, except what I have read or seen on video, but I believe that something very good must be in Bournonville's training as many Danish male dancers have danced for Balanchine's company (NYCB)!!!!! silvy

Oh, then it makes sense as another bit of craziness in the ballet world!!!!! silvy

What you say about Bournonville's style about being balanced makes sense as to the longevity of his dancers careers. And it makes me very sad to see that this is changing now. silvy

Hans Regarding Kent, maybe what you are saying is the key to this (meaning that they were wanting to give her more to dance). However, from a spectator's point of view, I dont see the need for this,since hers is the main female role and she has a beautiful pas de TROIS to dance, plus a demanding variation and a dazzling coda Besides, I also noted that the choreography of Kent's solo in Jardin Animee is different from the one I learnt from Don Q (for instance, she does not do the sequence of ronds de jambe en l'air sur pointe - she does a diagonal travelling back with waltz steps followed by a la seconde pirouette). Also on the diagonal where there are assemble-pirouette, she does saut the chat (or jete passe). I happen to know the variation well because I have danced it, and I love it!!! silvy

going back to the craziness of variations from one ballet danced in another, I was very surprised to see Julie Kent in Corsaire (Jardin Animee scene) dancing to the music of a variation I have it as one of the soloists in the grand pas from Don Q!!! silvy

Yesterday my ballet teacher told me that GAmzatti's variations can be danced in corsaire (which I already knew) AND that the music is from Drigo. She told me that there are 3 variations to be danced for medora: 1) that whose music is Gamzatti's 2) that whose music is from Don Q (Queen of Dryads) 3) the quick one (the one danced by Julie Kent in ABT Corsaire, for instance) Isn't it all this VERY VERY crazy? silvy

I remember having read somewhere that Danish male ballet dancers' careers tend to last more than those of their counterparts on other sides of the world I am most curious about this, and wonder if it is because of the school and the type of training involved, or what. Also would like to know if the same happens to female dancers. I would welcome comments of you learned people at Ballet talk!!! . thanks silvy

Interesting observations and clarifications!! With relation to the chorography of the variation itself, it it worth noting that there are stylistic differences (I mean the arms are different) when it is Paquita from when it is Don Q, though the steps themselves may be the same. For instance, Paquita uses hands on waist which are DEFINITELY NOT for Cupid. And Cupid uses that sort of hand-on-chin thing (if you know what I mean) - like in sculpture. silvy

thank you Alexandra!!! This "Napoli" I saw was only one act (I dont have the stagebill here, so I cannot tell you) - it was one act set in a sort of Italian trattoria, with one pas after the other, one variation after the other, which ended with lovers kissing and everybody celebrating. I knew some of the music from ballet class. silvy

Re Amor (Cupid) and Paquita: I have seen a video version of Kiev ballet in which Cupid dances this same variation (I mean, it was not only Baryshnikov who did it, anyway). Also the Kirov (the one starring Terekhova and Ruzimatov) Re Medora: thank you Alexandra for clarifying the issue about the colour of tutus. However, I have also seen Medora danced in a white tunic, with all sorts of choreography (the quick one, the slow one AND a variation one normally sees danced in Paquita - I saw this last one staged by Laura Alonso's team in a course of the Cuban School of Ballet I took in 1991 in Buenos Aires) - what about issue of the tunic then? Anyone knows why is this? thanks silvy:)

I wonder if there is a commecially available of Napoli which you would recommend. I ask this because my exposure to Bournonville has been very slight up to now (only La Sylphide in video, and excerpts from Kermesse in Bruges)- Yesterday I saw Napoli staged by our National ballet company, and i liked it very much silvy

Yes, I have seen it danced both as Medora and as Queen of Dryads (I have enquired about this in another forum). But, which one came first? I mean, is anyone able to tell which one is the REAL one? I have seen variations from one ballet appearing in another: for instance Cupid's in Don Q in Paquita -again, which one is the real one? I have also seen in Corsaire (as Medora) the variation one normally sees as danced by Gamzatti in Bayadere (the wedding act). silvy