silvy

and what would you say of RED hair???? I am of Italian descent, have natural black hair but have dyed it red (it is in fashion nowadays - at least here) silvy

I was wondering why in every new staging of the ballet I come across the ballerina's variation for the pas de deux is the quick one (the one with the turns), instead of the "slow" one (the one danced by Margot Fonteyn with Nureyev, for instance). Would you say that Fonteyn's version is somehow "dated"? Because I happen to love that slow version - I think it is so lyrical!!! What do you think? silvy

Ok- THANKS EVERYONE!!! I read the bio at Bejart's site, and it says that he was the choreographer of "Canto Vital" - I remember seeing that ballet danced by the National Ballet of Cuba and it was pretty impressive - if my memory does not falter me, they were about 4 male dancers performing beautiful choreography to Mahler. And I remember I was pretty impressed by the dancing of the men - I was sitting in the audience with my teacher who said "they are up to the Russians". I am glad that he is still teaching - with such a background I believe he must have a lot to pass to younger generations. Lucky those of you you had him as teacher!!! silvy

Hi - I have come across a video named "Alicia" which features Alicia Alonso. In this video she dances Black Swan opposite a male dancer by the name of "Asari Pliseski" (spelling?), who is VERY GOOD. I performed a search in yahoo, but cud not find any piece of information concerning him. Is anyone able to offer some more info? I am most interested!!! Thanks!! Silvy

Oh, I can say I did see her dancing, but it was around 1986, and she was long past her prime. It was in Montevideo, and she came with the National Ballet of Cuba. She danced Swan Lake, second act, and her arms were still marvellous. She also danced a ballet called "la Diva", in which she impersonated Maria Callas, and I did not like her at all in this particular piece. Anyway, I also took a course of the Cuban School of Ballet in Buenos Aires in 1991. This course was directed by her daughter Laura (who is a ballet mistress), and Alicia herself gave a master class, and it is one of those memories that remain with you forever. She showed the differences in styles, even within the different romantic ballets (I distinctly remember her showing how the pas de bourree for preparation for a supported pirouette shud be different in Fille than in Giselle, for instance). She also had 4 dancers modelling for the Pas de Quatre final pose, and I remember how she approached each one to correct details (with her poor eyesight and all!!!). She also encouraged us to do strenghtening exercises for our pectoral? (spelling?) muscles to assist us in supported promenades. Great Alicia - Most unforgettable!!! Silvy

I am a ballet dancer AND a tango dancer. I take classes on both, and perform both. I live in Uruguay, a country where tango was born (together with Argentina, as it was phenomenon that took place simultaneously on both sides of the Rio de la Plata) I can tell you that tango is a unique experience, and so different from ballet that I sometimes find it hard to switch to my ballet after a weekend tangoing. The woman follows the man, but tango is a dialogue, and, if the man is sensitive enough, he can give way to her proposing steps - I mean, it is not a "dictatorship" on the side of the man. Having danced with different men I can tell you that each one has his distinctive style, though you may be able to spot certain "schools" in dancers: there is the man who holds you very close to his body, in an inclined plane, chest to chest, so that your body has to be in an inclined plane also to keep balance. Then there is the man who keep his axis straight, so that you are straignt too. And there are different ways of embracing the man: you can put your arm around his neck, or on this arm, or on his shoulder. This depends on his embrace, and on the figures. Hope to have cleared up something - feel free to PM if you wish!!! silvy

I noticed from the video I am talking about that Alicia is teaching new ballerinas a good lesson:that it is not enough to be pyrotecnnically brilliant to make you a prima, but that you need other ingredientes as well. I mean, I see too much enphasis on the technique (a clear example of that is, for me, ABT's Corsaire), but perhaps not enough depth into the roles. And going back to Alonso, I remember hearing her say in a TV docummentary that a dancer shud study and get information on a ballet before dancing it. I think that made the difference in her case. Tell me what you think silvy

Hi - I have got hold a video called "Alicia", featuring world famous prima Alicia Alonso. I was particularly impressed by her Black Swan in which she turns FIVE EN DEHORS PIROUETTES (unsupported, of course), at the beginning of her variation. I mean, I know that she was a virtuoso, but cud it be THAT VIRTUOSO? Or maybe the video was altered somehow... Apart from that, I admired the fact that the focus of her performance was artistry all along the ballets she danced, not only virtuosity. Maybe after one virtuoso display she did very simple steps, so you was that her objective was NOT to show how good she was, in the tecnical sense. She seemed to have a perfect sense of what a truly prima was, and of the difference between a virtuoso and an artist. Can anyone still clarify this issue of the 5 pirouettes for me? I find it hard to believe!!! thank you!!!! silvy

Just would like to know if a new thread with classification of variations has been started!!! thanks!! silvy

For me the main characteristics are: 1) use of feet in women: unique - panther-like, a joy to watch As a former teacher of mine said: "try to make your pointes cry (he was an admirer of the French school" 2) very feminine and aristocratic quality in women. You believe that they are direct descendants from Louis XIV. 3) very athletic (the men) silvy

I recently acquired ABT's version of Corsaire in video (with Julie Kent, et all). I already owned Kirov's version (with Asylmulatova). I could not help but reflect on the following: though ABT dancers perform the choreography to perfection, I saw that there is an indefinable quality that was missing, which is present in Kirov. Is it the Russian grandeur, or is it only the school? Or is it that Kirov ballerinas are more "feminine"? I cud not help but to find the American dancers too "modern and Balanchine" for this ballet (I am mostly recalling the "Jardin Animee" section on writing this) By the way,when I visited New York in 1998 I saw ABT in Sleeping Beauty, and I also felt the same thing. I definitely prefer Kirov for these ballets. Why is it so? Any hints? Thanks for feedback!!!. Silvy

Referring to what both Grace and Hans are saying, I wud say that I'll second Hans's suggestion for a moderator to sort this out. Maybe to have a special category made for this, as a reference to students, teachers and dancers. Also what Grace implies that some variations might "overlap" somehow. I remember that a teacher of mine (an ex dancer with the Marquis de Cuevas, and a prima ballerina in Uruguay) once said that tall dancers could not do quick variations, while short dancers could tackle both slow and quick variations. I, personally, am very short, but I love slow variations (maybe because I would like to look like Yulia Makhalina, but I am the opposite!!!) silvy

ok, you made me think when you suggested them as "studio practice" - after all, one has to look her best on performing!! thanks for everything silvy

Both to Mr Mel and to Carbro: Quite a story that about your teacher with the heels - shud it mean I should be ON POINTE all the time!!! By the way, yesterday I took my first class after that tango abusing, and my feet do feel better now!!! Of course, I was in high heels for 8 hours, but I was not dancing non-stop for all that time. You know, a tango ball (which is called a "milonga") consists of, say about 6 tangos (or waltzes, or milongas), followed by a pause (intended to switch partners), and then 6 tangos again. And of course, it depends on whether you are lucky enough to be invited to dance again after the pause!!! thanks for your feedback. Silvy

hello everyone - I do not know (again!!) if this is the correct place to post this so please move it if unproperly placed. I do ballet seriously - but I also dance tango (for fun, but I also make stage appearences once in a while). This weekend I sort of "abused" this tango thing, and I ended up with achy metatarsals, and a cramp sensation in my arch (say; i was 8 hours in high heels, dancing for most of the time). This made me think that perhaps my feet are not "prepared" for the tango because of they are , you know, quite adapted to the pointe shoe (I have quite a high arch). I shall need to perform ballet again in about 20 days. Have you heard if dancing in high heels is incompatible with dancing on pointe? Is it advisable to devote to only one of these dance forms for health reasons? thanks for your advice!! Silvy

I have another query. I normally dance variations that demand balance on pointe, artistry, expressiveness as opposed to pyrotechnics (I am no virtuoso - sadly). For instance, I am currently dancing Corsaire (Medora's or Queen of Dryads), Don Q's second soloist (the one with the rond de jambes sur pointe), or Raymonda (first and third act), or Paquita's "harp", "Prelude" from "Les Sylphides". It is years since I did a jumping variation (last time was the Mazurca from "Sylphides", since I have been experiencing trouble with my tendons. Now I feel better, and would like to try doing a big-jump variation (such as Gamzatti, or Don Q's first soloist). I wonder if in order to do a variation such as that you need a really HIGH jump (I am no Terekova, either, though I do jump, and I am "quick" as I am short). thanks for feedback!!! silvy

Dear Mel: Thanks for your advice I am sorry for posting without searching first - I am to blame for that!!! silvy

I remember another thing: the stage was not only raked, but wooden and slippery. What point shoes wud be most suitable for these type of stages? I mean, I cud not do it with the Grishkos and switched to Sanshas (and TONS of rosin), but maybe there are better options. thanks for your help!!!! silvy

thank you Ms Leigh!!! What I tried to do (which worked on the rehearsal) was to take the manege more upstage than normal, and to hold my weight back, but I did take a developpe in a short diagonal before "plunging" into the final diagonal - and this is what caused disaster!!! I am glad that people applauded instead of booing!!! silvy

I do not know if this is the correct place to post this, so moderators, please move it if unproperly placed. I make guest appearances about once a month, in different cities in my country. Last Saturday I had to dance in a VERY RAKED STAGE, and I had trouble with the pirouettes of 2 of the 4 variations I danced. One of these variations (Corsaire) has a manege of chasse-pique en dehors finished in a developpe a la seconde. When I went downstage I started to lose control and feel as if I was going to fall off stage!!. My questions are: 1) is it acceptable to adapt chorography to stage conditions? 2) how would you change the choreography of a manege such as that? thanks!!! silvy

Hans Thanks for your news - how lucky Sizova's students are!!! How I wish I could see her in person, teaching class (or taking class with her - even better) Speaking about "ballet backs", I also find Makhalina's another wonder in the ballet world!!! silvy

Ref Sizova: Does anyone know what has become of her? Oh, her Corsaire when she was just a student was SO incredible silvy

Alexandra, sorry, I do not the meaning of "pudgy" (English is not my first language!!) Hans, I see what you are referring to: it is the use of the upper back which is so unique to the Russians, and which is linked to the "epaulement": they sort of detach their upper back from their lower back, and make movements flow from there, and giving them an "airy" look. I think that is the reason why their "swans" look so good. silvy

thank you Su-Lian - I will look for it!!! silvy

i have it myself -but I live in South America, so there is no hope to make a copy for you. However, I know it can be emailed. If someone out there cud give me the steps on how to do it, maybe I cud do it for you. silvy