silvy

Hi!!! I now need the music for Gamzatti at a rapid speed (say, as danced by Ananiashvili in the "The magic of Bolshoi Ballet" video,where she dances it as from Don Q at the Asaf Messerer Gala in 1980). I have recorded it from video (both from Bussel and Platel), but they are too slow for me (I am short, so I am quicker) thanks in advance!!! Silvy

Some time ago I purchased the 3 Tchaikowsky ballets as directed by Andre Previn (I think the orchestra is the London Sympony). And the Tchas pdd is in Swan Lake, in the place where you wud expect to hear the Black Swan ppd. It is very good, and at good speed. Hope I have been of use. good luck!!! silvy

Hans: thanks for your advice regarding Autora's Wedding variation. However, I have not seen Sizova. I have seen: Asylmulatova, Lezhnina, Maximova, Kolpakova, Semizorova - but I do not recall the cambre back. I think they do it straignt upwards? How about Sizova's performance as Aurora? silvy

I have never seen Mc Bride dance - what was she like? If you wud have to compare her with someone dancing today, I mean silvy

Hans: What video is it that has Makhalina in jardin Anime? Also Sleeping Beauty (I suppose you mean Aurora, not Lilac, right?) I wud LOVE to see this!!! Regardng her Paquita, I saw her in Buenos Aires (1996 I believe) and she did doubles the three times.... I counted them, because I had been so impressed by her 2-3-4 on video... Of course, that does not matter to me - I LOVED her in the role!!! silvy

thanks so much Hans!! Yes I have seen the Russian version and I love it - only wonder if it wud look ok in a Western dancer!!! silvy

Paul: Thanks for your suggestion of Aurora's wedding variation!!! I have always wanted to do it, but I have not yet had the chance for someone to teach it to me. I tried thru video, but somehow the first part eludes me (the part of the passes). Oh, but I do LOVE Queen of Dryads variation (or Corsaire, for that matter). Would you say that it is ONLY for tall dancers?? It happens to me that I love variations that are normally danced by tall dancers, like, say the "harp" variation from Paquita, or Gamzatti, or Raymonda 1st and 3rd act... silvy

Hans, I think that the point of the "Italianate" attitude in promedades is stability. I remember when I was rehearsing the Don Q ppd that my partner told me to do such attitudes because: 1) they made me look better, because I was looked taller, leaner and more upward-looking (see what I mean? I dont know if I am expressing myself correctly) 2) they helped me with the en-dedans supported pirouette I had to do after the promedade, because I was already on my axis (I mean, I did not need to shift my weight on pointe to the pirouette - I was already there!!! Also a simple promedade is easier with a square attitude. Of course, in other passages I prefer "Russian" attitudes - they are so "airy"!!! Regarding the penches in Bayadere, I also do not know why they are called such. I feel as if they are no more than an arabesque with a plie. I thought the penches where with a straight supporting leg? oh, I have wandered completely off the subject!! silvy

I agree with Rachel in that it wud be just as beautiful a 90 degree developpe a la seconde after the supported pirouettes in Don Q. And as long as it is still beaufiful, 180 degree extensions can be artistic as well. Because ballet is an art form. For instance, I do find Margot Fonteyns dancing artistic, and beautiful, though she did not have those high extensions. On the other side, I also like Nadezhda Pavlova and Nadia Gracheva, and Makhalina, and Guillem, with their 180's. Because they convey beauty. But I do not like Zahkarova's extensions that much because I sort of find it vulgar, not artistic. A teacher I had used to say: "this is BALLET not gymnastics - if you want to do gym, then go somewhere else and practice sports". And it is so true!!! silvy

I see that the 3 of us are fans of Yulia!! Mark, I wud be very interested to know what Yulia's detractors say regarding her PHYSIQUE. Also about her performance style. In particular,do they refer to her high extensions, or to something else? Can you help me? I am very curious!!! silvy

ok, Phaedra, then we agree completely. These 3 are the only 3 videos I have seen of her. I also saw her live, dancing Paquita (with Ruzimatov I think) and Dying Swan when the Kirov visited Buenos Aires in 1996. I also saw her TWICE in the street at that tiem, and I was stricken by her beauty: long very black hair, and a tight black skirt with high heels that showed her extraordinary legs in black panty hose There is also a glimpse of her as Queen of Dryads in Kirov's Don Q (starring Terekova and Ruzimatov) silvy

Phaedra: I am afraid I cannot explain that to you, because she is one of my favourite dancers - not only because she is truly remarkable technically, but because she is an artist as well. I particularly love her use of the upper body. In fact, she is my favourite Odette - Odile. Maybe people who hate her do not like her extensions, but I believe that they look beautiful in her. silvy

thanks Raches for your clarification silvy

thank you Estelle -I guess that danced by Agnes Letestu that ballet shud be a joy to watch!!! silvy

Rachel: the only ABT version of Paquita I have seen is the video starring Cynthia Gregory and Bujones. If the variation is still the same (the "harp" variation), then I am afraid I see no resemblance to the Kirov's Lilac Fairy. concerning Paquita and Sylphides, do you refer to the corps parts? silvy

I am glad that you are glad, Paul!!! You are right: that video placed a sort of challenge to me now - let's hope I do not look terrible in that variations, if I decide to tackle them. By the way, I thought that Benjamin was a tall dancer? Or am I wrong? Oh, how privileged you are of living in San Francisco and be able to see Don Q!!! The last time I saw the cupid variation danced here in Uruguay by our national ballet company it was danced by Maria Ricetto (about year 1997, I think), who now is a soloist with ABT in New York. By the way I did dance that variation once, but as one of the solos in Paquita - the steps are fairly the same, but the arms are different, of course. People said it suited me, but now I want to dance variations more according to my age - I mean, I feel "old" for that Cupid!!! (I am 36) I am also amazed at the huge amount of variations discussed on this thread!!! And there are still SO MANY MORE to discuss.... silvy

To everyone, and especially mr Paul Parish: I finally got hold of the London Festival Ballet video of Swan Lake, in which the pas de quatre choreographed by Ashton is danced. I must say that I completely agree with those who said that dancers there were really "dancing" it - I was amazed at how different my impression was from the one I got from the Makarova/Dowell version. It was even hard to recognize that those steps were the same!!! I definitely like both variations, and would love to dance some of them, but I wud be very afraid of the danger of looking "stiff" I think that Ashton wud be very pleased if he cud have seen these dancers (I think he was already dead at that time, right?) love silvy

thank you Mary J!!! silvy

I am glad that my post created such a response - I only wish I cud see that Russian version. is it commercially available on film or video? silvy

I own a video of Bayadere danced by the Bolshoi, featuring Gracheva as Nikia and Bylova as Gamzatti. I wonder if anyone knows the names of the 3 soloist shades, as they do not appear on the credits and are quite remarkable (the 3 of them) Thanks!!! silvy

thank you Paquita - I will see if I can gel hold of some of these videos. silvy

I would like some information on the Grand Pas Classique: I know that the music is from Auber, but little else In particular; I wud like to know name of choregrapher, where it was premiered, by whom, and if there are filmed or video versions commercially available. Thanks Silvy

Thank you Mel - very informative as always silvy

Hi. I am studying Medora's variation from the Corsaire pdd (or pas de trois), the slow version. I am watching variious versions on video. One of them is Margot Fonteyn (with Nureyev) I have noticed that both in her and his variation they sometimes place their hands on their shoulders. Is anyone able to tell me the meaning of this? I need to know the meaning of my movements when I dance, that is why I ask. thanks!!! silvy

to Paul Parish: Oh, then, do you mean that Ashton was sort of "making fun" of that "dancing like sculpture" tradition? If so, of course, then the variations do make sense!! Nevertheless, I still find them odd in the middle of a very classical Swan Lake (as it is the case of the version I have seen). If the pas de quatre was presented in isolation, I guess I wud enjoy it much more. I never saw Sizova in Beauty - I have seen her on video with Nureyev in Corsaire, when they were both students at the Vaganova School, and she is quite amazing: those high arabesques, the Italian fouettes with an en-dedans pirouette after the attitude, AND above all, her PREPARATION for the a la seconde jete!!! The latter is so clear-cut that it is almost unbelievable silvy