silvy

Alexandra, thanks for your words - however, I do not know if I have good instincts or maybe I am choosing my roles more carefully now: taking into account my age, and my injuries.... Yesterday I watched Ashton's pas de quatre again - and still got the same feeling: I cud not help but find the ballerinas rather "stiff", while I very much enjoyed the male dancers duet: I found the latter to be a great showpiece for technically strong male dancers. I also liked both the adagio and the coda, and was pleased NOT to find the ballerinas "stiff" at all at those moments, . By the way, Paul, the dancer Leanne Benjamin you mention appears in Blue Bird pdd in Royal Ballet's version danced by Viviana Durante as Aurora, but I prefer Sibley as Princess Florine. Sadly, I never saw Suzanne Farrell in Balanchine's Don Q (only the short fragment shown in the film "Suzanne Farrell - elusive muse". sorry!!! silvy

Hey Silvy, to: paul Parish Thanks for your congrats!!! I agree with you in that the Prelude is one of the most difficult dances - not to show the tension anywhere, not to exaggerate the feeling - especially when performance nerves make you tense, and interfere with the sense of calmness you have to convey... I did dance the bradcrumb (it is the one with all hops on pointe, right? - I enjoyed it, because I have strong feet) The only version I have seen of Ashton's pas de quatre is the 1982 video of Royal Ballet (starring Makarova and Dowell)- I do not know the name of the dancers of the pas de quatre. I cannot help but to find it odd danced in short tutus -maybe I would have dressed the dancers in long dresses. But that is very personal. -by the way, the same it happens to me with some Balanchine danced in short tutus - I cannot help but to find it odd in that dress.... I agree with you in that Antoinette Sibley is unsurpassed as Princess Florine (in the "quick" version - the slow one as danced by the Russians, for me, is another matter altogether) Oh, how privileged you are to be able to see San Francisco Ballet, and all..... thanks for everything!!! silvy -------------------------

to Swan Queen: Good of you to show such versatility!!! It speaks well of you as a dancer. I say so because Raymonda Act II and Tchaik. pas are so different. I dont see why you cannot reverse the order (or change the side - I do not have it clear what you are enquirying, but, whatever, both are ok as far as I know). I have seen that done by professional companies - in fact, I have never seen one variation danced identically from one version to the other. For instance, you can do fouettes to the left if that suits you better, of lift the other leg if that works better for you. Of course, it would be better if you get reassurance from some of the experts of this board (I am not one at all!!!) good luck silvy

Dear Paul: Oh, thank you for your feedback!! In fact, people who have seen me say that the solo I look best in is the "Prelude" from Fokine's "Les Sylphides" (I got first prize once with that in a ballet competition - it was my ONLY first prize ever) I have learnt the "Sylphide" variation you mention, but I feel it cannot be danced in a concert presentation without a partner, because the Sylphide's dances are followed by James's dances, and then she again, etc. Nevertheless, I love it, and it suits my style very well. I have seen Ashton's Swan Lake, but I cannot help but to find the pas de quatre variations quite odd. The seme I think of the fairies in Ashton's Cinderella, I am afraid. Never seen Elite Syncopations- do you know if there is any version on video? thanks!!!! silvy

Speaking about variations, would you say that a slow variations are only for tall dancers? I ask this because i am very short, have strong pointes, but also have very good balance on pointe and a nice arabesque line (as Rachel points out above), and a good "a la seconde" positions. I also love "stretching" the movements to the music, exploring the nuances the music allows. would you say that I shud limit myself to allegro because of my height? Hear comments / feedback!!! silvy

Dear Ed: thank you for your post - I entered the page you indicated and was struck by very innovative productions of both classical ballets (as Beauty, Casse-Noisette), and more moden ones, such as Cinderella or Romeo & Juliet. What was your impression of the company? Maybe I watch too many Bolshoi and Kirov videos, so I am rather unused to such modern renderings!!! Ah, Bernice is a beautiful woman as well! thanks again for your reply silvy

to Ed Waffie: could you give me more information about Bernice Coppieters? I'm sorry to say that I have never heard of her, but I suppose that is because I live rather far from the dance capitals of the world. Is there a web page,or something for me to get info? thanks!!! Silvy

Grace: the video I am talking about is of year 1991, and features Nadezhda Gracheva as Nikia and Bylova as Gamzatti. On reading Bylova's biography, I realize that she must have been around 36/37 years of age at that time, and as such, I suppose she was at the height of her powers. I say this because her technical virtuosity is truly remarkable, but she is an accomplished artist as well. Yesterday I looked at the video again, and I noticed very little nuances she inflicted to her role - even when both Nikia and Gamzatti are taking their bows (after the confrontation scene is over), is instructive to see how different both of them bow: Nikia is very classical, and modest, while Bylova is somehow distant, and very regal, like the princess she is. silvy

Yes, Cargill, I see your point in that the mime shud be convincing. That is what I find missing in Bussel and Platel. And of course, they are too sweet, as you have guessed. Also the character shoes does add to the character as you say (the way that is danced by the Kirov's Terekova- nevertheless, I found her lacking in force somehow) I find Gamzatti a wonderful role,and one that I wud love to develop if I ever had the chance... silvy

Yesterday I was watching a video of Bolshoi Ballet's La Bayadere and I was awed by Maria Bilova's rendering of Gamzatti and I started doing something which is not very kind: compare her with other Gamzattis I have seen on video (Darcey Bussel, Tatiana Terekova and Elisabeth Platel). Granted, Bilova's arms or maybe too "outward showy" Bolshoi style is not the one I prefer best, but, of all Gamzattis, she is the only one that I feel acts the role as it shud be: a true princess, with the grandeur of a princess, ASIDE from her technical virtuosity, which is truly spectacular. I see the portrayal of both Terekova and Bussel as too concentrated on the technical part (ALSO VERY SPECTACULAR), but not entirely conveying the regal grandeur I feel the role shud have. Platel acts her princess as very feminine and refined, but I feel she lacks the power conveyed by the others. I thought of posting this as a topic for discussion, to compare my views with other viewers. silvy

to Mr Mel: Of course - I did not count on Les Sylphides - I have danced the 3 of them, and I can tell you that you need to be on top form to tackle the Mazurka and the Waltz, since the combination of jumps with pointe work (or turning combinations) is really hard. But they are beautiful, provided the ballerina has a romantic quality about her. silvy

to lil-dega: Cud you tell me the choreography of the Sugar Plum and Coppelia you were dancing? Because I have many versions on video, and I am quite confused - I am perpetually studying variations, that's why I wud like to know. thanks!!!! silvy

to Marc: Yes, I own that video and I agree with you: Kolpakova and Semenov's dancing is truly glorious - so classical and refined. I had got a wrong impression about her (from her "Sleeping Beauty" with Berezhnov - she was absolutely correct and classical, but ... I was not moved), but it was totally changed when I saw the "grand adagio" from "Raymonda" on that film. I believe this impression is enhanced in this case by the fact that the film is in black and white.... which gives it a more intimate touch, the touch a pas de deux like that shud have, in my opinion. silvy

I forgot to mention Larissa Lezhina - I saw her live in Montevideo dancing Blue Bird, and was so classical and refined. Maybe not showy, but the emotions she conveyed were of a different kind. I saw the Kirov in 1996 in Buenos Aires, and I shall not forget the Prelude ballerina in Les Sylphides as well - sadly, i do not remember her name. By the way, that solo is one of my favourites!! silvy

is there any video of Margot dancing the complete Sleeping Beauty? I only have her in the last act ("Aurora's Wedding"), but I am pretty curious to see her in Rose Adagio, and everything. silvy

Well, I do not live in USA, so I am not seeing ABT and NYCB frequently (I did see both of them in 1998 when I traveled to NYC). So my favourites come mostly from the videos I have seen. I am a big fan of Yulia Makhalina of the Kirov. such glorious torso, expressive arms, especially in Swan Lake. She seems to capture perfectly the difference between Odette and Odile. I remember that when I saw this video for the first time I even wondered if she was the same ballerina!!! I am also a fan of Alessandra Ferri - I was lucky enough to see her Juliet live in Buenos Aires in 1997, and shall not forget the experience. Also as Giselle, but I prefer her as Juliet Anyone knows what has become of her? Of past ballerinas I am also a big fan of Ludmila Semeniaka - I believe her Raymonda is the best I have ever seen. But her Giselle, her Odile - oh God!!! She is able to get to my heart. silvy

HI Swan Queen Well, the Tchaikowsky pas de deux does have some petite allegro – plus I dont know if you do not have to ask fo permission, because it is Balanchine – better find out first Let me see: 1) As to Raymonda, the one with the bourres is nice- You need a good leg line to show in those bourres, and to have enough stamina to get to the fast end. And to get the style, which is quite difficult. If you feel up to it, then tackle it: it is wonderful to dance!!! Then you have Raymonda in second act, which has a lot of turns: en attitude, and a great deal of point work. You need to be able to hop on pointe well to do it. 2) Giselle Act I. VERY SUITABLE, provided you can get the style correctly as well, because that is the most difficult par of it – getting the style. 3) the third odalisque in Corsaire (I wish I cud do it, but I am not a good turner!!!): LOTS of turns. 4) Gamzatti: do the diagonal with all doubles if you can!!! (envy, envy....) 5) Black Swan: full of difficult turns en dehors, and renverses, and attitudes (depending on version) 6) Don Quixote first soloist (or Kitri's as danced by Tatiana Terekova of the Kirov). It has jumps, and you can end it like Tatiana: with a diagonal of all doubles en dedans. If you wish, you can PM me Good luck!!!! silvy

Ok, then –here are my suggestions: 1) Gamzatti of “la Bayadere”: it has: grande allegro (grand jetes stuff). There is also a diagonal with waltz en tournant followed by an attitude turn. There is also a diagonal of turns: pique en dedans single, pique en dedans double, soutenu, chaines, and over again. If you cannot tackle this, you can do high developpes a la seconde instead (Nina Ananiashvili does this). 2) Raymonda 1st act (“dream” act): lots of developpes a la seconde, piques arabesque, etc. But you need good balance on pointe – I dont know if that is one of your strenghts. Also a sort of romantic quality. 3) Queen of Driads in Don Quixote – somewhere else in Ballet talk I have wrote down the choreography I am dancing. 4) Don Quixote – first soloist of the grand pas: the one with the big jumps. It has a diagonal of waltz stuff followed by chaines. Any doubt, you can PM me!!! Good luck silvy

I believe that the best is to judge yourself honestly to identify where your strengths (and your weaknesses) lie. For instance, if you do not have a nice jump I wud not recommend the variation of First Soloist in Don Q grand pas. If you tell which these good and bad points are, then I shall be better equipped to give you some advice, as I am constantly dancing variations at guest appearances and I know quite a few silvy

Is someone able to tell me something about a Petipa ballet called "Le Talisman"? I own a video called "the children of Theatre Street" in which a part of is is shown. I wud welcome information on the plot, whose the music is, who danced it for the first time, and if it still danced, because i have not seen it anywhere else but in that video. thanks!!! silvy

Of course - I get your point, rg. What Petipa was doing then is what ballet masters are still doing today - i mean, rearranging the works for their dancers. I see also what you point out about people with "educated ears". i do not claim to be one of them myself, but I do recall having been able to spot sections in Corsaire as done by Adam (that is the one composer in Corsaire I am most able to identify - the others still confuse me a bit). Also, as I pointed out in another post, I am puzzled about Gamzatti's variation in Bayadere, because there is something which does not quite sound as totally Minkus to me. Maybe it is only the orchestration, but I cannot tell for sure. thanks for your most informative post!!!! silvy

Thanks so much for your clarification rg!!! These Soviets are getting me mad with their additions and reworkings!!! silvy

Hi!! I own a video called "The Children of Theater Street", which depicts life at the Vaganova Choreographic Institute during the Soviet era, and which is narrated by Princess Grace of Monaco. In this video the pas de deux from "Satanella" is danced by a graduating student (Vorontsova). My question is: 1) whose is the music of that pas de deux? Because I also own a class cd in which the music of the pas de deux says is by Pugni. However, if I have not understood incorrectly, by rg's notes above, the music shud be by someone else 2) whose choreography is that pas de deux? and the variations? Because, again, I understood it to be by Petipa, but I am now confused by rg's notes. just curious again thanks!!! silvy

thank you Mr Mel - so I will put "music by Minkus" thanks a lot for your help, both to you and to su-lin silvy

thanks, Mr Mel. Somehow I seem to get the same feeling - it cud be Minkus, but there are some parts that sound more like Drigo to me - but maybe it is only my imagination!!! Wud you say that if I put "music by Minkus" in the credits wud be ok? thanks!!! silvy