silvy

My friend finally choose to adapt Gogol's "The Nose", but it shall not be a monologue but a "duet" (what is the correct name in drama?) with another actor. They shall be playing a military officer who loses his nose, and a doctor who is asked to replace it.... only that it shall be a dream. The whole thing will happen in Czarist Russia, before the Revolution, and my friend shall end the play saying "I smell changes" (this is a bad translation from Spanish, I know,but I hope you can get my meaning; in Spanish the word "oler" means "smell", and can be used figuratively, meaning sort of "anticipate that there will be changes soon") As you see, my friend is very imaginative.......

I have seen Marianela Nuñez since he was little more than a child - she danced many times in Uruguay, before going to study at the Royal Ballet School I remember her dancing "Raymonda" 3rd act variation, when she was little more than 13 years old - astounding. Then I saw her opposite Maximiliano Guerra, in various pas de deux (at this time she must have been 15, or 16): "Diana and Acteon" and "Corsaire" is what I remember. She had an excellent command of the stage, even opposite Guerra, who was already an accomplished dancer. I remember when she stood opposite him as Diana, that she would keep your breath away, just by standing in 4th on pointe. And technically she was excellent: she was an excellent turner. Regarding her Corsaire, I remember I found some mannerisms I did not like at that time, like when Guerra was supporting her in pirouettes she would tilt her head a little bit in the last pirouette. The first time it looked good, but after so many times pirouettes you would tire of it. I think the year after this she departed to study at the Royal, as she was too young to be given a corps contract. At that time I thought it would be pretty hard for her, as, after dancing principal roles, she would find herself as a simple student. Regarding her current dancing, I have only seen her on video, as Mercedes in Don Quixote, and in Daphnis and Chloe. I also would like to read comments about her current dancing.

Does anyone know if there is any biography of Olga Spessisteva? I have run a search at amazon.com,but could not find anything Also I would welcome any suggestion as to where to look for information regarding her, as she seems to be a most intriguing personality to me.

hI The last time ever I saw Esmeralda pdd danced was about 10 years ago, by the ballet of the Teatro Colon (Buenos Aires, Argentina). Ever since, I have been dying to get a video of this pdd, and have done lots of searchs but to no avail. Anyone knows where I can find it? I do have the pas de six on video, danced by Asylmulatova and Melnikov, but not the pas de deux (in which Esmeralda dances her solo with a tambourine).

I suppose we are talking about Corsaire, and specifically, the "Pas D'Esclave" section?

It does not look like Marius to me, either - but I may be mistaken The pic was taken in France - did Petipa travel to France in c. 1880s? Also, I have read recently that Wikipedia is not free from inaccuracies, as it is an Encyclopedia where everyone can contribute and the information is not checked.

Hi I have come to realize that I know very little about the history of the Bolshoi ballet. Could someone recommend a good book to me for this? Thanks a lot Silvy

Thank you very much, Ostrich!!! Now I understand the ballet!!

After finishing reading "Dancing in Petersburg" by Kchessinskaya, I really love the one about Mathilda... (her Esmeralda with the tambourine, the goat, and all cover in jewelry).... what a wit!!!!!

Could someone give me some hints regarding the plot of the above ballet? I saw it on tape, and, honestly, could not understand much.......

Has anyone seen the above DVD? If so, opinions? Also would like to know if the Diana and Acteon pas de deux is inserted into this version, or not. I am most curious.

Walboi: Here is a link to Yevteyeva's Swan Lake: http://www.cduniverse.com/productinfo.asp?...296472150&BAB=E I browsed amazon.com., but could not find it there (except in VHS), so that is why I am linking you to www.cduniverse.com

Does someone know about these recordings (label, title, etc)?

I forgot to mention "Fille du Pharaoh" (with Zakharova) - a revelation to me. I was very very pleased to see the Bolshoi in that very good shape: it seemed to me as if they have changed a lot for the better: they are quicker, their port the bras is exquisite, their foot work is much better, and the men are still awesome but in a different way: no more flamboyance and sloppiness, but exactness in allegro.

My choices are: 1) The Dream by ABT (Ashton's choreography). I guess it is because of the choreography itself, the version, the eerie quality on stage, the music, Alessandra Ferri, Maria Riccetto (who I happen to know in person, because she is from my country, and so I was very pleased to see her dance one of the fairies) and the ever-good looking Pierce Brosnan 2)Don Quixote, by Paris Opera Ballet: not so much for Aurelie Dupont, but the version, the stage, the lighting, the perfection of the corps (watch that perfect semi circle in the dream sequence). 3) Swan Lake, danced by Yelena Yevteyeva (I was indeed pleased to find that copy available on DVD, as I saw it many many years ago). 4) Sleeping Beauty, either Asymulatova and Zaklinsky, or the Lezhinina-Ruzimatov. Reason? The Kirov!!!!!

I am with Paul and Hans. I remember Alicia Alonso saying that Albrecht was a very difficult role for the male partner (I heard it from herself at a master class I attended back in 1991 in Buenos Aires). I think Also Anton Dolin suggests the same in his book "pas de deux", if memory serves me well. I would add that the hands should not be seen as "gripping" Giselle, as she is a spirit. Also I very much admire Vassiliev and Maximova in second act pdd - it is just incredible

Thank you both of you, Mel and Rg. And thanks for the quotation. From what rg quotes, I would say that Lifar is quite objective, so I see no reason why Kchessinska should be so bitter about his sayings. This surprised me a great deal.

Also I have seen that arm position in the male variation from "Bayadere" in the DVD "Bolshoi at the park". I was intrigued, as I had thought it was not fitted to Bayadere.......

Hi I wonder if anyone has attended past editions of the International Ballet Festival of La Habana (Cuba), and, if so, their impressions, as I am contemplating attending. Thanks a lot Silvy

In her “Dancing in Petersburg” Kchessinska at one point makes reference to Lifar’s “History of Russian Ballet”. She claims that Lifar mentions that, at one point, there was another dancer at the Marysinky who was, apparently, upto to Kchessinska’s level, but that dancer is never mentioned (in turn, Kchessinska says that at that time there was only one prima ballerina at the Maryinsky: herself, and that each of them possesed unique qualities). Do you know who this unmentioned ballerina might be? My guess would be Olga Preobrakenska, but I would like to know for sure. Thanks a lot Silvy

An acquaintance of mine is attempting his very first steps as an actor. So far, he has done two monologues: one was an adaptation of a Chejov's tale (about a man who wanted to kill his wife because she was being unfaithful), and another to a Pushkin's tale ("The Shot" was the name). He is looking for new ones, and I wonder if some of you could help me. They have to be rather short, as it is part of a program where dancing, singing, etc, is also involved. As this performance takes place in a Russian cultural institute, it would be better (though not restricted to it) if the monologue was written by a Russian playwright. thanks a lot Silvy

Regarding Lezhnina as Florine, I remember that people around me at the theater were not that impressed. As she danced only the adagio, all you could admire was that pristine classical purity. And there and then I realized that too many people go to ballet driven to see pyrotechnics, and not true art. Hers was ART above all

Hi I have recently have heard it said that ballet has detached itself from reality, and that is the reason why fewer and fewer young people are currently practising this art form. The person who said this (who is quite respected among South American dance communuties) claimed that, on its emphasis on extreme thinness and androgynous looks, young girls tend to devote themselves to other dance forms which enable to show their feminity and with which they may feel more closely identified. I wonder what you would think about this.

Thank you Faux Pas - do you know the names? Or where can I get that info? Also wonder if there is a history of the Bolshoi in the form of a book, etc. silvy

I read today in an old thread about a phase in the Bolshoi history when various dancers were fired from the company. To be honest, I knew little to nothing about that. Can anybody please give more details (names, etc)? Or else, where I should look them for. Thanks a lot and sorry for bothering Silvy