silvy

I loved Larissa Lezhina - I saw her dancing Florine in Uruguay, maybe 10 years ago or more - truly delicate, and could not believe she was in right in front of my eyes in country, as she was one of my "video" idols. I do not remember the name of the Blue Bird,though. I also like Pankova, Terekhova and Semenyaka. For Blue Birds I would go for Yury Vetrov and Melnikov (sp?)

I think that "ballet music" must be theatrically effective also. Think of "Giselle": while it it not great classical music in its own right, it builds the atmosphere fantastically.. Because, as far as my opinion goes, ballet is not only"dance" but "theater" as well, and that implies scenery, costumes, atmosphere... AND dancing. Personally, Minkus and Drigo and Pugni are well suited to dancing. As well as the ballets created by classical composers (like Tchaikowsky and Glazunov)

What about Alonso? I have heard a lot said about her (I even own a video tape in which Arnold Haskell says that she IS Giselle). I wonder if anyone who saw her would agree.

I must say that there are differences in Giselle's 1st act variation between Russian versions and Western (like ABT, and Alicia Alonso's). In the Russian versions, Giselle does piroette en attitude en dedans, ended in croise, then does an enveloppe with the right leg, rising on pointe in passe, and going back to plie in arabesque. In ABT and Alonso's versions, Giselle does the same pirouette followed by a ballonne with left leg, then piques en arabesque to plie - pas de bourre. Also there are changes in the hops on pointe: in Russian versions Giselle does all ballones on pointes, while in ABT she does 6 rond de jambes en l'air followed by 6 hops en attitude devant. Also the ending is different: Russians do manege, while the ABT (and Alonso, do pirouette en dedans, lowering the passe without plieing, then do 2 piques en dehors,and so on). I think only the beginning is the same. Maybe I am mistaken, silvy

Pharaos's Daughter has just been shown on TV in Uruguay. I was in awe at the production. So many costume changes, beautiful costumes and setting. Also, I was pleasantly surprised at the quality of Bolshoi dancing. Comparing this video (2003 release) with earlier ones, I notice that their style seems to have approached Kirov's. I mean, the broken wrists are seldom seen, hands follow the line of the arm, and there seems to be a little less "showing off" in the dancers. Also the female dancers are much more feminine like, much more delicate than earlier Bolshoi ones. Also I liked Zakharova very much in this ballet: her torso looked beautiful, with beautiful epaulement, as opposed to her Swan Lake, which is rather distorted in my view as far as placement of the torso goes (too "broken" at the ribs in my opinion) I wonder if anyone agrees with my views...

thanks, Mayor Johnson. I thought of asking that question because I needed to put the credits of the choreography for the variation, which I am dancing (tomorrow!!!). I thought of saying "Petipa-Ivanov" to be on the safer side, but now I think I will say "Ivanov" and pay credit to the forgotten master. That brings to mind a topic I might raise: what about discussing Ivanov as the "forgotten master", who was always behing Petipa? silvy

Hi!! Just wud like to know if Odette's variation (2nd act Swan Lake) is credited to Ivanov (like all the White Acts of Swan Lake, as far as my knowledge goes), or if it is a Petipa interpolation thanks very much Silvy

You would not believe me if I told you what happens in some schools down here.... a teacher once said "Rehearse" when she really meant "warm up" ....

I wonder if someone could help me find the names for the music pieces used by Lully for some Moliere plays? I know the plays (like Le Bourgeois Gentilhomme), but I do not if the music bears the names of the plays, or other names? thanks a lot

"The Company" has just been released in Uruguay- would you believe it? After one year...... this is how things work in this country..... I saw it yesterday, and liked it (some parts more than others- I loved the dance with the orange rubber bands that opens the movie). We commented with our friend how are things changing in ballet since the new media resouces have been incorporated. Silvy

In my opinion, "Les Sylphides" is a perennial classic - only that it is in neo-romantic style, and does not belong to the Petipa era. That, for me, would raise the question as to why should we call "classic" only those ballets that were created in Russia by Petipa / Ivanov. Regarding other works, I do tend to think that Spectre looks somewhat dated. Probably it was a hit in early 20th century, thanks to Nijinsky and to nostalgia of Romantic times, which were not so far away, but today these days are long past. Regarding "Polovtsian dances", I believe it was such a hit because it showed the male power of Russian male dancing, which had never been seen in Western Europe before. But now these days are gone also. This is my opinion anyway Silvy

Thanks everyone again!! As dirac said, I learnt that Martins agreed to dance Symphony in C the day Mr.B died on Farrell's book "Holding on to the air". Martins was, together with Robbins. AD director of NYCB, and he asked Suzanne if she could dance that night. She said that she would, and then asked Martins to dance with her, to which he agreed. I would like to add that I wanted to honour Mr. B with my lecture, because I was so ashamed that so little homage had been paid to him in my country. Silvy

To all (especially Amy Reusch) I got lots of positive feedback (the only negative feedback came from my own father, who found it too long!!). It was attended by people of various fields: from Navy officers (who enjoyed "Union Jack" a lot), to University professors, to art students, to dancers and dance lovers - even my own ballet teacher was there, and enjoyed it, though she would have liked that I had shown something Mr. B's dramatic side (like Prodigal Son). Almost everyone told me they had not got bored at all, and laughed at some of the anecdotes (like when all girls under 18 were imprisoned in Buenos Aires because the authorities mistakenly believed them to be prostitutes) silvy

Thanks everyone!! I forgot to tell you that the whole lecture was done with the stage lights, and that I was seated just below stage level, and that there was a candle in the form of a light-house in front of me (this is the symbol of the organization that presented me). It made me feel as if I was in XIX century, in the old Russia times!!!!

Hi everyone!!!!! Here goes a summary of a lecture I gave on Balanchile last May 28 (of course, I gave it in Spanish) Hope to hear comments, and advise, and criticism Silvy -------------- Choreographer George Balanchine at 101 “See the music, hear the dance” LECTURE SUMMARY – approx duration: 1 hour 30 minutes A) Presentation (the organization which presented me:there was a “master of ceremonies” who read my CV, etc, who in turn presented a member of the presenting organization who in turn presented me) B) Development I) INTRODUCTION a) Thanks to the presenting organization b) Presentation of the subject II) HISTORY (CHRONOLOGICAL ACCOUNT OF BALANCHINE’S LIFE AND HIS WORKS) a) His years at the Imperial Ballet School (St. Petersburg) b) Classical variation (in order to show the classical style, in which he was brought up) c) Statement that Balanchine would transform ballet in a modern art d) video show (fragment of “Theme and Variations”) as an example of his Maryinsky heritage. e) Balanchine is engaged as a pofessional dancer in Maryinsky Ballet – the Revolution – his departure from Russia – he is engaged by Diaghilev f) Video show: a work created during his Diaghilev tenure: pdd of Apollo and Tepsicore (from “Apollo”) – I highlighted Mr. B’s own words that Apollo was the ballet by which he reached maturity as an artist (at only 24) g) Explanation of what has just been shown on video: perfection of simplicity - austerity h) Arrival of Balanchine in USA – creation of the School of American Ballet i) Presentation of “Serenade” j) Video show (fragment from “Serenade”) k) “American Ballet” – tour down South America - ballets danced in Uruguay l) Birth of “New York City Ballet” m) I played a fragment of first movement of Symphony in C and suggested that audience tried to imagine some movements to it, in order to compare them to the video they would be shown immediately afterwards (I also suggested that they may close their eyes if they wished, which many of them did, to my delight!!!!!) n) Video show – 1st movement “Symphony in C” o) Explanation of the concept “See the music – hear the dance” (using Symphony in C as an example) p) New York City Ballet moves to State Theater at Lincoln Center (NYC) – how this was beneficial for the company (better dancing floor, etc) III) CONTRIBUTION OF THE CHOREOGRAPHER TO BALLET – DESCRIPTIONOF HIS STYLE a) Video show (fragmento of “4 temperaments”) b) Description of the style (neoclassical, “Ballet is woman”, “Be yourself”, he liked when dancers fell because it meant they had done their best) – influence of other American dance forms (like jazz and tap) c) Fragment from “Who Cares?” – danced live by dancer (fragment of “Stairway to paradise”) d) Explanation of some differences between classical technique ald Balanchine technique, using the dancer as a model, and the fragment of the solo just danced. e) Balanchine’s versatility f) Video show as al example of his versatility: fragment from “Union Jack” g) Awards received by Balanchine – his influence on modern ballet- his ballets are finally staged in Russia IV) ENDING- I read an epitaphy by Clement Crisp while I play 2nd movement of symphony in C and explained that I chose that movement because that ballet was danced the same day Mr. B died, by S. Farrel and P. Martins, and that the latter had been named artistic director of NYCB by Balanchine before his death, and that he had chosen to dance in Mr.B’s honour.

I wonder if someone could help me locate the cover of Newsweek where it read that "Ballet is woman" as quoted by Balanchine. I thought it would be nice to show it at a lecture I am preparing on Balanchine. Thanks so much Silvy

On browsing the NYCB webpage, I was surprised to learn that the above ballet was first presented by Ballet Theatre (and not by a Balanchine company). Does anyone know if Balachine was engaged as a choreographer by Ballet Theater for other works,or if his only work during that period was this "Theme & Variations"? To my knowledge, he was engaged in various enterprises, but, honestly , I had never read that he was worked extensively for Ballet Theater. Thanks so much Silvy

Hi I have been reading "Balanchine's 100 stories of the great ballets", and read that he describes some of them as "classic ballets" (like Symphony in C, for instance). I wonder what he really meant - I always thought that his works were "neoclassical", because they were created after the classic period in ballet (i.e. after Petipa). Is someone able to clarify this for me, please? thanks a lot silvy

Dear Richard: The information you have given me is really priceless - I know my audience will be very interested to learn that they performed in Uruguay (especially the younger people) Thanks again!!!!! Silvy

Hi I have made a search both on the web and on this forum looking for information regarding the above, but the only info I found is that it was a much- acclaimied tour, that it was sponsored by Nelson Rockefeller and that after the tour the company disbanded. I would like to have more info, such as: - which countries were visited (especially, I would like to know if they come to Uruguay) - some of the ballets danced (beside Ballet Imperial and Concerto Barocco) - names of some dancers. If someone has the above info, I would be much too grateful to get it (this is for a lecture I am preparing on BAlanchine) Thanks a lot in advance Silvy

Hi I am preparing a lecture on Balanchine, and I have read at the NYCB webpage that he "was influenced by American dance forms" (I am quoting from memory, so these might not be the exact words). Now I can only recall jazz as an American dance form that influenced him. Is anyone able to tell me if there are other dance forms that may have influenced him, and, if so, which they are? This will be much useful for my lecture Thanks so much Silvy

Hi I have undertaken the mighty task of lecturing on Balanchine in my home town, as I truly believe that this choreographer deserves an homage for his centennial, which he almost did not have in my country, regrettably. My question is the following: I remember reading a long time ago that in Concerto Barocco (set to Bach's double violin concerto) the 2 soloist ballerinas are supposed to impersonate one violin each. I would like to know, firstly, if this is true at all (I must tell true information at a lecture!!) and, in this case, if it is true for all the 3 movements in the ballet,as I only have an excerpt on DVD (in the Balanchine docummentary by PBS, where it is danced by Diana Adams and Tanaquil LeClerq), and I do not seem to find that correspondence between ballerinas and violins. Thanks so much and sorry bothering!!!!!!! Silvy

No, sure I don want all of you to heckle me!!!!! Though I would love to meet you somewhere in real life (be it in MOntevideo,or wherever). silvy However, if you do this, you will have to take an oath not to turn your lecture into "Musagète" - or "Secret Muses". (Meaning - an artist is more than the sum of his loves). If you don't, we will have to come to Montevideo and heckle you. You don't want that. <{POST_SNAPBACK}>

thanks for replies and encouragement everyone - very fine points and advice silvy

Hi I have been asked to give a lecture on Balanchine, especially because last year his centennial was celebrated everywhere except in Uruguay!! Though I am fairly knowledgeable on the subject, I have never lectured before, so I would appreciate suggestions. I must confess that the thought of TALKING to an an audience (as opposed to DANCING) scares me. I suppose my audience will be art or ballet lovers, but with little knowledge on Balanchine (because his work is virtually only known by video) Will appreciate any help thanks so much Silvy