silvy

thanks for all the replies could someone (Carbro?) how was Alonso like as Carmen at that performance at the Met? Just curiosity Silvy

Hi I have watched 2 videos of the above: one is danced by Plitseskaya and another by Alicia Alonso. As I understand that the ballet was created for Plitseskaka, I am surprised to see many choreographic changes between the versions and just wonder if anyone knows why the choreographer (Alberto Alonso) changed so many things when staging the later version for Alicia Alonso? Alicia Alonso's version is much more "Spanish" than Maya's. I also would like to know if this ballet is performed in the USA, or if it is only limited to the Bolshoi and the National Ballet of Cuba Thanks so much silvy

Regarding the guided tour visits, I have made them twice. Last time was November 2004 and I noticed there were improvements (for instance, on visiting the Salon Dorado- "Golden Room"- there was a musician who played Vivaldi. Also there are headpieces on the hall of the theatre (I do not remember they were there before)

Following Hockeyfan suggestion, I have just written a small review on the Don Q I saw in Buenos Aires- it is under "ballet companies- recent performances"

At the request of Hockeyfan I am reviewing a perforance of Don Q by the ballet ot the Teatro Colon (Buenos Aires- Argentina - November 2004). I am reviewing from memory (without the stage bill), so I cannot possibly remember the name of each soloist. This was a full length Don Q. The version was by Zarko Prebil, and I was glad that he did not change much on the traditional Petipa-Gorsky version. The director of the ballet was the Cuban Mirta Garcia. The Colon Theatre orchestra was directed by Maestro Calleja, and it sounded wonderful. Principal dancers were Noemi Coelho and Alejandro Parente. Her Kitry was very exact technically, and so was his Basilio. I loved the scenery and costumes except for the ones in the Dryads act, which were too “strident” for my liking (pink was too pink, and the same was true of blue). The corps the ballet was precise. The small cupids were danced by young students of the Instituto Superior de Arte (which is the ballet school affiliated to the Colon Theatre), and they looked lovely. I liked the fact that they were given very simple steps (chasses), but they looked very well reharsed, each on line with the one in front. I also liked very much the dancer who played Mercedes (I do not recall her name): though the steps in her variation were simple (no pirouettes, for instance), she did look imposing and beautiful. Other performances were danced by Karina Olmedo and by Paloma Herrera (as a guest), but I did not see these. To sum up, I encourage any ballet fan who comes to Buenos Aires to try to see the Colon Theatre Ballet: they do not have many performances a year in which to show their talents, but when they do dance it is a most enjoyable experience. Also the Colon is very majestic theatre. You can see it for yourself at its webpage: http://www.teatrocolon.org.ar/ Hope the above has been useful Silvy

I finally did not see the production at the Colon, because I travelled to Buenos Aires on another week, where I did see Don Q ballet by the ballet of Teatro Colon.

Mr Johnson: I believe you have described all too clearly the differences between Moscow and St Petersburg's style in ballet (ie. Dionisos vs Apollo)

Mr Mel: Thank you for your clarification

I seem to recall having read somewhere that this particular piece of music was from the original score by Deldevez. I think it was somewhere on this board, but cannot say it for sure. Maybe if you carry out a search you might find out? silvy

Do you mean the one that is directed by Nayden Todorov? If so, I already own it (in fact, I have danced to it). Maybe the orchestration is somewhat dull in some parts, and the tempos are not exactly right for dancing (rather too slow in some passages), but maybe that is a matter of personal preference.

Regarding the harp cadenza in Kitri's 3rd act pdd variation, I tend to agree with Mr Mel in that I think it really "shows off" the dancer, and gives a majestic touch to her solo. Also you need some sort of "entrance" music before you actually begin the dance in a classical variation. In fact, I cannot imagine that solo without that initial harp cadenza.

I have never ever seen Nureyev's version of Nutcracker. I have seen it is available for purchase in DVD format (Royal Ballet,with Merle Park as Sugarplum) , and I would like to hear comments/ opinions about the version I understand that Nureyev effected some changes, and I am particularly interested to learn how effective these changes are, and if he had changed the Sugar Plum pdd and variations. Thanks so much Silvy

Premabalrina: Thank you for the information. Silvy

Just wonder, why is Lopatkina dancing Lilac Fairy instead of Aurora herself? As I understand from the previous posts, Aurora was given to a younger dancer, is that correct? Is it Kirov's policy to give Aurora to a young dancer, and Lilac to an older one? (the Kirov's video with Lezhnina as Aurora at 19 and Makhalina as Lilac comes to my mind immediately) Just another piece of curiosity of mine Silvy

Yes, Dirac, it is the version with Sophie Marceau that I saw.

Hi Yesterday I just caught a part of the above film. Anna was at the center parterre theatre watching "Swan Lake" (Vronsky was at a Grand Tier, or soemthing similar). My doubt is how accurate that is, as Swan Lake was premiered in 1877 in Moscow, and in 189-something in St Petersburg. Could the characters in the novel be really watching Swan Lake, or is that inaccurate historically? Also I must confess I never read the novel, so I do not know if Tolstoi really mentions that specific ballet, or if that was the film director's responsibility.

I wonder how would you rate the above DVD? Would you recommend it to me? Thanks a lot Silvy

I would like to get a recording for Nacho Duato's "Remanso" - I know it is comprised of a series of pieces by Granados, but I do not know their names. Anyone can help me? Thanks so much silvy

Hi I saw on the Teatro Colon website (Buenos Aires - Argentina) that the above opera will be put on the stage soon. I must confess I have never heard about it and I would like to know your opinion about it (I have already read the plot,but specifically I would like to know how enjoyable it is, or not). My exposure to a whole evening of opera is rather slight: only Mozart's Don Giovanni, Verdi's Aida and Traviata, Puccini's "Madama Butterfly", Villa Lobos's "Yerma", Bizet's "Carmen", and I would very much like to start to get more acquainted with this art form. Thanks so much Silvy

I would like to know if the music of Dulcinea's variation (act II - Don Q) is realy Minkus's or if it it Drigo's (as far as I know, the Queen of Dryad's one is Drigo's, for instance). Just curiosity Silvy

Dear Sara: I have already written to you, to the email on your webpage. Silvy

Thank you. Alexandra. I only hope Ms Nieto reads my post, as she is a new member in this board and still has no private message privileges. I am very glad to have found her on this board- I would never have thought I would meet her this way!!!!!! Silvy

To Sara Nieto (I am writing in English at Alexandra's request) I am so glad you have written to me. I have seen you dance many times: I saw your Raymonda at the Solis Theatre (with Pablo Aharonian, I believe), your Giselle, your Coppelia, and your farewell performance at the Solis with the National School of Dance. You are one of Uruguay's national prides, and your award was very well deserved. I have browsed your page in the past - i shall do it again, to see if there is new information. With love Silvy

I also saw her Giselle in 1998!! At the Met - but I do not remember her changing the hops part, though. In the video with La Scala ballet she does the hops, on her right foot, and she does not travel much- but she manages OK, I would say. Aurora would be a different story: what about her balances (Rose Adagio), and pirouettes (1st act variation)?

Ferri is a dancer I love - I was fortunate enough to see her dancing Juliet at the Colon Theatre in Buenos Aires (with Maximiliano Guerra as Romeo), and she was divine - for lack of a better word. I also saw her Giselle with Bocca as Albretch with ABT. But I have never saw her doing her anything classical- anything in a short tutu, like Sleeping Beauty, or Swan Lake. Does she dance these roles, or is she mainy dedicated to the "lyrical" repertoire? I am most curious!!!!!! Silvy