silvy

Does anyone know what Terekhova is doing nowadays? I have run a search on yahoo, and did not came up with much.

Though Terekhova is not my favourite dancer (in the sense that she appeals to my soul the way, say, Carla Fracci does), I regard her as an example in technique, style and coordination - textbook flawless technique - a great model to learn from.

Thanks so much for your kind words!! Yes, Uruguayans are very happy and proud of our newly refurbished theatre. It was a long wait.

About dance, this year Iñaki Urlezaga is scheduled to perform here again. In the past, I was lucky to see dancing on the stage all the following: Ballet Nacional de Cuba (with Alicia Alonso herself, dancing an incredible Odette despite her years), some groups of Russian dancers (I recall Gedeminas Taranda, Larissa Lezhnina). Once Cyntia Gregory gathered a group, and I saw her and Judith Fugate. Also Chile's Ballet de Santiago (with Sara Nieto), Stagium Ballet from Sao Paulo (Brazil), Ohio Ballet, and of course Julio Bocca danced here many times with his Ballet Argentino. I also recall 16-year old Marianela Nuñez (who now is a principal with Royal Ballet in London) dancing "Diana & Acteon" with Maximiliano Guerra.

I now home these good times return - better still, as the theatre has been modernized.

Thanks a lot

Silvy

Our Teatro Solis, newly refurbished,

Yesterday we witnessed the reopening of our major opera house: the Solis Theatre (“Teatro Solis”), which had been closed in November 1998 after a small fire broke out in some of the dressing rooms, evidencing it was in a serious state of disrepair. From what I could see from the TV broadcast, the restorers had kept the theatre's original appearance (like the big chandelier, the paints by Herrera on the ceiling, the Carrara marble columns, while huge changes were made for the performers' sake. The stage was given much more width and height, a new proscenium could be seen, and there is last generation stage machinery for changes, etc.

The opening performance consisted of a gala by the Montevideo Philarmony Orchestra under the direction of Maestro Federico Garcia Vigil, and arias, duets and choral pieces from the international repertory. The gala was made to coincide with the celebrations of Uruguay's National Independence Day.

The Mayor of Montevideo, Architect Mariano Arana opened up with a welcoming speech. In his speech he announced that Montevideo city had three new Illustrious Citizens, which came forward to receive their awards. These were former Uruguayan ballerina Sara Nieto (who had been named Prima Ballerina at Chilean National Ballet under Ivan Nagy's direction), pianist Nibia Mariño and actress Estela Medina.

The concert started with our National Anthem. Then I can hightlight the following pieces:

- Giuseppe Verdi, - "Va pensiero" from Nabucco (Sodre chorus – our National chorus) (I did not like the fact that there was a feminine voice which was standing out from the chorus, being that this piece is very sweet and has to be very homogeneous singing).

- Giacomo Puccini, "Si, mi chiamano Mimi" from La Bohème (María José Siri, soprano, Uruguay). I was particularly impressed by Ms Siri’s sweet voice, and I later learned she had earned an important International award

- Georges Bizet, "Habanera" from Carmen sung by Raquel Pierotti (Uruguayan mezzosoprano). In my opinion, this was the most outstanding performance of the night. Ms Pierotti is currently working in Spain, and has a colorful voice, and she seemed to have explored every nuance of Bizet’s aria. She also has a nice stage presence

- Giacomo Puccini - "Recondita armonia" from Tosca (John Matz, tenor, from USA). Mr Matz was a powerful voice and an impressive stage presence.

- Gioacchino Rossini, "La calunnia" from the Barber of Sevilla, sung by Ariel Cazes, an Uruguayan young basso who was very impressive in this piece- he received an ovation

- Gioacchino Rossini, "Largo al factotum" from The Barber of Sevilla, sung by baritone Luis Gaeta. This was particularly funny in that Mr Gaeta produced a celullar phone during his “Figaro” singing, at the moment in which the protagonist tells the audience he is constantly in demand as a barber.

- Vincenzo Bellini, "Casta diva" from Norma sung by Josefina Costa, a Uruguayan soprano, currently living in Germany. It was a pity that this was virtually the only performance by this outstanding soprano, while other singers were given much more.

- Giuseppe Verdi, "La donna e mobile" from Rigoletto (John Matz). It broke the house down

- Giuseppe Verdi "Sempre libera" from La Traviata (María José Siri).

- Giuseppe Verdi, "Libiamo" from La Traviata – it also brought the house down.

- Richard Wagner, "Pilgrim’s chorus" from Tannhäuser

Our Solis Theatre has been inaugurated on August 25, 1856, with Verdi’s “Ernani”. Among other artists, it saw performances by Enrico Carusso, Sarah Bernhardt, Vivien Leigh, Arthur Rubinstein, Jascha Heifitz, Andrés Segovia, Anna Pavlova and Isadora Duncan.

Ref Kirov's Paquita video: I believe that the whole conception of the work is different from what is seen in the ABT video. Kirov's rendering is truly aristocratic, not Spanish- like (there is barely NO hint at Spanish character in the dancing - maybe in SOME variations the dancers use the hand-on-waist position). Even the setting is that of a palace: chandeliers, the crown Mahkalina is wearing, the jewelled costumes. As such, I understand there is a more restrained smile in the dancers: after all, aristocrats are not highly spirited peasants.

That is my honest opinion, anyway.

Regarding the Kirov's video / DVD version of Paquita with Makhalina and Zelensky, I believe it is a treasure indeed. There is an incredible whole bunch of talented Kirov dancers there, besides Makhalina and Zelensky: there is Irina Zhelonkina (1st variaiton), the splendid Lubov Kunakova (2nd variation, a slow one), sharp and technically exact Veronika Ivanova in 3rd variation (the one that is danced to the same music and with similar steps as Cupid in Don Q dream act), the pas de trois in which Yelena Pankova shines (the other 2 dancers are also excellent, but their names now escape me, as I am writing all this off my memory), then incredibly light and delicate Larissa Lezhnina in the "pretty arms" variation (the one with the pas de cheval at the end), outstanding Alexandra Koltun dancing the variation that begins with the jetes in the diagonal (what wonderful jetes throughout), and finally the principal couple. Makhalina dances an inspiring "harp" solo.

I think it is a highly recommendable tape - and I also like the decor and the costumes. Anyway, it is just my own personal opinion.

Silvy

I quote Drew:

Croce wrote a pretty devastating article about her saying that she had no ballet technique and at least implying that without any technique it was pointless to talk about her artistry--she wasn't dancing the ballets.

I am very much suprised about this statement - I wonder to what points in technique was Croce referring... or maybe she was comparing with someone else, or with people dancing other styles (like Balanchine style).

This leads me to think about one conversation I had recently - what is technique? Is is about doing difficult, pyrotechnical things, or doing everything absolutely correct, and being in command of the HOWs to do things?

I just thought this could be interesting.

Silvy

I am just about to start a DVD collection- on opera as well as ballet.

I must confess that, though I like opera, I am not such a huge fan as I am of ballet. Nevetheless, I would like to own some good opera titles available on DVD. I have run many searches, but I am quite at a loss.

Any ideas of good ones?

thanks so much

Silvy

Wonder what Carla Fracci is doing nowadays? The last I knew was that she was at the ballet of the Opera di Roma, but somehow I have lost track of her.

I never saw her live, but I admired her greatly from the tapes I have seen of her.

silvy

Hi

Maybe this topic in not appropiate for BalletTalk at all!!

My 9 year old nephew does not like reading at all - and this shows in his school work, and his teacher caller his parents's attention on this.

I thought of lending him some Enid Blyton stories (which I used to devour as a child his age - of course in their translation into Spanish),but I have read somewhere that this author has been criticized.

As I am not totally sure why this is so, I would welcome some light on this. Also I would welcome any other recommendation you may have (it will be my task to find out if there is a Spanish translation for your recommendations, then!!! :rolleyes: )

Thanks so much

silvy

Does someone know if it was Balanchine intention to place a little "tango dance" in this pdd?

Many years ago I saw the above on television - I wonder if it is available for purchase somewhere?

Hi atm - never mind the confusion

I agree with you that Mezentzeva is very fragile - rather too fragile for my liking.

And what is Vassileva like in Giselle?

I have seen the above as available for purchase. My question is how good is that performance, and if you would recommend that tape to me.

Thanks a lot

Silvy

Hi - I have finally got my multi-region DVD player

and I am anxious to get new ballet DVDs. On browsing online I found a Nina Ananiashvili and Int Stars (vol I and II), but could not find detailed information on the ballets / excerpts danced there.

I already have on VHS the Nina Ananiashvili and stars one which features Pas de Quatre, Satanella, Raymonda, etc. and now I want a DVD, but I do not want to get myself the same ballets!!!!!

Is someone able to help me with the credits for both Nina and Stars DVDs available for purchase?

Thanks so much

silvy

balletandsynchro

The La Scala version is excellent in my opinion. However, please note that the version is that of Patrice Bart's, so maybe you could check with your daughter's teacher whose version she is teaching her, as there are some choreographic differences between Part's, ABT's and Kirov's version, especially if the variation is that of the Peasant pas de deux. If is is Giselle's, then differences are not that great.

Those Bolshoi ballerinas from the '70s and '80s who are broken wristed, who have sway-back knees, very big insteps, very high extensions and who are not so turned out - like Maria Bilova

What video / DVD releases could I purchase for the above ballet? Especially Balanchine's version (could be also Ashton's "The Dream")

Thanks a lot

Silvy

It sounds incredible to me - I spend countless hours in the studio working on the quality of my dancing, only to find that there are people who judge dancing on quantity.....

At least they will judge participants on their "stage presence","presentation", and "costume", though

Wonder if there remains any filmed record of the above? (video or DVD?) I read in Suzanne's autobiography that it was filmed sometime. And I also saw a tiny glimpe of it in the "Elusive Muse" tape.

Thanks a lot

Silvy

Hi

I would like to get me a book on the history of Russian ballet (from Empress Anne to the present days if possible). Is there anything that you know of?

silvy

I sometimes like to surf ancient waters, as you can see!!

The only book of Lifar's I have read so far was a History of Russian ballet, which I rather liked at that time (about 15 years ago). I know Lifar has written other books (an autobiography, a book on Diaghilev, and maybe others), and I would like to know if anyone would recommend some of these to me.

thanks so much

Silvy

Here I go:

Legs: Alla Sizova / Altynai Asylmulatova / Nadezhda Pavlova / Suzanne Farrell / Merrill Ashley / Yelena Yevteyeva

Feet: Alessandra Ferri / Paloma Herrera

Arms: Ulyana Lopatkina / Alla Sizova / Margot Fonteyn / Carla Fracci / Alessandra Ferri / Natalia Makarova / Yelena Pankova

Hands: Larissa Lezhnina / Viviana Durante / Margot Fonteyn

Face: Nadezda Gracheva / Gabriella Komleva / Yulia Makhalina

Thanks so much.

I understand that the very first production had choreography by Saint Leon, is this correct?

And who was responsible for the revival without the 3rd act?

Sorry for so many questions!!!!!

Silvy

Yesterday someone told me that in the original Coppelia there was no 3rd act. I would like to confirm whether this is true or not.

Thanks a lot

Silvy

Estelle:

I am sorry for my delay in replying - I did not have my stage bill with me, so I needed some time to check the information

The version was James Amar's one after Arthur Saint Leon's.

Silvy