silvy

Which dancer that you have seen (live or on video) is your favourite Raymonda? I am between Ludmila Semenyaka and Maya Plitseskaya - what about you? Thought this might be interesting (personally, Raymonda is my favourite Petipa ballet)

I would like to know if there is somewhere a filmed / video or DVD version of the above ballet - especially if danced by the original cast (Fonteyn, Shearer and I think it was Pamela May? if I am not mistaken...) I have seen photos and it looks very intriguing to me Thanks a lot Silvy

Mr Mel, thanks for the story about that fellow countryman of mine!!! I promise I shall find out more about him. For the time being, please note that we have 2 major orchestras in Uruguay: one is the SODRE Symphony Orchestra (called "OSSODRE", which is government owned), and the other is the Philarmonic of Montevideo (which belongs to the Municipality of the city of Montevideo), but no "Symphonica Mayor". Maybe the person who wrote the article meant the OSSODRE

I was prompted to post this after I heard a comment by Kevin McKenzie in the "ABT - Variety & Virtuosity" tape. At one point he says "there are some performances which I would not call "pyrotechnical" but which are truly virtouso ones" (I am quoting from memory, so the wording is like to be inexact) I must confess that I had always considered both concepts to carry the same meaning. Is someone able to clarify this issue for me, please? Thanks so much Silvy

Coppelia – SODRE ballet (National ballet company of Uruguay) Monday June 7 – 1930 PM Principal dancers: Andrea Tio (Swanhilda) – Paulo Agiar (Franz) This was the first performance by the SODRE company under their new artistic Director Rodolfo Lastra (from Argentina), and the first of the season. It was staged by the French ballet master James Amar (who staged “Napoli” for our national ballet last year). The ballet company changed venues this time: they moved from their customary theater to a newly built one. The new venue enhances the ensemble a great deal, though I noticed the floor was quite hard (I was later assured of this by one of the dancers) The first thing that came to my mind was that the Artistic Direction took the plunge and risked casting corps dancers / apprentices in principal roles – Ms Andrea Tio is a tiny 19 year old apprentice with the company, who is unmistakably talented and gifted (she is recipient of a scholarship to study at Cannes – France). I must say that she would fully have lived up to the standards of the role, if it weren’t for her too frail physique, who makes her too small for the part . She still lacks enough stage presence for a prima ballerina role, but I trust she will improve this as she matures (I see in her a potential for a beautiful Giselle). She was given quite a lot of dancing, with very quick footwork, which she performed beautifully. I especially admired the clarity of her quick cabrioles derriere (in her entrance waltz). Her Franz matches her in height (he is very small also), but her stage presence is much grander – he does “fill” the stage with his dancing. Both acted their parts quite convincingly. The 1st act Mazurka and Czardas were given a good performance by the ensemble. The friends were especially remarkable (they were also given quite a few pieces of tricky footwork). I must say that the Friends look too “big” in physique compared to their friend Swanhilda – I think that smaller dancers should have been chosen for Ms Tio’s Swanhilda, to match her. The lighting was excellent, especially in the scene inside Dr Coppelius’s house: the stage was all bathed in delicate light blue, which enhanced the scary silhouettes of the toys. I must say this version did not come up to my expectations, especially as Napoli had been so enjoyable to me. In my opinion, its basic flaw is that it is so much abridged as to omit the wedding festivities altogether– there was no Dawn, no Prayer, no Bell, no Waltz of the hours, no pas de deux. Instead, the ballet ended with a joyful scene immediately after Dr Coppelius finds himself deceived by the Swanhilda. Some years ago our national ballet danced a beautiful version as staged by Edgardo Hartley (from Chile), and I must say that the present version stands pale in comparison. That production was a complete- no abridged one. Also it was danced by our primas ballerinas, which gave the part its full significance. There are also two other casts for this production, which I have not yet seen. To sum up, I would say that this production is very fine for children (I strongly recommend parents to take their child to see it), but that for a professional company it should have been a complete one (silvy)

Yes, I guess I shall have to return to NYC... I miss it so much. But for the time being, I guess I shall have to make do with Buenos Aires Is "Movements" still danced nowadays?

Does anyone know if there is a complete video version of the above? I have only seen glimpes of it in the movie "Suzanne Farrell - elusive muse", and I must say that my curiosity was piqued.

I have never seen BAlanchine's "Swan Lake", and it is more unlilely that I shall ever will (I am at the opposite side of the American continent) I just would like someone to clarify what are exactly the changes made by Balancihine for his version of Swan Lake. Is it similar / the same concept of what he did for Raymonda in his "Raymonda Variations" (which I did indeed see)? Is it only the second act?

I did not see the ABT production (I am on the other side of the world as you can see ), but I have seen both videos of Grigorovitch's Raymonda, plus read a great deal about it, so I think I can comment on the following: I have just received my May issue of Dance Magazine, where there is an article on Raymonda saying that Jean de Brienne does NOT go to the Crusades, but instead hovers around. In my opinion, the Crusades point is very important for the plot, as it justifies Raymonda's being assaulted by Abderakham - otherwise how could she had encountered Abderahkman with her fiancee around? Especially in Medieval times!!! (nowadays everything is possible, but not then!!!) Also the Crusades thing adds romance to the plot, which is so well mirrored in the music - it sounds medieval, especially in the first act, and just after Jean leaves for the Crusades. It is important to remember that many people immediately associate the Crusades with Middle Ages. I am for trimming the plots it it makes the work of art more easily understood by the public, but not if it ends up leaving loose threads.... Anyway, just my opinion silvy

Ref back arching: First of all, if what I say below is mistaken please correct me!! As far as I understand, Russian training pays a lot of importance on epaulement, which is somehow related to the use of the UPPER torso. For example, on doing your first cambre derriere at the beginning of the barre exercises, they focus on working your upper torso first, and not to just cambre from the lower back (waist, and below). That gives a beauriful "airy" look, which is so apparent in an attitude efface derriere (it is also safer for your back) Of course, as the body gets more warmed up, they start adding the cambre from the lower back as well. Maybe the dancers you are seeing are working the back straight from the waist?

I am aware that the captioned topic is not exactly "ballet music" stuff... so please move it if needed. I read on another thread a suggestion about copying hte music from a DVD into a CD. I would like to know how you exactly go about doing this, i.e., what equipment is needed thank you silvy

Of the RDB women I saw on video I can single out the following - Lis Jeppesen - wonderful "Sylphide" - Toni Lander - an imposing Myrtha - and her bourres in Myrtha's entrance always manage to take my breath away... -Heidi Ryom - oddly enough, in BAlanchine's Tchaikowsky pdd opposite Nikolaj Hubbe (from a gala in Argentina which was recorded from TV a long time ago). I am amazed at her speed - she does not look like a Romantic ballerina at all, but very contemporary -Rose Gad - as Lucile Grahn (of course!!! she was Danish) in one of Nina Ananiashvili's galas (NA and International Stars) - she is charming, while being imposing also. She leaves me wanting to see her more

A little :offtopic: but I wonder if Margot Lander is the same ballerina as Toni Lander? (who dances Myrtha opposite Carla Fracci's Giselle with ABT)?

First of all, I must confess that my exposure to Bournonville es very slight. From what I read, and from some videos I have seen, I got the idea that, at least some time ago, the women in the Royal Danish Ballet were weaker than the men. Meaning, that the RDB turned out exceptionally good male ballet dancers, while this was not that true regarding the women. Firsst of all, I would like to know if my assumption is true, and, if it does, if this is still the case. Just curious Silvy

Wonder if there is any recording available of the above ballets (composer Pauli- choreography Bournonville)? Also videos!!!!!!

I have read on Cuba's national ballet webpage that this year (2004) about the International Ballet Festival, which will take place in La Habana Cuba, from 28 October to 6 November 2004. As I am thinking of attending the event, I would like to know of someone who has attended it in the past, and his/her impressions and experiences. Thanks so much Silvy

Do you think that for a female dancer to be a prima ballerina whe must look and be right in every principal role? By this I mean: must she look equally right as Kitri than as Odette? and what about neoclassical roles? For instance, when I think of Makarova I see her in Giselle or Swan Lake, but not as Kitri. Or the other way round? (I am aware this might have something to do with type casting) Thought it would be an interesting topic.

What is the name of the film in which Richard Chamberlain plays Tchaikowsky and Vanessa Redgrave is his protectoress? I think there is the black swan pdd somewhere

Sarah Jessica Parker? I read she has a ballet background

I quote Nanatchka: Well,it is actually only a 50 minute flight!!!! (and almost 3 hours ferry) - not that far!! Silvy

Wonder if there is any video / DVD version of the above ballet,anywhere - I have heard so much about it, and have never seen it

I crossed the Rio de la Plata (from Montevideo to Buenos Aires) to see the Kirov in 1996: Swan Lake at the Teatro Colon (Lopatkina and Zelensky - woh!!!), and another performance at the Luna Park (which is a sort of arena, adapted to ballet performances). At the Luna Park I saw a mixed bill program: Chopiniana, Paquita (Makhalina and Ruzimatov), a solo danced by Ruzimatov (choreog.Bejart), Death of the Swan (Makhalina), Tchaikowsky pdd (Vishneva). I have crossed the Rio de la Plata to see Ferri and Maximiliano Guerra in Macmillan's "Romeo & Juliet". I shall not forget that experience either. In 1998 I crossed the Americas to see both ABT and NYCB. ABT sin Sleeping Beauty (Paloma Herrera - I didn like her much, though), Giselle (Bocca and Ferri - impressed by Ferri), and a mixed repertory program, which I dont recall now. In NYCB I saw Jewels (I was impressed by Meunier in Rubies and Wheelan in Diamonds), Serenade, Les Noces (Ansanelli), Concerti Armonici, Raymonda Variations (Nichols- I was impressed by her authority and finesse).

Oh, people I wish I had been there to at least record it from television - I am a big NYCB fan, and, of course, the last time I saw them live was when I visited the USA (back in 1998) - I guess a lot has changed since then?

Hi Wonder if there is any video filming of the above ballet? Anywhere?

Was this the same tour as described by Merrill Ashley in her "Dancing for Mr B"? If so, who else was dancing at that time, at that tour? Because it is years since I read the book which I do not own (sadly), so I cannot refer to it for checking purposes