silvy

Regarding what Dirac says: I think that a pinhead look does look good in a LEOTARD ballet, but that a pinhead-type ballerina looks odd in a short tutu. I have received a video (from someone very generous on this board) in which Symphony in C is danced by both England's Royal Ballet and NYCB (this latter version might be around the 70´s). The Royal ballerinas look lovely in their white tutus - their bodies are perfectly proportioned for that kind of outfit. As opposite, the Balanchine dancers do look odd in their tutus, due to their very long legs and short heads (and too thin frames for my liking). This "oddness" is still made more odd due to the fact that the tutu skirts are very short and also very puffed, which expose their legs to the maximun, making them look even longer than what they are. The above is only my opinion, of course

I have often read the word "pinhead" in association with Balanchine and Balanchine style. I looked up in the dictionary (my first language is Spanish, not English folks!!! ), and I could not make much out of it. Could someone please explain to me what type of physique / body type and/or dance style the word "pinhead" refers to, exactly? silvy

I agree with you Farrell Fan, for the very same reasons you state. Besides Ashton's "Fille" being a masterpiece in craftsmanship silvn

I was recently exchanging opinions whether La Sylphide and La Filel were major works or not. The person I was talking with considered that La Fille was a major work but that La Sylphide was a minor work. I argumented that for me La Sylphide was a major work due to its historical importance, and that La Fille was also a major work in Ashton's version. I wonder if anyone agrees with me.

Hi I have seen the tape you mention. Are you sure is Vassiliev? Isn't it Fadeyechev? I think the choreographer aimed at creatinc a religious, introspective atmosphere. If so, I think the dancers succeed in achiieving it. But I find the ballet to be rather old fashioned by today's standards. I think that a contemporary choreographer most probably would dress the ballerina differently than in a long tutu. I also dont lke the choreography very much. Regarding the performances themselves, I find them to be very good- very controlled, with excellent balances in the part of the ballerina. He is an excellent partner, as she appears totally effortless, and he helps her to better achieve fluidity of movements. Silvy

Now I am totally confused :sweating: Seriously speaking I already have 2 recordings: 1 is the Previn version, in CD (too quick in some passages, especially variations. He also repeats the diagonal in some of the variations - notably Aurora's - which I do not do while dancing) Regarding Concertgebouw, it also has the same problem for me. And regarding copying the music from video, the problem is applause.... Silvy

Thanks so much, both vrs and Mel - indeed useful information By the way, isn't a fragment of "La Vivandiere" danced in the film "The Company"? I thought it was a variation from this ballet I saw in a BBC newsreel about upcoming movies (please correct me if I am wrong) From the video version I got I love it - love the style, and all. And regret it is not performed more often. Silvy

Just would like to know if anyone know the plot of this ballet. I only have seen the version danced in a Kirov tape (Yelena Pankova, et all) Silvy

Thanks so much for the link, Coffee. It was insightful for me Silvy

Hi I am looking for a good recording of Sleeping Beauty at performance speed. I have Previn, but is too quick (in the variations I dance, at least). Does anyone know what version is commercially available on CD with these characteristics? Thanks Silvy

Hans: I am fascinated at the diversity of dance education in the USA - I mean, you do have heaps of things you can do regarding dance (apart from taking class). I am afraid there aren't many of such things here Silvy

Hi I would like to know where / how dance critics are formed in the USA or in other countries. I mean, is there a program in University or somewhere else where critics study? I am asking this because there is a plan here in Uruguay to offer dance criticism as a subject (an independent course, not Univertisity- dependent as far as I know), and I was curious to learn how these field is approached / taught in other countries. And because I was strongly suggested to take it, as some people consider I am suitable for the task Thanks so much Silvy

I thought it might be interesting to raise this topic: who is the dancer who you admire the most in character roles? It could be just a character dancer, or an ex-danseur noble or ballerina who developed later as a character artist. My votes go to the English: I love them as actors, and among them, I would place first Anthony Dowell. I find his Carabosse totally convincing, without being exaggerated. On the funny side, i love Ashton as one of the Sisters in Cinderella. On the other hand, I have not yet seen a Russian character dancer who is convincing to me. Who would you vote for? Silvy

I went over my post in this forum, and realized that I sounded rather too harsh on Ms Herrera. I did not mean that she does not have any appeal to me: quite the contrary: among her assets I want to point out that she has a fine, womanly stage presence, a beautiful body and gorgeous feet, which she knows how to use well. And wonderful turn out. Apart from her technical prowess, which is outstanding Silvy

One dancer whom I dont like is Paloma Herrera- and not because she lacks technique. What I dislike so much about her is her lack of artistry, and that her dancing seems dependent on technical tricks. I really have a problem with her hands (fingers too outstreched, and separated one from the other), and the look on her face: she tends to arch her eyebrows rather too much to my liking. This would not be a problem if her eyebrows were not that dark as they are. I am less forgiving towards Paloma because she is such a gifted dancer. In my opinion, all the details I have mentioned can be corrected (though It is difficult), and I hope Miss Herrera corrects them, as I believe she has the potential to become a star- but to me, technique is just not enough. Silvy

First of all, I must say I have never seen Mc Bride dancing (only a little bit too-little with Misha rehearsing Steadfast Tin Soldier),but I have seen photos and read about her. I own a book called "Dancershoes". In this book lots of dancers write what they do to their shoes, how they care for them, etc. McBride says that though all people criticized her for her way of standing "over" her toes instead of pushing up from the shoe, she felt that this way was the most confortable for the structure of her feet. There is a photo of one of her feet, and I must say I like that particular photo a lot. It is also interesting to note Gelsey Kirkland's comments on that same book: that once she had to substitute for McBride in an emergency, and that she had to wear Patty's shoes as well (because she had none of her own already sewn). Kirkland says that she felt she could have balanced forever in Patty's shoes - that it was an effort NOT to hold a balance in her shoes Thought this might be interesting to you. Silvy

I am curious as to the meaning of the ribbons in Ashton's "Fille". As there are ribbons (and handkerchieves also) I thought there was some kind of meaning in the libretto which has so far escaped me? Thanks in advance for clarification!!!!! Silvy

I felt prompted to post this topic after reading Tony Bentley's "Winter Season". At the beginning of the book, she tells us about the time when she entered NYCB after graduation from SAB. She refers to this period as "the end of a dream and the beginning of reality". She then goes on to say that she was given new things to learn "big, grand ballerina things" to learn. That apparently "they were checking out potential", she says (I am quoting from memory, so please excuse if my wording is not exact) I was curious to read that such a new member were ever given big things to learn, and would like to know: 1) if you know if this is still done at NYCB 2) what your opinion is on that "practice" (I dont find the word in English - sorry!!). Silvy

Thank you for the suggestion on the book, Farrell Fan!! Does anyone know if abebooks ship internationally? Silvy

Too bad it is not commercially available!! Silvy

Many years ago, here in Uruguay, I saw Balachine's "Mozartiana" danced by Suzanne Farrell. I wonder if there is anywhere I could get that tape? I think it could reveal new thing to me now, after so many years, and having danced and read a lot about Balanchine and of his mood at the time he created that ballet. At least, this is how I react to art: it is a new experience every time for me. Silvy

Yes dirac, but it is out of stock!!!! silvy

Does anybody know of a version of "Ballo" other than the "Balanchine Celebration" tape? Because that tape is out of print in amazon.com now Silvy

I quote Ari: You know, this is something I have realized myself (having seen Balanchine "live" at the NY State Theater only one ocassion in my life, for 3 performances). When I first saw "Diamond" I saw Wendy Wheelan, and it was outstanding: I could see how cleverly Balanchine had quoted ballets such as Swan Lake, Don Q (yes I see Don Q in the passe promenade!!!), Raymonda (hand over the bun), Nutcracker (developpe a la seconde, back to the audience) but that was it. Then I got the tape with Farrell, and could see so much more: the subtleties in his looking (or not) at his partner, her playing with balances. And I hope to see much more still Silvy

I remember reading in Merrill Ashley's book "Dancing for Mr. B" how excited she was when Mr. B created "Ballo della Regina" for her. As I have not seen it, I would like to have your opinions on that ballet, and on her performance (either on video or live) Thanks so much silvy