atm711

I saw Monday afternoon's rehearsal. This is the second time I have seen this production--the first time was its premiere. At the time, my assessment was fairly favorable. I thought it would be a good crowd pleaser (unfortunately, we need those, too). However, after sitting through a three hour rehearsal the drawbacks were much in evidence. The stage looked cramped and the scenery does not have one ounce of elegance. ( I guess I think too much of the Kirov restoration which I was fortunate to see in 1999.) There were 3 ballerinas--Act 1 Part, Act 2 Dvorevenko (with Beloserkovsky), Act 2 Wilis (and Cory Stearns). Since there was no program I am pretty sure it was Abrera as the Lilac Fairy, although the woman behind me thought it was Riccetta. Carabosse, I think was Martine van Hamel. Dvorevenko is not one of my favorites, but in all fairness I have not seen too much of her. I see her mainly at rehearsals or on a mixed bill. I am still trying to figure out who I saw in Bluebird PDD---by a process of elimination I think I saw Phillips and Lane---I would love to be sure because she was one of the best Princess Florine's I have seen; she had the beautiful elegance of a classical ballerina---no cutesy little dancer here, which is way the role is usually performed far too often. Phillips has a lot of work cut out for him before this weekend's performance. But now for my joy in seeing Veronika Part coming down that cumbersome staircase. My favorite variation in all of ballet is Aurora's Act 1--which as you know, is danced after the Rose Adagio. It's lush slow movements were made for her---I don't know when I have seen a dancer more suited to this variation. And, yes, she survived the Rose Adagio--with only one quick grab of her suitor's hand. I will be seeing Cojocaru this weekend.

Early in Alonso's career with BT, this huntsmen scene was included. As an alternate with this scene, I also saw the Act opening with only Hilarion on the stage--he was fashioning two sticks into a cross for Giselle's grave--only to be interrupted by the Willis.

Such a shame Hollywood ran away with most of the principal awards....

George Skibine---wonderful to have it on film---I never saw his Albrecht. However, I did see him as Hilarion to Dolin's Albrecht and when it came time for Giselle to refute Hilarion in favor of Albrecht---there was much audible snickering in the audience. At the time, the only Hilarion NYC saw was Dmitri Romanoff who came across as Judd Fry. Skibine was at the beginning of a long line of a more sympathetic Hilarion.

Christian. I am assuming you saw the clips while you were in NY---and not on line. It's something I have been meaning to do, but never get around to. Toumanova was certainly a real beauty---if not the perfect Giselle type. She was my first Giselle and at the time I had no idea of the ballet or its style. It was the first time I heard the score; recordings of Giselle were very rare and when one was found there were only a very few excerpts. What I found strange at the time is that I could hum along with a score I had never heard. Anton Dolin was her Albrecht and I wonder if he is who you saw on the clip. It didn't take me too long to find out what Giselle was all about--my next two Giselles were the two Alicias--Markova and Alonso.

For those of you who can access the NYTimes---there was a lovely article about her on January 10, 1999 when she was 90. In the article she speaks of Balanchine who graduated four years ahead of her---"I had a crush on him" she says.

LaRocca should have ended her review before she got to the negatives---I can't imagine going to a retirement celebration and after giving the guest his gold watch and praise---then to remember his faults....I can only hope Darci Kistler is bracing herself....

As with Faux Pas--my earlier exposure to this ballet was the film with Marcia Haydee and yes, the gorgeous Ivan Liska. After seeing the exalted performances of Vishneva, Gomes and Part yesterday afternoon I watched my tape of the Hamburg Ballet with Haydee. I could not get past Act 1--Haydee's overwrought performance contrasted too sharply with my image of Vishneva still floating in my head--Haydee brought up images of the Mat Eks ballerina, Ana Lugana. I never thought too highly of the work from watching this film---if any ballet needs a live performance this is the one. I loved the sparseness of the decor; the effect was achieved through costuming and a few stage props. Act 2 was a gorgeous Act---no orchestra, just a pianist playing all that grand Chopin music---what a reverie--and Vishneva and Gomes in all their passion. I am starting to run out of superlatives. but Part was outstanding as Manon--my one disappointment was Eric Tamm who gave her great support in all those difficult lifts, but was not there for her emotionally.

I saw 'Bayadere' Wednesday night and really lucked out!---Gomes replaced Bolle, due to injury. Part, as usual, was a glorious Nikiya. I am still reeling from her spectacular series of grand jetes in Act 3---and I did like Nikiya's new costume for that act; Part was a bewitching sight. Gomes had the crowd in the palm of his hand and received two long ovations. They are a magical duo. My disappointment were the 3 shades---Shevchenko, Boylston and Underwood--three uninspired performances.

Everytime I see a GIRL playing a sexed up role only one name come up in my mind... JonBenet Ramsey.

Yes, it's JonBenet taken one step further....

There are also some photographs of the production on the Zurich Opera House site.

http://www.opernhaus.ch/de/programm/detail...tellID=10328065

I wonder who did the English translation on the site---very funny reading

gorgeous photo---it brings to mind a quote I read about Leda Anchutina---"the smallest Ballet Russe dancer married to the largest"....(Andre Eglevsky)

In Danilova's memoir she said that Myrtha's role was more substantial, when she was in Russia, than it is today. . . that originally the role was danced by a ballerina and now it is danced by a soloist. (page 147 of Choura)

Is this correct?

Yes, one of my pet ballet 'peeves'. Danilova was certainly authoritative in the role. From the time of my very first Giselle I assumed it was a ballerina role. Rosella Hightower was the ballerina---and in those days dancers were not listed alphabetically--her name was above the title of the Company. At the time, Marjorie Tallchief and Diana Adams alternated with her in the role---and it was very easy to see the difference.

While the ABT audience and some of the press were thoroughly wowed by Osipova’s aerodynamics, for me, she frequently bounced right out of the art form. If you were looking for a singing arabesque, a nuance in the shaping of phrases, you looked in vain.

The above quote by Laura Jacobs says it all for me. I saw Osipova last season in 'Sylphide' and 'Giselle'--both miscasts. She is a great soubrette and I cannot imagine what her Aurora will look like this season. (I have chosen to see Cojocaru's performance. ) She might be more successful as Juliet, although I will be seeing Vishneva.

I read the book and thoroughly enjoyed it. Alex Ewing has a very clear-eyed view of his mother. There was one bit of shocking discovery....I knew that Chase had performed Giselle while with Mordkin (there are lots of photos of her in a cellophane-like costume) but I never knew that she danced (?) Aurora in his Sleeping Beauty. All this, after a scant few months of lessons while she was pushing 30. Visions of dollars were probably dancing in Mordkin's head. As one who was nurtured by Lucia Chase's Ballet Theatre I came away with understanding and sympathy for her.

From what I saw on the clip of Wiles as Odile----her interpretation needs some sophistication---she is too much of the smiling girl-next-door type---she surely has the technique for it, and then some. I say this as one who admires her and is waiting for her artistry to break out.

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I wish I had read the Lifar to get a sense of the validity of Nabokov's criticisms. It's written with the vehemence of someone who is writing about contemporary, not historical, figures - and that's enlightening.

I had a copy of the book and Nabokov's criticisms are 'right on'. It was one of the first ballet books I bought along with a bio of Diaghilev by Haskell/Nouvel. It oozes with pomposity both in the writing style and Lifar's importance in D's life. When the POB was in NY in the late '40's he autographed it to me as "un amie de la danse"...

I would guess they are both early Ballet Theatre. In the Sylphides photo the girl fifth from the right (leaning to her right) resembles Muriel Bentley---such a lovely expression on her face. In the Swan Lake photo it surely does look like Romanoff and I would guess the Ballerina is Nana Gollner---she had the same high instep shown in the extended leg---and she was always rather sloppy about the turnout of the supporting leg......

Photographs only record a split second of an event. Another split second and Villela probably looked entirely different. But you are right that Balanchine's arms are beautiful and together withe his stance are a reflection of his early schooling.

I'm not so sure about that---what B. shows in that photo cannot be taught; it is something innate. As much as Villella is one of my favorites and have seen him perform during most of his career, I would not attribute fluidity to him.

There is a photo of Balanchine and Villella where B. is in fifth position soussou, arms en haut and V. is in the same pose...and I always have a tinge of sorrow for V. who cannot possibly emulate the master. B. is all fluidity and flow, and poor V. looks rather tense.---but there is a photo of Villella I love---by Bert Stern--Bugaku with Allegra Kent.

I did see Franklin as Jean de Brienne in the Balanchine/Danilova Raymonda---I loved his comment about the armored costume he wore---he said it made him feel like Ingrid Bergman---and he surely did resemble her in Joan of Arc....

but she was a star of the '50's and women's fashion was never more flattering than in that decade.

Yes. and I never enjoyed wearing fashion more--it was the time of the 'Dior look'. I also visited her grave in Monaco and found it so sad---as I looked down at that cold slab circled by all the Grimaldis, I thought---how did this American girl end up here.....

atm711, since there are probably not many of us who were privileged to see Laing in Pillar of Fire, can you describe what it was that makes you select that particular entrance.

Well I guess by its very nature--an entrance should make you sit up and give it all your attention. It was not flamboyant, say as in a Nureyev entrance, Laing's entrance caught you unaware and although Laing could not impress with technique--he had all the stage dynamism of a Nureyev.

Oh, yes---Hugh Laing walking on in 'Pillar of Fire'----that was a not-to-be-forgotten entrance. :blush:

In two photos, the man in the suit looks like Tommy Rall