atm711

There doesn't seem to be much curiosity about Alicia Markova as a ballerina. The first time I saw her dance was my very first ballet performance, in April 1944 at the old Metropolitan Opera House in New York. She performed 'Les Sylphides' with Anton Dolin. Since she was born in 1910 she was 34 years old--usually considered 'prime time' for a ballerina. At various times I saw her dance 'Giselle', 'Aleko', Tudor's 'Romeo and Juliet', 'Firebird' (the Chagall sets), 'Swan Lake' (ActII), 'Nutcracker' PDD, and 'Pas de Quatre' (Taglioni).

She enjoyed a very good 'press'. The so-called 'Dean of American Dance Critics' (I don't know who bestowed this title on him) John Martin of the NYTimes was besotted with her. He proclaimed "...not only the greatest ballerina in the world, but very possibly the greatest that ever lived." He was a bit carried away! To her credit, though,she was quoted as saying: "That's all well and good...it's easy to write that, but it is I who has to live up to it". I suspect she enjoyed the accolade. One of my reservations about her is that she performed like she believed it.

One balanced assessment of her I have read was written by Edwin Denby---"Impressions of Markova at the Met", Dance Mag. Dec. '52. He commends her for her weightless descents, the slender feet, her beautiful phrasing, her mime, her stage presence. All true! (She used these gifts to perfection in Tudor's 'Romeo and Juliet')

The actual ballet technique was another matter. Both Danilova and Fonteyn danced well past their prime, but still had much more than a modicum of technique and did not have to rely solely on reputation. Elevating one's leg to a 45 deg. angle might be OK for a Romantic ballet, but it doen't work in the 'Nutcracker' PDD, 'Firebird' or 'Swan Lake'---all staples of her performances. Denby states: "She cannot keep a brilliant speed, sustain extensions or lift them slow or high; leaps from one foot begin to blur in the air, her balance is unreliable."

When Denby wrote this in 1952 she was 41 years old, but much of this was in evidence when I began watching her in 1944. This was my frustration in watching her perform. But, I had friends who adored her, and were willing to overlook anything.

Wilma Curley

I am currently reading Deborah Jowitt's biography of Jerome Robbins---the third book I have read about him in the past three years. The other two were the Greg Lawrence biography, "Dance With Demons" and Christine Conrad's "That Broadway Man, That Ballet Man".

Whenever I read about Robbins my thoughts go back to Wilma Curley. I knew she had passed away but didn't know when. I found an obituary on the Web and learned that she died on October 16, 1999; her married name was Harrison; she had two sons and two grand-daughters. She was 62 years old. She was invaluable to Robbins as a dancer and later as an assistant and friend.

I knew Wilma as a child when she studied with George Chaffee in the late 1940's. Wilma's mother, who brought her to class three times a week, was the absolute antithesis of the pushy ballet mama. She was a modest woman, and was friendly and well-liked by the other students. Having known her as a child, the qualities that later made her a favorite of Robbins were very much in evidence. Technically, she could "do anything" and "try anything". Her slim long legs were well proportioned and she could go on pointe with very soft shoes. But what was really unique about her was her matter-of-fact attitude to Dance. Her view of ballet was unsentimental; she was not the little girl who dreamed of a pink tutu with a tiara on her head. As a youngster she could appear to be lackadaisical. I think it was this very quality that enabled her to get along so well with Robbins. Greg Lawrence in his Biography says "....she (Wilma) is one of the few who were never intimidated by him..." This quality of indifference enabled her to cut through the pomp, even as a child.

As can sometimes happen in a small ballet studio, the private life of the teacher can interfere with the stability of the class to the detriment of the students. This was the case at our Studio in late 1948. My friend and fellow student Ben Harkarvy and I were planning to leave and we both approached Mrs. Curley and urged her to take Wilma to the School of American Ballet. Mrs. Curley was reluctant at first; she was fearful of offending the teacher. But we did convince her that Wilma had a great talent that would be wasted if she was not in a more competitive atmosphere--and in a place where her gifts would be ultimately realized. (I, too, went to SAB, ---but that's another story which I might tell some day). Whenever I read of her in a Robbins biography, I smile a little when I think of how I helped bring her to his attention.

Actually, some one in the Robbins family did come in contact with Wilma in January of 1948. Robbins' sister Sonia was at a ballet concert given by George Chaffee in Manhasset, Long Island. She danced under the name of Wilma Frances and performed a solo in a Chaffee ballet to Handel's Alcina Suite, "Vignettes". (One of the dancers in the group was a nanny to Sonia's two children; I also took part in the performance).

September 18, 2004

Tamara Toumanova---she was 'drop dead' gorgeous on the stage.

I finally got to see this DVD through my library. I had never seen the Patrice Bart version---and all I can say is wow It's not the sort of version to see on Mother's Day. Is this the version now being performed at the Paris Opera---do any other companies perform this? I was completely engrossed with the telling of the story; but, then, I am on the side of any choreographer who dispenses with the tutor and jester in Act 1. The opening scene startled me--I wondered if I was watching a Tudor ballet that I had somehow missed. I liked the Edwardian costumes, but found the tutus too bouffant---all that fabric took away

from the dancers' line. Oliver Matz as the Prince was quite good--beautiful line and feet; Steffi Scherzer is a big beautiful dancer with lovely long languorous sweeps of the leg. And yes, Herman Stevens---those sissones into arabesque in her 2nd Act Variation were exceptional. I found the lighting to be good--the costumes were light colored against a dark background and it was easy to see the dancers. All this and Barenboim, too.

Peter Boal in 'Apollo' (the definitive Apollo for me)

Ansanelli's Colombine (Wouldn't she be great in Fokine's version)

Ananiashvilli in 'Ballet Imperial', 'Swan Lake' and 'Raymonda' (she almost redeemed the production for me)

Sylve Guillem in 'Marguereite and Armand'. (I always found this work to be too melodramatic (and, yes, corny), but her intense performance elevated the ballet into drama.)

I was struck by what Peter Wright said about how "Aurora" should be interpretated in each of the Acts---In Act 1 she should be girlish, in Act 2 remote and womanly in Act 3. These are the qualities I missed in Silve's performance. I can sympathize with him, however, he was probably recalling Fonteyn. I did, however, enjoy the technical aspects of her dancing very much. I was disappointed in the camera work---most of the time I felt as though I was sitting in the 'cheap seats'---I had the urge to reach for my opera glasses.

One thing I must add---the excerpt of Silve dancing 'Dewdrop' is worth the price of the DVD.

Thanks--we appreciate the kind thoughts from our European friends....

KFW - thanks for the New Criterion review--it's the best one I have read and it neatly puts Ms. Bentley in her place.

I usually move every 15 yers or so, and there is always somebody around who will say to me "Do you REALLY need all that stuff?" I guess I am ready for another overhaul---I have been living in this location for 19 years---when I moved here I sold two huge boxes to the Ballet store near Lincoln Center--and I have more than made up for that loss.

Willful and manipulative?---I would like to hear from the ballerinas who had to share the stage with Fonteyn during her reign at the Royal Ballet.....

I'm going to pull my final observation from the thread on A Week at the Royal Ballet:

It’s not that the performances are bad, but there is no dancer or dance I can point to and say, “I think that’s how Ashton envisioned it.”

Did Ashton really have a style before he started choreographing for Fonteyn? I have always felt about Ashton that it was she (Fonteyn) who gave him a style--and it was all about her particular way of moving. (With Balanchine and Farrell it was the opposite---he gave HER a style). Daneman touches on this in her book when she quotes Ashton as saying "Had I not been able to work with Margot I might never have developed the lyrical side of my work. As it was, it developed into a personal idiom". When I saw ABT's revival of "Symphonic Variations" recently, the ballet cried out for Fonteyn---and perhaps we won't see the Ashtonian style until we have a clone of Fonteyn.......He took her attributes and turned them into his Style.

Thank you, Dale.  There was nothing about a note?  I wonder if I'm mixing up someone else's NY Giselle debut with Markova's.  (who? Danilova?? Fonteyn?  I could have sworn it was Markova).  I believe I read "Giselle and I" rather than the "Markova Remembers".

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The incident you refer to is in Maurice Leonard's book "Markova The Legend". It is very lively reading (all you need is to put Serge Lifar in the mix). Leonard fully covers the 'costume' scandale and then goes on to her debut in New York (with Lifar, who was still smarting over the 'costume' incident). Someone thrust a note into Markova's hands---"Don't dance Giselle tomorrow night or....." Danilova and Hurok warned her not to be alone for the evening---and along with Danilova, Franklin and Youskevitch went to a Rodeo (not the ballet, but a genuine event at Madison Square Garden). Nothing sinister happened but she spent the night with Danilova....Next day she told Hurok to let Toumanova dance...he refused but implemented a full-scale security alert and omitted the trapdoor.

It gets better---Lifar used real lillies in Act II which could be slippery....and on the se cond performance in Act I, as she sat on Lifar's knee, he slipped and Lifar rolled on top of her and crushed her foot....without telling the audience, Slavenska showed up in Act II---a brilliant redhead. (I saw Slevenska in later performances of Giselle and I can attest to the brilliance of her hair; a sexy terre-a-terre dancer)

Do we have any performers today who could compare to this skulduggery?

If I were more 'computer savvy' I could post by 'blog' comments on Markova here; I saw quite a lot of her in my early years of ballet-going---in fact, she was the first ballerina I ever saw on stage...the comments can be found at Google by typing in: Alicia Markova Ruminations.

A side note, Michael Bloomberg has always been very generous in supporting the arts with his personal money. Additionally, he has directed public funds to public arts projects more than any recent mayor.

What's a Republican running for re-election in a Democratic City to do? Am I cynical---nah! ---but--take the money and run.

Thanks so much for your observations---I guess the Spassov is better than nothing at this point, and the Amazon price is fairly cheap---and I will probably buy it while waiting for something better---it will make good listening in the car.

I have just read your 'sledgehammer' review and I have hastily shied away from the recording. You mentioned an 'original' due to come out---has it? I also listened to a disc of Bayadere/Paquita by Boris Spassov (Capriccio 1996). It sounded good to my ears, but I am not a fan of the 'Paquita' music; I would have to see the dancing to subject myself to the score. What is your opinion of this disc?

MJ,Nov 29 2004, 02:16 PM]

I never go to BAM, I'm not familiar with Brooklyn enough.

I was a regular subscriber to BAM in the 70's...it was there that I caught up with the regional companies---particularly Pennsylvania Ballet and SF Ballet--and it was also at BAM that Baryshnikov first performed (with Kirkland in DonQ PDD)---but alas, with the advent of Harvey L. these companies were booted out for his "New Wave" extravagances----

I was really looking forward to seeing this play; I thought Frayn's "Copenhagen" (which only had four characters) was a powerful play. Democracy is about Willy Brandt and Frayn has ten characters. It was a big hit in London, but I and the three people I went with were disappointed. Brandt was a very charismatic leader, but he did not come off that way. I am not sure if it is the playwright's fault or the actor (James Naughton)---I am inclined to think the former. I wonder if anyone saw the London performance? One of the best actors in the piece was Richard Thomas (yes, John-boy, and Barbara Fallis' son). His character was somewhat of a nerd---and he brought to mind Stephanopolous.

I have the Makarova 'Ballerina' tape which I have just zapped through looking for Nerina---but she wasn't on it. I taped it off of A&E, and I noted on the tape that it was Parts 2, 3, and 4. From what you have written Dale, the only part I do not have is "The Importance of Versatility".

My nomination is Felia Doubrovska---alas, I never saw her on the stage, but I did watch her teach a professional class at SAB. I thought I was there to watch a prominent ballerina take class---but I could not get my eyes off of Doubrovska. She was wearing a filmy chiffon tunic and looked as magnificent as she does in those old photos. My heart went out to the 'prominent ballerina'---she was no match for Doubrovska.

Alonso was the original lead in Theme and Variations.  Considering that role is still considered a test for the modern ballerina, I'd think she'd fit in.

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The only ballerina I saw who was as impressive as Alonso in this role was

Asylmuratova.

Canbelto--I wrote long essay (for me!) about Alonso on my blog--you might like to read it.

http://ballet.blogs.com/ruminations.

Are there any videos of Nadia Nerina?

This was a bit before my time--but I would love to see it. The rest of the original cast included Marc Platoff (Platt) and Nathalie Krassovska. Grace Roberts wrote the following of the performance:

"Alexxandra Danilova gave a delightful account of the Daughter. Alicia Markova occasionally performed this role. Perfect technically, her interpretation lacked the exquisite emotion of Danilova's. Frederic Franklin had in the Beggar a role that for suitability and charm were not equalled in his repertoire until the advent of 'Rodeo'"

daneman appears to be the Kitty Kelly of ballet biography. I am at the halfway point, and it has been an uphill climb...I was looking forward to her explanation of her marriage---but I am at that point now, and I have stopped reading for a while---I can wait for what looms ahead!

I do think Daneman was a bit carried away in describing Fonteyn's American debut. Writers tend to take this episode 'out of its time'. It's very true, Fonteyn's reception was tumultuous---BUT, in 1949 New York was welcoming back its wartime allies. During the war years New Yorkers saw thousands of servicemen from England, Australia and New Zealand and they were looked upon affectionately as 'our boys'. It was more than "The Sleeping Beauty", and I really believe that if Moira Shearer had been the Aurora on the first night---she would have received the same adulation.

If not, I;m getting a converter and transferring my videos to dvd somehow.

I have always been curious of how this transference works----aside  from the better clarity of DVD, the feature I like most is being able to jump from one ballet, or scene to another quickly---is this feature still intact if you transfer from a tape to a DVD--?  I am inclined to believe it is not.