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Everything posted by atm711

  1. I would nurture Choreographers---perhaps set up something similar to the McDowall Colony for composers. I would supply them with a theatre and a live orchestra and plenty of dancers and set them to work in a relaxed atmosphere.
  2. atm711

    Lucia Lacarra

    When I started this topic about Lacarra I was looking for comment on an article that appalled me...here was a critic giving his views in a very partisan way and them admitting that he had never seen her complete "Swan Lake". That said, the discussion turned into the proper height of an extension. The height of an extension is not an issue for me--it's the way it is executed. I favor the slow unfolding of the leg that uses up the entire musical phrase until the extension is achieved. Not for me the ...one...two bang I'm there...and hold the position until the musical phrase ends. Yes, I am a Makarova fan.
  3. Alexandra writes: "Serenade does not look like a 70-year old ballet because the audience still believes in it...." I wonder what the audience of today would think of it if they could see the way it was performed 50 years ago? Nothing has changed in the choreography in all these years but it looks like a different ballet--thanks (or not?) to the flowing hair and gossamer dresses and the softer lighting.
  4. atm711

    Lucia Lacarra

    It could be a case of: "Those who can . . . . . Do "Those who can't . . . . Teach" The Genie is out of the bottle and I doubt if it will ever be put back in.
  5. atm711

    Lucia Lacarra

    It could be a case of: "Those who can . . . . . Do "Those who can't . . . . Teach" The Genie is out of the bottle and I doubt if it will ever be put back in.
  6. atm711

    Lucia Lacarra

    Thanks, all, for your comments---although I enjoyed Michael 1's wit. Lacarra is dancing in New York at a Gala on Feb 11---my chance!---but, no, the steep prices ($125 top to $65low) have turned me off. While I welcomed the opinions of Lacarra's dancing, I was surprised that no one commented on the style of the writer's comments. After reading, what I felt was a very biased article, my first reaction was to spring to the defense of this dancer that I had never seen! It seems to me that any ballerina who does not fulfill Mr. Parish's fantasy of what constitutes a ballerina is worthy of the worst kind of bashing. . [ February 03, 2002: Message edited by: atm711 ]
  7. atm711

    Lucia Lacarra

    My fall issue of "Ballet" arrived today and I still can't believe the candid remarks of Paul Parish in writing about SFB style. I have never seen Ms. Lacarra dance and can't add any comment of my own, but his following observations rankled me... "Lacarra has imposed her image, her will and her perverse intelligence on SFB and became a prima ballerina of a Company she cannot inspire" "....her lines are simply unbelievable (it looks like she demoralizes the Corps, who know full well they do not look like that and no amount of training will make them look like that). I guess Mr. Parish is also a psychic. There's more: "Her dancing is unmusical by American standards to an astonishing degree--perhaps because it is so premeditated". "Lacarra is not interested in movement, but in imagery....while half the audience is swooning, I find myself thinking, Oh there's that leg again, wait, no it's the other one, she's not dancing, I'm bored". He goes on to criticize her Swan Lake: "Lacarra's unrelenting seductiveness seems to me not only out of place, but also diametrically opposed to central aspects of the role--it was as if she herself confuses Odette and Odile and can't tell the difference" But--a couple of paragraphs later he says: "I have not seen Lacarra in a complete Swan Lake, only the white swan PDD, but I found myself so upset as she 'worked' the role that I had to look away" Good Grief! when did he see enough of her Swan Lake to render an opinion? Apparently, he did see The Sleeping Beauty" "In The Sleeping Beauty, without doing anything objectionable, she created no world; in fact everybody else looked like furniture (they also danced rather badly). The fairies, the suitors, her parents...only Prince Desire drew any energy from her. She held her balances, her positions were sumptuous, but the feeling, such as it was, was all wrong--elegance, but no ease, no high spirits. Aurora should have a glorious mind, like a heroine in Shakespeare or Tolstoy, and be the hope of her people, not a trophy. Aurora as "Anna" or "Viola"? Nah. I have never seen Lacarra dance but the photo of her accompanying the article is exquisite. She has the physique of a Nadezha Pavlova. I would like some comments from people who have seen her dance, and especially those who have seen her and also read the complete article.
  8. The best one???The original dancer it was created for--Alonso. I shall never forget her in that brilliant yellow tutu "en attitude" promenaded by Youskevitch. Many years later I saw Assylmuratova who was just as satisfying in the role. A successor to Youskevitch is harder to come by. Balanchine used his technical talents so brilliantly and by so doing captured the essence of his dancing --- his manner, his bearing, and, yes, his manliness.
  9. Ah-h-h...old programs--a very touchy subject for me. About 15 years ago I moved to a smaller house and something had to go...old programs dating back to the 40's--a complete collection of Richard Buckle's magazine, "Ballet"---a book of Gordon Anthony's Camera Studies and others too painful to remember. (I sold them to the Ballet Shop in NYC) I have tried to make up for my rash decision by adding 50 books to my present collection.
  10. atm711


    I saw the Balanchine-Danilova version ofRaymonda in 1946---at the time I had been a ballet-goer for only a couple of years--and was completely immersed in Tudor, deMille and the "Concerto Barocco" Balanchine. I was not ready for this "Chestnut". There were a few memorable moments, particularly the Saracen's dance performed by Leon Danielian--and the marvelous Danilova in the Czardas--and the real saving grace---the Glazunov score.
  11. Gillian Murphy's debut in Swan Lake.
  12. Drosselmeyer has always been a disturbing figure for me. It was never more so than when I saw on TV this week the Pacific Northwest production. His lascivious leers to the child Clara should land him in a child abuse case. But I don't want to single out this production alone---it's all there in NYCB production, too. Merry Christmas, indeed!.
  13. Anatole Bourman wrote that Nijinsky book and it is not highly regarded.
  14. On C-Span this morning I heard the NYTimes writer who has been putting together the short biographies of the victims of the WTC that have been printed in the newspaper on a daily basis state that she knew of a modern dance work that focuses on the many portraits of the victims that have been displayed on store fronts. I'd like to know more about it.
  15. Patricia, I, too find it hard to watch other dancers perform the roles you cited. It's the post-Bejart Farrell that I miss seeing. It was her cool exterior (with restrained intensity!), and her penchant for rarely smiling that attracted me to her. Farrell was never "about technique"--although, to be sure it was formidable. I rarely thought about the "steps" when watching her.
  16. atm711

    Henry Danton

    Chujoy's Dance Encyclopedia lists the following about Henry Danton: (real name, Henry Down), dancer b. Bedford, England, 1919. Educated at Wellington College and Royal Military Academy (Woolrich). After three and a half years in military service started to study dance (1940) with Judith Espinosa, Vera Volkova, Victor Gsovsky, Egorova, Kniasief, Rosanne. Soloist "International Ballet" (1942-43) dancing Prince (Swan Lake), Les Sylphides; Sadler's Wells Ballet (1943-46), dancing Florestan (Sleeping Beauty), The Rake's Progress, Les Patineurs, pas de trois from Swan Lake, Les Sylphides, etc. Created Dragonfly (Spider's Banquet), role in Symphonic Variations. Left Sadler's Wells in 1946 to continue studies in Paris. Has also appeared with small ballet companies. This Encyclopedia was published in 1949.
  17. I am so sad for my beautiful City. I approach Manhattan by ferry and I have never taken for granted the beautiful NY harbor. As we approach Manhattan there is the Statue of Liberty, and then Ellis Island and finally the awesome NY skyline and the pristine World Trade Center towers. I can't believe it will never be the same again.
  18. Les Sylphides is my only choice. The first time I saw it I was sitting way up on the fourth level of the old Met and I was immediately struck by the beauty of his many groupings. Fokine made it all look so easy!
  19. atm711


    I can see where one can put one's life in jeopardy on this web-site for any criticism of Fonteyn. Something you didn't know Lu when you expressed your opinion and that is that Fonteyn has been all but canonized on this web-site. A long time ago Beaumont wrote of Fonteyn: "Fonteyn's dancing is always ordered and restrained. She moves within an ambit determined by herself and is seldom carried out of it by the emotion born of a moving situation. Fonteyn has vitality, but not fire. You never feel that her whole body pulsates and burns with the desire to dance...." I saw Fonteyn dance "live" many times, starting from her first American appearance in 1949, and down through the years. Beaumont's description sums it up for me. Somehow, I have never judged a dancer by commenting on "placement".
  20. Itwas a pretty superficial look at Stalin, Lubyanka and the Bolshoi. One was reminded of the awful political ballets they were doing, and it set me to thinking why we in the west, at the time, had such a high opinion of the Bolshoi. It was Public Relations at its best.
  21. My vote is for the Diaghilev years -- all 20 of them.--If I can pick a few years here and there, I would love to see Spessivtseva's Giselle and I would really like to re-visit Ballet Theatre's 1944-45 season. There's always "The Twilight Zone".
  22. Universal Ballet's "Bayadere" must certainly qualify as the most sumptuous production around. If it's costuming and props that capture you--this production is for you. The two ballerinas -- Eun-Sun Jun (Nikia) and Seh-Yun Kim (Gamzatti) turned in "nice" performances (would it be better to say "commendable"?) The latter has a more bravura technique and attacked her variation in Act II with much verve, while Eun-Sun Jun is the more lyrical. (Makarova, Assylmuratova and Bussell are hard acts to follow!) The much touted "Shades" scene left me with a few reservations. There were too many distractions---the 32 entered on a 2-level cumbersome ramp while a panoramic back-drop filtered clouds and mist across a moon-lit sky. The entrance was performed behind a too-dark scrim, which made the scene look murky. The serenity of the scene was missing for me. It wasn't until they were all in place that the scrim was raised and we could see the pristine whiteness of the costumes. As to the "Corps"--there were many rough edges--perhaps it is too much to expect 32 to dance in unison.
  23. Quoted from the LA Times article: "Adrienne Dellas-Thornton (founder of UB) insists that, despite her membershipin the Unification Church her association with Universal Ballet has always been professional, not religious. Company officials are equally adament that it's a dance organization, not a representative of the church"----It seems to me that the lady doth protest too much. Cults, or supposed cults, leave a bad taste in my mouth. I have a dear family member a part of one to this day--and it tries any means to seem "respectable" and boasts of many prominent Hollywood people in its membership. However, all this talk has not prevented me from seeing "La Bayadere", I already have my tickets. (I must have a touch of larceny in my heart--the lower prices lured me)
  24. I got my tickets to La Bayadere hoping they were not sponsored by the moonies--I hope you are correct, Alexandra. I became suspicious because the price of the orchestra seats are $50. which is quite low for the New York State Theatre. [ 07-23-2001: Message edited by: atm711 ]
  25. I was at the Thursday night performance and from what I have been reading, I suppose I am one of the few who actually liked "Amarcord"--it had the same strong impact on me that I felt the first time I saw "The Green Table". I loved the family dinner scene, the Confesion scene, the party scene with the Glenn Miller music--and Gradisca's lovely theme music melted me! (Perhaps one has to be Italian to like it). I must also commend Sabrina Brazzo, a ballerina I would love to see again. In October of 1950 (on our first date) I took my future spouse to see "Carmen" with Jeanmaire and Petit, and since we have just celebrated our 50th Wedding Anniversary this past Saturday we thought it would be fun to revisit "Carmen" together. I felt Durante was too predatory (she could have been dancing "The Cage")---when Jeanmaire and Petit danced that pas de deux there was a softness and vulnerability evident in both of them. With Durante (although beautifully danced) there was a disinterest, and one expected her to be paid for her services My spouse's comments?--the program was "better than Balanchine". I think I will need another 50 years to work on a conversion.
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