atm711

All the high praise for Danilova's Swanilda is not in the least over-stated. Her 2nd act toyshop scene was pure delight. I loved her nonchalance towards Coppelius when he was trying desperately to please her; and then teasing him unmercifully as she broke into a Scottish or Spanish dance. Of course, she was also fortunate to have Frederic Franklin as her Franz. Over the years I have avoided most Coppelias--but I regret not seeing McBride--I think she could have competed favorably with my remembrance of Danilova.

I have always felt that Alonso was the "Great American Ballerina"-- probably because her early career was in the US--she performed in musicals, and eventually joined the newly formed Ballet Theatre as a soloist and received her greatest acclaim here in the States.

I was also at this performance, and I can't add much to what you said. You are right on the mark. McKerrow was indeed a lovely Cinderella, and Gillian Murphy was excellent (and I am looking forward to her Swan Lake). Steifel did not look too comfortable in the role of the prince. (The fact that he looked like Macauley Culkin did not add to his performance). There was too much buffoonery in the step-sisters, and I was doubly offended because I remember Ashton in the role.

I feel high extensions are appropriate when they add to the drama and excitement at hand:

In the Black Swan PDD--when the prince takes Odile's hand and supports her in a developpe at la seconde (10 to 6 simply won't do here)

Also, in the second movement of "Symphony in C"--a slow developpe reaching into infinity can be quite beautiful here.

One of my regrets is that I never saw the mature Beriosova. I saw her many times when she was a teen ager in pas-de-deux classes at the Vilzak-Shollar school in NYC. We all expected her to be a world-class ballerina.

Toumanova's first movie was in 1943 with a script written by her husband, Casey Robinson. Her co-star was Gregory Peck in his film debut. I know the movie you speak of, I saw it recently on TV. Toumanova was my first "Giselle" (with Anton Dolin), but one night during the season expectations and excitement reached a crescendo when she performed the Black Swan PDD.

[ 05-05-2001: Message edited by: atm711 ]

I guess what I am really complaining about is that ABT has squandered its heritage. For me, there has never been another Company with such choreographic wealth. To paraphrase Marlon Brando---"They could have been a contender!!" No one, anywhere (not even NYCB) could have competed with their repertoire. I enjoy comparing Odettes, Auroras and Giselles as much as anyone but I also like the Hagars, Lizzies and Medusas.

Whenever ABT comes to town and I look over the programming I am always reminded of their glorious past---where you could go to a performance (and on ONE evening) see a Tudor, a Robbins, a deMille, or a Balanchine. Nowadays it's 6 Giselles in a row, or 6 La Bayaderes, or 6 Merry Widows. I know all about their so-called mixed programs at City Center in the fall...but warmed-over Graham or Tharp simply does not fit the bill for me.

Am I alone? or are there more disgruntles out there?

I guess I am still mumbling and grumbling (and missing very much) what American ballet companies once danced.

I saw this production at its premiere, and the best description of that night can be found in Jack Anderson's book "The One and Only: Ballet Russe de Monte Carlo". It looked like a 'shoe-string' production. The only good thing about it was Danilova's dancing. We came to what we felt was a 'chestnut' with eyes that were attuned to Tudor, Robbins and Balanchine. The story was ridiculous and Frederic Franklin in armor was truly funny.

I guess we have retrogressed.

I hope I can do Youskevitch justice by trying to describe him. Bruhn probably admired his refined demeanor. Where Bruhn had a lyric elegance, there was a masculine simplicity about Youskevitch's classicism. During the war years whenever he was on furlough from the Navy he performed with the Ballet Russe and I saw him in Massine's Le Beau Danube and also performing the ribbon dance in "The Red Poppy" However, I saw him mainly with Ballet Theatre. At th e time he fit beautifully into the Company--there was simply no other Danseur Noble around (my apologies to Anton Dolin!) He had a good, clean technique, but not an elegant one (such as a Malakhov). He was a most wonderful Albrecht to Alonso, and he was the only Albrecht I saw who (in the 2nd Act) would catch in mid-air the lillies Giselle threw over her head. With a lesser dancer it could have looked like a circus act. One had the feeling that anything coming from Giselle must never be allowed to touch the ground. It invariably amuses me when most Albrecht's have to scurry and bend down to retrieve the lillies.

I agree with you completely, Alexandra, about "Theme". Balanchine captured his qualities beautifully. And that wonderful diagonal with the tours and pirouettes was what he was all about. He also took on Tudor in "Shadow of the Wind". The ballet was not a success at the time, although I'd love to see it again.

Also, there is the Gene Kelly (1952) movie with him--"Invitation to the Dance"

A tough question--"Who is most like him today?---I have my eye on Belotserkovsky.

In the 40's and 50's:

Alonso and Youskevitch

In the 60's and 70's

Fracci and Bruhn

In the 80's

Makarova and Baryshnikov

So far, no one in the 90's has captured my loyalty.

Mme. Hermine and Roma--thank you. Please contact me if there is a copy out there!

In her book, "Dancing on my Grave", Kirkland writes of a "Live From Lincoln Center" performance of herself and Baryshnikov in "Theme and Variations"; also on the program was Bujones in the "Don Q" PDD. Does anyone know anything about this Video?

I saw the Miami Ballet last week at C.W.Post College on Long Island. I particularly liked Eric Quillere in "Four Temperaments" (Phlegmatic). We also saw Villela's work in progress -- "Mambo No. 2A.M." It will eventually be a 4-act ballet ab out 4 distinct social periods and the style of dances that signify the age. We saw the 4th act and it was a real crowd pleaser. The wonderful latin rhythms were by Pedro "Cuban Pete" Aguilar. I wonder if this is Villela's answer to "Four Temperaments"?

I have always felt that Albrecht should have the decency to leave the stage. I could never understand why Giselle's mother would condone his clutching of her dying daughter.

Perhaps John Mueller had Lynn Seymour's Giselle in mind when he made his accusations. In the video with Nureyev they appear to be pretty familiar with each other.

Wonderful! Wonderful! It couldn't happen to a more deserving fellow.

I have a copy of Alex Gard's "More Ballet Laughs" and there is a great cartoon depicting a production of "Giselle" for the Marquis de Cuevas' Company---Ballet International. Vera Nemtchinova (the Giselle) is being coached by Boris Romanoff, Anatole Obukhoff and Anton Dolin on the proper way to stab herself with the sword. So, it would seem to me, that these three august teachers agree it was suicide!

On the question of the burial site...if, indeed, Giselle is really "out-of-her-mind" at the time of her demise---she can be buried in the Churchyard.

I saw the Moscow Festival Ballet perform "Don Q" at a Long Island college a couple of weeks ago. Marina Rzhannikova had the necessary spirit and technique for a fine Kitri. All the female dancing was strong throughout the ballet...I would love to identify them by name, but the program gets too muddy for that! On the whole though, the male dancing was sloppy.

Gregory always seemed to me to be "selling" herself to the audience in the worst possible way. She never gave the audience a chance to discover her on their own. She was always "in-your-face". To me, she seemed to be saying "Look at me! Here I am! Did you ever see anything this great!"

Gregory's complaint about being overlooked because of Makarova is nonsense. As young ballerinas Alicia Alonso and Nora Kaye managed to have a devoted audience (and Press!) despite the guest appearances of Toumanova and Alicia Markova.

Alexandra, I'm so glad you mentioned Danilova'a Myrtha. When I read comments about this and that ballerina and their interpretations of Myrtha--I have never commented--because I really hate to say---"You should have seen......" I only saw her do it once and it was near the end of her career---but her TOTAL command of the stage is something rarely seen today in Myrtha.

Alexandra, I'm so glad you mentioned Danilova'a Myrtha. When I read comments about this and that ballerina and their interpretations of Myrtha--I have never commented--because I really hate to say---"You should have seen......" I only saw her do it once and it was near the end of her career---but her TOTAL command of the stage is something rarely seen today in Myrtha.

Ed Waffle---I saw the Met performance of Nabucco last night--and my only sour note are the designs of the sets by John Napier. It's a wonder the artists didn't break their necks trying to manipulate all those steps. It's too bad Napier didn't immerse himself in Asyrian art for his inspiration. The Sets were much too high. I was sitting in the back of the orchestra under the box-seat overhang and there were at least 15 rows of expensive seats that could not see the top of the set.

As to Guleghina--both critics had a valid point:

Guleghina was both visually and vocally gorgeous---and even to my un-trained operatic ear, she did "crack" at some point--but it certainly didn't lessen her performance for me.

The critic who criticized "Va, Pensiero" was probably half asleep---what a thrilling, sublime performance!--and Levine repeated it.

I must get a "ballet" reference in here---while listening to the overture I couldn't help thinking--"What a wonderful substitute this music would be for Giselle"

About those Wili dresses made of Cellophane....I suspect it might have been the Mordkin Ballet's production with Lucia Chase...(Ah-g-g- another "Giselle from Hell")