Cygnet

All dancers must have a certain amount of flexibility or they would not be dancing professionally. Some have more in one area than other areas, and some have it in all areas. Those with extreme flexibility can be very beautiful IF it is kept in alignment and control. If it is allowed to go to it's most extreme at all times, I feel that it is disconcerting and inappropriate.  If one has it, and can use it in contemporary work to advantage, and control it in classical work, more power to them. But a lot of that is in the direction and the teaching too.  A "six o'clock penché" in Giselle or Pas de Quatre is not appropriate, however, it could be quite wonderful in a Forsythe work. A dancer with this ability is more versatile, but only if she she/he responds to direction and the director has taste, knowledge, and respect for the classics.

Ditto that! I totally agree! Great post!

In Soviet times, the Bolshoi and Kirov had full child-care facilities

for their staff, opera and ballet personnel. Does anyone know if they still have them today? That doesn't sound like these companies discouraged building

families. The Kirov in particular has always been a family theatre, (and to some

extent the Bolshoi as well, as someone has already pointed out with some famous names). S. Lunkina of the Bolshoi is a new mother.

Some others that I can think of at this moment are Irma Nioradze, Altynai Asylmuratova, the Panovs, Olga Tchyentchikova, former Bolshoi ballerina Ludmilla Semenyaka, Zhanna Ayupova, Karsavina (her father Platon Karsavin was a character dancer), Kchessinkaya (her father Felix was considered the "Father of Character Dancing"), and Pavel Gerdt and his family which produced the great soloist and teacher Elizaveta Gerdt. Gerdt taught Shelest, Maximova and Plisetskaya. Like Plisetskaya and Ulanova, Spessivtzeva and Pavlova never had children. Does anyone know if Komleva or Terekhova had children? This may be slightly off topic but Baryshnikov is a grandpapa .

My DD was asked to perform a variation from Giselle as a solo at her summer intensive.  As I am a parent, not a dancer, I don't know which variation it is, although I do know it is from the first act.  DD has asked me to purchase a video/DVD of this ballet for her collection of ballet videos. 

I looked at the kultur video website, but there are several for sale, and I don't know which would be best.  Any suggestions are very welcome! B)

I have Kultur's "A Portrait of Giselle." If its available go for this one. This is a

collector's item. It features Sir Anton Dolin coaching Patty McBride for her first Giselle with Helgi Tomasson. Dolin also has in-depth interviews with Makarova, Karsavina, Fracci, Ulanova, Spessivtseva (!), Markova, Alonso and Chauvire on their interpretations and memories. There are snippets of performances and old photographs of each ballerina. Covers every detail you could wish for. Each ballerina is showcased from their first entrance, the Act 1 variation, the Mad Scene, to Act 2's end. The strength of this video is that its a time capsule and you can compare each one of these legends. Hidden gems: There's an old clip of Spessivtseva in the Act 1 variation and her mad scene! Makarova is shown in studio rehearsal with the late Alexander Godunov in the Act 2 ppd. Dolin and John Gilpin visited Spessivtseva in her rest home. When she spoke she was the link between the 19th & 20th centuries. She explained that she taught Dolin the ballet, and that they were partners in it as well. Dolin tells her that after Ulanova danced her first Giselle in London, that she asked him, " 'how did she compare to Olga Spessivtseva?' " Olga explained that, " . . . Ulanova's mother brought her (to) sic look at me," - now that's continuity. When told that Karsavina asked him to inquire as to how she was, Olga replied: "Mara, (sic) beautiful lady - best dancer, best woman." IMO the only flaw is that

Maximova and Bessmertnova are omitted, but it's still more than anyone could

hope for. Great ballet documentary!

For me, the devil's in the details: Principals, coaching, corps de ballet uniformity, beautiful costumes and scenery, close to complete step/mime text, and music values. I've seen the Peter Wright, O. Vinogradov, San Francisco Ballet and NB of Cuba productions.

at the same time, leigh?  now there's a ballet....ok back on topic now (bad girl)...

I think Matthew Bourne and AMP has already gone there. His book reminds

me of the song "I Wanna Talk About Me."

Disorder in and around Giselle's head?  

I much prefer the Fracci method.  I hate it when the hair becomes the star of the last third of Act I. We first see Giselle in a tight, neat, little bun.  But at her last entrance, the bun is a little looser.  Then there's the whole production of undoing it so that the hair falls.  Too much unnecessary stage fuss distracting from the action, to my mind.  

I agree Cabro. Fracci was brilliant. There's one ballerina (that I know of), who has (had?) the affectation of wearing her hair down throughout Act 1: D. Vishneva.

I think that makes her look about as innocent as Jennifer Lopez. Maybe she's

stopped doing this.

Re: your first point, I've always wondered what 'flavor' is Giselle's psychosis? Is she paranoid schizophrenic, delusional, or just a 'buffet' of insanity? I also agree with Mohnurka's conclusion that truly great dance actresses can illustrate those nuances and successfully get the point over whether the 'do' is up or down. What works for one doesn't necessarily work for another.

On film:

Cynthia Gregory -- which sparked my passion for ballet.

Fonteyn -- black & white and color films of Rose Adagio.

No Aurora, in my opinion, has ever been so magical as Fonteyn's. She owns the role.

Kolpakova -- Radiant and pure

Durante -- Nothing special

In live performance:

Susan Jaffe in Act III -- terrific technically but ho-hum otherwise.

Live: Lesley Collier, Marguerite Porter, Asylmuratova, Vishneva

Tape (*= Full performance): Margot Fonteyn, Merle Park*, Veronica Tennant*, Gabriella Komleva, Cynthia Gregory*, Carla Fracci, L. Lezhnina*, L. Semenyaka*,

Nina. Semizorova*, Irina Kolpakova* , Viv Durante*.

I agree with you regarding Viv's performance. The scenery and costumes didn't help either - (anyone remember the 1994 Covent Garden production )?

For me, Kolpakova was the best. It looked like she kept a perfect turnout for 3 hrs and 30 minutes. As a result you could see the pattern in every enchainment. Radiant, pure, and I'll add crystal clear. Extraordinary ballerina.

You know, I can't remember, who, what, when or where, but years ago I too heard that phrase about 'horizontal' and 'vertical' aspects of the two systems. Here goes. Horizontal? My thought is that the upper body is taught from day one to sing and address the heavens while the lower limbs are taught to execute the steps in a very formal (academic) way. Vertical? The arms, legs and feet are taught to move with the greatest mobility with the main emphasis on speed. Makarova once said in that she would always want the tempo slow enough to (sic) "make body to sing." Whereas Balanchine could calculate how many minutes it would take to dance a work. This is probably as clear as mud. Its hard for me to explain; I defer to vrsfanatic's experience at the V Academy. Am I

in the ballpark or completely in outer space?

I think the full-length -- and one-act, too -- Swan Lake that NYCB dances were conceived as vehicles to suit the company and not intended to extend the dancers' stylistic range significantly.  The full-length neither looks nor feels like a traditional Swan Lake (which raises the question, Kirov excepted, which ones do these days?), because it was designed to give viewers a sense of Swan Lake but also a feeling of Today.

Let them all dance well Petipa and Balanchine alike. What a pleasure to see those great dancers cross the borders of their training! But, please, let us not distort the choreography and the aesthetics.

Where do we cross the line between a shift of accent and a distortion of aesthetics?

I think the point of dancing the great choreography has something to do with the challenge of mastering its style. (Another spectrum question.) How much of its style and exactly what aspects of that style, are necessary for the performance to be artistically valid? :shrug:

I'm getting dizzy. :dizzy:

Those are tough questions to answer. Time and training may be variables here.

Time - as in to really learn and absorb the ballets, for more than just a few days or weeks of rehearsal, with a quick festival (ie. 3-4 days vs. the old ones that

Balanchine used to present, Stravinsky, Tchaikovsky, Ravel). For the Maryinsky this is a repertory scheduling issue. Training is another issue beacuse the Vaganova system cuts the body in half horizontally, and SAB cuts the body in half vertically. If M. Ashley gives class at the Kirov, its safe to assume she's going to teach what and how she learned it from the master. The trick is to make the Maryinsky body unlearn what it has learned, speed up, not emote and be individual. The Kirov is trained to fully express with their upper bodies, emote, perpetually prepare combinations, and think 'story,' and 'ensemble.' When NYCB dances the full length SL or SL Act 2, its going to be likewise different for the same reasons, with the opposite effect because of the schooling. Interpretation is a coaching issue. Expect to see a difference in performance style when they swap works. Gottlieb's quest for 'The Complete, Authentic, Historic, Aesthetic and Politically Correct Balanchine Performance' from the Kirov is kind of, well, unfair at this point.

Moiseyeva coached them; this may count for the similarities. Unfortunately, I've never seen Z dance and I would love to see her to compare notes. From the photos I've seen and the reviews I've read, Z has incredible extension without sacrificing control. She's also a dancer who polarizes because of this ability. Some people think its fabulous, while others think it distorts the design and distracts. Canbelto, IYO does this ability have a good or bad effect on her Nikiya in particular, and her technique in general?

I saw Altynai live in Bayadere, Swan Lake, and Sleeping Beauty (Sergueyev's production) Paquita et al., and I have the the RB Bayadere tape. In Act 3 A always struck me as an angry Nikiya, with the sweeping force in her arms and steely port de bras. The effect was bracing - like a cold shower. Then, suddenly she was weightless in the six lifts in the pdd. For me, that was a huge contrast between the spiritual and emotional aspect of Nikiya's character. Here was a Shade that resented being murdered and Solor's betrayal - and she got the opportunity to vent that anger. Her control in the pirouettes of the scarf variation was excellent. In retrospect, A's technique and stage persona accomplished great effects with little fuss. Her performance was effortless. If Z was anything like this, I'd say she's building on a very good foundation.

MakarovaFan on a very somber note, Soloviev commited suicide in January 1977, (his preserved body was found in his dacha due to the ferocious cold that month). If anyone out there has the G. Smakov book "The Greatest Russian Dancers," Soloviev's section starts off with a sad letter that the author received from a friend regarding the low morale in the theatre at the time, Yuri's depression and disappearance, and the tragedy when he was found. He was gone too soon.

Legs: Maximova/Guillem/Zakharova/Kent

Feet: Maximova/Makarova/Ferri/Zakharova/Fracci/Kolpakova

Hands: Fonteyn/Makarova/Ulanova/Komleva/Terekhova

Arms: Plisetskaya/Tchyentchikova/Asylmuratova/Thesmar/Pavlenko

Old English novels like "Clarissa," "Tess of the D'Urbaville's and "Moll Flanders" would be bad ballets. If MacMillan were still around, he could

do something with these stories because they have the common theme of

doomed femininity, youth and virtue degraded, with untimely death

(in Tess's case hanging). I think Sir Kenneth cornered that market with

Manon and Mary Vetsera. "Ivanhoe," is 'Raymonda' in a very roundabout way. The 'Lord of the Rings' trilogy is a great idea. But even if it were done like the Ring Cycle it would be too much to choreograph. Who would finance it? Who would write the score? What company would be bold and big enough to do it? Which choreographer could tell the stories better than Peter Jackson? If Grigorovich were still with the Bolshoi, with the backing he had in the old days it might be a possibility. Prokofiev or Shostakovich would have to be resurrected to write the score. (Personally, I think the team that could do it is the one that produced Sleeping Beauty in 1890 ). Also - no ballets as biopics of killers. For example, "Fall River Legend" still works. Jack the Ripper, J. Dahmer, 'Hannibal' et al. do not. Any politician's bio or autobio is bad choreographic material. I think Houston Ballet had a full length 'Dracula'. Does anyone know if its still in their rep?

the solo 'shadows' in the 'kingdom of the shades' on the 1977 taping were identified me by irina kolpakova when i was working on my bayadere chapter: in order they were named as follows: ludmilla lopukhova, olga iskanderova & ludmila kovaleva.

RG its interesting to note that Kovaleva was D. Vishneva's teacher, and Iskanderova was D. Pavlenko's. Talk about continuity and tradition.

I'm thinking about purchasing a video of the Kirov's 1977 production of La Bayadere starring Gabriella Komleva.  Any opinions?

Thanks!

If you can find it, get a hold of this tape! Buy it, borrow it - I don't care how you do it, you must see this live performance. It was a personal best for Komleva and Terekova. Its one of my treasured possessions. Komleva is simply outstanding. Terekova is 25 years old and already a ballerina's ballerina. For me the highlights are the quarrel between Gamzatti and Nikiya at the end of Act 1. How can I describe it? It was like the catfight between Krystle and Alexis in the old "Dynasty" show, or like Joan Crawford and Bette Davis fighting over the Best Actress Oscar for "Hush, Hush Sweet Charlotte." Great theatre! Great acting!

In Act 2 Terekova is a bloodthirsty Gamzatti. She held nothing back using all the ammo in her technical arsenal. Her variation devoured the Kirov stage.

Her elevation was unbelievable. The audience began clapping before she finished the dance. After the betrothal pdd and her killer fouttees - (unfailingly sur place), the show came to a complete stop. When she finished taking her bows and motioned to the maestro to continue, the audience gave Komleva an entrance ovation before she began her lament/basket dance. It was like they were tag teaming each other. That audience knew they were seeing two great ballerinas at the top of their game, and they gave both of them the praise they deserved. In each Act - especially Act 3, the 1977 Kirov corps was out of this world! Definitely NOT the corps dancing today - even though they are still the best. I could never tell, even after many viewings, but the first Shade in looks alot like Altynai (??) but its probably not her. (She was in the class of '78). Do you think back then they would've given a graduating student that honor? I don't know. :shrug: ?) Hope this helps!

Does anyone know of a good recording of Ravel's "La Valse?" Thanks!

Asylmuratova

Altynai was it. Arlene Croce once asserted that Nikiya was as much a triumph for her as the Slave was for Nureyev.

I am so happy she has a site now! She is great!

Dear Cygnet, my posting was nothing personal, you know. Just this: when I mentioned "I have never seen it" I meant that I did never see, live or in the video you so agreeably describe, what the Kirov person has seen in Mezentseva's performance of Giselle. (To make sure, it was not the video performance he was describing.) But since you were making insinuations about Mezentseva's career which are totally irrelevant as to how Russians assess her artistry, and since you seem to condemn a dancer on the strength of a video performance, I thought it useful to post this little clarification. Indeed, it's not a crime to disagree with another's standard, but it's a shame if one would remain ignorant of the fact there is another standard.

Okay, now I understand where you're coming from. Let me clarify. I used the 'Giselle' tape as an example of a complete performance. I have several tapes with her in cameo appearances, in rehearsal et. al., and I borrowed her 'Swan Lake.' What you say I agree with. If I offended you I'm sorry; please forgive me.

Here we have this strange phenomenon in Russian ballet, called Mezentseva. I'm not trying to defend her, nor did I ever like her much. Yet there is one undeniable fact, as Alexandra already mentioned: she is adored by about any Petersburg trained dancer I know. Many of them, even from the current generation of Mariinsky dancers, consider her the example to follow, and many will admit her being far superior. A Kirov dancer once told me that her mad scene in Giselle was the most convincing one he'd ever seen in his life. Not because of her thinness, but because of her dramatic abilities, which he thought unequalled. I have never seen it, but there it is - and the things you suggest, Cygnet, are totally irrelevant to that fact. Moreover, Mezentseva was definitely not made because of dancing with Zaklinsky.

Marc, I haven't seen her live. I would have never paid to see her live. I had opportunities to do so, but based on what I had seen and read, I was not going to pay money for 'live' mediocrity, especially since the company had far superior ballerinas on the roster at that time to choose from.

Unlike you, I have seen her Giselle, a taped live performance - in her prime, which is painful to revisit with the exception of Terekhova's Myrtha, the corps and Zaklinsky. I do not suggest, I emphatically declare that it was lousy, period. It was so lousy, that during the curtain call Selyutsky, who danced Hilarion crossed in front of Galya and gave his bouquet to Terekhova to add to her floral glory instead. Imagine that affront. Terekhova's Myrtha and Asylmuratova's Moyna blew Mezentseva's performance out of the water. If that was the only Giselle she taped it is her valedictory. Worse, it has been recorded for posterity. Here's the relevancy: Where Mezentseva is concerned I am not alone in my assessment, regardless of what the Kirov gentleman told you or what Petersburgers think. Obviously the Russians judge her by a different standard. Its not a crime for me or others to disagree with that standard.

canbelto, I am so glad you wrote that.  I agree completely.  I have never understood her high reputation -- and it's my understanding that she really is revered as a top ballerina in Russia.  To me, she's not at the top in anything: technique, artistry, dramatically, or even in physical beauty.  I have seen her live several times and I did not admire her performances.

This may be a Great Cultural Divide.  I've been told by colleagues who saw her dance in Russia 15 years or so ago that American and British critics, to a person, went and said "Oh, what a beauty!!!!" -- about Asylmuratova.  And the Russians, to a person, said, "What?  NO!  You must see Mezentseva."

I'm still asking why? why? why?

Ditto that Alexandra! I have several Kirov tapes with Mezentseva in them, and only one she starred in - the 1982 "Giselle" with K. Zaklinsky. Based on the recorded evidence, I concluded long ago that she was mediocre. After time goes by the worst reviews tend to stick in your mind. I remember when the Kirov came to L.A. in 1989. Martin Bernheimer, whose not given to diplomacy, completely flipped out when she danced the Lilac Fairy. He said, "Mercifully, she didn't wear the nighty. She had feet that groped rather than skimmed the floor." I will never forget that. Three years earlier he questioned the Kirov "... favoring her with the central assignments." Her coach was Olga Moiseyeva, and even she called her a great ballerina :shrug:. Her main partnership was with Zaklinsky. IMO I think he made her; not the other way around. He was a very earthy, handsome, competent and generous danseur noble. He knew how to present her.

I can't remember the name of the book, but I read that the Russians likened her, (IMO frightening), thinness in ballets like 'Giselle,' 'Bayadere' and 'Swan Lake' as ethereal and ghostly. In 'Giselle' she did look like a wraith. Her Mad Scene was contrived. She had no lightness nor lyricism for me. Technically she was just ok. Perhaps during the Soviet era she was a party member and had the favor of the powers that were. She did receive many State awards and titles. Other than that, I don't see how she made it.

The first full length 'Raymonda' I saw was the Balanchine/Danilova version of Ballet Russe de Monte Carlo in NYC.  At the time (1946) its  failure was attributed to an audience that was not attuned to "the leisurely panoramic productions of Petipa, and were bewildered by it" (Jack Anderson).  A mere 3 years later New York was delerious over the Sadler's Wells 4-act 'Swan Lake'.  The redeeming feature of that early 'Raymonda' was the performance of Danilova; and that was repeated, for me, last night with Ananiashvilli's performance.  For me, the problem lies in the fact that there is no dramatic core to the ballet, then, as now, it seems like a series of divertissements with a weak story line thrown in here and there.  I doubt if I would want to see this ballet again without a ballerina of Ananiashvilli's stature.  I have run out of superlatives to describe her 'czardas on toe' and I feel especially privileged to have seen her and Danilova. (I also saw similarities between the two when I saw 'Offenbach in the Underworld' last year)  If you have never seen Danilova, watch Ananiashvilli---her manner (grand, if you wish) and her coquettery are very much like Danilova's)  I agree with Carbro---Veronica Part and David Hallberg stood out --I couldn't get my eyes off of Hallberg, and I can't comment on Ricardo Torres.  I was disappointed in Carreno, granted, deBrienne looks like a thankless part for a male dancer, but he never seemed 'connected' to Ananiashvilli.

Nina's Raymonda sounds like the cat's pyjamas!! I hope ABT brings 'Raymonda' and Nina to Los Angeles before its too late for me to see her. Hopefully they'll do

a DVD with her. 'Is there a Bolshoi tape of Nina in 'Raymonda'?

Nina has the experience and tradition behind her. Its wonderful that you've been privileged to have seen Danilova and Nina; and to have seen the similarity in understanding, execution, and temperament from two ballerinas who are generations apart!! All I can say is WOW!! Your experience is a testament to the Russian tradition of coaching and teaching 'from foot to foot'. You've probably seen the invisible chain of instruction and advice that stretches back to the opening night of the original premiere. Lucky you!!

*****

PS: Cabro, thank you for the info!

Opening night Friday - anyone else go?

It's a very pretty - and sparkly - production.  And that is meant literally.  The dancing is very pretty, and the costumes and sets have sparkles and glitter all over them.  And the dancing itself is very pretty as well.  But - it was almost too pretty.  All beauty and smiles, less life except in isolated scenes (mostly, the ones with Marcelo Gomes).  Perhaps they simply need to settle into the production and start having more fun with it.

Irina Dvorovenko was a beautiful Raymonda.  Crystal clear dancing, especially her variation at the beginning of Act II, in the pas de trois.  Her hops on pointe were light as a feather, stunningly rendered.  Dvorovenko too, though, was almost too pretty.  Everything move was perfect, but at the expense at some kind of spontenaity or spark.  Dvorovenko also strikes me as the kind of dancer who moves excellenty from pose to pose, but the flow between them isn't quite so interesting, or when the need for speed is there in the choreography presents itself, she falters slightly.  (I also noticed this when she danced Nutcracker last year).

Maxim Belotserkovsky was very good as Jean de Brienne, very princely.  The ballet gives little reason why Raymonda chooses him over Abderakhman, though, esepcially when Abderakhman is being danced by Marcelo Gomes.  Gomes was spot on and very charismatic whenever he was on stage.  Too bad he didn't get more to do.

Michele Wiles and Veronika Part were Raymonda's friends, with David Hallberg and Genadi Saveliev.  All four were excellent and were great in the variations; their roles though, didn't give them much to do except dance prettily - again with the prettiness.

Grand Pas Classique late in the ballet read very well; didn't seem like quite the disaster that earlier reports from the excerpted showings described.  The Grand Pas does, however, seem like a totally different ballet from what precedes it.  Most of the ballet (at least on Friday) was a very refined, straightforward classicism; then comes the Grand Pas, with its Hungarian-flavored steps and a bit of attitude thrown in for good measure.  Looked like the transition from "Sleeping Beauty" to "Paquita."  It went well for the most part, though, and Dvorovenko was perfect, again.

Really - very little to complain about here except that it the whole evening felt like it was covered in smooth gloss.  I longed for a more textured surface.

I wish I could have seen it! Please clarify: Are you saying that Irina's phrasing showed seams in some minor passages, or not? Based on your report it sounds to me that her interpretation needs to evolve and of course that's ok. Was this her debut in the role? I think her coach is Kolpakova. If so, Irina's in the best hands for this role. Since its a new production, they'll knit themselves into it. I'm sure V. Part did very well. She was a promising Kirov Raymonda before she came to ABT. Some folks wait all night for Act 3; I'm one of those people. How was the character dancing - really? Did they include or exclude the Mazurka? If so, how did they dance it? How was the Cortege Hongrois/Czardas, the Grand Pas and her final solo? Did Irina and Co. 'give you Hungary'? In your opinion, did the act 'have paprika' or was it just 'pretty'? Thanks!

I'd say if you're on your own feet, you're being "pulled."  But there' is a lot in 20th century ballet that is misogynist.  (I disagree that "presenting a woman" a la 19th century ballet is, but there's a feminist line, especially among modern dance-oriented writers, which would argue strongly to the contrary.)

Yeah Alexandra! Even MacMillan's Juliet is thrown around like a sack of laundry,

then used as a mop before before the end.

But a lot of the scenes felt completely off to me. In one, the dancers sit around on the floor while a choreographer explains his work to them and they're giggling like schoolkids.

-Christopher Saunders

A member of the senior artistic staff of the company noticed this, too, and clamored against it, but Altman wouldn't move.  And the Arpino Experience IS sort of over-the-top in real life.

Perhaps a British filmmaker, or a Herbert Ross (where?) could make another movie set in a ballet company, to give other views.  That's what freedom of expression is for.

I agree. When I saw it, it just didn't seem like a real ballet-world film to me. It was no "The Turning Point." But then again, neither was "Center Stage." For example, MacDowell's total lack of concern for the more serious injury during the "La Vivandiere" rehearsal scene, contrasted with his character's

fawning over a muscle spasm in another dancer's neck at the beginning of

the movie. Now that was absurd.