vrsfanatic

What very sad news of a true icon in American ballet. A gentle soul indeed has passed. Condolences to his family, friends and students.

Thank you leonid for the supporting historic facts regarding Balanchine's background in schooling in Petrograd. Although the dates of his graduation from Petrograd and entrance of Vaganova as a teacher at the Petrograd school (1921) have always been available, very few actually comprehend the difference between what is today known as the Vaganova Academy and the Petrograd School. The facts have always been clouded, in the US and perhaps elsewhere, maybe by the the marketing of Balanchine. The two schools did/do share the Rossi St. address however the system developed by Vaganova and others was in an infant stage in 1921 when Balanchine graduated. As for when the Petrograd school actually named the codified method of teaching Vaganova, is not known to me. I have not been able to find an actual date. Since the program has been and remains an evolving method, it is also unclear as to when the Soviet government proclaimed this remarkable system of teaching the method for the Soviet bloc nations. Any additional information you are able to provide will be greatly appreciated.

Having searched for a score to no avail I was reminded by our music director that we produced Le Corsaire without the use of piano in rehearsal (very unusual for us) due to the fact that we do not own a score. I am sorry that I am not able to help with your questions Solor. I have now requested that we purchase a score. If this happens I will get back to you Solor.

I am not sure what the pointing fingers really meant at the time to the choreographer, however when performing the Chinese role in a ballet as a child I always told it represented the very long finger nails of Chinese scholars. Having more experience now with choreograpy it have become clearer that often choreographers will put something in the hands of dancers or have them maintain a particular form to the hands when dancers may not have the greatest coordination and usage of port de bras. Perhaps this may have been the case at the time of this choreography?

leonid I am not sure what you actually mean when you say..."this side of the pond" Are you living in the US or refering to a different region of the world?. Through my training as an American, with "Balanchine" teachers in the 1960s through the mid 1980s, I was educated to believe that Balanchine was trained in the Vaganova program. There are many Americans of my generation who believe that to be true. When I began studying Vaganova pedagogy in St. Petersburg, Russia one of my most influencial American teachers asked me why I was "interupting" my teaching career with the "adventure" since my roots were based in Vaganova. Having already studied the syllabus in the US, as a teacher, I responded politely knowing that my previous teacher and I were about to part in ideology of teaching. It was a big step in my life as a teacher. Please do not misunderstand me, I recognize the vast differences between the two programs of study, however there is a similar root as there is in all ballet styles. LATER... leonid, I have discovered you are in the UK! Now I understand.

In the most recent Schorer book on the teaching of the Balanchine style, a large part of the book is a discussion of the hands and port de bras, complete with frame by frame photographs depicting the "correct" way to show oneself as a well groomed Balanchine dancer. The placement of the arm in 2nd position is actually from the Russian classical school (not the way the arm actually moves, just the placement). For the most part the finger grouping, level of arms and manner of moving is Russian character dance. Having heard many noted Russians as they viewed Balanchine for the first time exclaim, "...interesting, but the arms are character arms..." I began to try to see what they were saying. The closest comparison I am able to think of at this time is Scherazade. While the arm movements in Scherazade are lovely when performed slowly, think what a disaster a classical work might be if that was the only way to move the arms. Drama and schmulze over done becomes a displeasure when done repeatedly with the incorrect emotional balance, music and movement. The arms in Scherazade (when done correctly) are emotionally pleasing in part because of the music and the drama of the ballet. The arms in Scherazade are character arms and they work in that ballet, but they would not work in Swan Lake, Sleeping Beauty or any of the ballets in the Romantic or Classical periods. Whether or not Balanchine arms work in various 20th century ballets is a discussion that will develop over time. Just as we know in the 21st century that we have no clue as to how the classics really looked or were meant to look or if the 21st century teaching "improvements" would be improvements to the choreographers of the 19th century, the jury is out on the Balanchine legacy. It is still too soon to tell. With the marketing abilities of big business, for now it is difficult to step back and see inside the bowl. An interesting discussion however! FYI: Having been to various lectures on Balanchine and have seen various videos on the Balanchine teaching legacy, finding an actual methodology as I know in Vaganova schooling has not exactly jumped out at me. However the stories are lovely, the history becomes clearer the more the history is spoken or written and the aura begins to erode.

Natalia, you know my interest in I. Kuznetsov. I happen to appreciate him in this role. Any reports on how he performed? Funny, I just cannot imagine them dancing together, but if it works...GREAT! Thank you in advance for any news!

Balanchine's active period as a choreographer spand a 60 year period. His choreography was for dancers of all heights. Particularly in the first 40 years of his work most dancers were not particularly tall. They may have looked tall from the stage but they were not particularly tall. Long legged for the most part, but tall, not really, at least by comparison for the taller dancers of the 21st century. The comparison to and influence of Luigi is indeed an interesting one. Luigi's teachers (according to Koegler) were Bolm, Nijinska, Canton, Loring and Panaieff. Luigi being younger than Balanchine by 21 years may have crossed paths with Balanchine at some point, however Balanchine was creating ballets in the US in 1933 when Luigi was still a youngster. The lunge as the preparation for pirouette is a direct decent from the preparation for pirouette in Petrograd schooling. Since Mr. Balanchine began his training in St. Petersburg, (pre-Vaganova), it is more likely that his usage of this preparation was influenced more by his training in Russia. The subject of Balanchine and his style is still evolving. It is commonly believed that Balanchine studied the Vaganova program, which he did not. Vaganova entered Petrograd School, as a teacher, the year of his graduation. She did not become a director until 1934, when Balanchine was already working in the US. His style was definitely influenced by his Russian roots however what he learned in the US did influence his ballets. Running a Search on Balanchine my bring up some interesting ideas that have previously been discussed at Ballet Talk. Also visit the sister website, Ballet Talk for Dancers for similar discussions regarding the technical aspects of the Balanchine style of training and performing.

They are trained to dance that way. I do not believe a Balanchine style teacher would use exactly your choice of words to descibe the line that way visually.

H. Koegler states that Karinska began designing for Balanchine in 1938, Bouree Fantastique being his first ballet in the US. Balanchine first did Nutcraker in 1954. I believe Karinska was his chief designer however I am not positive if she was the designer for the first Balanchine Nutcracker. One of the cotumes in the Carin Inglesbe show is a Candy Cane from Nutcracker. I assume Karinska did do some of the design, at least in part for his Nutcracker at some point.

Having seen Ms Inglesbe's art work privately, as well as many of the costumes which will be displayed "up close" as well as on stage, the photography catches the texture, color and imagination of both the costume designer and the photographer. Please see Ms. Inglesbe's website. It dances! I believe the photographs are being displayed without the costumes.

Having only seen the AM Holmes production of Le Corsaire on video, I am not really able to comment one way or another upon the origins of music or choreography. As for the Gusev production, your description of the beach scene is so clear and well done! Wow! We just restaged this scene a few years ago at school (minus the fabulous scenery, lighting and costumes, however the dancing was well accomplished). I will go over the score with our music director to search for some of your answers. Perhaps another member of BT will have your answers sooner. When I say I know a production, I am speaking mainly from a choreographic perspective as someone who is able to restage a work. As for the historic background of a piece, definitely not my area, although I do have interest to know. My collegue does know both productions, having performed the Sergeyev and observed the Gusev many times while in the teacher's course in Vaganova Academy. She is not computer literate however so any contributions she is able to make to your questions would have to be second hand through me. Unfortunately V. V. Rumyanseva, my teacher passed away 2 years ago so I am unable to ask her. As far as I know, the Gusev version does take much from the Petipa restaging of the works of Mazilier and Perrot. Petipa used additional music by Pugni and Delibes. The information I have is from The Simon & Schuster Book of the Ballet 1979.

I am not the most history savvy of Ballettalkers however I do know the Gusev production currently performed by the Mariinsky. My teacher, the wife of Gusev, helped to restage it at the Mariinsky for O. Vinogradov. What questions do you have about the beach scene?

Thank you very much for the information.

Wow! Congratulations to both American dancers. What a huge honor. Very exciting indeed.

Balanchine, Symphony in C, when the lighting is done correctly, simplicity in brilliant white.

Does anyone know what is happening with the sets and costumes that had belonged to Ballet Internationale? Any information would be helpful. Thank you.

It looks great! Simple for this member! Thank you Helene.

Natalia what is Mariinsky Ballet and Imperial Ballet? Sorry, I am out of the loop. Leigh, enjoy your trip. I am sure you will have a fabulous time. I cannot wait to hear all about it.

What video is it Sylphide? It is very odd that she would have a graduating class both in 1997 and 1998. Maybe the class I saw was not graduating? Could be actually. I assumed by your post that the class I saw had been a graduating class. I do know that Zagorskaya had been covering for Dudinskaya in 1997 though.

Allergo brillante does make sense as an Italian musical term.

I went back to visit Vaganova Academy in March/April 1997. At that time the Director of Methodology, the late Margarita Zagorskaya, had taken over Dudinskaya's class. Zagorskaya had been their teacher from 1993-1995. I do not believe Dudinskaya returned to graduate the class. I can picture all of those beautiful young ladies, but I do not know one name.

I am not really sure where to post this and I am not able to find the otibuary as of yet, however... Anatole Grigoriev, 57, former dancer of the Kirov Ballet, teacher of boys at White Lodge, Royal Ballet for many years, passed away on March 1, 2006. Anatole had been ill for three years with cancer. He put up a brave fight and left this world with dignity, love and the respect of his students, collegues, family and friends. There is no way to say goodbye. May you find peace Anatole.

I have seen it a few times vagansmom. Great commercial if you are a dancertype! Very enjoyable!

Tatiyana Terekova is listed as a ballet master at the mariinsky as well as on the faculty at Vaganova Academy. Many teachers in the school serve in both capacities. Try this website. I was unable to copy it. www.mariinsky.ru/en/ballet/soloist/balmasters If this does not work try http://www.mariinsky.ru/en/ballet and click on Ballet. Eventually it will lead you to the Ballet Master portion of the website. I know she is on the faculty of Vaganova Academy this year, although there is no published list of any current faculty members.