Grissi

Today has been broadcasted, in a private Spanish channel, La Sexta, Blancanieves y los siete enanitos (Snow White and the seven dwarfs). This was a private project, leaded by Emilio Aragón -who composed the music- and Ricardo Cué -the choreographer-; Tamara Rojo was casted as Snow White. The production is good, not very good, but interesting. The dancers are free-lance, they do not belong to a company, so the difference of style is remarkable. Tamara Rojo was, as always, astonishing, musically and technically, and she made a fouettés series (two simples, one double) with no hesitation. The choreography was not very original (a little bit of Petipá here, a little bit of Nureyev there), and the music deserves an A minus. The main theme remains in ypur mind for a day or two, and that is not easy. Recently a DVD from Deutsche Grammophon has been released. You must watch it! Blancanieves ballet Music and direction: Emilio Aragón Choreography, libretto and artistic directio: Ricardo Cué Assistant Choregrapher: Santiago de la Quintana Photography director: David Arribas Bilbao Orkestra Sinfonikoa, directed by Emilio Aragón www.universalclassics.com ; www.deutschegrammophon.com/dvd

CarolinaM: I couldn't (I gave birth to my first child). But, yes, whenever you come to Madrid, let me know. I'll do the same if I go to the Liceo...

Thank you, volcanohunter, this was very interesting. Someone who has attended Coppélia could report the performance? I am very interested in Bart's choreography. From the excerpts I have seen in France2, I see that is very different from RB's version, much more ¿'modern'?

By the way, how old is he? I love his elegant style, and I find him very handsome on stage.

Thank you. I cannot wait...

I am absolutely impressed!!!! Thank you, rg! Unfortunately I do not leave in the US. Some weeks ago I wrote to the Archive Department of Radio Televisión Española asking for a copy of the series. They don't sell, lend, etc. anything broadcasted. I know that this has been discussed in another thread but I think that if I am paying taxes to support Spanish TV, I mean the official (this particular channel is public) there is no reason to hide interesting stuff, is an insult to the taxpayers.

When is the DVD going to be released? Sorry if I am lost or have lost something, which is the cast? (I adore Thibault also).

Thank you, SanderO! By the way, I'm planning a visit to Paris next spring, basically to attend to a POB's Cinderella performance. Tickets come to sale on 17th january and I would like to see Aurelie Dupont dancing. I guess that the cast has not been made yet, but if anybody had any clue before (although I think I am asking for an 'impossible'), could let me know?

Yesterday I was looking for a Tchaikovsky biography in amazon.co.uk (what a coincidence!). There you can find Brown's. The reviews are of great help.

In the 80s the Spanish TV broadcasted two series of ballet programmes leaded one, by Makarova (in Spanish titled 'Bailarina'), and the other by Schauffus ('Bailarín'). I was very young and I cannot remember more details, except its exceptional quality. I have tried to find them out a lot of times, but I don't know how they were called in English or whether they have been published (either VHS, DVD or whatever). Any clue?

It is a wonderful idea. If anyone ever come to Madrid's Teatro Real, please let me know.

Yes, Teatro Albéniz is nowadays very active in programming ballet. But it is not a good theatre for ballet. Rarely you hear music live, the stage has not the measures adequate for ballet and the audience cannot see properly (bad, old seats and very expensive tickets). Ullate's company is now called Ballet de la Comunidad de Madrid, and it is under Madrid's government financial aide. I think that the reason that Ullate's company is 'regional' and not 'national' is that there were no 'national' offer. Do not forget that the repertoire of Duato's National Ballet and of Ullate's company is somewhat similar. In some way they could clash, I think. So it is compatible with either Corella's and Rojo's visions. There's enough room for everyone. Aranjuez: Aranjuez is in the province of Madrid (Fuenlabrada as well). It is not the same case as Chartres. But it is true that it is far from Madrid centre. In any case, Madrid's governement inaugurated this year an Auditorium in El Escorial, where opera, ballet and concerts are held. In July the Royal Ballet performed Romeo and Juliet, and it was not easy to find a ticket the day when Tamara Rojo danced. I mean, may be if a good theatre is built in Aranjuez (I don't know if there is one already) and a good program is scheduled I see no problem in people moving there. A festival of baroque music is held there every year and it is a full success. Real Ballet de España: Spain is a constitutional monarchy, and the king has no real power, every act the king does (except the appointment of his household) needs the countersignature of a member of the national government. As the king is the representative of the Spanish people (as the Constitution says) the use of 'Real' in the company name that Tamara Rojo plans to create is only honorary. Queen Sofía and princess Elena love ballet and I am not surprised of the Royal House support for these ideas. I read an interview where Tamara said that the English and French (and others) scheme of a ballet school previous to a company cannot be implemented in Spain; that, for her, it is better to found a ballet company and, once stablished, the school will come naturally. I don't know why/how. On the other hand, although I think the idea brilliant, how will Tamara manage to direct the company and dance in the RB?

May be Nureyev's innovation. Sancho was a peasant. But, yes, this is very curious.

When is it going to be released?

The 10-page thread with many opinions of the video can be found here: http://ballettalk.invisionzone.com/index.p...pic=22418&st=15 (It's page 2; scroll down for reviews. The first page and half was a discussion of when and where the video would be released.) Thank you, Helene. Very interesting comments.

Well, I have seen this ballet live twice, in Madrid, Royal Opera House. Then, I bought the video. For the video, I voted for Diamonds. But my opinion is different for the two performances. For the first one (Emeralds: Pujol, Averty; Rubies: Abbagnato, Thibault, Gillot; and Diamonds: Letestu, Martínez) I have no doubt that the best part was Rubies, the second one Emeralds and the poorest Diamonds. But two days after I attended a matinée: Emeralds: Riqué, Romberg; Rubies: Zusperreguy, Courtain, Cozette; and Diamonds: Gillot, Bart, and I couldn't remain sat at the end. Gillot was superb, the music was incredibly played, I think that I have never felt that emotion before: when Bart kissed Gillot's hand it was 'THE MOMENT'. So I believe that the cast makes the difference. What do you think? But to the video and your opinions: Costumes: I looove them. Very elegant designed. Emeralds: Yes, a lot of difference between this performance and the one recorded for 'Choreography by Balanchine'. POB less cold, more romance in their dancing. I liked more Clairemarie Osta than Pujol. Osta was very sweet but I found Pujol's expression a little bit forced. Pas de trois: very good feet, but I liked better NYB's performance. Rubies: I adore Dupont, she is by far my favourite dancer, so everything is said. Gillot, as always, was superb. Diamonds: I have certain problems with Letestu. I think she is a very elegant dancer, with magnificent poises, very good feet and extensions, but her manege, her petit allegro or grand allegro (Paquita, for example) is very poor and always out of music. May be this is because of her size, I don't know. (By the way, Helene, in which thread are your opinions about Letestu in this performance?). The demi corps were brilliant (Isabel Ciaravola, among them, the best), Bart as well, and the music very well performed.

Update: I have recently read that Eduardo Lao (the second choreographer of the company) is working on a new version of Coppélia. A very new interpretation of the ballet: the attelier of Doctor Coppelius will be a cibernetic laboratory, specialized in robotics, where the main project is the creation of an android of feminine appearance (Coppélia). Franz is an amateur photographer who is in charge of the cleaning service of the laboratory... We will enjoy this ballet in Madrid at the end of October.

That is true. Madrid's Royal Opera House audience, the one I know better, is very, very cold. Last september, Ballet de la Scalla was performing a program very interesting in perspective, not in reality: Theme and Variations, The Cage and Le Sacré du Printemps. I couldn't stay for the whole performance because I was very disappointed with what they did with Balanchine. The silence was very eloquent. But, last week, the Royal Opera House was staging La Bohème, and the audience was mad, clapping at almost every aria end. In december, in the Auditorio, I attended a Messiah. I couldn't believe when I heard the bravos after the Alleluiah... Opera and ballet... A very different approach in Madrid.

Thank you, Alexandra, for your brilliancy. Surely, Bournonville style marked Cecchetti for life. Only two years in Denmark! And he developped a style with all those Bournonville details! I didn't know of the barre. Thank you, that was very interesting.

I love this thread!!! The pirouettes sur le coup de pied are basic in Checchetti's syllabus (style, school, method?? Alexandra??). If I remember correctly, students start working on them when they are 13 (Elementary). I loved to turn sur le coup de pied! More spinning! I have always thought of the links between Cecchetti and Bournonville styles. 'Konservatoriet' is like an advanced class in Cechhetti. There is nothing remarked in this thread as characteristic of Bournonville that cannot characterise Ceccheti: the emphasis on épaulement, the importance of the coup de pied on relevé or on plié, the importance of the plié (it was very hard to do that impossible series of 'pirouette from preparation in grand plié, finishing in one of the positions of the body'), the foot work, battery and petit allegro, not very high lines in arabesque... I think that that pas de bourré fleuret is in Cecchetti's vocabulary 'pas de bourré en tournant'... And we didn't like to dance on pointe. It is true, Alexandra, it ruins the jump.

Thank you all. Your info is very useful.

Thank you, Dale. Yes, I know that she was more comfortable when she started with the ABT. But what I mean is that I think that Balanchine marked more Kirkland than the opposite. I don't know. In any case, I know that this topic belongs to another thread: Which do you think is the best of Balanchine's biographies?

When I first saw Schauffus and Hart's Swan Lake (Makarova version), I didn't like Hart's legs and feet. I found them floppy. But now I think she has an exquisite line and, in this particular ballet, her expression (body language) is SO romantic... And every time I watch Guillem's Cendrillon, I find her more fascinating. I think that my admiration for her technique has no end. I didn't like Paloma Herrera until I saw her in Don Quixote with Ángel Corella. WOW! And I have the opposite problem with Midsummer night's dream. I think the lovers part is absolutely boring (musically and choreographically), but I love the second act, because of that smell of Petipa (almost perfume). The pas de deux is perfect, continuous, exigent, I love it.

I think I need some help in this thread. I have always heard about Gelsey Kirkland. When I was in Canada for summer vacation in 1987 (I am Spanish), I found her 'Dancing on my grave' and read it. I never saw her dancing, since this year, when I bought 'Baryshnikov at a Wolf trap'. I found her Quixotte pas de deux magnificent, full of details and quality. And I read again her autobiography. I am reading now Taper's 'Balanchine. His life'. And only once is Kirkland mentioned... What happened there? Was she really a Balanchine star? Was her dancing of such importance? There is no link between the two books.

Is obvious that we have a lot of problems with ballet in Spain. They are cultural, political or both. May be cultural problems lead to political problems. Or viceversa. As I said, Mr. Ullate was first appointed to create and direct the first Spanish Ballet Company (contemporary influence, mainly), then came Maya Plissetskaya (pure classical, but dancers and politicians were not comfortable), finally Nacho Duato is in the lead (again, absolute contemporary style). Now, the company's name is 'Dance National Company'... Forget about 'ballet'. (If I may say so, the company is gorgeous in contemporary). May be politicians wanted to run, to make a contrast with the dictatorship days, to be modern in tastes. Definitely, ballet is now considered old-fashioned. Lack of education, lack of depth... That's the reason why Spanish dancers go abroad to dance classical repertoire. And not only the above mentioned, but: Mamen Corella (ABT), José Martínez (POB), Amaya Iglesias (Ballet de Nancy), África Guzmán (Nederlands Dans), Marta Rodríguez-Coca (ABT)... Very sad, indeed. For them and for us, the balletomanes: we have to travel to see them.