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nin one

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About nin one

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan, past student, balletgoer, music lover
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    ny, usa
  1. While I always *secretly* thought that Prince Seigfried had an mistaken identity issue, Rothbart did trick him with his magic afterall. So, I give it a pass. But, in the ABT '05 production with Murphy and Corella, Rothbart as the evil magician is very Midsummer Night's Dream to me. Not to mention I kept focusing on one oddly placed leaf in his groin area. This has me thinking, what was THAT doing in the Ballet? Perhaps I will search around for a costume faux pas thread... Didn't anyone off stage in costume notice this obvious oddity (obviously not); or anyone else here? Or was I eh hem, unde
  2. Interesting fact indeed Mariano, thank you! With the evolution that this production has most certainly taken over these many years, it only makes me wonder, what is in store for the future of it? I just hope my Makarova/Nagy (ABT '76) tape never breaks!
  3. I thought Nureyev chose the original because it highlighted (him)Seigfried more than the contemporary. Not that Nureyev was known for catching the spotlight per se ;), but I much prefer the score that was taken from the original in a.I and given to the Black Swan in a.III. It was done "a few decades ago?" Anyone know by whom? That is the version I grew up with...and I'm talking more than just a few decades ago now; yikes. When I saw the Nureyev and Fonteyn (Vienna '66) production, I was quite disappointed...so, I dove into the finding out why and found the above information as well, minus th
  4. I have this production too (Vienna 1966) and I greatly dislike it. I'd rather see and hear the non-Nureyev version. It actually threw me when I first saw it.
  5. I must admit that I have no problem at all sitting and clapping if I feel the perfomance was merely good and not "Bravo" and ovation worthy. Why would I want to stand for a perfomance that I didn't feel worthy regardless if others did? I liken this to tipping someone extra for special courtesies versus an average tip for an average service. But, I do have friends who go with the flow no matter the mediocre performance. I just think it is a disservice to the ones most deserving.
  6. Makarova in the '76 ABT production with Nagy; hands down. In addition to her technical perfection, her facial expressions are spot on.
  7. I was so disappointed when I watched Nureyev and Fonteyn with members of Ballet der Weiner Staatsoper filmed in Vienna 1966. The entire third act is something I've never seen before and even the score had been changed. I assume this was of Nureyev's direction? But, I was unaware that it would be so vastly different than what I was expecting. I wish Makarova and Nagy's production was available on DVD, but it's only on VHS. I hope that changes! I'm going to try to sell this at my next garage sale...I don't even want this in my collection. What was I thinking?
  8. I just watched probably my all-time favorite production of DQ...Mikhail's '83. Basil & Kitri's entrance in Act II is so much fun. I love when the audience gasps when Mikhail jumps with the goblets! But, I never did quite understand the fanfair over Patrick Bissell's Espada. To me, he was overrated and served only 1 purpose in the production; when Mikhail just leaped into the sky in Act II, he walks past Espada, who is clearly 1'+ taller than he, and gives him a so-there look. Beyond that, Espada flashing his cape around is no big deal. I've read reviews that Harvey looked flat in this pe
  9. Thank you rq for the info! I think my only recourse is to have my VHS repaired and transfer it onto DVD. Hey, maybe I should make some copies and sell them? I made a typo re: Makarova's fouettes. Her 32 fouettes was the weakest part of the perfomance for me. But, her transformation to Odile in facial expression alone was perfect. In Act III when Rothbart presents her to Seigfried, Makarova's eyes and her deliberate offering of her hand, was special. She tops my list as the best Odette/Odile. Nagy is unassuming yet partners her well.
  10. I had a VHS of Makarova and Nagy. I watched it so much that it broke. To this day I cannot find that production on DVD, I think it was ~ '75 at the MET? I have searched to no avail, yet I have it burned into my memory as being the single best SL program. Her Odette in this production was solid and confident. However, her 36 fouettes looked a big haggard at the end. Does anyone know this production?
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