Melissa

Did anyone watch the documentary on PBS last night, 'Russian Trinity'? It chronicled the rise and fall of Soviet Russia through 3 of its institutions: the Kremlin, the Lubiyanka prison and the Bolshoi Theatre. The Bolshoi segment featured footage of Plisetskaya in 'Swan Lake', the Soviet sponsored ballet 'The Red Poppy' and interviews with several dancers from the Stalinist era, including Igor Moiseyev. I highly recommend it.

I too am bewildered by the problematic Act IV. Could it be that it's anti-climactic following the high drama of Act III?

One problem that many productions face in staging ACT IV is what to do with Odette and Siegfried or, more specifically, how should Von Rothbart's spell be broken. Should the lovers drown themselves or should Siegfried reaffirmation of love for Odette do the trick?

Does anyone know what Kevin McKenzie's position on Spisto is?

I'd add barring small children from the theatre since they almost always end up crying or kicking the seat of the person unfortunate enough to be sitting in front of them.

Last night on a PBS program called 'Classic Arts Showcase', I saw the Black Swan Pas de Deux danced by Alicia Alonso in 1968. She executed the fouettes superbly, never losing her center. This I found pretty amazing given the fact that she was losing her eyesight at the time.

P.S. Alonso was also memorable in her solo, executing by my count 2 5-revolution -- that's right, 5 revolution -- pirouettes one right after the other. Incredible!

[ 07-13-2001: Message edited by: Melissa ]

Perhaps I should have titled this thread 'Another Major Peeve', but, like cargill, I'll burst if I don't get this issue off my chest.

Why is it that there is not more ballet music performed in the concert hall? I've attended many performances at the New York Philharmonic and Carnegie Hall and rarely has a complete ballet score ever been performed. Suites from 'The Firebird' or 'Petrushka' appear on a program now and then, but why not, for example, a performance of Prokofiev's 'Romeo & Juliet' in its entirety? Do most conductors think that ballet music is beneath them?

I'm particularly baffled by the exclusion of Tchaikovsky's ballet scores from most orchestras' repertoires. Performances of his symphonies and concertos are a dime a dozen, but his ballet music is not performed. The lone exception to this trend that I know of was a complete performance of 'The Nutcracker' by the St. Petersburg Philharmonic at Carnegie Hall several years ago. It was a revelation for me to hear a first-class orchestra perform this work: details of Tchaikovsky's brilliant orchestration were more vibrant and the melodies more vivid. It's ironic that in an age where so many orchestra administrators/music directors are trying to come up with ways to attract new and younger audiences that they keep churning out 'safe' programs featuring the umpteenth performance of Beethoven's 5th instead of exploring the riches that ballet music offers. I hope someday that a major orchestra or venue like Carnegie Hall will devote a season or part of a season to neglected works for the ballet like Stravinsky's 'Apollo' and 'Orpheus', Prokofiev's 'Cinderella' and 'Prodigal Son', and Tchaikovsky's 3 masterpieces.

Feel free to throw tomatoes at me, but when I was a Summer Intern at ABT in 1991 I was given a pair of Alessandra Ferri's signed pointe shoes for free. Her feet are remarkably tiny.

This thread reminds me of a great anecdote. Actor Kevin Spacey was starring in a revivial of 'The Iceman Cometh' on Broadway a couple of years ago. During a performance the cell phone of someone who was sitting in one of the front rows rang out. Spacey glared at the person and simply stated, 'Tell him we're busy.' Too bad ballet dancers can't do that.

I think the fouetees are key from a charactization point of view. They're the ultimate weapon in her technical arsenal and she uses them as the coup de grace in her seduction of Siegfried.

In the late 1970's video performance with Makarova and Nagy, there is a pas de deux in Act IV with a beautiful piece of music whose main theme is set to a solo cello. I've yet to find any audio recording or another video in which this pas de deux/music is included. Can anyone shed light on this?

In the late 1970's when the 'Dance in America' series on PBS was still flourishing, numerous Balanchine ballets were filmed with members of NYCB. Most of the ballets are available on video, but Allegro Brillante with Farrell and Martins in the lead roles is not included in the series. Does anyone know if or when it will be available on video?

I realize this may be a tough question to answer since few ballerinas have the technical and dramatic abilities to dance both roles successfully.

My favorite Odette is Natalia Makarova. No other ballerina I've seen has captured the pathos of the character or brought out the poetry of Ivanov's choreography more eloquently than her. Some may not like her swan mannerisms, but to me they're exquisite.

I've yet to see the perfect Odile. Plisetskaya acted and danced the role to the hilt, so she's probably my first choice. Makarova would be a close second, even though she didn't project Odile's wickedness as effectively as Plisetskaya.

I think von Rothbart is necessary in Act III. Tchaikovsky and -- if I'm not mistaken -- Petipa wrote music and choregraphy for the character. VR has a solo in Act III scored for brass and strings, and isn't the music with the theme played by oboes supposed to be a pas de trois for Siegfried, Odile and VR?

In my opinion, simplicity is the key to an effectively costumed Odile. I hated the flamboyantly plumed headdress that Plisetskaya wore. Her characterization was so magnetic she didn't need it. A starchy, jet black tutu without any gold embroidery is more my taste, but if I were designing it, I'd put in a little silver patterning as a sort of echo of Odette's costume (getting back to the idea that Odile is impersonating her). Then I'd finish off the look with a simple diamond tiara -- again mimicking Odette's headpiece.

'NYCB's PBS broadcast, by Peter Martins. I mean no disrespect, but this one really rubbed me the wrong way, mainly because of the decor: "Jackson Pollock Goes To The Ballet." It may look very nice in Denmark or at the State Theater, but on a TV set it's an eyesore, especially the first scene with its construction-orange background'

BalletNut,

I'm laughing out loud at your description of Martins' choice of set design. I recall thinking 'Mark Rothko goes to the Ballet' watching that hideous orange set in Act I.

The first Swan Lake I saw live was ABT's Blair's production in 1981 with Cynthia Gregory and Alexander Godunov and it was great.

The next Swan Lake I saw live was the Kirov's new production by Vinagradov in the early 90's at New York State Theater. The best parts of the ballet were the exquisite dancing of the corps and the harp cadenza at the beginning of the Act II Pas de Deux. It was different than the usual one and was absolutely gorgeous. Acts I, II and III were fine, but it went completely downhill in Act IV when Von Rothbart kills Siegfried and Odette kills Von Rothbart and she and the Swans bouree offstage as the ballet ends. I remember my mother and I looking at one another and saying 'What was that?' It was sort of a feminist version of Swan Lake, I suppose, but it was ludicrous.

My favorite Swan Lake videos are Maya Plisetskaya's with the Bolshoi. Her Odette wasn't that lyrical or poetic, but her Odile was brilliant: nasty, devious and irresistible. I love Makarova's Swan Lake with ABT from the 70's, even though Ivan Nagy's dancing is weak. In the 80's, PBS used to have an annual arts special called 'Gala of Stars' with opera singers, instrumentalists and dancers. One of the last of these programs featured a sublime performance of the Act II Pas de Deux with Makarova and Nagy accompanied by violinist Itzak Perlman and cellist Lynn Harrell. Makarova's and Nagy's dancing/chemistry plus that gorgeous music played by 2 great artists has remained in my memory as clearly as if I saw it yesterday.

1) The lead in Balanchine's Der Rosenkavalier from 'Vienna Waltzes'. The choreography, the music and the costume are just too sumptuous to resist.

2) The lead in Balanchine's 'Ballo della Regina', even thought all that intricate pointe work would kill my feet.

3) The lead in Petit's 'Proust Remembered'

4) Robbins' 'Afternoon of a Faun' & 'Other Dances'

5) The lead in Ashton's 'Cinderella' with Dowell as my Prince.

More Recordings:

Sleeping Beauty w/Andre Previn and the London Symphony Orchestra is gorgeous.

Swan Lake w/John Lanchberry and the Philharmonia is also gorgeous

Prokofiev's Cinderella w/Previn and the LSO is great.

Cargill,

What did you think of Dvorovenko in the Nutcracker PDD and Hererra in Rose Adagio?

I attended ABT's first 'Tchaikovsky Spectacular' of the season last night. The program was Balanchine's 'Theme & Variations' and 'Tchaikovsky Pas de Deux', Kevin McKenzie's 'Nutcracker Pas de Deux, the 'Rose Adagio' and Act III of 'Sleeping Beauty'. Was anyone else there?

'Theme & Variations' was the highlight of the evening. It's so jam packed with treacherous choreography that it's no wonder dancers pale at the thought of doing it. Paloma Herrera and Marcelo Gomes led the cast. Herrera is a superb technician, but I've always found her pretty bland. Still, she made the harrowing intricacies of the choreography look easy, and she, Gomes and the corps deserved the hearty applause they received at the end.

'Tchaikovsky Pas de Deux' was danced by Amanda McKerrow and Ethan Steifel. McKerrow's dancing was pretty, but not that memorable. Like Herrera, I find her rather bland. Steifel, on the other hand, was simply brilliant in his solo and the coda. His lightning speed, high extensions, well pointed feet were gorgeous to watch. But during the coda the audience kept bursting into cheers whenever he finished, so that you couldn't hear the music when McKerrow came on to do her variation. I felt bad for her and was so annoyed by the audience's rudeness .

Julie Kent and Angel Corella danced the 'Nutcracker Pas de Deux'. Kent danced beautifully, with a wonderful flow and elegance. But, once again, it was her partner that stole the show. Corella's speed, ability to almost stop in mid air during a jump and marvelous attack were amazing.

Ananiashvili's 'Rose Adagio' was the disappointment of the evening. This was the first time I'd seen her dance live and, while her Russian style -- the distinct way she carries herself -- is lovely to look at, she seemed to be having an off night.

The highlight of 'Sleeping Beauty' was the Bluebird Pas de Deux' danced by Ashley Tuttle and Herman Cornejo. Tuttle is a very fine dancer and wonderfully musical. Her solo was especially beautiful. Cornejo, who I think is new to the company, is someone to keep an eye on. He's so light on his feet with an airy jump that was perfect for Bluebird. Susan Jaffe and Jose Manuel Carreno danced the Grand Pas de Deux. I'm not a fan of Jaffe's, but she has become a more lyrical dancer over the past few years, I think due in in large part to Irina Kolpakova's coaching. Carreno's was okay.

Melissa

The Makarova/Baryshnikov 'Giselle' video is currently being auctioned on eBay. Here is the link:

http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?V...item=1435330407

I've searched for it at every online vendor I can think of and struck out, so your best bet may be to bid on it at eBay. Good Luck :-)!

Melissa

I'm wondering if Ashton's 'Ondine' remained in the Royal Ballet's repertoire after Margot Fonteyn retired and, if so, who danced the title role.

Also, does anyone know who wrote the score?

Thanks

Melissa

The Live from Lincoln Center broadcast (1976-77?) of 'Giselle' with Natalia Makarova and Mikhail Baryshnikov is wonderful. Makarova and Baryshnikov are sublime throughout, and conductor John Lanchberry breathes new life into the otherwise forgettable Adam score. I think it's still available on VHS.

I also have a video of Ashton's 'Cinderella' from 1969 with the Royal Ballet starring Antoinette Sibley and Anthony Dowell. Sibley and Dowell are lovely, but Ashton and Robert Helpmann almost steal the show as the wicked stepsisters. I hope this is still available on video.

Melissa

I've often thought that Richard Chamberlain would have made a good dancer because he bears a strong resemblance to Anthony Dowell. With his noble bearing, I can see RC dancing Siegfried, Albrecht, Prince Desire and any number of Cavaliers.

Melissa

To all you Natalia Makarova lovers out there, eBay is auctioning her 1979 memoirs, 'Natalia Makarova - A Dancer's Autobiography'. Here is the eBay link:

http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?V...item=1436042566

It's a wonderful book filled with great photographs of Makarova from her Kirov days to her later career in the West. Good luck to all bidders!

Melissa