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About scherzo

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  • Birthday 10/16/1990

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Fan and moderately avid balletgoer
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  1. scherzo

    Natalia Osipova

    I have seen Osipova live in Don Q ('her' role from here on in as far as I'm concerned) and some other ballets, and I agree that while on video she appears rather overbearing when seen live she is simply exhilarating. But I do wonder, without wishing to offend, whether she is causing such a sensation simply because she is the first dancer in a while to have such energy (often compared to Plisetskaya) which we associate with the Bolshoi's golden age, and not necessarily due to remarkable artistic merit?
  2. If anyone (like me) was wondering whatever happened to Ms Volochkova, she seems to be appearing in a reality TV show in which celebrities learn to ice dance.
  3. I like the idea of Bathilde reappearing if she is really in love with Albrecht, rather than taking a 'You must marry me because of this ring' approach and hauling him off. If she and Wilfried have been out all night it makes sense that she has decided that she does love Albrecht after all - courtly ladies do not wander the forests at night (except in ABT's Swan Lake, apparently). It would make her a more 3D character than just a betrayed lady in a pretty dress, and would also contribute to the idea of love in the ballet as a whole. Of course, this would soup up the ballet no end. Overkill, pe
  4. I haven't seen this recording (unfortunately) but perhaps this was due to the camera being too close? For example, in the Royal Ballet's recent Giselle broadcast, Marianela Nunez's first entrance as Myrtha was spoiled (I thought) by the camera being too far zoomed in, and so rather than her gliding we saw her head and shoulders wobbling along in a rather un-Wili-ish fashion.
  5. I know this thread is very old, but coincidentally I have just come across a comment posted by Mr de la Caffiniere on a certain video site which says that he is currently teaching Danish School-inspired ballet classes in Paris.
  6. You mean the tutus? That's what ballerinas always wore in 1877, which is when La Bayadère was choreographed. Sorry, my comment was poorly phrased (irony is rather difficult to put across on the Internet!). I was commenting on the slightly odd nature of discussing 'in-authenticity' in ballet (i.e. waltzing Indian temple dancers) when, as paraphrased from an old POB Bayadere programme, a tutu is introduced and already we are at one remove from reality. Would it be true to say that classical tutu ballets were more concerned with enchainements and therefore made-to-measure music like Minku
  7. I know this is an old topic but I was thinking about this just today (there ARE threads on everything here!) - what really makes good ballet music? OK, maybe it doesn't need to be 'great' music. Say you wanted to commission a score for a ballet you were choreographing: what would you prefer? Rhythm, of course, but then most music has regular rhythm of some kind. Instrumentation? I remember reading online once that a piece (I think it was Debussy's Arabesques) was too 'thin' for dance, which implies that a choreographer reacts to different layers within music that solo piano music may not pro
  8. I've been watching footage of Raisa Struchova, and she has the most amazingly fast, skimming bourees.
  9. Not quite sure what you mean by that. If the music persuades, why concern yourself with the process behind it? I can't remember which piece it was, but it was like, 'Here are some notes and rhythms for each player, play them as fast or slow as you like and repeat until you hear the drum hit'. I didn't really like the piece anyway, but this kind of composition annoyed me, I suppose because it's not what I would conventionally describe as 'musical' composition. Sorry, I'm still at the stage (or perhaps will always be) where I cling to music pre-Berg/Schoenberg, but I hope to widen my horizon
  10. And so he is! Hmmm.... I may yet be persuaded, I guess. (It wasn't so much the music as its method of composition that I objected to....)
  11. I know I'm not technically JMcN but I'd like to quickly add my thoughts on Bintley if I may. Of his story ballets I have seen Hobson's Choice. I suppose it is not an 'ambitious' ballet (which is one of the criticisms of his work) but that is part of its appeal: it has great warmth, a good sense of comedy and a good balance between mime and pure dance which sustains the audience's interest (which, for example, Macmillan did not always achieve). Above all, Bintley takes care creating his characters and each has clear personality, dramatically and choreographically, thanks to his inventive use o
  12. I don't mind slightly winged feet (assuming I do know what they are) but when the foot is practically flexed it is really horrible. This is the peeve that really makes me mad, and it rolls several of the peeve-ish issues into one. It's when in the first set of balances in the Rose Adagio the ballerina tries to do a 'Margot Fonteyn' and misses out the fourth prince. This is annoying for so many reasons: It ignores court etiquette and offends the prince - OK, a small point but hey It almost never works and looks uncomfortably wobbly It never looks spontaneous, and 'setting up' the balance co
  13. Wow, Obraztsova and Somova are only just second soloists?? The Mariinsky has interesting casting policies, giving coryphees principal roles etc.
  14. There words that go with the Sylph’s death scene have changed quite a bit over the years according to a recent publication – more recently separated into three lines, rather than two that seems to have been an earlier practice. However, what they express has remained basically unchanged over the years. Currently, the Sylph's lines are suggested to be: “You should not have done that” – “I could not help it” – “I have loved you more than anything on earth”. Thankyou very much. The music in this scene (esp. the cello) is so beautiful, and the mime makes perfect sense now.
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