cubanmiamiboy

Good for them..! Let's all dance against that dammned thing

I miss Odette's mime...I nominate SL as next candidate for a Russian full evening extravanganza reconstruction. Can imagine the ballroom act's magnificence..! I really like Miss Obratzsova.

Maybe someone could kindly change the title of the thread to "haunting" which is what I assume it should be? Sorry about it, Aurora. I haven't mastered the foreign language completely. Hey Cristian - I wish I were as idiomatic (and articulate) in ANY foreign language as you are in English

Maybe someone could kindly change the title of the thread to "haunting" which is what I assume it should be? Sorry about it, Aurora. I haven't mastered the foreign language completely.

Oh, so we have two in common then...!

Here...an entire thread dedicated to your question... http://balletalert.i..._30#entry298287 But for a short answer...obviously there will be 32 only if the ballerina performs them as singles, as in the old days. When you see the dancer executing double, triple and even more turns, those are pirouettes interpolated in between the fouetees.

Have you found yourself humming over and over a certain ballet tune right post performance and for many days after...? Do you find that you can't get it out of your head...? Is it a very catchy, "dansante" melody...? Could it be that you're even able to get a hold on any Stravinsky's ballet tune...? (not me certainly...) My "regulars" are usually: 1-Adagio from Sugarplum Fairy Grand PDD. 2-Rose Adagio 3-Waltz/duet from Chopiniana. 3-The tune that goes along the peasant cross formation-(or a single line as in Cuba)-dancing in Giselle's Act I 4-Glinka's main theme of Valse Fantaisie 5-Coppelia's mazurka 6-Giselle's "Initiation" scene. 7-Aurora's first entrance music. 8-Swan Lake overture. I'm sure there are many others, but those are my top picks... Which are yours...?

I know..! , specially when the ballerina go way risky and twists her body all the way so she's already looking toward the audience almost upside down, head very close to the floor, working leg beautifully curved, body completely off center. Sometimes it gets so daring you would think it is impossible for her to keep her balance on pointe and she will fall off...!! Oops, sorry..I got carried away... so back to the "least liked variation" ...

Veeery close runner up: Odile's variation. Maybe part because I somehow identify with the Soviet trend to name ballets first by the composers, and knowing that Tchaikovsky wasn't even alive when the piece was interpolated, I feel somehow uneasy with it. Then, its choreography is so mathematically technical...it almost looks like a series of class exercises. "OK, now I will demonstrate how do do bourrees", "and now here's how we do sissonnes", and "look carefully how do I do renversees and pirouettes a la seconde"...and so on. In general I can't get over the fact that Petipa got rid of the beautiful Sobeshchanskaya's PDD-(aka TPDD)-with its superior, dazzling Odile variation to interpolate the foreigner L'Espiègle.

I have seen the company. They have consistent seasons, complementing the now almost vanished CCBM in presenting revivals and other important base works from the classical repertoire that MCB lacks. Last time I saw them they did Petrushka, and I took my neophyte friend so he could know such relevant piece. Thanks for the heads up!

Yes indeed, bart, specially Breedon. I remember him with much pleasure as the lead of Valse Fantaisie.

Cox was gone and apparently had been back-(although I didn't get to see him dance after his "return"). Carranza was pretty much gone for a while now...

Those are the Italian fouettees And BB, MCB's Swannilda has them in her Act I's entrance waltz. The Queen of Dryads of DQ also has them.

I guess we have to see 250 "rolling on the floor" works before reluctlantly deciding to go back to the secure spots of Mr. Diagonal, right...? You made me laugh! But I loved Symphonic Dances by Ramantsky and look forward to seeing it again! I think you liked it too, but you don't want to admit it!!!! LOL Can't even remember now what was that about, BB..! I get confused with SD and Viscera...

There's a bit of double moral in there of course. "See no evil, hear no evil". I hope the example that I will mention next is not banned territory, for which even in nursing school the term exist in textbooks. Well, "poppers" are, at least here in Miam, legal to sell, as long as they are advertised as "room deodorizers". Can't get any more "double" than that. ...AND it surrounds them with bit of glamour also...let's not forget that.

Edited: double post

Well, she IS entitled...isn't she...? Just as Bathilde or Effie or even Swannilda are. I've never seen the restored last act-(Cuban version is an abridged Kingdom of the Shades)-so I look forward to see how the "entitled one" gets to be punished...(for her physical crime rather than her interference in a love story, I suppose...?). Gamzatti shouldn't be portrayed as the Carabosse of Bayadere. She is human, she's in love and she's seeing all her dreams of happiness collapsing right in front of her very eyes because of "the other one". So she fights all the way, just as all the others do. (Well, Bathilde doesn't really gets to be that threatened, and she knows it just right from the moment Albrecht doesn't step up to acknowledge Giselle when she's begging him for a recognition signal in front of everybody. Effie even less...she's more practical by taking a more self respectable solution. "You don't want me...?...that's OK, someone else will appreciate me more than you, so don't you worry". Swannilda destroys the damned doll. But Gamzatti, ha! ... our Gamzatti takes the Jerry Springer way...a hardcore physical fight. I don't think it as inusual...the whole outcome probably is, but not impossible either. At the end, she IS entitled.

I guess we have to see 250 "rolling on the floor" works before reluctlantly deciding to go back to the secure spots of Mr. Diagonal, right...?

One never sees a ballet being performed twice the same way, even it it is the same ballet with the same performer.

NJ Ballet has it in its repertoire, staged by AD Carolyn Clark and guest Russian ballet master Vitali Akhoundov after Bourmeister's mid century version.

Glad you enoyed Coppelia, bart. I'm sure you will always remember your first live Swannilda for the years to come, and I think it was great that it wasJeanette who did the honors. I totally agree with you. She NEEDS to start guesting around to be exposed to the Romantic/classical grand repertoire that MCB lacks. For some reason I think she would make for a wonderful Esmeralda. Also agree with your assesment of Rebello. I don't know if that was the case in Palm Beach, but over here they always paired him in the Mazurka with the tallest dancer of the company, Miss Manning, and he still lifted her wonderfully at all times. I know that as a barrel turn, which he finished over here with a great revoltade, but maybe there's a more proper name for it.

Edited: double post

I'm all for the Shades entrance and Grand Pas. I watched that part repeatedly during a certain period in my private life, so I have it in an iconic place...It became very personal, and I still get goosebumps when I see it...