cubanmiamiboy

I notice that the Russians never perform the fish dives. According to Danilova the steps were added for Spessivtseva in the Diaguilev production of Beauty, a production that took place out of Russia, and then again the western hemisphere adopted them as one of the most iconic ones, this time thanks in part to Fonteyn. Apparently the steps were never incorporated into the Russian/Soviet production. The Sizova/Soloviev video and the reconstruction show exactly the same sequence of Aurora throwing herself in her back into Desiree's arms.

True...the Sizova video has it, Mme. But live I've only seen it with the other variation...the one danced by Kurgapkina in the next clip. But back to the OT. Someone here mentioned Radestsky's TPDD variation as an example of how a step can be changed along the way according to the dancer's weaknesses or strengths. BUT there are steps AND steps...some more iconic than others, and some in some more iconic ballet than others. If you get me to see "In the Upper room" with the 85% of the steps changed I probably won't even realize about it. I'm not familiar with the ballet and there is so much happening all the time that I doubt many people can account for its complete choreographic knowledge, at least on the audience side. But this is Giselle...and the sautés are probably one of the most bare, exposed, naked series of steps in the whole history of balletic choreography. EVERYONE is watching her...both audiences on and offstage, and somehow this feels as the climax of the ballerina's level of technique. For some reason I doubt Sevillano acted out of a moment's injury...it looks to me as if the substitution had been carefully choreographed and rehearsed in advance. This is very different from a "night off". And back to the iconic steps and Tchai. PDD. What about if instead of the variations-(which is well known Balanchine allowed in life to be reworked many times by different dancers)-the dancing couple decides that the two killer fish dives of the coda are simply too dangerous to do and instead decide to do something else...? Would we be as satisfied...?

For some reason I suspect that the diagonal ending was another of those difficult additions done by Spessivtseva, even if the pas was created before her-(just as the three fish dives of Beauty)-and then picked up by the western world via Markova, Alonso etc...whereas I notice that the Russians always do the round of pique turns-(as in Ulanova's video). ABT probably ceased to include the diagonal when Misha was in charge. MCB probably will get some coaching from someone out of Misha's years. I still think it is a pity that this diagonal doesn't get performed more often over here... Anyway...back to the sautés on pointe... Corsaire...? Isn't this DQ's Dryad Queen variation...?

Edited: double post

Edited: double post

Well, I certainly have an issue with this. The thing is that after 1:20 I don't recognize the pas any longer..! Me having grown up with the sautés on pointe AND even more important...the beautiful, devilishly complicated final diagonal of pirouettes/piques/chainees...well, then when I see the whole thing somewhat watered down-(at least on my eyes)-I can't help but to be very dissatisfied... (I need to find out what's the MCB texbook on this...hum ) Meanwhile, let's luxuriate in the-("my" )- traditional way...

true

A life taken away too soon at the young age of 28... RIP Amy. http://www.youtube.com/watch?v=w1evzhSast8

This is a flamenco mixed with afrocuban rythms oriented dance company from Havana... http://www.youtube.com/watch?v=DO3Dc-zp7cc&feature=related

I will try to pay some tribute to lesser known dancers of the NCB that eventually made it out of the company and the country, and currently dancing in some other companies. This as long as I can find some footage of them. Anissa Curbelo. From the Ballet de Monterrey-(Mexico)-website. Miss Curbelo began her studies at the Elementary Ballet School Alejo Carpentier in Havana in 1985, continuing in the National Ballet School of Havana, where she graduated with the title of professional dancer and teacher of Classical Ballet in 1994. During these years Miss Curbelo participated in various national and international competitions, including the Dance Vignale of Turin in Italy and the UNEAC Contest of Havana, obtaining in both the Gold Medal In 1994 she joined the National Ballet of Cuba where she reached the rank of Principal Dancer. In 2006, she became a member of Ballet de Monterrey with the category of Soloist, being promoted in 2008 to Principal Dancer and to Primera Ballerina in 2011. http://www.balletdemonterrey.com/anissacurbelo.aspx Miss Curbelo as Swanilda in Alonso's production. As Kitri As Giselle As Lissette

Never seen this omission/substitution/change happen before either live or filmed. It takes a brave ballerina to attempt to, being the step so iconic by now. Be the judge and vote in the poll if you might... The "issue" starts at 1:20. http://www.youtube.com/watch?v=oGWNVv8Wq0o&feature=related

This is a flamenco mixed with afrocuban rythms oriented dance company from Havana...

I suspect that Beauty has been the most choreographically wounded reconstruction so far isn't it...? And then...there's Lilac's helmet and heels issue...hum...not convinced here that going back to that was the happiest idea.

...nor is MCB the same company back home sans the touring adittions-(Cox, Baker, etc...). At least, for me, there are two well denoted periods, BC/AC-( before Cox, after Cox).

[Admin note: the first four posts were originally on the dance orientale de Raymonda thread, and they expand upon the broader topic of reconstructions] Well...the reconstructions are aimed to go back to what was notated in the S.C, and I think so far it's been a lot about restoring cuts, as in Bayadere-(the full last act), Beauty, Coppelia, Corsaire, and even full length ballets-(Pharaoh's Daughter or Awakening of Flora), or with the less orthodox Lacotte's revivals-(which I love)-like Paquita, Ondine and Taglioni's Sylphide. On the other side,going back to the original could also mean cutting, like the most of the pointe work that Lilac acquired throughout the years-(poor Lilac...back to her helmet... )

Bessmertnova is certainly past her prime, but she is just lovely to watch-(but again, this could be me and my personal taste for ballerinas who have reached certain maturity onstage that can only be achieved with age...) And now...Mme. Bessmertnova's Raymonda-(the whole ballet. 2H. 15 m.) http://www.youtube.com/watch?v=vAYIp0nfl4U&feature=related

I wonder if she will dance Carmen. Zakharova was one of the very few ballerinas whom Alberto Alonso coached personally in the role-(Plisetskaya and Alonso the other two) Alonso Plisetskaya http://www.youtube.com/watch?v=xQB1dz2IJeA Zakharova http://www.youtube.com/watch?v=3Vw6bbqXm2A

Ok, so tonight I went to the closing event of the Symphony of the Americas' Summerfest Festival, a joined event with the Reményi Ede Chamber Orchestra , with James Brooks-Bruzzese as guest Conductor. The program consisted in Mozart's playful "Divertimento K. 136", Bocherinni's beautiful but rarely performed "Sinfonia No. 6 in D minor.Op. 12/4"-(I LOVED it!)-Piazzolla's "Contrabajeando for String Orchestra" and "Libertango for String Orchestra", both arranged by Ricardo Roel-(not my favorite pieces of the night...never been a fan of tangos...)-and to close a "piece by Aaron Copland"-(in the conductor's words, and correctly identified by me to my friend as "Rodeo"! ). I prepared myself all fancy and everything, and when I got there, I realized that the concert was to be held in an amphitheater, so I ended up down on the grass enjoying Mozart while digesting quite a few pieces of spicy chicken wings...!-(not too glamorous, I know... ). Anyway..I had a great time.

Wow, Helene...I LOVED that...!

My pleasure, CM. And about the Giselle clips, none of them are from 1963, as the caption reads. The first one, with Esquivel, must be-(I think)-from the returning of Alonso to the MET stage in 1979, and the second one is with Vasiliev in 1980 in Havana. At first the interviewer asked her what was like to be there at the MET during the gala for her 90 th birthday, and she answered that she felt as if her whole life was just passing by in front of her eyes...that she didn't have words, that-(in her own words)- "I couldn't say, or describe, or even dance what I felt up there...not even dance, which is what I like the most in my life..!" When talking about Fernando Alonso, she made clear that it was her influence in his life as a dancer/teacher/choreographer-(and not the only way around)-what weighted the most.

The first clip shows Alonso dancing with Jorge Esquivel-(currently a character dancer at SFB). Interviewer: "You became immortalized in the dance world as the best Giselle of all times" AA-(Pausing)..."There have been very good Giselles...after, maybe now, later on...but I had my seat...I've had my seat" Interviewer- "I see you still bear Fernando Alonso's last name...that you kept it after the divorce" AA-"I'm fine with that...I'm delighted with it...see..? It is AA, so they always have to place me in the first place, and I like that..."

The Bolshoi DVD is one of my favorite ones. Bessmertnova has that "grandeur" that makes her completely believable in her princess role, and her footwork is precious. The only problem with her is that, just as with many other cases of star ballerinas, she totally opaques younger Vasyuchenko. On the other hand, Taranda is just MAGNIFICENT as Abderrakhan.