cubanmiamiboy

A little something on Western Symphony, D&A PDD and Baker's Dozen tonight.

I'm feeling very encouraged now to keep working on my review. And welcome, mcbfan...!

I wonder how "complete" this restoration will be in terms of how much will be chosen from subsequent added segments. I'm curious to know if that Act I PDD-(deleted long ago and discussed in this board, and only included in the Zuraitis recording for the Bolshoi)-was ever notated, or the rarely played female variation from the Peasant PDD, or the coda from the male variation from the same Pas-(almost always absent too). What about the very final scene...? Will they restore the whole party of people witnessing Giselle and Albretch final moments..Bathilde included..with the gesture of Giselle for her to take possession of Albretch...? Too many details...but it would be wonderful if at least this very final scene was revived.

From the CCBM website: HIGHLIGHTS OF THE BALLET RUSSE REPERTOIRE "L'Apre Midi d'un Faune"-(Nureyev after Nijinsky/Debussy) "Le Spectre de la Rose"-(Fokine/von Weber)Nureyev "La Mort du Cygne"-(Fokine/Saint-Saëns) PLUS "DON QUIXOTE" PAS DE DEUX "LA ESMERALDA" PAS DE DEUX "FLAMES OF PARIS" PAS DE DEUX "LE CORSAIRE" PAS DE DEUX http://www.cubanclassicalballet.org/programI.html

Fom the Concert Association of Florida website: Ballet Grand Prix Fillmore / Jackie Gleason Theatre Miami Beach February 24 - 8:00 PM "This evenings exclusive performance, created for pace, variety and excitement, features principal dancers ELISA CARILLO CABRERA and MIKHAIL KANISKIN (Berlin State Opera Ballet); DREW JACOBY, RUBINALD PRONK, MICHELLE WILES, JOSE MANUEL CARRENO,MELANIE HAMRICK-(ABT)-,CHARLES ASKEGARD-(NYCB)-and others. Selections include visionary choreography by Annabelle Lopez Ochoa, William Forsythe, Ronald Savkovic and George Balanchine as well as classical set-piece, the Pas de Deux from "Diana and Acteon". The finale is a specially created "Grand Defile" not before seen in Miami". http://concertflorida.com/ballet_grand_prix We'll be watching you, Toto!

That's where the film reminded me of Kirkland's book...

A very juicy part of the chronology -- revel in it! ..and one that keeps dragging me back every time I try to move forward...! Don't listen too much to its mermaid chants, or you will be under its spell forever and ever...!

So the curtain went up for La Sonnambula to reveal the vintage-looking setting of the ballet. One doesn’t really get to see such fancy sets in ballet any longer…it really looked as if opera instead of ballet was to be presented. Definitely a beautiful, promising sight. I guess when talking about this ballet, the main focus would go in two directions. That of the portray of the main role and her interaction with her man/partner and and her surroundings and then the ballet’s own atmosphere, which I saw as important as the dancing itself, which is not that much. I have more complaints than praising, I'm sad to report. The main thing I noticed was the absence of the sense of luxury/absurdity/mystery that I suspect characterized this garden fête when it was first choreographed. For what I’ve read and seen from those scans rg posted-(thanks!)-of the original designs-(like that of the “Fan and Fish” couple)- and atm711's always helpful,wonderful memories, this whole affair should suggest an intense feeling of non-reality or even some uncomfortable uneasiness…-(sort of like in La Valse, which somehow has been able to retain). The guests' masks were too simple, and the divertissements to pleasantly offered. I hope that atm711 is reading this, so she can add something that could maybe confirm my suspicions. I think the dancing segment of the party was at some point aimed to alter the general sense of comfort and pleasant view in the guests-(both those onstage and those of us in the audience). For some reason I thought about the infamous sequence of Anita Ekberg’s sensuous dancing and fountain dipping in La Dolce Vitta, in the way that it gives you that “prohibited” second thoughts about something that goes beyond logic and/or socially acceptance-(but pleasant at the same time). The Pastorale had an interesting twist on Friday, when it was danced by twin sisters Leigh-Ann and Sara Esty. Watching this two identical dancers wearing identical costumes and doing identical steps really added a nice touch, for which at points it was very strange…almost bizarre to watch this replicated, mirror-dancing image up there. Loved it. The Oriental Pas de deux had a lot of the Bayadere’s Golden Idol, with its broken wrists and lotus poses. It was interesting, although a low note came toward the end on Friday when the female lead-(Skyler Lubin)- came rushing onstage to witness the Poet’s final moments. Lubin-(along with the rest of the divertissements dancers)-had been stripped from her headpiece, and all the women, Lubin included, had their hair down. Well, somehow the fact that hers was a severely highlighted head of hair-(what we could call a “bleached blonde”)-wasn’t too appealing, at least to me. Renato Panteado was the male lead on Friday, and Nathalia Arja and Renan Cardeiro danced on Saturday night. The Harlequin was phenomenal on Friday, less so on Saturday. On opening night we had Brazilian Corps guy Kleber Rebello, who gave us a WONDERFUL portray, very alive in the best tradition of this Commedia del’Arte character, and with amazing technical tricks, among them the super ample grand ecartes, and the fearless grand dipping into the left wing which, as I said earlier, looked as if a swimming pool had been placed for him over there to be safe. He had a lovely sense of humor too, like when he started limping and angrily mumbling to himself after an overly done effort to impress his audience. Very comical guy. On Saturday night we had Alexandre Ferreira. The Poet was Carlos Miguel Guerra on Friday and Yann Trividic on Saturday. Guerra is the perfect guy for this kind of role. I believe every company ought to have a “princely” bailarin, one pretty boy that can handle all the romantic, suave roles-(sometimes something difficult to achieve). Well, MCB has Guerra, and he has demonstrated many times that this is his territory. He is a great looking-(in the boyish side)- guy with soft manners-(even in real life)-and beautiful smile. His Poet was very convincing…I really enjoyed it. And then she came.…La Sonnambula herself...in all her full sleepiness glory and regalia. Jennifer Kronenberg-(just edited her last name, sorry about the misspelling)- danced the role both nights-(I didn’t go on Sunday). Now, we all had read that she was coached by Miss Kent herself in the role, back when MCB premiered the work, BUT I wasn’t convinced, and here is why: Miss kronenberg is a lovely creature, and right after she came out of the tower she started doing her pointe running around the stage, but I didn’t see the daring moments that Kent says should happen like when the audience feels that she could fall down the orchestra pit, for which she should explore her territory right up to the end of the stage. Her circling was very fluid, yes, and the whole thing had many qualities, but “daring” wasn’t one of them. The PDD was very beautiful, and the climatic moment when the poet is trying to encircle the Sonnambula’s body while on the floor to just be left there by her in a beautiful cambre position was very effective. The final moments of the ballet came, and here another moment narrated by Kent that I didn’t get was that of the “terror stricken” Sonnambula when she trips over the Poet’s dead body, and realizes what just happened. I didn’t see the terror on Kronenberg’s face. Her Sonnambula sort of reacted a bit more alerted, but certainly not with fear. The Coquette was very well portrayed both days. On Friday by Callie Manning-(a great character dancer and beautiful ballerina)-and on Saturday by Patricia Delgado-(always sultry and appealing, just as in real life). The Baron was Isanusi Garcia-Rodriguez both days...very well done too. HAIRDRESSING ALERT!!!: Well,…I wanted to leave this issue for the end of my review, for which I really consider it to be of extreme importance in this ballet. La Sonnambula is all about atmosphere, and and sets, props, hair and makeup are here as important as the dancing itself. When Kronenberg came out of the tower I immediately noticed that her hair had been completely altered for the performance. This could be the hairdresser-(my old profession)- side of me, but I couldn’t help but notice that the overall effect of the character had been completely diminished by whoever's choice was to make Kronenberg’s hair as perfect as it could look for a photo shot. To start with, hers is a naturally beautiful wavy hair, almost curly. So here we were presented with a SEVERELY blow dried, AGGRESSIVELY flat ironed 'do. Her hair looked as if she was to do a magazine add for the Keratin Super Straightener Treatment, to the point that when she was burreing you could see the trembling flocks, which were as shiny as they could be. One of the things that I loved from Danilova’s picture with Franklin was her curly long hair down her back, which could easily convinced you that it was that of a person who just came out of bed. Kronenberg, on the other side, looked as if she just had came out of the hairdressing chair. Think of this. PLEASE, Jennifer, get rid of the flat iron and…show your hair as it is. You’ll win a 60 % of conviction in the role. The final moments of the ballet, when the Poet is given to the Sonnambula’s open arms were amazing, and the very last seconds of her disappearance in the tower as an ascending light was to die for. I loved it. Guerra was placed beautifully in Kronemberg’s accepting hands, his lifeless body truly looked as dead as it could be. Yann Trividic-(a bigger guy)-had to accommodate himself, somehow holding on to Kronemberg, as if deeply wounded. It was different, but also very pretty. Loved it, loved it, loved it. Will be back for some notes on Western Symphony.

Good thing that they do that so those who know it are not forced to stay 'till the end of the night waiting for a third favored one. I think they suspected this practice down here at MCB and now they are presenting the contemporary piece right in the middle. I used to do the same as you, but I couldn't in this program... BUT when time comes to the Broward performances, I'm DEFINITELY getting out on the lobby with a book to wait out there for the third ballet.

Who were those BEAUTIFUL ballerinas...?!?! Now, THOSE were really GREAT LOOKING female dancers..! Love seeing Berthe's mime being given the importance it deserves. Alonso has retained it almost in a carbon copy of what I saw in the broadcast, all the way from her staging of the ballet-(with the help of A. Dolin and Mary Skeaping)-in 1948. It can be seen better in her 1964 DVD. On the other side, none of the productions I have on DVD has it, either Russians or from the West.

Edited: In second thoughts, and after good advice, I just edited the thread's title. The Trust's site confirms Mel's post, and on the other side, the Balanchine Catalogue site seems to agree with Villella's memoirs. Too much of a contradiction...but who knows.

You see what you guys do to me...? Now I HAVE to go see this...!!! Nice to finally put a face on such venerable poster as Mr. Fullington

I'm all clear now. The title of the thread stays. I wonder if City Ballet has it in its repertoire...? Or Farrell's company...? Is anyone familiar with B's take on Vaganova...?

Interesting. Villella was then extremely humble when writing his memoirs, for which in them he credited the whole choreography to Balanchine.

All you have to do is go to their website at 7:30 and it will begin streaming by itself. I happened to have the site up so I wouldn't forget tonight, and discovered the stream from the 3 pm event when I turned my speakers on to stream something else. Beautiful! Will be watching...thanks!!

Sorry if my question sounds sort of silly, but being sort of like in the middle ages about computerized stuff and the like...do I have to sign up any special account on that website, or download a program or have any special device or do anything to watch Giselle...? Thanks!

I just located Villella's book. In p.155 he states: "Balanchine himself choreographed a pas de deux, Diana and Actaeon, for Patty-(McBride)-and me to perform on the "Ed Sullivan Show", which I recently restaged for my own company in Miami". Ok...so I guess I'm witnessing one rare-to-find Balanchine ballet...?

Back when I read VIllella's autobiography, I was intrigued when finding that he had danced a version of Vaganova's PDD-(which I believed said to had been staged by Balanchine)-, and intended to open a thread asking about it. I forgot the whole thing until leibling-( )-answer my question on the matters after my recently encounter with the choreography in MCB Program II, apparently a last minute addition. Weird thing is, the Trust website doesn't list it, and this is a COMPLETELY different choreography from that of Vaganova. My guess is that Villella himself staged it-(Maybe McBride also came over to help...?, I don't know)-but I 'm curious to know if this PDD rings a bell on you guys, and if it is currently performed in City Ballet or anywhere else. Thanks in advance!

...and BEAUTIFULLY as we both know...! She also danced in tonight's Danse Orientale.

Aaah...I KNEW something was still right in my head-(not a lot but still some). I was about to ask this, since I remember this detail from Villella's book. I just wanted to localize it first not to sound too silly in case this was just a product of my imagination...THANKS, LEIBLING! Still...I still recognize Acteon's variation as the standard choreography attributed to Vaganova. In any case, nor Balanchine or Vaganova were even mentioned in the playbill. What a disaster...

I will be back to watch again the program tonight. I want to gather more viewing time on this program before reviewing it. RED ALERT!!!: Something allegedly called "Diane&Acteon PDD" in the programme was added apparently at the last minute, for which it was in the little paper with the performance's casting, but not in the Playbill. I wonder who was responsible for this choreography. CERTAINLY not Vaganova...

Consider the exit for the Harlequin variation -- a headfirst dive into the #2 wing stage left. Then try to imagine somebody like Andre Eglevsky doing that. Our Miamian Harlequin actually jumped as if into a pool...! Never seen that before...

MCB presented a couple in a "Dance Orientale", one Harlequin and a tarantella for two couples.

"La Sonnambula"- "Western Symphony"- "Baker's Dozen"-

Baker's Dozen