cubanmiamiboy

Oh...NOW i get it...so I guess Mme. Alonso's references to Fedorova's abridged version from back in the days point to that of the BRMC-(from where all those pics of Danilova as the Snow Queen I've also seen come from, right...?)So then that means that ABT never had a complete Nutcracker until Baryshnikov version came along....? Wow... So then I assume that Serrano was probably from the very last generation of ballerinas who danced the Fedorova SPF PDD, right...? Thanks a lot, Major Mel!! Edited to add: Silly me...I should have read more carefully this... So thanks also, atm711..!! But hey, there's always something new I get to learn from all this knowledge. That story of Schollar/Lopukhov was very interesting. Would love to dig a bit more in it...

I would like to pick up this thread after almost two years, because I'm still intrigued about ABT's Nutcracker's gap post-Fedorova and pre-Baryshnikov. Does anybody remembers if the ballet was done during the 60's and the 70's years before Misha's own staging...? If so...was it still Fedorova's...? Did Lupe Serrano ever danced in The Nutcracker...? If so...which role and who's production...?

Definitely! ...and the Candy Canes/Russian dance...!! (And this is thanks to Mel, whose transcription of the original libretto really did it for me.Until that moment I had much prefered Alonso after Nijinska's Three Ivans/Trepak... , but I'm a huge fan of libretto's accuracy, so... Edited to add: And just by accident I discovered this old thread in which rg posted various great-(as usual)-scans of some of the sketches for the original costumes, one of them that of the candy cane, with hoop and everything...! http://ballettalk.invisionzone.com/index.php?/topic/21326-costume-sketches-from-1892-nutcracker/page__view__findpost__p__219649 Behaving as they should while enjoying a night at the ballet with their parents...right in the audience .

Another quick addition. There's a lovely detail from Alonso's Nutcracker that I had forgotten to mention. Her Act I doll's scene is an interesting one. Wanting to pay some homage to Fokine, she reintroduces the three characters from Petrushka...Petrushka himself, the doll and the blackmoor, along with the original costume designs... Nice touch...

Question: Can we use choreography from ballet companies that we've seen? For example, I've seen the Nutcracker in Columbus for the majority of my life and have grown up with two or three different versions of choreography from BalletMet Columbus. Well...I tried to use those BT's would be more familiar with, so they could visualize the individual sections easier... Shame on me... . Definitely Baryshnikov...(alhough I think he heavily copied Vainonen here...gotta check my DVD's).

I agree. Super prohibitive prices for sports and arena concerts probably make look ballet prices less prohibitive...but the thing is, at the end of the story they're ALL still prohibitive for the average American.

A last minute addition: Thinking twice about the ballet finale, I would certainly like to see the original apotheosis, and I guess the closer we get to this is Balanchine's, but I prefer to see Clara waking up in her living room holding her Nutcracker doll. Not close to the libretto, but a beautiful ending. Baryshnikov's is sort of sad, and it can give you second thoughts...(I find that whole "love story feeling" quite bizarre), and Balanchine's flying troika doesn't quite "get" me...

Have you ever try to come up with the "ideal choreography" of a classic, taking bits from different versions...? Well, I do that a lot, and here's my pick for the Nutcracker. Act I The Party: Baryshnikov for the toys' solos and Alonso's for Clara's dancing. The Transformation Scene: Alonso's after Fedorova. No transformation here, but instead a PDD for Clara and The Nutcracker. The Mice Scene: Baryshnikov for the choreographed battle, Alonso's for the choreographed mice on pointe. The Snow Scene: Vainonen's for the snowflakes choreography, Alonso's for the Snow Queen PDD Act II Intro- Alonso's, for the parade of Matryoshka dolls Nutcracker's mime: Baryshnikov. Divertissements: Spanish Dance-Baryshnikov's couple-(ballerina on pointe) Marzipan Merlitons Dance- Baryshnikov's couple. Love the little story of the boy disguised as a wolf sscaring away the shepperdess. Arabian Dance-Balanchine Candy Canes/Russian Dance-Balanchine-(thanks to Daniel Baker ) Mother Cigogne/Polichinelles- Baryshnikov, although here they're sans Cigogne, but still love the four dancers choreography. Waltz of the Flowers: Baryshnikov, because he gives Clara and the Nutcracker the chance to dance along with the corps-(a liberty in the libretto, I know, but one that can resolve one of the main problems of this ballet). Sugar Plum Fairy PDD: All Ivanov descendants. Adagio- Sir Peter Wright's, for his complete use of the music, the restoration of the cape sequence at the end and the baroque/porcelain figurines appearance of the couple, wigs included. Male Variation: Alonso's after Fedorova, for the final entrechats. Female Variation: Sir Peter Wright's, because he includes the coda-(which is missing from other versions) Coda: Alonso's after Fedorova. Ballet Finale: Still undecided, but I think I would take the original one, which is nowhere to be found.

Ballet is not affordable. One of the successes of the Florida Grand Opera vs. MCB is the way they handle student discounts, opera packages-(5 operas for the price of 4), rush tickets-(50 % off 30 minutes before the performance)-and in general lower prices than those of the ballet-(you can buy a $10.00 ticket, even if it is all the way up). Every time I try to promote ballet performances among, let's say, my coworkers, some of them in the range of minimum wage, the first thing they ask me is How much...? When faced with the reality of cost, they immediately put the conversation to an end. The most effective campaign for ballet is the one that hasn't happened...to make it affordable to the average Joe.

Let's keep this rolling... Baryshnikov's, with the omission of the SPF/Cavalier, the PDD being given to Clara/Nutcracker Bejart's-(another take from Ivanov...) http://www.youtube.com/watch?v=ssFdi6ujXBM Nureyev's. http://www.youtube.com/watch?v=do7WmxUUfXA&feature=PlayList&p=90F885FB79448DA7&index=0&playnext=1

I just came from the movie theater. I found the film engaging, easy to follow, good-(not impressive)- in its balletic segments and yes, sort of melodramatic if you may, particularly for those who can't really relate with the whole defection/exile business. It does sound like an ancient idea, but remember that this kind of situation still happens, if perhaps without the intensity of the cold war years. I'm not ashamed to say I did shed a tear during those final moments when Li's parents are brought onstage. It is hard to imagine for those who haven't experienced this, but having the uncertainty of not knowing when you will be seeing your family again due to politics is definitely an awful experience. When I left Cuba I never knew that I wasn't going to be able to go back in time for my grandmother's funeral, but that was the reality of events, so I did feel the power of that sequence. The film wasn't too long, nor too short, and it gave me a general idea of Li's story while touching some sensible cords. I liked it-(waaaay more than Chanel/Stravinsky)-but I won't predict any Oscar this time. Rate: 1- 2- 3-(X) 4- 5- Edited to add: In one of the movie scenes Li, talking to his Houston sponsor Ben, says "My father works hard and earns $50 in one year and you spend $500 in one day". When I first went to NYC to meet my strange cousins-(whom I only knew by pics, having the three of them left when they were very little with their parents, my uncle and aunt, in the beginning of the revolution)-one of them took me to 5th Ave., and eager to impress me, dropped $200 in a pair of shoes. I was shocked. Later on when I spoke with my mother on the phone I told her that I couldn't believe he had done that while in 40 years none of them had ever had the curiosity to even inquire if their granny in Cuba, who idolized them, was even eating well,or if she ever needed any money to eat, for which with $50 a month she could have had a luxurious life...(not that she needed it, as we all took care of her during her lifetime there, and I made sure she had EVERYTHING she needed, even a wheelchair we sent, as soon as I earned my first paycheck in US). But yes...that image in 5th Ave. is still a shocker, even after 10 years living here, and Li's thought process really "got" me...

I love the two vintage-looking pics of Toto...beautiful ones, indeed. Thanks!!

Ah...but this is tricky! This is what we think of ourselves...How about if this self-image could be a little bit distorted...? How about telling someone who knows you for a long time-(family member of long time friend)- to do the game ON YOU...? Would the results be the same...?

I'd never seen that before....

1-Onegin's Lenski 2-Romeo 3-Friar Laurence

I just found a pic of Alonso's production with the Nutcracker Prince's sisters, the matryoshka dolls. Yoel Carreno is The Nutcracker and Primera Bailarina Anette Delgado is Clara.. http://danzahoy.com/pages/members/51_0206/imagenes/critica/01.jpg

Thanks, Perky, for the advice. As I'm writing, Tshen-Fu keeps trying to get Sylvia's-(temp name)-attention. He's the sweetest guy, all joy and humor, and all he wants to do is play, play play. Now, she seems pretty antisocial, and just seats all day long with a very serious long face, without paying ANY attention to him. When he tries to get closer-(rolling on the floor, moving his tail and doing all kinds of tricks for her to like him)-all she does is to look at him, hisses and does the same noises as the girl from "The Exorcist", to which he backs up pretty scared. Sylvia doesnt' like poor Tshen-Fu...

A little trivia...Mike's nick refers to the "situation" that always goes on when he shows off his six packed abds-(somehting he seems to do in every photo shoot and interview... )

Definitely. Mme always said that the three things she had reproduced with no changes from Fedorova's take during her BT/BRM years had been the Snow Queen PDD, the SPF PDD and the Three Ivans/Trepak. I strongly believes that it works but then remember that I-(as probably the majority of Cubans who grew up with Fedorova's)-am used to see this ballet in the same level as the other T/P's. Having a "formal" PDD in both acts with two Primeras Bailarinas-(plus Clara, another dancing character usually done by a First Soloist or a Principal)-definitely helps a lot to conform to this notion, plus having that old dilemma of "having to wait to the second act to see some classical dancing" resolved. Actually, the Snow Queen/Sugar Plum Fairy/Clara affair became the reason for which I saw so many times this ballet..who will dance what...? who will be better..? who will outshine who...? This is an old, well thought formula that ALWAYS works, as it does with Giselle/Myrtha or Aurora/Lilac. In general, I HATE to get bored at the ballet, and this character's inclusion in the Cuban version definitely makes for an exciting Act I...and for a more motivated Fairy in Act II...I think... No by Alonso's company, but there are clips by SFB and some other troups. I found some of pics of the Cuban version though... http://danzahoy.com/pages/members/51_0206/imagenes/critica/02.jpg http://www.havanatimes.org/wp-content/gallery/the-nutcracker/cascanueces11.jpg http://3.bp.blogspot.com/_64FJrZ2A1Hw/S0hvdqUKfJI/AAAAAAAAHeQ/ftJqgPxfbY0/s1600-h/bal2.jpg

I thought some of you would find this clips as fascinating as I did, as this are Burlaka's rare reconstructed/revived excerpts of this "lost" ballet. I'll transcribe the YT's OP notes and paste the clips: ( mrlopez2681 ) Part 6/7 from Yuri Burlaka's marvelous gala "The Golden Age of the Russian Imperial Ballet" ("Золотой век русского императорского балета") staged for the Chelyabinsk State Ballet. Performed at the Chelyabinsk State Academic Opera & Ballet Theatre of M.I. Glinka on December 24, 2008. --Choreography after Alexander Gorsky (1912) , Marius Petipa (1895) & Arthur Saint-Léon (1864) --Music by Cesare Pugni, Riccardo Drigo & Boris Asafiev This divertissement is extracted from the so-called "Under-Water Scene" of Arthur Saint-Léon's 1864 ballet "The Little Humpbacked Horse". It takes place during Act IV/Scene 1, when the protaganists Ivanushka & the Humpbacked Horse travel to the bottom of the Arctic Ocean in order to search for the Tsar Maiden's lost ring. **Music by Cesare Pugni, unless otherwise noted - 1. Introduction 2. Variation of the White Pearl 3. Dance of two Red Corals 4. Variation of the Ocean Genie (Boris Asafiev. From a supplemental Pas de six he wrote for the ballet in 1920s) 5. Valse (originally intended as a "Dance of the Jelly Fishes") 6. Variation of the White Pearl (Ludwig Minkus. Variation for Anna Johansson from Petipa's 1892 revival of Perrot's "La Naïade et le pêcheur", aka "Ondine") **History - Arthur Saint-Léon's 1864 ballet "Le Petit cheval bossu, ou La Tsar-Demoiselle" ("The Little Humpbacked Horse, or The Tsar Maiden") was based on Pyotr Yershov's celebrated poem "Конек-горбунок" ("Konyok-gorbunok", meaning "Hunchback Horse"). The ballet was intended by Saint-Léon to rival the success of Marius Petipa's 1862 "The Pharaoh's Daughter". The ballet was a massive success, with its fantastical tableaux set on an enchanted Isle of mermaids, or another set in a magical Under-water world. The ballet's final act included a Grand divertissement celebrating the many peoples of the Russian Empire. Cesare Pugni's music was equally successful, & was heard at Imperial Balls for decades thereafter. "The Little Humpbacked Horse" was revived by Marius Petipa in 1895 for Pierina Legnani with Riccardo Drigo supplementing the score. In 1901, Alexander Gorsky staged his own version for the Bolshoi Theatre in Moscow, & in 1912 Gorsky brought his version to the Mariinsky Theatre. The 1912 revival included Tamara Karsavina as the Tsar Maiden. For this version Gorsky added several pieces, including the pas de trois "The Ocean & the Pearls" (seen in clip 2/2) to music extracted from Riccardo Drigo's score for Petipa's "La Perle", a ballet staged for the coronation of Tsar Nicholas II in 1896. "La Perle" was also set in an enchanted under-water place, & told the story of how the Earth Genie attempts to abduct the White Pearl, causing a colossal battle of the elements of Earth & Sea. The Saint-Léon/Petipa version of "The Little Humpbacked Horse" was the first ballet performed by Diaghilev's original Ballet Russes. Gorsky's version served as the basis for all subsequent revivals in Russia, but over time, the ballet became a shadow of the spectacle it once was. Like so many other ballets from the 19th century, it was survived only by its most celebrated passages. For some time the Vaganova Academy included a severly abriged version, but ti has not been performed since ca. 1989. http://www.youtube.com/watch?v=lfgAofD_vJs&feature=feedu http://www.youtube.com/watch?v=w1iYSmNhZgQ&feature=related

I predict a lot of shirtless situations for "The Situation"... http://cdn.sheknows.com/celebrityphotos//2010/04/jersey-shore-mike-the-situation-shows-off-abs-april-2010-866x1024.jpg PS. (Has anybody seen "Jersey Shore"...? I don't know if or )

Today I picked a sweet girl from my condo parking lot. I've been feeding her for a month now, but I just couldn't see her there, with all this rain any longer...She's so quiet and sweet, and I'm trying to figure out what to do next. Tshen-Fu is not very happy about it. He feels like his privacy has been invaded...

Can't wait...

I find Grigorovitch's take quite bizarre. At the very beginning of the Pas, Maximova and Vasiliev are kneeling and posturing their hands in a gesture that look just as if they will start praying! Also, I don't remember any classical choreography where the Prince/Cavalier/male partner is lifted, just as his ballerina. The whole business with the candelabra is quite weird too...

Interesting thought. I think she could be wonderful in some Balanchine ballets, like T&V... Confession. Sometimes I pop in too...You know...that national pride.