cubanmiamiboy

Once again Miss Long reminded us about what a beautiful classical line is. More details of Long's exquisite performance as Satanella in the Grand Pas, as part of CCBM's double bill at the CCBM's sub-forum. Couldn't ask for more. Brava!!! "The Ballerina on her own two feet" http://www.roanoke.com/extra/wb/95318

I just came back from the matinée performance, in which Miss Hayna Gutierrez had ballet lovers at her feet during curtain calls. The role was Carmen, which was offered as the main course to a program that also included Diane and Acteon and the Grand Pas from Satanella, in a lovely rendering by Jordan Elizabet Long. More details later, when I recover my playbill...(nothing new). Also, more details on last night's performance, which kuddos in advance to the impressive interpretation of Grace Anne Powers as "Fate". Some backstage pics coming too.

...really...? Where at?

A lot of people are asking themselves this same question, and there's an answer of course. It just has to pop out from a formal/"legal" source, which is what I'm trying to get at this very moment...Just give me some time.

If so according to the poll there is a 3.80 % of BT's who actually love to see the tatts onstage...and by that I must assume they would include the exposure in any and every role possible...(Aurora...Giselle...The Sylph...etc...)...Hmmm...interesting stuff!!

Hum...analizing the poll..."love them, hate them or couldn't care less"...are we talking about tatts themselves or dancers showing tatts...?. (Anyway I do really like'em, but I think the context of the question changes a bit in each of the two variants...)

I had seen this clip before getting my hands on the Zuraitis, and so I though that it could be part of the Minkus PDD. Then when I finally got to listen the recording, I realized that Feijoo's variation music didn't belong there. So now it seems to be ever more "lost" music going on from Giselle.

No...you're not wrong. It is as illegal as it is enjoyable for some of us. A not so uncommon issue, if I may...

WOW...!!! Fascinating stuff...It was like listening to ghosts...

Yes. Mr. Franklin is such a clever guy and a truly great comunicator...

I found this very interesting clip. Bailarina is Lorena Feijoo http://www.youtube.com/watch?v=o-_JbM-gfHw

Thank you for the hint on the clips... (wow...is it me or the music for Don Quijote was played veeeeeeeeeery sloooooooooowly...?)

The confusion is still on the air. This music was, by all accounts regarding the 1884 revival, written by Minkus and added by Petipa, along with Giselle's variation for the second Act-(her Tempo di Valse one with Albretch collapsing on the floor)-, and probably even Giselle's Pas de Seul Act I -(Spessivtzeva's solo). Then my curiosity on the choreography goes to where does it comes...given the fact that it kind of survived well into the XX Century when Karsavina danced it... I wonder if anybody ever saw this Pas de deux being danced during the 50's, or even before... (Edited to add: There is no mention of Minkus in the Zuraitis, BTW...)

Ok...this is the Minkus PDD/music I'm talking about. Here it is played just with a piano, but it can be heard with full orchestra in the Zuraitis. My next question is if the choreography presented in the clip is somewhat derived from Petipa's 1884 revival of "Giselle" for Gorshenkova or later on when Karsavina danced it. According to some accounts, this PDD was retained for a while at the Markiinsky, just to be dropped later on. I'm very curious about the accuracy of the clip...(well, to the usual extent for which we all see Petipa's legacy). http://www.youtube.com/watch?v=kdkFLSuU4H8

It is depressing...

bart, going back to the original matters of this thread made me realize that we all-(me included)-agree on the non-tolerance policy to noise coming from the audience, whereas it comes from candy wrappers, shopping bags-(oooh, how do I hate those...!! )-miss behaved/crying children-( )-and all sort of NOISY/FLASHY electronic devices. I'm actually pretty up front about giving dirty looks to the offenders and if that doesn't work, shoosh them right then and there. So that is well established. About Youtube and the underground filming...mmm, well, that would be probably a whole totally different thread to discuss, but echoing Aurora's statement , I don't really think the two subjects have a lot in common. Let's not forget that the ultimate purpose of this surreptitious/secret filming is not to be caught...to be as silent and non evident as possible. And then, a little , I do confess to be a little compulsive on my ballet viewing on Youtube. At the end, I don't see another way that I could have possibly ever seen Anna Pavlova!

On the other side, I was thinking more of the non-flash-(and yes...hidden)-video recording method...(I have a friend who literally has been filming consecutively the Cuban National Ballet for almost 30 years, and at present he even has a network of people who will do the job for him and send him the material when he can't travel to the island. His vast video collection, a few of the samples having made up their way to Youtube, makes up to two rooms, dated by year, performer, Festival Dates and the like. I think he probably owns the most complete and biggest video collection that truly is the HISTORY of the Company. Important, I would say...Someday this people may be actually thanked for instead... And then, I'm not even getting into privacy/copyright issues, which would be a totally different topic to look at... Again...just a thought.

Well, Liling, in the case of flashing during the performance...yes...I agree.

Important Note: NOT than I'm encouraging nor condemning the film-making/Youtube phenomenom...but what about some "Summum Bonum", or even some Bentham-Mill Social Utilitarianism...you know,"the greatest happiness of the greatest number" thing...? (In any case I wonder how non proper would it be to admit enjoying the videos, otherwise unavailable. I do BTW...) Just a thought...(Please, Mods, delete if the admiting fact doesn't quite fit Rules and Policies...)

For some reason I keep thinking that you are referring to the Willis sequence of traveling sautees in arabesque derrière toward the end of the ballet...(several horizontal lines of dancers on each side of the stage hopping to the other side, crossing the opposite advancing group...?) Just a thought...

Social vs. private support maybe?...centralization..government involvement.? (I think I'm starting to sound like certain class I took during my teen years.. )

...and then, the inevitable "why"...(I know, I know...but still... )

Life... Rest in peace, Ms. Richardson.

Dear Vi: Congrats for your recent success at the Mariinsky. I'm sure all Cubans-(and others too of course)-are truly proud of your Kitri. Keep those balances up !!!