cubanmiamiboy

Interesting...there seems to be another footage of Ellen Price doing the same solo-(in a longer clip)-3 years later, in 1906.

I think she has a pointwork that should be observed by some Principal ballerinas from some of the world's current mainstream companies...(beautiful batteries...!) I also believe that the video is not sped up. This old clips definitely show this kind of attack and risky/vivacious interpretation that the modern ballerinas, in their endless shearch for a flowless technique, are lacking nowadays, sometimes looking more like hyperextended robots or boring gymnasts.

I always find fascinating this kind of stuff. Hope you'll enjoy it too...

...I know...pointless. grr!

I interpret that thanks as meaning "thank you for shopping here" and not as subservience, especially since I reply with my own "thank you." ...which sometimes leads to the comical/absurd repetitive sequence of never ending "Thank you...no, thank you, oh no...thank you". and so on..ha!

Maybe digging a little around here will get me somewhere, as Google doesn't give me many options. Osmany Molina, a beautifully lined "Danseur Noble" and ex Principal of Mme. Alonso's Company left the island a while ago, and seems to have vanished. I was lucky to see him dancing Albretch in the Cuban Clasical Ballet of Miami's last production of Giselle, partnering Alyhaydee Carreno. I think last thing i knew of him was that he was dancing in a Company in Puerto Rico, but i don't believe the island's main Company-(which has suffered several name changes)-has a website. No videos are available on Youtube either, other than his old ones from his days in Cuba. If this name rings a bell, please let me know. Back when Sarabita-(Rolando Sarabia)- was the new baby tiger on the Havana stage, Molina was the always correct impecable and messured dancer per se, the most of the times partnering Lorna Feijoo.

From the Soviet years, i vividly remember "Moscow Doesn’t Believe in Tears" (1980), surrealistic and melodramatic. Anybody familiar with it...?

It doesn't matter if it is not meant... Sorry, leonid, but i have to disagree here. If something said to me is not meant, not only does that bothers me, it really offends me. It is a plain lie on one's face. (Yeah, many phone costumer service representatives sarcastically wishing you a nice day and thanking you just to hung up on you after having decided that the discussion with the caller is over). Honestly, i don't believe whatsoever in plain/watery politeness as a measurement of...anything, although i notice that it is a highly praised/valued behavioral set of patterns and formulas in some societies.

...he,he...if there's something certain about this girl is that she's being carefully watched. Wow...

I know! But then if one's boss doesn't hear the phrase when greeting -(or bothering, if i may)-clients, one is being considered "rude" or "non polite". This, particularly, in retail stores, where sometimes they just jump on you and follow you all around the place. I hate it. "Stay away from me!"...i would like to scream sometimes.

Thanks a lot for those links, rg! Tutu's choices for the SL seem to have had a wide range of variety since the XIX Century. ...which-( )- makes me wonder what would be a short name "universally" accepted-(as per this board speaking)-of this class of skirt, which doesn't get to totally fit within the well known "pancake" category. Edited to add: Interesting Wikipedia's take on this: http://en.wikipedia.org/wiki/Ballet_tutu

Yeah, they certainly have some vintage look...(here's a pic of Pierina Legnani wearing one) http://upload.wikimedia.org/wikipedia/en/t...gnani_-1893.JPG Still, I'm not sure that i liked those tutus. By choice on the Sl's take I'd go for the short flat ones.-(I even love the very high-waisted/multi-layered versions-(a la Komleva's 70's "Bayadere"). I just discovered they're called "Parisienne Tutus". http://images.google.com/imgres?imgurl=htt...ficial%26sa%3DN, or "Double Puff Short" Tutus. http://images.google.com/imgres?imgurl=htt...%3DzUQ%26sa%3DN

I'm fairly guilty of overusing # 6. (Imagine, dealing with countless ladies eager for some chit-chatting/gossiping in a hairdressing salon...one ends up agreeing on everything they say..."Oh, absolutely!"

(F.D.R.)" (REM)

Thanks for the clarification, leibling. I'm relieved to know that I praised the right ballerina, Eddie's Company leading female dancer Seay-(according to my personal standards, if i may...)

Did you also hear that it was Patricia Delgado with Sarabia on Saturday evening? cubanmiamiboy seemed think I was incorrect in what I had heard. It did not look like Seay to me, but I do not attend every program so I thought I had just forgotten her port de bras and line from last year. Honestly, I identified the dancer as Seay, but of course, there's always the possibility of me being wrong-(I don't own binoculars, and my far sighted vision is kind of poor...add to that the heavy makeup worn by the ballerinas and then yes, you end up getting the possibility and hence the bennefit of the doubt). But again, I'm still positive that it was Seay.

That would be a pity, and a shame. Thanks to the non-opulence/just-focus-on-the-dancing mantras the cuban audience has been able to have total access to full lengths, and somehow i got educated on the idea of not paying that much of attention to sets and costumes. (Which now thinking a little i remember how strange was for me the first time i heard the audience clapping to the sets displays when the curtains went up)

Despite what I said above (where I'm not exactly clear that I mean those other titles you liked are my second choice), I think 'Swan Lake Act II' is quite sufficient. It's not nearly as well-known as it was in Balanchine's day, and I basically agree with Helene that the audience needs to know that it's a one-act-er. Things like 'staging by' could go in program notes, but I don't think they belong in the title. Yes, Patrick, I should rephrase myself , cause I agree 100 % with you on how long would it be to put all that. I was thinking more about the ballet 's program, or the Playbill. Now, rethinking about it, as per a universal title I would still shortened it down to "Swan Lake:Act II". Now, I must agree that adding Balanchine's name was probably meant to be some sort of a catch device programed by Villella when he first thought about bringing it back. I can see from all of you guys who knew the work from back then that the bait worked...it got everybody talking, and even some flying down to see it.

Ok, there should be a Poll about all this. There seems to be a lot of mixed feelings and countless ideas and titles. I'll go for "Swan Lake Act II. Staging by so and so-(Diaguilev, Balanchine,Maria Perez...you name it)-...after ch. by Lev Ivanov"

MSNBC just showed a clip from the roast, with Obama saying that Emanuel trained in ballet and "was the first to adopt Machiaveli's The Prince for dance. It was an intriguing piece; as you can imagine, there were a lot of kicks below the waist." A President who reads! Who uses ballet metaphors. Who reads Machiavelli!!! It all sounds suspiciously "elitest" to me. Machiavelli's "The Prince" !. Wow, wow, wow,,,A favorite Castro's. I hope a different understanding of its whole concept, seriously...

Agree, Vipa. But Joan Acocella (see Nov. 10 Links) did get some answers: Ummm I wonder how much was the overall cost of the presidential campaigns..

Well, i was just looking at the book "In Performance: A Companion to the classics of the dance", with many pics and descriptions of ballets and their main styles and choreographers-( There's even a pic of Panova in Cinderella...i'd never seen her before). Anyway, the hardcover book dates from 1980, and was written by Nancy Reynolds and Susan Reimer-Torn. My point is that in the front cover there's a pic by photographer Costas of Nina Fedorova, NYCB-(doesn't give the exact year)-with the exact pose i saw here of Odette at one point standing on pointe in attitude derrière sustained by two maidens by her wrists. Most important of all, in this pic the Corps are wearing this strange looking types of shortened version of the romantic tutu, although slightly longer on the back, but essentially the same ones used by Villella in his production, so i guess the switching from the winged long romantic original Balanchine's could have been occurred during the 70's...?

If President Obama does end the boycott of Cuba, I'm sure there will be a catfight on where the next time the Ballet Nacional de Cuba plays in New York City. Oh, i dream of extravagant seasons at City Center, and more than that, down here for the sake of the ballet-loving Cuban-Miamian community.

I'm sorry for not responding more quikcly to your inquire, VRsfanatic, but NYSusan got you in the right track. The substitution was on the Pas de Neuf. The alarms went off both on Friday night and Saturday night performances, and i'm telling you, there was a point in which i thought that this was a Tharp's last minute crazy addition to enhance the ballet effects, seriously.