cubanmiamiboy

http://www.youtube.com/watch?v=xMXk1FHd01M CADET ROUSSEL 1 Cadet ROUSSEL a trois maisons (bis) Qui n'ont ni poutres ni chevrons: (bis) C'est pour loger les hirondelles; Que direz-vous d'Cadet ROUSSEL Ah! Ah! Ah! mais vraiment, Cadet ROUSSEL est bon enfant. 2 Cadet ROUSSEL a trois habits : (bis) Deux jaunes, l'autre en papier gris; (bis) Il met celui-là quand il gèle, Ou quand il pleut ou quand il grêle; Ah ! Ah! Ah ! etc 3 Cadet ROUSSEL a trois chapeaux : (bis) Les deux ronds ne sont pas très beaux, (bis) Et le troisième est à deux cornes, De sa tête il a pris la forme : Ah ! Ah ! Ah ! etc.... 4 Cadet ROUSSEL a trois beaux yeux (bis) L'un r'garde à Caen, l'autre à Bayeux (bis) Comme il n'a pas la vue bien nette, Le troisième c'est sa lorgnette : Ah ! Ah ! Ah ! etc.... 5 Cadet ROUSSEL a une épée (bis) Très longue mais toute rouillée (bis) Aussi chacun de dire d'elle Qu'ell'ne fait peur qu'aux hirondelles Ah! Ah! Ah! etc.... 6 Cadet ROUSSEL a trois souliers (bis) Il en met deux dans ses deux pieds ; (bis) Le troisième étant pour bancroche, Quand il le met c'est dans sa poche : Ah ! Ah! Ah! etc.... 7 Cadet ROUSSEL a trois cheveux : (bis) Un pour chaqu'face, un pour la queue, (bis) Pourtant parfois avec adresse Il les met tous les trois en tresse : Ah ! Ah ! Ah ! etc.... 8 Cadet ROUSSEL a trois garçons (bis) L'un est voleur, l'autre est fripon, (bis) Le troisième est un peu ficelle Il ressemble à Cadet ROUSSEL Ah! Ah! Ah! mais vraiment Cadet ROUSSEL est bon enfant. 9 Cadet ROUSSEL a trois gros chiens: (bis) L'un court aux lièvres, l'autre aux lapins, (bis) L'troisième s'enfuit quand on l'appelle Comm' le chien de Jean de Nivelle : Ah ! Ah ! Ah ! etc.... 10 Cadet ROUSSEL a trois beaux chats, (bis) Qui n'attrapent jamais les rats, (bis) Le troisièm' n'a pas de prunelles, Il monte au grenier sans chandelle : Ah ! Ah ! Ah ! etc.... 11 Cadet ROUSSEL a marié (bis) Ses trois filles dans trois quartiers ; (bis) Les deux premières ne sont pas belles La troisième n'a pas de cervelle : Ah ! Ah ! Ah ! etc.... 12 Cadet ROUSSEL a trois deniers, (bis) C'est pour payer ses créanciers ; (bis) Quand il a montré ses ressources, Il les remet dedans sa bourse : Ah! Ah! Ah! etc.... 13 Cadet ROUSSEL s'est fait acteur, (bis) Comme CHENIER s'est fait auteur ; (bis) Au café quand il joue son rôle, Les aveugles le trouvent drôle : Ah! Ah! Ah! etc.... 14 Cadet ROUSSEL ne mourra pas Car avant de sauter le pas (bis) On dit qu'il apprend l'orthographe Pour faire lui-même son épitaphe : Ah! Ah! Ah ! mais vraiment Cadet ROUSSEL est bon enfant.

Could this wonderful pic of Preobrajenska and Legat be documenting the moment we see at 4:18, 4:36 and 2:32 in the following clips...? 4:18 http://www.youtube.com/watch?v=s5Fc60qR_gc 4:36 2:33

Makes you wonder why To entice him further to go with Lilac and wake her up? "She's now your 'Look but please, don't touch her' type"...but just for now if you follow close instructions by the plumed one.."

I could never watch Yoshida on this after having discovered divine Collier's video-(which is now off Youtube, I'm afraid...). That's the one I own, and her PDD with Dowell is just sublime, stage sliding for her and everything...(I wonder WHY they got rid of this...)

Actually there's no so much of a change in between the recon and the NS version. In the recon Lilac goes tutu'ed too in the Prologue, having decided for the "Marie DID dance on pointe" idea and whatever was in the notations for her waltz. The main change goes in the Vision Scene, where she shows up in the recon with her Columbia Pictures appearance, vs.the little stuff she does on pointe and tutu in the NS production. I can live with that change, only for the beautiful restored details like the shell balance for Aurora-(THAT is a shame that we don't see it again...). The other fragment that suffers I think is the complete display of the fairy tales characters and variations in the wedding act, usually so truncated, but so complete in the recon.

Finally!

Just a footnote here, from Nancy Reynolds' Repertory in Review: Forty Years of the New York City Ballet, where she lists the original cast for Act I, to give credit where it is due: Oooh...! Good to know about this, Jack!

What I believe should had been done since the beginning was to create a healthy mix of whatever had worked in soviet productions with elements that could be added and/or substituted in favor of a better offering. As I said a while ago, I don't think modern audiences are very able to give up Lilac's pointes and tutus in favor of the XIX century "Miss Columbia Pictures" lady, but I'm sure these same audiences would be happy to be offered the temple destruction and proper end of Bayadere.

I stopped using the Sugarplum term for similar reasons...

Other than the contorsionists...?

I can understand the uneasy feeling on presenting this reconstructions, but if anything...what has been done to make up for otherwise "lost" fragments that were reinserted in this "new-old" stagings...? I'm thinking mainly about the last act of Bayadere. Does that mean that if going today to the Mariinsky one ought to watch a truncated ballet just as if lack of machinery-(the main issue for its suppression during Soviet times)-is still an issue, when in reality it is not...?

I'm surprised no one has chosen Guillem...

Oh, nice..! I see Clara with Coqueluche, and the Nutcracker toy and a mouse! Very cute.

bart...Albertson was Fee Dragee on Sunday evening, with Reyes as Coqueluche, but...I'm afraid that their PDD was rather sketchy. It looked under rehearsed to me. Let's note that both dancers are already past their prime-(both around 40 I would say..?)- and Reyes has been injured in the past. Nevertheless, they managed to make the pas look lovely, and people got their usual thrill with the moving device during the ballerina in arabesque dragging sequence. Again, and going back to my ruminations, I told Jack that just as Balanchine decided to preserve the White Swan Love Duet just as everybody else around the globe at the time, I think it is a shame he didn't decide to recycle the Gran Pas here, considering that it was up and around and very alive at the time as one of the very few remnants of any Imperial production. Would he had decide to include this here-(just as he decided to insert the other two Imperial fragments-( Nutcracker mime and Candy Canes dance)- his Nutcracker would had been just perfect. Up until the Pas de deux I'm all happy, and from that point on I wish I could have onstage what Sir Peter Wright or Mme. Alonso have in their productions. Kleber Rebello was beautiful as the Candy Cane lead, and Ito was a wonderful Mandarin...his grand ecartes almost as open as Wong's back in the days. I don't have my programme at hand, but the Marzipans were also lovely, even if at the time a fight between two patrons broke loose right next to me...one of them even screaming for security-(didn't you hear it up there, Jack...? ). It was very distracting, and suddenly I realized I had missed the lead Marzipan's sautees on pointe for being nosy trying to peek into the fight... Both the Snow Scene and Waltz of the Flowers were as perfect as they could be. These two are the two main characters in Balanchine's staging to me. There is a moment during the Waltz of the Flowers in which the dancers, in rapid sequence, start dropping on the floor and folding themselves, two or three at the time, to suddenly open back in unison...oh, so beautiful! When they fold they look like those plants-(which I have never seen here)-that instantly close their leaves when one touches them. The Snow Scene is just, to me, up in the very top of my conception of ballet. Sometimes I even make my own fantasy out of it, and because they use the romantic skirts I like to imagine that they are the Willis going crazy in winter time! More to come...

Agree. A trip to Harvard seems in need...

What a delightful evening performance last night! It was great to meet our Jack Reed again and share a yummy Cuban meal post performance. (Wasn't that good, Jack...? ) Some thoughts on the performance... Jeanette Delgado's torpedo dancing as Dewdrop. The recorded music they used sounded particularly fast this time, and so the dancers don't have the luxury of a conductor that can adjust the tempi for them. Miss Delgado was on FIRE! I'm getting more and more into Balanchine's excellent staging of this ballet. Everything is so highly choreographed, down to the last detail. Wasn't one of the big complaints of the balletomani of the XIX century that the battle scene was full of confusion onstage and that no sense was to be made of it..? Not here. The battle scene with the children as soldiers has so many floor patterns that one wonders how these kids are able to follow through..they're so little..! And then, watching the costume designs and general feeling, is like going back in time...the little soldiers are so mid-century looking...(I myself had a set of those that I inherited from my older cousins who were born around that time). By now I'm convinced that one of the big hits of this staging is how carefully designed it is. Even the Arabian dance is nicely deprived of any of the usual vulgar contortionists that plague every other Nutcracker, which usually gives it a completely wrong feeling. In Balanchine's, the woman gives an cute westernized version of the middle eastern, and that's OK with me. I don't want reality in ballet...the more fantasy, the better. Moving on with my "discoveries"...the party scene. Why it is that I usually get bored with many offerings of this scene, but not here..? Ah...because there's a story, a well designed one, being told here. There is hierarchy being told..(The old couple taking center stage)...there's humor...(the old couple again trying to keep up with the formal dancing against their physical capabilities)...and again, the vintage feeling, as when the boys get into a formation with the instruments as if playing music-(Christmas carols perhaps?). Beautiful. I mean, there are so many little details, like the wonderful feeling the added violin solo music creates of peace and relaxation after all the party is over. Was Balanchine trying to relax the audience before starting to build up again with the whole battle, growing tree and snow cene...? If so, he succeeded, for which those moments onstage of few people at a time-(Clara, Drosselmayer, the maid)-really smooths of the environment, along with that wonderful violin music. Did I mention how well the overlapping settings of the house hall and house living room and the transparencies work...? I think it was a brilliant idea to make use of that trick. It creates a truly sense of magic all along. More to come...

Oh my...is this venerable company going downhill...?

Monastyrska did use indeed many pianisimi, and she would shift very easy in between her big voice moments and the pianisimi. She was superb!

Catoya..?

They did indeed, Helene... "O Patria Mia" was delightful...it is an aria that I always feel very personal...

Wishing Mr. Roca total recovery.

Those are the tutus I really love..! Very high on the waist and super short and crispy...

Albertson is a ballerina that usually goes right as where she ought to...nothing less, nothing more. Zien, as I always said, is due for a promotion. Shimon Ito I can definitely picture as the mandarin, although he brings memories of the best one I've ever seen in the role, Mr. Wong. Breeden looks to me as hand made for the soldier variation. And I want Jeanette as Fee Dragee pleeeeeeeeease..! Was the Snow scene and Waltz of the Flowers as spectacular as usual...? I bet it was.

BB, La Borodina was THE star of the show, definitely. La Monastyrska was obviously more comfortable during the big voice moments, but she also delivered some beautiful pianissimo sequences. Alagna's "Celeste Aida" didn't impress me that much though...