Giannina

We don't mind at all, Wendy, and it's an important question. Last year we ordered 3 ballet DVD's from Great Britain that were supposed to be formatted (is that the word?) for our player (plus others). They would not play on DVD's here and we had to return them: double shipping costs! Very upsetting. I don't know how to protect oneself from another such disaster. Giannina

What bothers me when a dancer falls, or even stumbles, is my reaction. For the life of me I can't stifle my loud "Oh!" nor control the spasm that shakes my body. I'm so engrossed in the dancing that the dancer's slip is an intrusion in my concentration. I feel badly for the dancer who must be embarrassed to the bone. My only other reaction is amusement when a dancer finishes a series of, let's say, fouettes and ends up facing the back of the stage. Ta-DA!...to the back of the stage; cracks me up every time. Forgive me. Giannina

Ah, Nadezhda, you are a woman after my own heart. Bad enough they applaud when they haven't done anything yet, but when they DO do something, anything, it's another clapping cue. No one applauds in the middle of an aria when a singer hits a beautiful note; oh, that that sentiment would spill over into ballet. There are plenty of built-in dancing breaks for appreciative applause. Giannina

For once I don't have to say "green green green"; I'm going to see "The Dream" in Aug. Twice! In London!! I'm so happy to read these reviews as it gives me insight. My sincere thanks. I'm also going to see "Monotones II". Finally! Picture me a happy woman... Giannina

Is that, in fact, true? Giannina

Inland Pacific Ballet danced Coppelia in Claremont a couple of weeks ago (see Recent Performances). No review in the L.A. Times though they advertised the performances. I must admit I was unaware that Inland Pacific Ballet was the only major local company in Los Angeles; until now I had never heard of them. Can you tell us more about them? Giannina

Gosh, and I thought it was just a happy-go-lucky story on which to hang some nice dancing. I've got to get more serious. Giannina

leibling...what video did you see? Is it commercially available? Giannina

Francoise...sorry but the only casting I can give you is for the nights I attended the ballet. Other casts were not published in the newspaper, and the only performances reviewed in the newspaper were for the nights I attended, cooincidentally. On my programs they are listed among the corps dancers, for example Solor's Friends, The Kshatriyas. Giannina [ 05-14-2001: Message edited by: Giannina Mooney ]

The little sweetheart is putting off his/her appearance so that Grandma can see POB, bless his/her heart. Saturday night's La Bayadere Aurelie Depont Manual Legris Delphine Moussin Jeremie Belingard as The Golden Idol Lionel Delanoe as The Fakir Sandrine Marache: Manu Alexandra Cardinale, Chrisophe Duquenne: Indian Dance Shade Variations: #1: Abbagnato. #2: Pujol. #3: Muriel Halle Aurelia Dupont was my favorite Nikiya. As Gamzatti on Tues. night she impressed me with her pirouettes and the same was certainly true Sat. night. That quality, plus her generally superb dancing, made Act III a stand-out. Even my hard-to-impress husband enjoyed it. The beauty and control of her dancing just kept unfolding and the act was a jewel. The....oh, what's it called; scarf dance?....was the best I have ever seen! The cast had some wobbly moments, especially the men. Lifts were shakey (downright scarey at times), and solos ending with tours or multiple pirouettes and then a pose on one knee had the men fighting for control. One of the leading Shades was just a tad out of sync but finally pulled it together. Other things I noticed. The opening scene has soldiers marching in to a very obvious tempo. It's just a bit too campy and almost sets a comical mood right at the beginning of the ballet. I think it's the "Dance Djampo" in Scene 2 of Act I. There are about 8 women dancing and they make one of the greatest exits, rapidly dancing sideways as they go off. It's so quick, lively, and happy that you want to applaud the exit itself. Nureyev's presence is felt throughout the ballet. I find him almost standing on stage at the beginning of Act III when Solor comes in swirling a cape, then goes into a typical Nureyev-choreographed solo. Legris is not only an excellent dancer but very strong. It's been posted that he's 36 or 37, and he lifts his ballerinas with apparent ease. It was wonderful to have POB here; I hope they return soon. OK, sweetie; you can be born now. Giannina/Grandma [ 05-14-2001: Message edited by: Giannina Mooney ]

Francoise..you asked about the role of "Manou". On our program I find "Manu" so I'll assume that's what you meant. Tuesday: Manu: Melanie Hurel Fakir: Leonel Delanoe Indian Dance: Fanny Fiat, Karl Paquette Shade (I assume you mean the Variations): First: Eleanora Abbagnato. Second: Laetitia Pujol. Third: Delphine Moussin Wednesday Manu: Sandrine Marache Fakir: Fabien Rogues Indian Dance: Geraldine Wairt, Yann Saiz Shade Variations: same as Tuesday [ 05-10-2001: Message edited by: Giannina Mooney ]

Wednesday's La Bayadere Aagnes Letestu Jean-Guillaume Bart (instead of Martinez) Marie-Agnes Gillot Benjamin Pech as the Golden Idol Estelle, I like Legris even more than I did Tues. night after seeing Bart in the same role. Bart is a fine dancer but there was no emotion, no chemistry with Letestu. At least Legris connected, and I now realize that his dancing had fire and depth. I'd remember a wonderful dancing passage of Legris' from the night before and await it in Bart; it never came. Same steps, entirely different offering. The same with Pech as the Idol; last night he was the Idol but Tues. night Jeremie Belingard was the THE IDOL! Letestu was a wonderful Nikiya, more supple and in control than I found Gaida Tues. night. In the faster (Allegro?) portion of her dance with the flower/serpent basket Gaida's interpretation bordered on the hoochy-koochy while Letestu made it more ethnic. She changed in Act III; her dancing seemed brittle and she looked like a ghost, which, of course, she is but I've never seen the ballerina try to give that impression. Gillot was very nice but didn't match Dupont's control on Tues. On Tues. I sat at orchestra level; last night I was in the 3rd Tier which is so high you have to see it to believe it. The Shades scene was much better from up there, especially once they're off the ramp. The patterns and the symmetry are beautiful. I expected lots of high extensions but there were few. One was jarring. (Excuse ballet terms.) Letestu had a supported develope in 2nd position facing the audience, then turned to face her partner and moved the extended leg into an arabesque. The develope was "way up there". Bringing the leg down for the 90 degree arabesque was awkward and spoiled the line of the move. Again...the costumes. They are a work of art. Still think they impede the dancing but they are a feast for the eyes. I'll see my final performance Sat., unless the little tyke puts in an appearance first. Giannina [ 05-10-2001: Message edited by: Giannina Mooney ]

Paris Opera Ballet's "La Bayadere" starring Fanny Guida (instead of the promised Guerin) Manual Legris Aurelie Dupont Jeremie Belingard as The Golden Idol Choreography by Nureyev after Petipa Decor by Ezio Frigerio Costumes by Franca Squarciapino Lighting by Vinicio Cheli First I had to get over the disappointment of learning that Guerin would not be dancing as scheduled...not at all; since she's retiring this is probably my last chance to see her again. The production is wonderous. The sets are beautiful (I kept thinking of traveling expenses) and yet simply done. The costumes were a constant vision for the eyes. My only complaint about them would be that some of them competed with the dancing; swirling skirts that seemed to impede motion. These skirts, just below the knee, were of a challis-looking fabric with tulle underneath; that's a lot of material. Most interesting were tutus covered with a beautiful print calico-looking fabric; I loved them. I have waited years to see POB and I wanted nothing more than to watch the etoiles. LaB has a huge cast and many ensemble dances (a couple of them ridiculous). Of course they were well done but I just wanted stars! Of the 3 last night Aurelie Dupont impressed me most. Her ACT II pdd with Manual Legris and then solos were full of pirouettes, doubles, doubles that became triples, etc., and she was dead on. Magnificent. Even her fouettes, if you're into fouettes, were among the best I've seen; not all that numerous but slow, deliberate, with the working leg at about 93 degrees (yup) and gorgeous. The Shades scene was well done; few wobbles, mostly in sync. As impressive as they were coming down the ramp they were equally, if not more, impressive when lined up afterwards. The ballet ended with Nikiya and Solor's pdd; no temple crumbling but rather Nikiya forgiving Solor (didn't see it but the program says she did). I would recommend it to all. I'd like to compare it to Makarova's production but, well....you know my memory. I'm planning on going again tonight; I'm on baby-watch (grandchild due any moment) so my life is on hold. Giannina [ 05-09-2001: Message edited by: Giannina Mooney ]

I purchased the Australian series of DVD's which were supposed to be formatted for my DVD player. Said so right on the thing-y (I'm so technical). It wasn't and I had to return them. Be careful. I was successful with the VCR tape of La Fille.... Giannina

POB premiers tonight. Can't wait! Giannina

Stanley Holden, Tina LeBlanc and Jordi Ribera guest starred in this production of Coppelia presented by Inland Pacific Ballet. I could find little info about Inland Pacific Ballet other than it's an academy for students from pre-ballet through professional. Those who danced seemed rather advanced, and several of the larger roles were danced by teachers. Kelly Lamoureux in particular stood out. Stanley Holden as Dr. Coppelius was a little campy but his mime was wonderful. The ballet belongs to Swanilda, and tho the choreography wasn't earth shattering Tina LeBlanc was lovely. (Patricia Tomlinson will dance the role in Los Angeles this weekend.) Especially lovely was the Act III pdd which started with a veeeeery slow dance. These can grind to a boring stand-still if not done correctly but LeBlanc and Ribera were wonderful in keeping the movement continual and smooth. (Forgive me lack of ballet terms here.) At one point LeBlanc was in an arabesque; in one movement she brought the working leg through a side extension into a front extension, all at 90 degrees. Seeing that leg turn out as it went from arabesque to the side extension...for some reason that looked so beautiful to me and such a display of control. It was a very enjoyable afternoon. Alexandra, I tried to be inconspicuous as I followed men during intermission and listened to what they were saying. Very few men to begin with, hard to hear them, and they weren't talking Coppelia. The clearest conversation involved the Rams and Seattle Sea Hawks. Giannina [ 05-07-2001: Message edited by: Giannina Mooney ]

And while we're on the subject.... Traveling ballets bring fewer ballets because it's expensive to present them: sets, costumes, etc. I love a big lavish ballet with majestic realistic sets and glistening costumes as much as the next guy; but if I have to see 6 La Bayadere's rather a 2 LaB's, 3 Giselles and a mixed bill because sets and costumes make it impossible then I'd gladly settle for the simplest of sets (I've seen Romeo and Juliet without a balcony and it didn't suffer) and a few less baubles on the costumes. Giannina

Oh, dear; us old-timers talking about the past. atm711, I fully understand how you feel and you give me food for thought. 6 Swan Lakes in a row is tough to take. If you have to do it 6 times, spread them out. On the other hand I simply love seeing the same ballet several times close together and comparing dancers while memories are fresh in my aging mind. I'll have to admit I prefer the full length ballets, but the mixed bills offer the chance to see a number of principle dancers in one night. However, I like only classical ballet, and the mixed bills tend to slip in something more contemporary than I like. I used to consider de Mille "contemporary" so that gives you an idea of my origins. My gripe-of-the-month is that POB is bringing only La Bayadere to So. Calif. I plan to go several evenings but I KNOW that while I'm in pig heaven over the dancers I'm going to be at death's door with that much LaB. Giannina

Years ago Makarova presented a 5 part ballet series on the A&E channel. In it is a snippet of her rehearsing Giselle with Denard (I think that's his name). Referring to the lifts she was demonstrating that even tho it's important to appear effortless with "ballerina going up" the same is equally important with "ballerina going down". They then demonstrated the big lifts in Giselle's ActII and it was so smooth that it took my breath away. I've yet to see anything like it. But my favorite remains Cynthia Harvey (with Pat Bissell). Giannina

Such wonderful news to come home to. Sincere congratulations, Leigh. Giannina

Julie Kent and Damian Woetzel made a guest appearance this weekend with Festival Ballet Theatre in Costa Mesa, California, a ballet company that showcases talented young dancers and educates the community in various dance forms. Ballet Festival Theatre is in residence at Southland Ballet Academy. This is Kent's 3rd appearance with FBT and she is to be commended, as are Woetzel and the other professionals who have appeared. They generously give of their time to inspire and motivate the students. A full length "Sleeping Beauty" was offered. Kent was her usual radiant self, and Woetzel did not fail to dazzle. I sat in the 3rd row next to the very proud, and rightly so, mother of the girl dancing Lilac Fairy (Claudia Rea). The students deserve much praise. They work so hard, and the various levels of their ability are well showcased. The Court Children in the Prologue smiled the most radiant smiles throughout their performance. The Bluebird's Enchanted Princess, Elizabeth Chasteler, was excellent; her choreography most closely followed Petipa's. Scott Weber as The Wolf was a charmingly sinister creature. Several "corps members" stood out, but not knowing these students I cannot name them. What a thrill for these students to be able to dance with their famous guests. My thanks to Kent, Woetzel, and Ilya Kuznetsov (another professional...The Bluebird) for their efforts. Giannina

Oh, Estelle; what a beautiful review. I must say again what a loss it is that POB doesn't come to California more often (we get only La B. this year). So many careers gone without being seen; a history passed without our participation. Thank you so much for letting us see it through your eyes. Sigh.... Giannina

A wonderful post, Lukayev, as was your post regarding Angel Corella on another thread. You have much to say and you say it well; post often! Giannina

I saw Gregory late in her career and her "Swan Lake" was a marvel. I have her on tape in "Sleeping Beauty" and I think it's one of the best I've seen. She has stated that she felt overlooked during her career because of the popularity of foreign/guest dancers (read that Makarova). She enjoyed dancing with Bujones (very short) because the two of them egged each other on to greater performances. One of my favorite quotes from her was a reply to a question about could she do such-and-such a step; she said, "Give me 5 minutes and I can do anything!", and I think she could. Giannina

I'm getting the willies reading all this! Giannina