Giannina

For Christmas my daughter arranged an evening at the ballet for the 2 or us: National Ballet de Cuba's "Giselle". This weekend she drove home from college, a 2 hour drive. She then drove us to the theater, another one hour drive. We got there only to find that the ballet.....HAD BEEN CANCELLED!!! My discription of my current frame of mind is unprintable; such is the life of a ballet fanatic. Giannina

"Le Corsaire" Thurs. Feb. 4th at Orange County Performing Arts Center. The cast had Maxim Belotserkovsky as Conrad, his wife Irina Dvorovenko as Medora, Ashley Tuttle as Gulnare, Keith Roberts as Ali. Of all of them Tuttle was the stand-out. Except for some shakey double pirouettes in Act 3 she was simply lovely. Very secure; smooth, mature, each phrase slowly and completely filled out. Roberts's Act II solo was the most understated rendition of that war horse I've ever seen, and one of the best. He was dancing well within his means and was in control at all times. Michael Crabbe, our regular pre-ballet speaker, was in rare form tonight. He warned us that the story line of the ballet was nothing more than something on which to hang a bunch of dances. He's right; that's the only way you can accept a ballet that has a pirate leader quelling a rebelling while his girlfriend stands in the background in a tiara and tutu! Giannina [This message has been edited by Giannina Mooney (edited 02-05-99).]

I agree about Charles Askegard. I've always liked him.....from his days at ABT. Glad things are going so well for him. Giannina

Today I started my 8 (maybe 9) ballets in 13 days and thought I'd comment. Today was a rehearsal of ABT's "Le Corsaire". Reviewing a rehearsal is unfair because dancers are winging it, but there were some interesting moments. There was a trio of dancers (called Odalisques), one of whom was whipping out triple pirouettes left and right. Until I see an actual performance I won't know if that's what's called for, or if the required doubles were her triples. None the less she was an eye-opener. Who was she? Brown, Konobeyeva and Murphy were the trio; it wasn't Brown so.....? Herrera danced. She has matured and is lovely. Odd, though; as much as I've waited for her to mature, and as much as I enjoyed her today, I miss the young firebrand whose legs and arms were all over the place. Corella was over-doing his Slave role; he's good enough to not have to push it. More later. Giannina [This message has been edited by Giannina Mooney (edited 02-03-99).] [This message has been edited by Giannina Mooney (edited 02-03-99).]

I picked Cheryl Yeager. OK, she's not a household name, but she did become a principle with ABT. She had a very distinctive look about her which did not lend itself as much to "Swan Lake" as it did to "Don Q". She had a strong technique, good feet (me? feet?), and I was cheering her from her days in the corps. She retired after the birth of her baby; I wonder her far she would have gone had she continued? I fear she might have "Coppelia"-ed herself to death. Giannina [This message has been edited by Giannina Mooney (edited 01-30-99).]

Thanks, Steve. That's a bit cheaper than Dance Book, Ltd. Giannina

I've been trying to find Darcy Bussell's book ("Life in Dance", right?) and have had no luck. The only source I find is Dance Book, Ltd. in London and the price is hefty because of shipping. Can anyone help? Thanks Giannina

Thanks, Olivier. Giannina

For Xmas hubby gave me a host of VCR ballet tapes, bless him. May I heartily recommend "Marinsky Theatre Kirov Classics". Filmed in 1991 it is, first of all, a study in how to film ballet. Granted there are a few pesty close-ups, but "few" is the operative word. The ballets are filmed with the dancers in the center of the frame, as close as you can get to them without cutting them off. There are distant shots when the corps is featured, and sometimes just for the heck of it, but the majority of the time you have the featured performer(s) dead center. The tape starts with "Chopiniana" starring, among others, the glorious Asylmuratova. She has a solo which is ballet at its upmost. There are times when you see a ballerina dancing to perfection but you are still on the edge of your seat wondering if she's going to be able to sustain the quality. Asylmuratova here is dancing perfection personified, and is so controlled and confident that you can sit back and let the dance engulf you. Breathtaking. Pankova also dances beautifully, tho she tended to lean back on point in her supported arabesques. Polikarpova is a tad unsteady yet beautiful in her slow, sustained Prelude. The 2nd offering is Vikharev in "Petrushka" which I had already seen/taped and I therefore fast-forwarded thru it. This is a very unusual "Petrushka" with Vikharev's dancing resembling a woman's technique. "Barber's Adagio" was the weak point of the tape. The dancing is strained, resembling gymnatics and contortions rather than ballet. I found myself eager for it to end. Next was "Le Corsaire Pas de Deux". I don't know about you but every time I think of this offering I tend to forget that there's a lovely ballerina's role, not just a guy with a feather coming out of the center of his head. Kunakova danced well; her fouettes did not thrill me but then few do and the step is grossly over-rated. Ruzimatov was his usual dazzling self tho he does sickle his foot when it's in passe position (oh, dear; this is when my lack of ballet terminology kills me. By "passe" I mean when the working foot is brought to the standing leg's knee; the working knee is completely turned out.) "The Fairy Doll", which I had never seen, is a very nice piece of fluff. The opening pas de trois didn't thrill me, but from then on the dancing is great. There is a particularly good duet for the 2 men/clowns. "Markitenka" was discribed as a "pas de six of exuberant dancing" and I moaned, "Lordy!" But it was wonderful! I've heard that the Russians tend to ignore tight 5th positions, but there were instances of the group coming to terrific 1st and 5th position landings and finishes. The tape ended with "Pacquita". Great dancing throughout led by Makhalina. Of interest to me: on one of the ballerina's pirouettes in passe position (see above) her foot extended beyond the knee, which I was taught was a no-no, yet it looked very pretty. One thing I have noticed of late (and Olivier, I'd like your comment on this): when men prepare for a double tour en l'air their feet make almost a quarter turn on the ground before they actually start their leap. The dancer on this tape barely showed an 1/8th turn in preparation, tho no preparatory turn at all would be preferable, right? As I watched this tape I kept telling hubby that it alone was worth the money he spent on all the tapes he bought for me. That made him happy; he has a heck of a time selecting my tapes. Happy New year everyone! Giannina [This message has been edited by Giannina Mooney (edited 01-01-99).]

Encouraging to hear that Dale and Paul both liked "Le Corsaire". I'll be seeing it twice in 3 days this year; at present it's the only production ABT is bringing to Costa Mesa. Giannina

This was not a good year for ballet in Southern California. Very few touring companies, and some of those that did come were not the greatest. I used to go to New York City once a year for a visit with my daughter and a ballet glut. Daughter now lives in San Francisco thus cutting off that source. Therefore, the best ballet I saw (live) in 1998 was Wendy Whelan's performance at Orange County Performing Arts Center. She'd always top a list; unfortunately this year she didn't have much competition. Giannina

How did I miss that?!! Giannina

In 1994 Nederlands Dans Theater came to California's Orange County Performing Arts Center and presented Jiri Kylian's "Kaguyahime". Since then I've heard nothing about this ballet. I found it simply beautiful, mostly because of the choreography for the lead ballerina. With the passage of time I'm not even sure what the ballet was about. At times the ballerina did nothing but present a slow motion of ballet poses and steps, angular and flowing. I saw it only once, and my seat had a visual block so I missed some of it without even knowing it! I would love a video of this ballet. Also, Robbins' "I'm Old Fashioned" and Martins' "Ecstatic Orange". Giannina

I'm in the middle of a video "Nutcracker" fest. Over the years I've been Nutcracker-ed to death, but it is Christmas and it's the only time I'm willing to watch it much more enjoy it. I started with NYCB; last night I watched ABT, Pacific Nortwest, and by the time I got to POB I was nodding off and my husband had given up altogether and left the room! I have Kirov ready to go. I've yet to see a mice-scene I like, and the sparring kids wear thin after the first few moments. NYCB has Kistler and Nichols; hard to beat that; however there is no point work at all in the first act and I find that dull. (I wish I had seen NYCB's version performed live often enough to be able to enjoy the fun the cast has in its final performances when, I understand, they goof off unashamedly.) Pacific Northwest's adaptation is a bit eerie and the choreography lacks. POB offers POB, which is almost enough in itself. To me ABT holds up the best. I know the story line is altered and cause for comment, but the dancing is superb. Radiant, joyous Gelsey Kirkland at her best; hammy Baryshnikov at his best; a line-up of ABT soloists (most, if not all, of them now retired) dancing like a million bucks; point work throughout: all of these factors make this my favorite video "Nutcracker". But, as I said, I still have the Russians to go. Giannina

That was a wonderful "post", Olivier. It is such a treat to hear a dancer talk about what's actually happening while dancing; thanks for the insight. You bring up a point about hyper-extension which seems to be so popular these days. I have always felt that it was unnecessary and, at times, ugly. I've never doubted the fact that just about any ballerina can extend her leg over her head. Part of the artistry of dancing is controlling the extension so that it goes only 90 degrees rather than 160; I find true beauty in that. Giannina

That was a wonderful "post", Olivier. It is such a treat to hear a dancer talk about what's actually happening while dancing; thanks for the insight. You bring up a point about hyper-extension which seems to be so popular these days. I have always felt that it was unnecessary and, at times, ugly. I've never doubted the fact that just about any ballerina can extend her leg over her head. Part of the artistry of dancing is controlling the extension so that it goes only 90 degrees rather than 160; I find true beauty in that. Giannina

Disregard this post; I accidentally posted my previous post twice. I've been gone for a week...how quickly I forget! [This message has been edited by Giannina Mooney (edited 12-16-98).]

Disregard this post; I accidentally posted my previous post twice. I've been gone for a week...how quickly I forget! [This message has been edited by Giannina Mooney (edited 12-16-98).]

When seeing a ballet I admit I can hardly take my eyes off the ballerina. But sometimes I force myself to study the attending "prince" who, at the moment, is doing nothing but partnering. He may just be walking around her, but as he lifts and supports he has to maintain a graceful walk rather than planting his feet solidly for balance, or showing effort as he lifts her over his head. Supporting pirouettes, no matter how you spell them, is tricky. His hands around her waist not only keep her centered but continue the rotation. In a pirouette supported by one finger over her head....well, I still haven't figured out how the heck they do that. AND, while he's doing all this he has to look like it's no work at all, he's having fun, and he's crazy about the ballerina. My hat's off to him! Giannina

When seeing a ballet I admit I can hardly take my eyes off the ballerina. But sometimes I force myself to study the attending "prince" who, at the moment, is doing nothing but partnering. He may just be walking around her, but as he lifts and supports he has to maintain a graceful walk rather than planting his feet solidly for balance, or showing effort as he lifts her over his head. Supporting pirouettes, no matter how you spell them, is tricky. His hands around her waist not only keep her centered but continue the rotation. In a pirouette supported by one finger over her head....well, I still haven't figured out how the heck they do that. AND, while he's doing all this he has to look like it's no work at all, he's having fun, and he's crazy about the ballerina. My hat's off to him! Giannina

I've already posted a reply under XYZ or Miscellaneous but I'll repeat it; I love this topic. As a child I practically memorized "Baron at the Ballet". Today I can go through the book, see the photographs, and once more I'm 12 years old and agog at what's before me. Today my favorite reading is ballet books. Mine are not as deep as some book mentioned as references by posters but I enjoy all of them. Some of my favorites: "Dancing for Balanchine" by Merrill Ashley "The Ballet Called 'Giselle'" by Cyril W. Beaumont "Ballet" by Mary Clarke and Clement Crisp "Ballet 101" by Greskovic And (big surprise)" "A Dance Autobiography" by Makarova Since I subscribe to both "Ballet Alert" and "Ballet View" I feel free to mention other magazines I enjoy, namely "Dancing Times" (England) and "International Dance" (Canada). Giannina [This message has been edited by Giannina Mooney (edited 12-08-98).]

What a delicious topic!! As a child I practically memorized "Baron At The Ballet" by Arnold L. Haskell. I can go back to that book now, see the pictures, and suddenly I'm 12 and agog at what's before me. Today, ballet books are my favorites; my choices are not as deep as some I've heard mentioned as references by "posters" but I enjoy each one. A few of my favorites: "Dancing For Balanchine" by Merrill Ashley. "Ballet" by Mary Clarke and Clement Crisp "Ballet 101" by Robert Greskovic And (big surprise) "A Dance Autobiography" by Natalia Makarova. Magazines: I subscribe to both "Ballet Alert" and "Dance View" so I feel at liberty to mention others (OK, Alexandra?). I particularly like "Dancing Times" (England) and "International Dance" (Canada). Giannina [This message has been edited by Giannina Mooney (edited 12-08-98).]

Is there any way of going in the other direction....so that PAL videos can be seen on NTSC? (I have no idea what all those letters mean.) Any technology coming up in the future? There are many PAL videos that I'd dearly love to own. Giannina

I'm sure everyone knows by now that my favorite ballerina is Makarova. Besides her I'm hard put to narrow the list down to 30; my love affair with ballet spans over 55 years. Some dancers go in and out: don't like them for a while, then I love them. Cynthia Harvey was such a dancer. At first I found it hard to believe she made it out of the corps; suddenly (it seemed to me) she became a text book of how to dance...such glorious technique. I've had the same relationship with Asylmuratova and Anaiashvili. I love Guillem's feet. Heather Watts: that independant soul whose beautiful dancing evokes gasps. Looking back: as a youth I loved Nana Gollner and Sonja Tyven. And on and on...... It's going to be interesting to hear the other replies; I'm sure we'll all be saying, "Oh, I forgot her!" Giannina [This message has been edited by Giannina Mooney (edited 11-20-98).] [This message has been edited by Giannina Mooney (edited 11-20-98).] [This message has been edited by Giannina Mooney (edited 11-20-98).]

Cynthia Gregory and Fernando Bujones...an "anything you can do I can do better" match up. I've seen some wonderful performances with Ferri and Bocca partnered: "Manon", "Giselle". One of the most generous partners I've seen is Jock Soto; I can't say enough about his partnering. Giannina [This message has been edited by Giannina Mooney (edited 11-20-98).]