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...just watching "Chopiniana" with Margot and Rudy... :( What a lovely production! (sight)

The magic of great stage performers is that when they stand still, they are able without moving a muscle, continue to fascinate and mesmerize audiences in continuance of who or what that is being portrayed.

Dame Margot Fonteyn and Rudolf Nureyev in Les Sylphides created an extraordinary performance because of their three dimensional dept of characterisation. Yes, this ballet requires characterisation but not of the obvious dramatic kind as it remains an evocation of a dream world.

While Les Sylphides is divorced from human experience, it remains clearly recognisable as an illumination of a relationship of types of expression that is present in Chopin’s music, which Mikhail Fokine in turn reveals in a new dimension of inspirational choreography, creating a significant world of its own.

How I miss the type of experience that music with choreography is able to convey when performed by the likes of these two great dancers.

Part of their success in this ballet, comes from the direct connection that both artists had with their historic links to the original production. Rudolf Nureyev was in a direct line to this ballets creation when he was a member of the Maryinsky/Kirov performance tradition of Les Sylphides (Chopiniana) and Dame Margot Fonteyn was coached by Tamara Karsavina, Lubov Tchernichova and Serge Grigoriev the répétiteur of the Diaghilev Ballet Russe.

I am glad you enjoyed it Cristian.

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...just watching "Chopiniana" with Margot and Rudy... :dunno: What a lovely production! (sight)

Yes, I've watched this innumerable times, and I think that he is especially so tender and coltlike (with some of his gentle leg movements, I should know what to call them by now, but don't, mainly when the leg is lifted but not so high to the rear). I have seen Nacional Ballet of Cuba do it many times back in 1979 at the Met, and they were exquisite. But there, I remember the corps as being the most perfect part of all.

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Oh, I have this DVD too and I loved it as well!

Margot has such an exquisite ethereal quality which extremely few dancers have. They are able to convey flight when they are on the ground. And Rudi's interpretation of the poet is marvellous. He really looks like he is in a dream state mesmerized and enchanted by this elusive and delicate creatures.

The artistry is really unmatched.

The Corsaire pdd section is also very good. Margot demonstrates her ever present delicate lyricism, beautiful line, and her technique is still solid. And Rudi dazzles with his fireworks and energy.

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Oh, I have this DVD too and I loved it as well!


My favorite part is Fonteyn's Nocturne; she just skims the stage without seeming ever to touch it. What I always loved about her dancing was the subtle, understated grace of her whole body and especially her arms. They were liquid without ever overdoing it.

Sometimes I wish more (any?) companies in the US danced Les Sylphides these days, and then I think about what would be done to it (6 o'clock extensions, 50 million pirouettes, no style, no mood) and I guess it's better to leave well enough alone...

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