betterankles

How boring it would be if we now have to be ‘PC’ in all art forms...

Sorry that Plisetskaya and Fonteyn were not good enough to perform Swan Lake! do you really mean that?

Some of the RARE best ARTIST/DANCERS can dance Swan Lake wonderfully, yet do not have the virtuosity to perform perfect 32 fouettees. MANY dancers nowadays can perform fouettees with triples, doubles etc - this does NOT make them necessarily fitted/suited to perform Swan Lake (or other classical ballets) artistically. It is a curious idea that any dancer (or so called ballerina) can be ‘trained’ to ensure that their entire performance is dramatic and emotional enough to make their company proud!! Sadly it is also now often company practice to cast the technically most accomplished dancer (or balancer) as Aurora, with little regard for their suitability to depict this 16 year old celebrating her birthday party, shy and a little overwhelmed by meeting four prospective suitors, then in the vision scene being seductive enough to captivate the Prince, and gaining in maturity in her wedding scene. Musicality and acting skills as well as suitability needed, and sufficient technique or stagecraft to share the story of Aurora with the audience ... Far too many ARTISTS are now overlooked in favour of superlative technicians - easier to justify casting, since artistry is more difficult to define...

Personally I think Fouettee fétichisme as regards Swan Lake is ridiculous. It was put in for Legnani, as she was good at them. As long as it is something which makes the Siegried’s head spin ! - why not. It’s about telling a STORY

Golly, was expecting something really not good. She came out of them OK and then went into a manege... and nothing wrong with the manege.. No one seems to talk about the rest of the performance which is REALLY what Swan Lake is about, White AND Black act - and FOURTH act too..

Just a heads up that as part of the Vaganova Academy 280th Anniversary, Serge Lifar’s Suite en Blanc, staged by Maina Gielgud, will be performed at the Mariinsky Theatre in the 2018 Graduation performance. Date in early June yet to be advised.

And for information, the beautiful Bridgett Zehr (ex ENB), is now dancing in Bridget Breiner’s company in Gelsenkirchen, perhaps she and other dances from there will move to Karlsruhe next season...

Not always Nina G, sometimes those with less strong technique are greater artists - of course it depends what you call strong technique...? The less strong technicians tend to strive for quality of movement and artistry rather then multiple turns and super high extensions. I prefer an Aurora who does not do multiple turns or necessarily hold rock solid balances,, but interprets the role as the slightly overwhelmed teenager at her birthday party being introduced to these men she may marry - naturally rather nervous and excited, to a ver attractive and slightly seductive act 2 vision (otherwise why would the Prince get enamoured), to a more mature Aurora on her wedding day, very much in love with her Prince. If she balances long, looks at her Prince when she takes his hand in between, and does multiple turns but stays on the music and uses both as assistance to the interpretation, all to the good.

LinMM - I mean some dancers, even principal dancers seem to be so determined to be ‘perfect’ - that they forget that the audience has paid to see artists not perfect robots. An audience hopes to be carried away into another world, not to notice whether the technique is ideal. Sadly even principals dancers get caught up in the wheel of wishing to please their ballet masters and directors (and this is understandable of course as they depend on them for the next casting and or promotion, and to keep their job) - and in so doing forget about the very people all that preparatory work is done for, and the purpose of it - to be free to interpret whether role or music, but above all to be free and unfettered. See David Hallberg’s book...

Far more nerve wracking to be in the corps, as has been previously noted - an error in the corps de ballet can almost never be hidden, however clever the dancer is... Principals who search for ‘perfection’ WHILE performing (rehearsing is a different matter), will rarely be true ‘ballerinas’ or ‘danseurs nobles’ See quote from Sarah Lamb.... she knows

The idea that principal dancers can’t ‘make mistakes’ is a fallacy... Everyone makes mistakes. Principals generally have the talent, presence of mind and brain, whether through experience or just instinct, not only to know how to cover up ‘mistakes’, but often to turn them into something more interesting then so called ‘perfection’ This is one of the important qualities needed for a true principal dancer....

There is also something in Paris - exhibition celebrating Petipa's anniversary...

I have known many dancers, ex students of a famous teacher in Australia, who were taught fouettees from a very early age, and made to do them daily - at least 64. I think from the age of about 12... Result: they never feared fouettees... and haven't heard of any injuries because of them. At the Legat School when in Tunbridge Wells, Madame Legat also had her students do fouettees from a very early age, 9, 10 years old - and again result, no fear! Of course only students with strong legs - 'horses for courses', not 'particular age for courses'

Notice if one month is all that is needed.

Regarding Vadim, he was a peasant in Giselle for perhaps a couple of months. Definitely not two years doing corps work....

But don't forget Vadim Muntagirov really was fast tracked - the Poet in Les Sylphides on joining the company, Albrecht in Giselle within three months, and then in London, AND first night of Swan Lake at the Albert Hall before the end of his first season as a professional! He certainly did not reap any harm from this. Indeed had he remained in the corps de ballet for a couple of years, he would have lost out on heaps of wonderful experience. There are exceptions to every rule...

Rights. THe film should be somewhere on the internet - with National Ballet of Canada.

Rolled all career on left foot, both on and off pointe, despite trying to correct - still managed a very good career!

THIS TICKET IS STILL FOR SALE... PLEASE PM IF INTERESTED

A friend may be able to post this ticket if anyone interested. PM please

1 TICKET GRAND TIER C 41, 70 POUNDS 18TH OCTOBER 7.30 FOR ABOVE PROGRAMME TALL LOOSE SEAT CAN POST TOMORROW SUNDAY PLEASE PM URGENTLY LEAVING UK TOMORROW AFTERNOON

Quite!

A REMINDER THAT THIS INTERESTING EVENT IS HAPPENING VERY SOON - FRIDAY 1ST SEPTEMBER WITH MAINA GIELGUD COACHING THE COACHES!

It's really odd that Yuri Possokhov, unless I am totally wrong, who is the choreographer of this piece, is nowhere credited anywhere it talks of the cancelled production of 'Nureyev'....

Probably just better to do these kind of things in smaller venues like LInbury or Clore rather then Palais Garnier. I believe there is a smaller venue at Bastille?