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About Buddy

  • Birthday 19/03/1943

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    California, Switzerland
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    Beauty, nature, childhood, dance

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  1. "Like a sculpture to be awaken by the power of Love… By the power of light and music that sounds from inside. There is Galatea in every of us. So give the true sense to the perfection of your lines enriching them with treasures of your soul." (From La Personne, online ballet magazine from Russia)
  2. If I could just add a few more brief thoughts. Again, it's worth emphasising that A Legend of Love is generally considered Yuri Grigorovich's finest work, perhaps one of the finest works in all of ballet. In invention, it's possibly on a par with the best of George Balanchine, although George Balanchine was probably much more prolific in output and ideas. The fact that Yuri Grigorovich stayed closer to the 'etherial' nature of classical ballet is something that I appreciate. 'Etherial' nature is what makes me a ballet fan, a lover of Swan Lake, Giselle.... On the other hand, the attraction for me of A Legend of Love is that it's driven by a pulsating momentum with a depth of poetic reflection, but probably most importantly -- by a wealth of imagery.
  3. What makes this work so interesting to me, Darlex, is its Structural Invention, in particular its shapes and motion. They are an extension of previous classical ballet. But most important, they work so well. "His dancers are usually seen in profile, with flexed wrists and palms out, evoking Asian dance silhouettes, but also exploring the V‐shaped acrobatic broken lines of the plastique special to Soviet ballet." https://www.nytimes.com/1979/08/23/archives/ballet-us-premiere-of-legend-of-love.html I think that this description could be extended to all the elements of this work. "Dance silhouettes" and "acrobatic" are possibly key words. There's also a contrast of quiet peace and surging energy throughout and a merging of East and West. Added: What Alena Kovaleva apparently has brought to this work is a significantly heightened sense of warmth and grace.
  4. Yes, thank you, Jan, and Ian also. The Mariinsky had an exhibit celebrating the 60th Anniversary and here are some nice, historic photos. (scroll down) The forth photo shows the creators. (from left to right): Simon Virsaladze, Yuri Grigorovich, Nazym Hikmet, Arif Melikov, Niyazi. 1961 And sure enough, in the last photo is Alexander Gribov as Ferkhad. (March 23, 1961) Thanks to Алексей Яковлев (Alexey Yakovlev) at Balletfriends, Большой - Балет и Опера http://forum.balletfriends.ru/viewtopic.php?t=9480&postdays=0&postorder=asc&start=135 Here's the Google translator for anyone who wants to read the captions. https://translate.google.com "Olga Moiseeva performed the role of Mekhmene Banu, Irina Kolpakova, the future prima of the Kirov ballet and the last student of the great Vaganova, performed the role of Shireen." https://www.bolshoirussia.com/news/?year=digest2&newsid=106
  5. My quick perusal of the internet seems to confirm what you say, Jeannette. Thank you. Apparently Rudolf Nureyev was chosen by Yuri Grigorovich for the debut, greatly desired it and rehearsed it for quite awhile, but it didn't happen.
  6. Here's how that goes, Dalex, and thanks, Jan. This is actually kind of interesting as I didn't know about it. And Rudolf Nureyev being the first in the lead role of Ferkhad is also quite interesting. "A graduate of the Leningrad School of Dance in 1946, Yuri Grigorovich began his artistic career as a ballet dancer (and later a soloist) at the Leningrad State Academic Kirov Theatre, where he staged his first productions – The Stone Flower (1957) and The Legend of Love (1961), while from 1961 to 1964 he was the theatre's resident choreographer." (Mariinsky site) -- https://www.mariinsky.ru/en/company/choreographers/grigorovich/ I'd like to add that the interpretation of Queen Mekhmene Banu is generally a deeply dramatic one. I have written elsewhere that because of Alena Kovaleva's 'vibrantly' graceful manner and presence, I really wouldn't miss this sort of 'heavy' interpretation. Apparently, according to the review, this is exactly how she handled it and very effectively -- being regal, but "kind and touching" rather than heavily dramatic. Also another Correction: Ferkhad was Denis Rodkin (not Jacopo Tissi) and Princesse Shireen was Maria Vinogradova (not Anna Nikulina)
  7. I caught this too late to make the correction, but the ballet premiered in 1961 making this its 60th anniversary, not its 30th. If a moderator wishes, maybe the title of this topic could be changed to: "Bolshoi - Legend of Love 60th Anniversary - Alena Kovaleva" "Yuri Grigorovich’s A Legend of Love premiered in 1961 while he was head of the Kirov (Mariinsky) Ballet, with Rudolf Nureyev in the lead role of Ferkhad. It was Grigorovich's second ballet – the first being the highly successful Stone Flower –and it established his reputation as an innovative new choreographer. The production was a multi-national collaboration: the choreography by the Russian [choreographer], the libretto by Turkish poet Nazim Hikmet, a score by Azerbaijani Arif Melikof, and sets designed by Georgian Simon Virsaladze." https://bachtrack.com/review-legend-of-love-bolshoi-ballet-historic-stage-moscow-december-2015
  8. This year marks the 30th anniversary of Yuri Grigorovich's famous masterpiece, A Legend of Love, and the Bolshoi is presenting it five times this month. I'm a particular fan of the young, captivating and highly talented Alena Kovaleva, who has risen fast having been given the coveted Odette/Odile from Swan Lake almost upon her arrival. Now she just debuted as Queen Mekhmene Banu (the lead) partnered by Jacopo Tissi with the lovely Anna Nikulina as Princess Shireen, her sister. I am reading what seems to be a very nice review by Inna K at the Bolshoi oriented Balletfriends, Большой - Балет и Опера, Forum. Not wanting to rush through, I'm stopping here to post two Google translated quotes. "I will say right away that I really liked her Mekhmene...." And most touching and important to me: "As a simple spectator, I am guided by a very simple criterion - it touches the soul or not, and in this case Mehmene convinced me from the very first minutes of her appearance". I may write some more at another time. I do wish her much success with this and her entire career. http://forum.balletfriends.ru/viewtopic.php?t=9480&start=135 Google translate -- https://translate.google.com
  9. A man with a very fine career as well as being a very sympathetic human being and social benefactor. As famous as he was as a performer, I always appreciated what he did after. Here from the New York Time's obituary posted above by Bruce : "He retired from performance the next year and turned his attentions to National Dance Institute, which takes dance into public schools and which he founded in 1976. "Now the goal is to offer free classes to all, no matter the child’s background or ability. Today the institute teaches thousands of New York City children ages 9 to 14 and is affiliated with 13 dance institutes around the world. The institute, which has its headquarters in Harlem, where Mr. d’Amboise lived, was profiled in Emile Ardolino’s 1983 Oscar-winning documentary, “He Makes Me Feel Like Dancin’.”"
  10. I didn't want to start a new topic, but I thought that this might be interesting and this might be an okay place to post it. To give a sense of how the ballet world is carrying on in Russia, Ballet Friends (Большой - Балет и Опера (Bolshoi Ballet and Opera)) probably the biggest Russian ballet forum has devoted a full three pages to general comments on the last two days of performances at their Mariinsky topic. I don't want to judge the wiseness of the Mariinsky/Bolshoi full scheduling of performances that has been in effect for almost a half year now, but it's certainly a contrast to many other parts of the world.
  11. From video clips, Annamk, Kimin Kim does seem to be at the top of his game. Even with my very mixed feelings about the Mariinsky's dealing with the health aspects of its full programming, such as no seat spacing for the audiences, etc., Kimin Kim has, for me, been an inspiration through all of this.
  12. Great, Sim. Thank you. Could I add a brief one, featuring the wonderful ballerina Maria Kochetkova at her balletic finest, which also received a delighted response from both Alexei Ratmansky and Aurelie Dupont. https://www.instagram.com/p/CKHfWRVFR5G/ (thanks to Pherank at Ballet Alert!)
  13. Thanks, Ian. That's what can happen to you when you live in Switzerland. 😊 I've been there, half a year, for over thirty years. I like this sort of thing very much, when a dancer relates directly to and interacts with nature's beauty. Thanks also, John. This is quite charming among other nice things.
  14. “They [two new NY City Center works, one by Christopher Wheeldon] reminded me of what I love in dance: the way watching a person move on a stage, to music, can stir something deep inside of you, something you didn’t know was there.” (Marina Haars — Dance Tabs)
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