Buddy

There are video clips of Maria Iliushkina’s recent Giselle debut and they’re quite outstanding, both Act I and Act II. I won’t post them, as much as I’d like to, because they’re not ‘officially’ posted, but I do have this and I think that it’s really worth seeing. It’s her performance of the duets, etc., from Act II that she performed about five years ago for an Andris Liepa gala production, posted by that company. In essence, it already has much of the loveliness of her recent debut.

Last Tuesday, Maria Iliushkina made her Mariinsky debut as Giselle -- Another big one ! Congratulations to this loveable and lovely dancer. In the video her coach praises her soft airiness along with her big jumps and lines. (Google audio translation) (Thanks to Sophia at Dansomanie for this information)

A Possible ‘Lyrical’ Program on Video Fred Astaire and Ginger Rogers — “Let’s Face The Music And Dance” https://www.youtube.com/watch?v=9UY1seXdnIc&t=278s Fred Astaire and Cyd Charisse — “Dancing in the Dark” (not officially posted) Christopher Wheeldon — “After The Rain” (Start at 14:10) https://www.youtube.com/watch?v=8D316-KMBU8 Twyla Tharp — “Waiting at The Station” (excerpt or something similar) https://www.youtube.com/watch?v=mgDkxoJCVd0 Mikhail Fokine — “The Swan” (on half pointe?) https://www.youtube.com/watch?v=Bf9AqDajr_0&t=39s George Balanchine — “Der Rosenkavalier” from “Vienna Waltzes” (not officially posted)

You’re welcome, Alison. There was also a musical made, of which I know very little. Maybe someday someone else might also like to give it a try — Christopher Wheeldon ? “The musical was Canada's longest-running musical,[1] having been performed annually from its opening in 1965 until 2019, with the planned 2020 and 2021 productions cancelled due to the COVID-19 pandemic.[2] In March 2014, it was officially recognized as the longest running annual musical theatre production in the world by Guinness World Records.[3]” https://en.wikipedia.org/wiki/Anne_of_Green_Gables:_The_Musical I think that in the “Anne of Green Gables” ballet one of the biggest challenges is to take some of the most charming spoken wordings that I’ve ever read and translate them into a wordless presentation. Here’s one of Anne’s remarks. "That's Barry's pond," said Matthew. Anne — “Oh, I don't like that name, either. I shall call it--let me see-- the Lake of Shining Waters.” The book is loaded with such lovely comments. In the documentary you can see how they try to create imagery that conveys the feelings of such ideas rather than trying somehow to literally recreate them. “A Story Through Movement” -- Another related thing that I notice is the presence of a Stage Director. “Anything that’s not dance I take care of.”…. ‘My job is’ ”turning dancers into actors.” From the few highlighted examples, with some fine choreography, this is very well accomplished. I think that this is perhaps one of the strong points of ballets and staged dancing from English speaking cultures because of their rich theatrical heritage.

“Anne of Green Gables – The Ballet” Documentary -- The making of the ballet — A Small Company with A Big Heart This is a very nice and interesting documentary about the creation of a ballet of the classic “Anne of Green Gables” by a small ballet company in Canada that tours throughout the country. The Artistic Director has been awarded the Order of Canada for his work over the years. It’s very interesting to see the work involved and feel the warmth and talent of those who put it together and those who perform it. A highlight for me is the constant presence of the vibrant young dancer, perfectly cast as Anne. You don’t get to see much of the actual production, but what you do see is quite fine. The entire production might be delightful. If I were ever near where it was being performed I would certainly like to take a look. https://canadasballetjorgen.ca/repertoire/anne-of-green-gables-the-ballet/ Here’s a typical trailer.

And thanks again, OnePigeon. You have made some fine comments. For the moment, I’d like to respond to just one. I do indeed find the Viviana Durante interpretation of “The Man I Love” to be “beautiful.” I’d also like to say that I’m still entranced by the Sean Lavery - Patricia McBride interpretation, so can I offer this ? George Balanchine - Sean Lavery - Patricia McBride - “The Man I Love” I continue to watch this six minute duet from George Balanchine’s “Who Cares?” (now newly renamed (by me, by whom?) “Who Cares? I Do”) and am more and more drawn to it. I once started an entire topic on the Act II Divertissement Duet from George Balanchine’s “A Midsummer Night’s Dream,” featuring Allegra Kent and Jacques d'Amboise. Being based on a work by William Shakespeare it seemed entitled to an in-depth analysis and the brilliant interpretation by Balachine-Kent-d’Amboise made it even more so. Balanchine-Lavery-McBride-“The Man I Love” might be just as fine, but perhaps analysing it too deeply is not the key. For me, it’s a remarkable work of dance-musical-poetry that’s perhaps best appreciated by just being enjoyed. It’s brilliant, it’s charming, it’s lovely — so maybe just sit back and feel good inside. I’m now going to watch it once more and probably will have to say something anyway. See you again in a few minutes. Hi, I’m back ! And, shucks, there’s just too much great stuff happening here to resist. I think that there’s an Eric Taub effect at work here as well. (Also, I’m not posting the video, as much as I’d love to, because I prefer to only post ‘officially’ released material, but it can easily be found on the internet) The key word is — Poetry. This work and performance are just that. There’s a wonderful balance between human attraction and poetic distancing. Sean Lavery not only recreates Fred Astaire literally, but adds a poetic dimension that’s almost enchanting. He’s drawn to his partner, embellishes her and then with the use of self-sculpture and motion perhaps transcends, taking us with him. Patricia McBride, who I read was probably in her early forties is poetically mature to the embraceable limits. I believe in artistic maturity. She’s also affectionately drawn to her partner and deeply loveable while creating herself as an idealised goddess. I could go on and on, and maybe will somewhere. In any case, I would really recommend finding and enjoying. ‘Lyrical’ — I believe that this work and performance are indeed related.

Thanks again so much, OnePigeon. I was just about to post this when your post appeared. I'll look at your's as soon as possible. I’ve been watching parts of George Balanchine’s “Who Cares?”, mainly focussing on the Sean Lavery-Patricia McBride duet, which has the strongest literal resemblance to Fred Astaire. I’ve now watched the entire work and I think that it’s Brilliant (probably Genius) and Delightful ! ‘High Art’ meets Entertainment at its best. To the extent that Fred Astaire influenced the entire Broadway-Hollywood world of musicals (as suggested by OnePigeon), his influence on George Balanchine is probably present throughout. As for a literal Astaire resemblance, this can be seen most in the Sean Lavery-Patricia McBride duet, the opening duet, in the presence of Sean Lavery. From then on elements of Fred Astaire’s dance style remain very noticeable in Sean Lavery’s performance, but tend to build into a brilliant George Balanchine representation of the entire Broadway-Hollywood musical scene. By the way, facially in the duet, Patricia McBride reminds me most of Judy Garland. Once again.... 'Lyrical' Swan Lake Meets Fred Astaire 😊

“Who Cares?” ( I Do 😊 ) I’d like to clarify somewhat the things that I wrote so enthusiastically about “Who Cares?” and George Balanchine & Sean Lavery in particular. What I was glued to at the time was the brilliant, opening duet to “The Man I Love" danced by Sean Lavery and Patricia McBride. All my enthusiasm remains the same and descriptively unchanged for this particular six minutes, Not having watched the group dancing completely and the duets-solos several times, this segment could be the key one, but I’m not familiar enough with the entirety to be certain. This duet, for me, remains the center of all that I wrote. I think that this six minutes is absolutely brilliant, perhaps genius, for the reasons that I suggested. The entire work seems exceptional as well, but for different reasons. What once again makes it so special is the way that Sean Lavery ‘becomes’ Fred Astaire. In his other duets and solo, there is excellence, but the Astaire characterisation is much less evident. It might be that George Balanchine wanted to make this the unmistakeable opening statement (and tribute) and then move on. The Patricia McBride dancer is much harder to pin down. She’s an idealised Hollywood goddess, who contrasts beautifully with Sean Lavery’s Fred Astaire, and I do see some charming elements of Ginger Rogers trying to emerge from this perfection, but overall she’s a Balanchine dance goddess. I do feel that “The Man I Love" duet is going to be another of my ballet favourites and does highlight the genius of George Balanchine. I also have to say that Sean Lavery’s interpretation is brilliant.

Thank you very much, once again, OnePigeon. I think that if there’s any doubt that George Balanchine was a genius, “Who Cares?” alone would prove that he was. In one performance, Sean Lavery, the male performer in all the duets, has a remarkable resemblance to Fred Astaire in his dancing. The three women, as is usual I guess with George Balanchine, have the most prominent presentations. They could be seen as a highly crafted combination of Ginger Rogers, Cyd Charisse and perhaps others. Sean Lavery, as Fred Astaire, is dressed in black, which fades him into the background, and lets the women dominate. Yet, regarding him carefully, in an almost concealed but brilliant manner, he has all the presence, charism, appearance and dominating qualities of Fred Astaire. The interaction of Sean Lavery-Fred Astaire and the three women is Remarkable ! OnePigeon, I’ve posted several of your quotes below, followed by some more information. My mention of Der Rosenkavalier from George Balanchine’s Vienna Waltzes, as possibly being Astaire influenced, would be a much more subtle matter and is probably much more open to debate. The photo that you posted is a pleasure to see and worth a thousand words. Do you know the occasion ? Also, could I ask you what current works, individuals, elements, etc. might represent “lyrical” for you ? “I would say that the Astaire influenced Balanchine ballet that first springs to mind is his Gershwin ballet, Who Cares?” In addition to what I wrote above, this work has additional interest in that it’s the first reference that I’ve read that mentions “tap dance” and ballet together in regard to our discussion. “On Who Cares?, original cast member Karin von Aroldingen described, "You think it's so unlike Balanchine, it's so jazzy. One would think he'd just make a jazz ballet out of it, like everyone else, a dance like Broadway, but he put it on pointe – it's sort of like a tap dance on pointe.”[1]” https://en.wikipedia.org/wiki/Who_Cares%3F_(ballet) A quick glimpse -- "Who Cares?" https://www.youtube.com/watch?v=21WSmo-wmFg “I would also say that Balanchine’s choreography for the film of On Your Toes probably has some Astaire influence in evidence, though I’ve never been able to see the entire film.” “On Your Toes originally was conceived as a film, and as a vehicle for Fred Astaire. His refusal of the part, because he thought that the role clashed with his debonair image developed in his contemporary films, caused it to be presented initially as a stage production. [4]” https://en.wikipedia.org/wiki/On_Your_Toes “I’m no expert on Robbins sadly, but I know he choreographed a tribute ballet to Astaire called I’m Old Fashioned….” “I’m Old Fashioned (The Astaire Variations)….” https://en.wikipedia.org/wiki/I'm_Old_Fashioned_(ballet)

Thank you very much, OnePigeon, for all these references and added ideas. Dancing in the Dark with Fred Astaire and Cyd Charisse, 1953, would indeed be another ‘Lyrical’ classic. What interests me very much here is the way that Cyd Charisse mirrors Fred Astaire in style, ability and appearance. She gives you a glimpse into what a female Fred Astaire might be like, although it would be hard for anyone to actually match him in overall quality. Of all the ballet-like characteristics that Cyd Charisse possesses, it’s her statuesque beauty that I notice the most. You also mentioned Fred Astaire’s influence on George Balanchine and Jerome Robbins. Would you have any particular works in mind ? I’ve mentioned the remarkably charming Der Rosenkavalier from George Balanchine’s Vienna Waltzes as a possibility. Thanks also for mentioning Agnes de Mille. Her artistic approach is something that I’d want to look at more carefully. This is my current idea of what ‘Lyrical’ might resemble. Lar Lubovitch "The Legend of Ten" Studio Showing https://www.youtube.com/watch?v=_Gk-6cmpoMs If you want to have some fun, maybe this. Twyla Tharp's "Waiting at the Station" https://www.youtube.com/watch?v=mgDkxoJCVd0

“….several choreographers who can all collectively continue the legacy of Balanchine and Robbins?” This seems like a good way of putting it, Emeralds. Energised by Gia Kourlas’ article, I do get excited about what Alexei Ratmansky could be capable of at New York City Ballet and about the possibility of him becoming similar in stature to George Balanchine and related in resemblance, but I’m not sure in what form exactly. “….several choreographers….” — I’d really like to see Christopher Wheeldon involved with the encouragement and perhaps creative assistance of Associate Artistic Director Wendy Whelan, who as I mentioned before probably had a hand in the creation of Christopher Wheeldon’s “After The Rain.” Alexei Ratmansky-Christopher Wheeldon-Wendy Whelan This is a combination that I wouldn’t mind seeing as the continuation of the Balanchine (and Robbins) legacy.

Hi, Jeannette, and thanks for your comments and interest. I think that you can come at Alexei Ratmansky from at least two directions and you have focused on one of them, his classical and historical emphasis. This is totally valid. In a second instance it might be most interesting to go directly to the title of Gia Kourlas’ article and take it from there. “At City Ballet, Alexei Ratmansky Can Let His Imagination Run Wild” In this scenario, and overall, I tend to focus on Alexei Ratmansky more abstractly and not necessarily in terms of entire works, but rather in terms of bits and pieces, and the strong points of his general creativity. I haven’t really tried to analyse specifics, but there’s always something going on in any Ratmansky work that seems brilliant to me no matter what I think of the entirety. This is when I start thinking “Balanchine.” And when I think “Balanchine” in this way I think about his ability to condense so much interest and artistic genius and variety into a single capsulised work or parts of a larger work. Alexei Ratmansky’s Concerto DSCH and Russian Seasons come to mind immediately. So maybe if ‘We Let Our Imaginations Run Wild’ somewhat we can see a slightly reinvented Alexei Ratmansky, who takes all his creative strongpoints, ties them firmly together, and produces new crystalizations of ‘Balanchinian’ solidity, diversity and genius. This is just one way of looking at it, but it’s one that sort of ‘intrigues’ me at the moment. I’ve seen very little of Justin Peck so I can’t really comment on him except that I can see a sort of Jerome Robbins resemblance, perhaps more in his use of animation.

Emeralds, I somehow believe that Gia Kourlas is alluding to an ideal possibility and it does have its fascination and indeed excitement if it should actually happen. She seems to be playing with the idea that Alexei Ratmansky could actually be the next Balanchine. He does have great ability but these would be huge shoes to fill and it would require an immense burst of excellence and perhaps considerable restructuring while already well into his career. I think that it’s possible, but it would require an output of unquestionable quality. It certainly would be something to see. Whether he could literally become the next George Balanchine, considered by many to be one of the two greatest ballet choreographers ever, is something that she seems to definitely be hinting at. She mentions “his love of dancing works by George Balanchine.” Her special excitement with him being at New York City Ballet could be taken as another literal ‘next Balanchine’ reference, this being the ‘House of Balanchine.’ Thank you for reinforcing my positive image of him, that “He’s also known for being a polite, patient and soft spoken person who is very easy to get along with.” On the other hand, his creations are considered very demanding on the dancers, as were George Balanchine’s. I personally would prefer them to be less so and would hope for this in a more ideal situation. I will say that dancers do comment that he’s such a nice and brilliant person that they do try to do their best for him. Also, thank you for reminding us that Alexei Ratmansky was indeed an accomplished dancer. It certainly could explain his ability to get inside the minds of such artists as Sara Mearns. Adding this dimension, mental elevation and guidance, could enhance a dance artist’s capabilities immensely. And back to your mention of Christopher Wheeldon for a moment. For me, it brings to mind a definite George Balanchine-Jerome Robbins imagery. Christopher Wheeldon often mentions the influence that Jerome Robbins had on him and his debt to him. I think that it’s often evident in Wheeldon’s works. Also I think that it’s possible to see as much a Balanchine-type depth and structure in Alexei Ratmansky’s works as it is to see a Jerome Robbins’ influence in Christopher Wheeldon's. I would say that in a Balanchine-Robbins comparison, George Balanchine was the giant, whereas in a Ratmansky-Wheeldon one, it would be much more equal. Still the idea of a new age of Balanchine-Robbins in the presence of Ratmansky-Wheeldon at ’The House of Balanchine’ (and Robbins) would be a remarkable occurrence.

Emeralds, I think that ABT and New York City Ballet having “a chat” with Christopher Wheeldon would be an excellent idea. There's a lot of interesting discussion here. Thank you. Can I add this ? I posted it elsewhere but would like to include it. I’d like to mention this. From Gia Kourlas at the New York Times. “At City Ballet, Alexei Ratmansky Can Let His Imagination Run Wild” https://www.nytimes.com/2023/01/06/arts/dance/alexei-ratmansky-city-ballet.html (thanks to Ian Macmillan at BalletcoForum) I think that the article can be included here for its informational value. Extended discussion of her opinions might be best at the Writings on Ballet forum. To summarise, I believe that she feels that he’d have a great amount of artistic freedom and access to dancers who could thrive with this at New York City Ballet. I think that it’s an interesting premise. I will offer a more general opinion. For me, Alexei Ratmansky has really great ability, probably genius. I like parts of his works very much. I do like most of such works as Concerto DSCH and Russian Seasons which tend to capsulise and focus his creativity. I think that New York City Ballet is a place where this sort of thing could really develop (as Gia Kourlas suggests). It’s possible that at New York City Ballet he could become a new Balanchine, or something close to it, and what better a place is there ? Added: This is a quote from the article that I like very much. "What happens when a dancer goes to the limits for such a choreographer? In a behind-the-scenes video about Ratmansky’s “Concerto DSCH,” the principal Sara Mearns describes a lift in which she is held above her partner with one leg extended to the side. “He said, ‘You need to look up to the sky like it’s the heavens, and then I want you to actually close your eyes,’” she says. “So I do, and it’s amazing and so magical.” "He didn’t just guide her body, he led her spirit."

This is Giselle performed by the Polish National Ballet. It features the wonderful Chinara Alizade, formerly from the Bolshoi. I highly recommend her dancing at 9:00, 35:30 and 1:35:00. Also her very fine expressiveness, emanating from her face, is most touching to me at the very end, 1:48:20. The entire company, new to me, has a very nice and airy quality. https://www.youtube.com/watch?v=R4HIbwU7YzE&t=4s

I've deleted this because it was already posted.

Thanks, Amelia (and Beryl). They were indeed beautiful and amazing skaters. I’m off to try it myself tomorrow. What I lack in style I make up for in drama. 😊 Happy New Year !

Could I offer some more ideas, perhaps a sort of outline ? “Lyrical” Here are some definitions of the adjective “lyrical” that I like. (an * represents one that I particularly like) .*songlike lyric *melodic *musical *melodious rhapsodic *poetic (of literature, art, or music) expressing the writer's emotions in an imaginative and *beautiful way. the poet's combination of lyrical and descriptive power (Oxford Languages) “Lyrical” — as a dance style. It would contain lyrical qualities with the addition perhaps of charm, pleasantness, joyfulness…. High Art < > Entertainment High Art As dance it might also contain grace, flow, dreaminess, refinement…. An example…. “After The Rain” (Christopher Wheeldon)— as close to ballet as you can get without actually being ballet. . Entertainment An example…. “Let's Face the Music and Dance” (Fred Astaire (with Ginger Rogers)) Entertainment of High Art quality Christopher Wheeldon and Lar Lubovitch are two creators that, for me, are quite interesting when they work in this area.

Some more about Fred Astaire and ballet from The New York Times. "He was also a paragon among his professional peers. George Balanchine, the artistic director of the New York City Ballet and a man whose supreme standards rarely allowed for superlatives, called him, simply, ''the greatest dancer in the world.'' "Anna Kisselgoff, dance critic of The New York Times, gave this description of the Astaire genius: ''At its most basic, Mr. Astaire's technique has three elements - tap, ballet and ballroom dancing. The ballet training, by his account, was brief but came at a crucial, early age." https://www.nytimes.com/1987/06/23/obituaries/fred-astaire-the-ultimate-dancer-dies.html And getting back to the overall idea of “Lyrical” (‘ballet related’) for a moment, for me, Christopher Wheeldon’s “After The Rain” remains very significant.

I’ve mentioned this a lot and now I’ve found an officially posted version. It’s a ‘Cornerstone’ to “Lyrical Dance” as defined by Buddy. By whom ? 😊 Fred Astaire and Ginger Rogers — “Let’s Face the Music and Dance”

From a few weeks ago, here’s some behind the scenes with a few nice glimpses of dress rehearsals, etc. https://www.youtube.com/watch?v=8fvERfi_n2Q

Images and Feelings A major thing that I notice in the previously posted video is the large number of different, beautiful images and deeply touching feelings that she presents, both in her poses and her transitions. This is her own choreography. Although it uses much of the general vocabulary of this kind of dance, it’s still very personal and powerful. Her highlight poses are sculpturally compelling. A painter, except for the cubist-type artists, etc., usually presents a single image. Here it’s a constant and natural flow of picture perfect ones. That’s something that makes dance special. It’s a living art. Her taking of it all and using it to make a strongly emotional statement is also very embracing. She even makes highly energetic gymnastic moves part of this. And it’s not a formalised presentation, but rather — A Living Expression. Although this is a more athletic approach, it also has many qualities that would be very important in a more subtly nuanced idea of “Lyrical Dance.” But I would have to say that, for me, for the most part, it’s extremely fine as it is.

This would be a typical example of Lyrical Dance or Lyrical Jazz in America. My idea of “Lyrical Dance” would probably be much less ‘gymnastic’ and more refined in gracefulness. Yet, there are some technical accomplishments here that can’t be passed by and could be very applicable, perhaps, to a more ‘dreamlike’ expression. And, what this young dancer does, does touch me deeply, a part of “Lyrical Dance” (and other dance forms) to be hoped for. Besides that, I love the song. So do a lot of other young dancers it would appear by checking the number of video performances of it on the internet. 😊 https://www.youtube.com/watch?v=JvHpfsfRtN8

Thanks, Lin. Yes, they appear to be quite exceptional. Sadly, Ludmila.Belousova died in 2017, aged 81. Oleg Protopopov is 90. (https://en.wikipedia.org/wiki/Oleg_Protopopov) This is personally interesting. They must have lived for quite awhile two hours away from me in Switzerland. I’ve been living there part of the year for about thirty years. It’s also where I started figure skating lessons, I’m a perpetual beginner, who’s been skating for about that same length of time. I’ll be eighty in March. I wish I had known about them. Maybe I’ll still bump into him some day. I also keep thinking that I might do the same with Roger Federer out hiking. Your definition of Lyrical Dance, the general one, seems quite correct. Here’s an example. (Mine is a more personal one.) https://www.youtube.com/watch?v=ERreyw5_AVs&t=3s I’d like to get back to my previous post for a moment. The video of Raisa Struchkova somewhat fascinates me in regard to Fred Astaire and Ginger Rogers. As I believe that I mentioned, Fred Astaire was George Balanchine’s favourite male dancer. But why ? There was definitely a feeling of ballet in Fred Astaire, although his basic dance technique was completely different and he seemed to have little interest in ballet. Yet, I have to believe that he had observed enough ballet that some of its general manner of grace and style became part of his. I keep referring to him, because I think that he’s a foundational element in what I might call “Lyrical Dance.” This would, at least in part, be the ‘combining’ of ballet with other dance forms to create a perhaps parallel dance form of similar beauty and interest.

The term Lyrical Dance does have some specific definitions, whereas mine tends to be a somewhat personal one. An expression that does seems to enter many of the stricter definitions of Lyrical Dance, or Lyrical Jazz and other Contemporary forms is…. * ‘….Combined with ballet.’ * From ballet itself I find this to be a rather charming example related to what I would call “Lyrical Dance.” Raisa Struchkova (1964) https://www.youtube.com/watch?v=NUkFbFFTqYs Added: I might even go as far as to say that I see some Fred Astaire and Ginger Rogers here, although these performers probably had no knowledge of each other and very little of the technique of the others’ dance form.