zxDaveM Posted November 21, 2021 Share Posted November 21, 2021 1 hour ago, Odyssey said: I don’t think Bracewell and Gasparani have danced the lead pas de deux in the same performance. They did the Saturday matinee Link to comment Share on other sites More sharing options...
LinMM Posted November 21, 2021 Share Posted November 21, 2021 I think Cesar and Akane did the “Bolshoi Lifts” yesterday as there was something marginally different to what I remembered as Akane held horizontally aloft but the lift seemed more static?? Is that correct. I think I prefer the waftability of the lifts which Hayward and Campbell used a couple of years ago with more movement across the stage! Perhaps I’m remembering different bits though am not sure now 🤔 Link to comment Share on other sites More sharing options...
Sim Posted November 21, 2021 Author Share Posted November 21, 2021 26 minutes ago, LinMM said: I think Cesar and Akane did the “Bolshoi Lifts” yesterday as there was something marginally different to what I remembered as Akane held horizontally aloft but the lift seemed more static?? Is that correct. I think I prefer the waftability of the lifts which Hayward and Campbell used a couple of years ago with more movement across the stage! Perhaps I’m remembering different bits though am not sure now 🤔 For me, when it works, this static lift is a beautiful moment of stillness that makes me feel that Giselle’s benevolent spirit will always be hovering above, and with, Albrecht. 3 Link to comment Share on other sites More sharing options...
Richard LH Posted November 21, 2021 Share Posted November 21, 2021 What is the "Bolshoi" lift, please!? Link to comment Share on other sites More sharing options...
LinMM Posted November 21, 2021 Share Posted November 21, 2021 (edited) Was just going to say is this new in current run of Giselles? Richard LH I did notice on the Friday matinee that there was a lift ( Cesar did a really deep plié in second to achieve it) where Giselle was lifted horizontally above his head and held there for a second or two He did it twice ( one after the other) I think that’s the one being talked about. How I remember from last time I went to Giselle in 2018 is that Giselle is sort of lifted and held aloft ( not necessarily dead horizontally) and wafted across the stage for a bit before descending. As I remember it this looks more natural and when done in a good partnership more moving ..well for me...than the Bolshoi one which has less movement in it. Edited November 21, 2021 by LinMM Link to comment Share on other sites More sharing options...
Sim Posted November 21, 2021 Author Share Posted November 21, 2021 No, it’s not a new lift. Some pairs do it, some don’t. Both work for me, in different ways. 1 Link to comment Share on other sites More sharing options...
LinMM Posted November 21, 2021 Share Posted November 21, 2021 It’s probably because I’m still remembering that amazing performance with Hayward and Campbell and there was a feeling in the lifts that he wasn’t there and she was just floating gently through space. I’m not sure if this would work with a more static lift as the illusion was in the movement. When I say static and less movement in the Bolshoi one not for the male dancer of course ....as he has to perform a “dead weight” lift and could see a bit of effort in this required even for a dancer as light as Akane Takada! 2 Link to comment Share on other sites More sharing options...
capybara Posted November 21, 2021 Share Posted November 21, 2021 I believe that the horizontal lift (so beautifully achieved by Yasmine Naghdi and Matthew Ball) really does need to be horizontal if it is to be held still. Some ballerinas arch their backs (Takada did) and that makes it more of a struggle for the man to balance and achieve the kind of ‘dramatic floating’ to which Sim refers. There is a ‘walkabout’ version but I’m not sure that that’s intentional. 2 Link to comment Share on other sites More sharing options...
Guest oncnp Posted November 21, 2021 Share Posted November 21, 2021 58 minutes ago, Richard LH said: What is the "Bolshoi" lift, please!? It may be this.... https://www.instagram.com/p/CWLWhTWgJWf/ Link to comment Share on other sites More sharing options...
Richard LH Posted November 21, 2021 Share Posted November 21, 2021 8 minutes ago, oncnp said: It may be this.... https://www.instagram.com/p/CWLWhTWgJWf/ Thanks, but in my ignorance I was hoping for a description of how this is distinguished from a non-Boshoi lift....? Link to comment Share on other sites More sharing options...
Guest oncnp Posted November 21, 2021 Share Posted November 21, 2021 2 minutes ago, Richard LH said: Thanks, but in my ignorance I was hoping for a description of how this is distinguished from a non-Boshoi lift....? sorry.... Link to comment Share on other sites More sharing options...
LinMM Posted November 21, 2021 Share Posted November 21, 2021 Yes that was definitely the lift I saw Cesar and Akane do on Friday. I seem to remember that in some couples it’s more of an Arc so goes through a sort of horse show shape in the air!! Sorry that’s not particularly helpful 🙄 but it does look beautiful ....are there any piccies of Hayward and Campbell rehearsing 🤔 Link to comment Share on other sites More sharing options...
Richard LH Posted November 21, 2021 Share Posted November 21, 2021 (edited) 30 minutes ago, oncnp said: sorry.... No don't be...it is probably me misunderstanding the gist of earlier posts...I knew the lift in question was when Albrecht is first able to hold the ghostly Giselle, but ALL the lifts I can recall, and check on DVD, at this point have resulted in Giselle being held aloft horizontally and static. I did notice some variation in what might be termed "dismounts" in the recorded versions, e.g. Muntagirov stays standing straight and Nunez supports her descent with an arm on his shoulder...whereas with Kobborg/Cojocaru and Osipova/Acosta the gentleman bends at the knee as she descends and she doesn't need the same arm support. With Corrales/Takada he seemed to have to bring her down onto his shoulder first which looked a bit awkward. Interesting to see such variations by dancers in the same Company ostensibly performing the same choreography! LinMM I don't remember how Hayward and Campbell did it last time and look forward to checking tomorrow!! Edited November 21, 2021 by Richard LH 3 Link to comment Share on other sites More sharing options...
Jan McNulty Posted November 21, 2021 Share Posted November 21, 2021 1 hour ago, oncnp said: It may be this.... https://www.instagram.com/p/CWLWhTWgJWf/ I don't think that is it. The lift I have seen is where the ballerina is truly horizontal - I have always called it the ironing board lift. 2 Link to comment Share on other sites More sharing options...
cjp Posted November 21, 2021 Share Posted November 21, 2021 I feel privileged to have been at last night's performance, it really was one that you didn't want to end and for the spell to break. The standing ovation at the end was well deserved. I thought that Yasmine Naghdi came pretty close to perfection with her Giselle, every placement of the arms, neck, and inclination of the head layered with tender nuance and emotion. I hope this performance is the one they choose to stream as I would love to see it again. I enjoy her Act 1 Giselle as she appears to be so youthfully joyful and brimming with life, making for a suitably satisfying contrast with her ethereal apparition in Act 2. Both she and Matthew Ball have such great stage presence, and together lit up the stage. They seem to have developed a depth of understanding which allows them to trust each other so that they can let go and develop the story, to the point that they live it and draw us in too. They had the audience riveted in Act 2; you could have heard a pin drop. One minor reservation I had with an otherwise powerful portrayal of Albrecht by Matthew Ball, came at the very end, where Albrecht is close to finally collapsing. This is a very dramatic moment of course, but I thought it veered a little too much that way briefly, to the point where the dancing seemed in danger of coming second to the acting. I know this is subjective and to everyone's own taste, but it is the way it struck me at the time. Maybe it will seem different on a second viewing, but for a moment I was wondering if we'd need a defibrilator! Otherwise though I thought his performance outstanding, as actor, dancer, partner. The tempo of the music at the Friday matinee I had found inexplicably (and annoyingly) slow in many places - last night I didn't think it quite as pronounced, however for the lifts in Act 2 where Albrecht holds Giselle perfectly horizontal above his head, the music was drawn out to the point that it must have been a real feat of endurance for the dancers. Huge credit to them for managing them so well - it seemed as if the audience was collectively holding its breath, but no need to worry, they made it all in a day's work and Naghdi was set back on the floor with dreamy lightness and control. What to say about Marianela Nunez's Myrtha! She completely owns the role and was dazzling in it - managing to be fierce, commanding, icy, queenly, and generally absolutely not what you'd want to bump into in a forest in the dead of night! All the time with the superlative dancing we've come to expect of her (and supreme mastery of 'panther feet' too). Elsewhere the Wilis maintained their run of excellence with apparent ease. The pas de six I thought was managed better than at Friday's matinee but did perhaps lack a bit of sparkle and flow. I am really enjoying this run of Giselle on the basis of my first two viewings (could easily have managed more if time and money allowed) and think it is a bit of a shame that we aren't having a full cinema showing rather than online streaming, to do it justice - the way the company are looking at the moment, the effect on the large screen would be stunning. 14 Link to comment Share on other sites More sharing options...
Sim Posted November 21, 2021 Author Share Posted November 21, 2021 40 minutes ago, Jan McNulty said: I don't think that is it. The lift I have seen is where the ballerina is truly horizontal - I have always called it the ironing board lift. Yes that’s the one. Link to comment Share on other sites More sharing options...
bangorballetboy Posted November 21, 2021 Share Posted November 21, 2021 Anyone else now thinking of Johnny Castle and Baby Houseman practising in the lake? 6 Link to comment Share on other sites More sharing options...
Shade Posted November 21, 2021 Share Posted November 21, 2021 Is that the presage lift? Link to comment Share on other sites More sharing options...
Lizbie1 Posted November 21, 2021 Share Posted November 21, 2021 (edited) A bit of googling reveals something called an "angel lift", but that might just be a local term in some US companies. Edited November 21, 2021 by Lizbie1 Link to comment Share on other sites More sharing options...
LinMM Posted November 21, 2021 Share Posted November 21, 2021 I’m beginning to think Hayward and Campbell do both and rather than either or!! I will look at some YouTube clips of Giselle to see if I can find the wafty lifts that I seem to have a memory of. When I said Hayward’s lifts looked “more natural” I think this has a lot to do with the descent and maybe there was just a slight awkwardness in Akanes descent on Friday which made it look a little less natural....but know am splitting hairs really all these dancers have their own particular beauty in performance. 1 Link to comment Share on other sites More sharing options...
JNC Posted November 21, 2021 Share Posted November 21, 2021 Re the Naghdi/Ball Giselle thought the Corps were incredibly strong, not sure if when dancers know they are being recorded they put in a little extra? (Not suggesting they take it easy other nights by any means but felt like a real push last night). what to say about Nunez’s Myrtha - outstanding, just perfection really. Completely dominating the stage but also managed to retain a ethereal/ghostly edge which can be difficult to do with the character/choreography but suits the ghostly nature of the role which I don’t think should be pure ‘attack’. Naghdi’s Giselle was very much a role of two halves. I have to say I preferred her Act 2 Giselle (very serious as compared to her Act 2 very shy and smiley Giselle) but her dancing was faultless throughout with beautiful lines (particularly her pique turns in Act 1 stood out to me for some reason). Ball is very much a dancer who can act as well as dance, but of course he can also dance (some lovely jumps in Act 2). As someone has already mentioned he did take the ‘exhausted’ bit of the role perhaps a bit too seriously near the end of Act 2 and I would have preferred the dancing to be un-exhausted and the face/‘fall’ to the floor to cover the exhausted emotion rather than his dancing seeming a bit strained but a very minor criticism on a very strong performance. He was probably the most knowing and ‘bad’ Albretch I’ve seen in Act 1. Not sure his completely personality turn about was therefore convincing as he really didn’t seem to care about Giselle at all in Act 1 and that’s why my preference is for Albretch to be a bit more ambiguous in Act 1 as I think otherwise the solemn regret in Act 2 doesn’t quite ring true. Overall very impressed by Ball and think he’s definitely only going to grow and develop both the dramatic and technique side so I look forward to seeing him more. I think the pas de six hasn’t really worked for me throughout as I do think the casts haven’t quite worked together as a group of six and so they appear a bit disjointed. I have enjoyed Bracewell, Sissens and Gaspirani in it (all different casts I know!). I think an earlier comment referenced we perhaps have been too lucky in the past as if the likes of O’Sullivan, Kaneko, Clarke etc hasn’t been recently promoted they would likely have been selected for this (I think back in the day Hayward, Naghdi and other now principals would have danced this) but it’s perhaps not fair to compare to other more experienced dancers in the role as everyone has to start somewhere and be given opportunities. Plus think we are probably short a lot of those who might have danced this role from maternity leaves/injuries etc as well perhaps? Thought Cowley/Hamilton were both individually very strong as Molyna/Zulme as well as the most in harmony/synchronisation as a pair as well. also Arestis as Bathilde always manages to be both be very elegant but also very superior (when Giselle tries to touch her to thank her after given the necklace the way she calmly recoils as she doesn’t want to be touched by a peasant is just so well done) overall from last night the standout to me were the Act 2 Corps and Nunez as Myrtha and Ball’s Act 1 portrayal of a pretty horrible but also charismatic Albretch. 7 Link to comment Share on other sites More sharing options...
LinMM Posted November 21, 2021 Share Posted November 21, 2021 (edited) I’ve just been watching the Naghdi Ball rehearsal and the lift I’m thinking about they do as well so must come before the “Bolshoi Lift” This other lift that I call the waft lift is very near the beginning of when Albrecht first partners Giselle after visiting her grave and there are two of them as well. There’s a 5 min extract of Osipova and Acosta on YouTube in second Act and this shows this lift as well. The Bolshoi one must come later after Hilarion has been danced to death and Myrthe spots Albrecht hiding so the next slow section must have the B lift in Theres a section on YouTube with Marienela and Vadim dancing a section from Act two and this is the B lift section and they do it perfectly with a very natural descent. Edited November 21, 2021 by LinMM Link to comment Share on other sites More sharing options...
Sim Posted November 21, 2021 Author Share Posted November 21, 2021 51 minutes ago, LinMM said: I’ve just been watching the Naghdi Ball rehearsal and the lift I’m thinking about they do as well so must come before the “Bolshoi Lift” This other lift that I call the waft lift is very near the beginning of when Albrecht first partners Giselle after visiting her grave and there are two of them as well. There’s a 5 min extract of Osipova and Acosta on YouTube in second Act and this shows this lift as well. The Bolshoi one must come later after Hilarion has been danced to death and Myrthe spots Albrecht hiding so the next slow section must have the B lift in Theres a section on YouTube with Marienela and Vadim dancing a section from Act two and this is the B lift section and they do it perfectly with a very natural descent. No, that is the 'Bolshoi lift'. It isn't of course its official title, but it came into being because it is similar to a Bolshoi-style lift (such as in the Spartacus adagio with Phrygia). This lift occurs just after Giselle first appears to Albrecht and they start dancing together. He tries to hug her but realises she is just a spiritual being, so by lifting her up that spirit is with him and above him in a kind of heavenly way. That's my take on it, anyway! 4 Link to comment Share on other sites More sharing options...
Jan McNulty Posted November 21, 2021 Share Posted November 21, 2021 Do you mean this one Linda? When I have seen some other companies performing this lift the dancer lays horizontal rather than arching her back up (hence my description of ironing board lift). It is the duet when Giselle first appears to Albrecht rather than the one when she is trying to save him from the Wilis vengeance. 3 Link to comment Share on other sites More sharing options...
Pas de Quatre Posted November 21, 2021 Share Posted November 21, 2021 (edited) It also used to be that when the corps de ballet crossed the stage in lines with little shunts forward, the arabesque back was flat so there was a horizontal line from fingers to toes. Head was lowered and very slightly turned so the head was pillowed by the outstretched arm. These days all companies seem to do it with an arched back, the head held erect. Unfortunately this often makes me think of ducks in a fairground shooting gallery! Edited November 21, 2021 by Pas de Quatre Predictive text 3 Link to comment Share on other sites More sharing options...
Sim Posted November 21, 2021 Author Share Posted November 21, 2021 Have a look at this extract, LinMM. If you start watching from 12 minutes you will see when the 'Bolshoi lift' happens. At 25 minutes there is another lift where he walks with her around the stage...is that the 'waft' lift to which you are referring? https://www.youtube.com/watch?v=CXbDhte9ZNI 2 Link to comment Share on other sites More sharing options...
LinMM Posted November 21, 2021 Share Posted November 21, 2021 Yes that’s the one I think is meant by the Bolshoi one! But it’s later in the proceeding I’m sure. The wafty lift comes just after Albrecht leaves the grave and starts to dance with Giselle. It’s preceded by a glissade type step and then into a develope as Giselle is lifted around and down then it’s repeated to the other side. After this slow bit Hilarion comes on the scene and Albrecht hides. It’s after Hilarion has been danced to death that the above section you have posted takes place. It’s my fault I was confused about the lifts but it looks like all the dancers do both and!! There was just something particularly beautiful about the way this was danced by Hayward and Campbell in 2018 especially the wafty lifts!! Sorry if I’ve confused people 🙄 Link to comment Share on other sites More sharing options...
LinMM Posted November 21, 2021 Share Posted November 21, 2021 Looks like I’m even more confused than I thought!! 😳 Link to comment Share on other sites More sharing options...
Sim Posted November 21, 2021 Author Share Posted November 21, 2021 3 minutes ago, LinMM said: It’s after Hilarion has been danced to death that the above section you have posted takes place. No, it isn't. It is just after Albrecht enters the woods and first sees Giselle. Hilarion doesn't get killed until after Giselle and Albrecht disappear into the woods together, after their initial pdd that includes the B lift. The link I posted is the whole of Act 2...perhaps have a watch and then see the 'running order' of the lifts!! 2 Link to comment Share on other sites More sharing options...
James Posted November 21, 2021 Share Posted November 21, 2021 Perhaps this will help on the issue of the horizontal lifts and variants. 10 Link to comment Share on other sites More sharing options...
LinMM Posted November 21, 2021 Share Posted November 21, 2021 I think I’ve got it I think I’ve got it! Thanks all! What do I know about Giselle only seen it X ty times and still don’t know the sequence of events 😱 Yes but that’s it Sim ....thanks for lovely Alina extract ....the wafty lift does come later and the bl**** Bolshoi one comes earlier!! I can understand that when the ballerina is completely straight in the air it gives it more of an other worldly quality. I still like the wafty one though when it’s performed with great sensitivity. I rather like how Naghdi performed in the rehearsal Clip with a little delay on the glissade going into it. James how did you get so many clips of that precise extract together like that and interesting to see the variations in the lift over time. Have a lovely time all those seeing Hayward and Campbell tomorrow they completely blew me away in 2018. 1 Link to comment Share on other sites More sharing options...
Nina99 Posted November 21, 2021 Share Posted November 21, 2021 (edited) 1 hour ago, James said: Perhaps this will help on the issue of the horizontal lifts and variants. Actually on their second performance Nunez and Muntagirov did another variation which was like the traditional lift but with Nunez left leg pointing down as I remember. This was surprising especially after Dancer's Diary had posted a clip of them rehearsing the lift in the traditional way. Anyway it's fascinating to see the different variations of the lift over years. Edited November 21, 2021 by Nina99 3 Link to comment Share on other sites More sharing options...
James Posted November 22, 2021 Share Posted November 22, 2021 3 hours ago, LinMM said: I think I’ve got it I think I’ve got it! Thanks all! What do I know about Giselle only seen it X ty times and still don’t know the sequence of events 😱 Yes but that’s it Sim ....thanks for lovely Alina extract ....the wafty lift does come later and the bl**** Bolshoi one comes earlier!! I can understand that when the ballerina is completely straight in the air it gives it more of an other worldly quality. I still like the wafty one though when it’s performed with great sensitivity. I rather like how Naghdi performed in the rehearsal Clip with a little delay on the glissade going into it. James how did you get so many clips of that precise extract together like that and interesting to see the variations in the lift over time. Have a lovely time all those seeing Hayward and Campbell tomorrow they completely blew me away in 2018. It’s not my compilation, LinMM - I just found it on YouTube. 🙂 1 Link to comment Share on other sites More sharing options...
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