Swan66 Posted January 10, 2014 Share Posted January 10, 2014 I enjoy very much Swan Lake with Makarova and Dowell, they're a great partnership. Also, I think Darcey Bussell is great with Jonathan Cope , perfect match¡¡¡ Link to comment Share on other sites More sharing options...
alison Posted January 31, 2014 Share Posted January 31, 2014 Apart from that, how could I possibly leave out Cojocaru and Kobborg? The rest needs more thinking about. Over the last few weeks, it has kept nagging at me at inappropriate times to wonder whether I'd mentioned Durante and Mukhamedov. How could I not? The other one I've been chewing over has been which two-thirds of Benjamin/Watson/Galeazzi to choose (well, obviously not the two women, of course ). Overall, I think probably Benjamin/Watson just edges it, because I think they've danced more roles together, but it's a close-run thing. As for making a partnership - dancing superbly of course, then emoting in an appropriate but passionate manner, would do it for me. But I suppose each dancer could conceivably do that individually, without there necessarily being a great relationship between them? Link to comment Share on other sites More sharing options...
Sim Posted January 31, 2014 Share Posted January 31, 2014 I am anxiously waiting for the emergence of a right partner for her who will match not only her technical skill but also her passion and artistic inflammability. And he should be taller than her, IMHO again. Amelia, maybe your prayers will be answered with the arrival of Muntagirov....I will be very interested to see if they are put together, and if so, how it works out. Theoretically, it should be amazing: both Russian, both passionate, both technically fantastic and both very capable dramatically. I will be watching (and hoping) with great interest! 1 Link to comment Share on other sites More sharing options...
Fonty Posted January 31, 2014 Share Posted January 31, 2014 Over the last few weeks, it has kept nagging at me at inappropriate times to wonder whether I'd mentioned Durante and Mukhamedov. How could I not? The other one I've been chewing over has been which two-thirds of Benjamin/Watson/Galeazzi to choose (well, obviously not the two women, of course ). Overall, I think probably Benjamin/Watson just edges it, because I think they've danced more roles together, but it's a close-run thing. Well, I am sure I have mentioned Durante and Mukhamedov, because they really were one of my favourites. Terrific individual dancers, but as a partnership they took it up to another level. I was so sad when Durante left, it really was a great loss to the RB IMO. I don't know that I saw Galeazzi in that much, so I cannot pass comment on that. And although I was a huge fan of Benjamin, I can't think of any particular male partner of hers that sticks in my mind. Link to comment Share on other sites More sharing options...
aileen Posted January 31, 2014 Share Posted January 31, 2014 An Osipova/Muntagirov partnership is an enticing prospect. They are certainly of the same calibre technically and he is undoubtedly tall enough for her, but until they actually dance together it is impossible to know whether they look right together and whether there is any on-stage chemistry. I hope that the RB will give the partnership time to develop, if it has promise; great partnerships do not emerge fully-formed overnight. When is the last time that the RB had an all Russian partnership? Link to comment Share on other sites More sharing options...
loveclassics Posted January 31, 2014 Share Posted January 31, 2014 (edited) When is the last time that the RB had an all Russian partnership? There was Ananiashvili and Fadayev in the 90s though technically she's Georgian, not Russian. And Makarova and Mukhamedov (but he's a Tartar) around the same time. Usually though the RB management tries to reproduce the old magic of Fonteyn and Nureyev, so they partnered Bussell first with Mukhamedov and later with Zelensky. Assylmuratova was also partnered by Cope in the late 80s but after his departure I'm sure she danced with another guest compatriot, can't remember who. Linda Edit to correct spelling. Edited January 31, 2014 by loveclassics 1 Link to comment Share on other sites More sharing options...
jm365 Posted January 31, 2014 Share Posted January 31, 2014 I don't think Mukhamedov ever danced with Makarova in a 'partnership', if you know what I mean. He also danced with Assylmuratova in Bayadere when he was with the Royal Ballet, but also not a 'partnership' in the same sense as there was with Durante. He has said how much he loved dancing with Lesley Collier too. 1 Link to comment Share on other sites More sharing options...
Anjuli_Bai Posted January 31, 2014 Share Posted January 31, 2014 One of the great partnerships without a personal man/woman relationship was Alicia Markova and Anton Dolin. I am almost finished reading the new 600 page bio on her. I find it surprising how little she seems to be remembered. Sad. 2 Link to comment Share on other sites More sharing options...
Amelia Posted January 31, 2014 Share Posted January 31, 2014 There was Ananiashvili and Fadayev in the 90s though technically she's Georgian, not Russian. Linda Hello, Linda. Whom did you mean - FadEyev or Fadeyechev? Link to comment Share on other sites More sharing options...
Terpsichore Posted January 31, 2014 Share Posted January 31, 2014 One of the great partnerships without a personal man/woman relationship was Alicia Markova and Anton Dolin. ...................... I find it surprising how little she seems to be remembered. Sad. I think she is remembered if only because she was a prima ballerina assoluta. Our only one apart from Fonteyn. Markova was a bit before my time but I remember seeing her take a bow. I think I also saw Dolin take a bow possibly at the same event. All the great and the good were at Ashton's retirement gala in 1970 so it was probably then. Link to comment Share on other sites More sharing options...
Anjuli_Bai Posted January 31, 2014 Share Posted January 31, 2014 Markova was also the founding ballerina for just about every ballet company in the UK during her time. Like Pavlova before her, she danced all over the world bringing recognition to her homeland at a time when almost everyone thought one had to be Russian to be a great dancer. She was among the very first to bring ballet to television. And, bringing dance to the small towns and villages of the UK was very important to her. She danced through injury and serious illness going everywhere regardless of the lack of facilities - putting her career at risk to bring dance to people who otherwise would never see ballet. This, many times, entailed the loss of well paying engagements at world class theaters. Maybe because there are fewer people around now who attended her performances, but at the time she was at the top of the pyramid - and the true bridge between the original Diagelev Ballet Russe and the next generation of dancers who followed her. He discovered her at age 14 and saw her future greatness even then. And much of this can be said of Dolin, too. He was her partner for many years. 1 Link to comment Share on other sites More sharing options...
Amelia Posted January 31, 2014 Share Posted January 31, 2014 The greatest partnership of the past in Mariinsky (then Kirov) Theatre was that of Galina Ulanova & Konstantin Sergeyev, which lasted for less than 10 years and was terminated after her move to Moscow. Below is a link to their White Adagio from “Swan Lake” recorded in a studio in 1940. When I watch this clip over and over again, I admire - apart from their close rapport and classical perfection of her every line and movement - the technical skill of both when the ballerina is supported during pirouettes. She does 4-5 pirouettes perfectly upright while the partner’s support is very light and fleeting. He does not hold her but only touches her at some point, literally with one finger. I don’t like to see how many dancers now aree twirling their girls with their hands like a distaff. 4 Link to comment Share on other sites More sharing options...
loveclassics Posted January 31, 2014 Share Posted January 31, 2014 Hello, Linda. Whom did you mean - FadEyev or Fadeyechev? I'm sorry I can't remember the full name, I think it was the former. It was when the company toured the US around 1991. Link to comment Share on other sites More sharing options...
Anjuli_Bai Posted January 31, 2014 Share Posted January 31, 2014 The greatest partnership of the past in Mariinsky (then Kirov) Theatre was that of Galina Ulanova & Konstantin Sergeyev, which lasted for less than 10 years and was terminated after her move to Moscow. Below is a link to their White Adagio from “Swan Lake” recorded in a studio in 1940. When I watch this clip over and over again, I admire - apart from their close rapport and classical perfection of her every line and movement - the technical skill of both when the ballerina is supported during pirouettes. She does 4-5 pirouettes perfectly upright while the partner’s support is very light and fleeting. He does not hold her but only touches her at some point, literally with one finger. I don’t like to see how many dancers now aree twirling their girls with their hands like a distaff. Thank you, Amelia, for that clip. How wonderful - how lovely - how gentle his partnering - how marvelous their lines. Brings one back to why people fell in love with the ballet. Reminds us that the extremes which have crept in are so intrusive and unnecessary. Link to comment Share on other sites More sharing options...
loveclassics Posted January 31, 2014 Share Posted January 31, 2014 (edited) "She does 4-5 pirouettes perfectly upright while the partner’s support is very light and fleeting. He does not hold her but only touches her at some point, literally with one finger. I don’t like to see how many dancers now aree twirling their girls with their hands like a distaff." I saw Donald McLeary give a master class at the ROH in which he said how important it was NOT to 'paddle' the turn. For one thing it is easy to overdo it and unbalance the ballerina. Deborah Bull made the same point in her TV programme 'The Dancer's Body' when talking about the physics of turning. Linda Edit because I somehow lost the quotes. Edited January 31, 2014 by loveclassics Link to comment Share on other sites More sharing options...
Amelia Posted January 31, 2014 Share Posted January 31, 2014 I'm sorry I can't remember the full name, I think it was the former. It was when the company toured the US around 1991. Then, Linda, it must be Bolshoi's Alexei Fadeyechev with whom Nina had a very good partnership. I am not sure if she ever danced with Mariinsky's Adrian Fadeyev. 1 Link to comment Share on other sites More sharing options...
simonbfisher Posted January 31, 2014 Share Posted January 31, 2014 (edited) Thank you so much, Amelia. Mesmerising! Edited January 31, 2014 by simonbfisher Link to comment Share on other sites More sharing options...
Jane S Posted January 31, 2014 Share Posted January 31, 2014 If you look at film of Fonteyn and Michael Somes you will see that in 'supported' pirouettes he invariably takes his right hand away from her waist as soon as she starts turning - I've always thought this was both more elegant and more exciting (she turns very fast) than the human corkscrew effect. Link to comment Share on other sites More sharing options...
alison Posted January 31, 2014 Share Posted January 31, 2014 Deborah Bull made the same point in her TV programme 'The Dancer's Body' when talking about the physics of turning. I wish they'd repeat that, or put it out on DVD or something. I did tape it at the time, but the soundtrack was faulty, so I never did get to hear what she was saying! Link to comment Share on other sites More sharing options...
hfbrew Posted January 31, 2014 Share Posted January 31, 2014 One of the great partnerships without a personal man/woman relationship was Alicia Markova and Anton Dolin. I am almost finished reading the new 600 page bio on her. I find it surprising how little she seems to be remembered. Sad. Well you might be reassured to know that when she died the White Lodgers were called into a special assembly to be told the news which was then relayed to me by ds. There is also a beautiful bust of her on display at the school. One of the features of White Lodge is that students do learn about the heritage of British Ballet there. Link to comment Share on other sites More sharing options...
capybara Posted January 31, 2014 Share Posted January 31, 2014 (edited) Amelia, maybe your prayers will be answered with the arrival of Muntagirov....I will be very interested to see if they are put together, and if so, how it works out. Theoretically, it should be amazing: both Russian, both passionate, both technically fantastic and both very capable dramatically. I will be watching (and hoping) with great interest! I agree but a Muntagirov/Cuthbertson partnership could also work very well dramatically. Edited January 31, 2014 by capybara Link to comment Share on other sites More sharing options...
capybara Posted February 1, 2014 Share Posted February 1, 2014 (edited) Osipova and Muntagirov to be paired together in Don Quixote anyone? I've got my fingers crossed. Edited February 1, 2014 by capybara 1 Link to comment Share on other sites More sharing options...
Fonty Posted February 1, 2014 Share Posted February 1, 2014 Thank you, Amelia, for that clip. How wonderful - how lovely - how gentle his partnering - how marvelous their lines. Brings one back to why people fell in love with the ballet. Reminds us that the extremes which have crept in are so intrusive and unnecessary. Yes, I really enjoyed watching that. I was struck by her speed, and once again lament the fact that modern dancers seem to take things much more slowly (presumably to get the leg up higher in arabesque). Slighly off topic, but when Ulanava prepares to turn, she brings the leg in front with very little, if any, turnout. I've noticed this with Fonteyn clips as well, that she seems to perform steps with less turnout than we see now. As both dancers were the best of the best in their day, it certainly wasn't because of any lack of flexibility, so I wondered why the change in technique. Fashion? Link to comment Share on other sites More sharing options...
Anjuli_Bai Posted February 1, 2014 Share Posted February 1, 2014 (edited) Yes, I really enjoyed watching that. I was struck by her speed, and once again lament the fact that modern dancers seem to take things much more slowly (presumably to get the leg up higher in arabesque). Slighly off topic, but when Ulanava prepares to turn, she brings the leg in front with very little, if any, turnout. I've noticed this with Fonteyn clips as well, that she seems to perform steps with less turnout than we see now. As both dancers were the best of the best in their day, it certainly wasn't because of any lack of flexibility, so I wondered why the change in technique. Fashion? Turnout is another facit of technique which has changed. And like everything else has become much more pronounced, if not extreme. If one views R & J with Fonteyn and Nureyev on DVD/tape - you will see that there is very little turnout among the men. There is a picture in Mathilde Kschessenskaya's biograpy in which she is not at all turned out. She was asked about this and, as I recall, her answer was that the character she was dancing would not have turned out. To her, truth to character was more important. Also, if you look at Ulanova, she does not represent the modern (post Balanchine) look that is demanded today - no long neck, no extreme thiness and length of leg - but - oh my - she surely can dance! Edited February 1, 2014 by Anjuli_Bai 1 Link to comment Share on other sites More sharing options...
ElleC Posted February 1, 2014 Share Posted February 1, 2014 Osipova and Muntagirov to be paired together in Don Quixote anyone? I've got my fingers crossed. I think I could live with that!! Link to comment Share on other sites More sharing options...
JennyTaylor Posted February 2, 2014 Share Posted February 2, 2014 Sylvie Guillem and Jonathan Cope - the best. Jonathan never the same partnering any other dancer Their Romeo and Juliet a particular highlight. He came alive when dancing with her and although she chose other partners, I never saw the same connection Steven McRae and Roberta Marquez bring out the best in each other - recent Giselle's bear this out. Also La Fille / R&J. I think she went to another plane when she started dancing with him Ed Watson / Mara Galeazzi = Mayerling Sarah Lamb / Rupert Pennefather - Manon Darcey Bussell / Roberto Bolle - at last Darcey found a partner with whom she connected. I remember a particular Manon. Link to comment Share on other sites More sharing options...
capybara Posted February 2, 2014 Share Posted February 2, 2014 Sylvie Guillem and Jonathan Cope - the best. Jonathan never the same partnering any other dancer I agree that the Guillem/Cope partnership was very special. But what about the Rojo/Cope partnership in Mayerling which, at the time (2002), took that ballet to another level? 2 Link to comment Share on other sites More sharing options...
Fonty Posted February 2, 2014 Share Posted February 2, 2014 I agree that the Guillem/Cope partnership was very special. But what about the Rojo/Cope partnership in Mayerling which, at the time (2002), took that ballet to another level? Yes, I would agree with that. I was an enormous fan of Guillem, but I felt that there was always a slight coolness or aloofness at the heart of every performance she gave. Consequently Cope always seemed to partnering wonderfully, but I never got a sense of his own personality matching hers. The Rojo/Cope partnership in Mayerling was probably the first time he ever convinced me that he could act. They were magnificent together in that. Link to comment Share on other sites More sharing options...
alison Posted February 2, 2014 Share Posted February 2, 2014 Actually, it was the Cope/Revie (I think) partnership in the same ballet years earlier that convinced me of that. Link to comment Share on other sites More sharing options...
Fonty Posted February 3, 2014 Share Posted February 3, 2014 That must have been a long time ago, Alison? I remember Revie as a soloist, but I didn't know she had danced Principal roles. Link to comment Share on other sites More sharing options...
alison Posted February 3, 2014 Share Posted February 3, 2014 1994, I think. She did in the MacMillan rep: danced Anastasia, Manon and Mary Vetsera, as I recall. Link to comment Share on other sites More sharing options...
capybara Posted February 3, 2014 Share Posted February 3, 2014 Gillian Revie first danced Mary Vetsera in the 1992/3 revival of Mayerling opposite Michael Nunn as Rudolf. Kenneth MacMillan had watched their final rehearsal the day he died. Link to comment Share on other sites More sharing options...
loveclassics Posted February 3, 2014 Share Posted February 3, 2014 There was Ananiashvili and Fadayev in the 90s though technically she's Georgian, not Russian. And Makarova and Mukhamedov (but he's a Tartar) around the same time. Usually though the RB management tries to reproduce the old magic of Fonteyn and Nureyev, so they partnered Bussell first with Mukhamedov and later with Zelensky. Assylmuratova was also partnered by Cope in the late 80s but after his departure I'm sure she danced with another guest compatriot, can't remember who. Linda Edit to correct spelling. I've just come across a reference to Assylmuratova at the Royal Ballet in 1989 - her partner at some performances was Ruzimatov. Link to comment Share on other sites More sharing options...
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