segunda-feira, 25 de abril de 2016

Send in the clowns: Bernadette Peters



...and I missed this show on Broadway! Como isso pode ter acontecido?




domingo, 10 de abril de 2016

Shall we dance?

A sunday afternoon...


Is there a more perfect time to watch this?

terça-feira, 29 de março de 2016

Glorious: Florence Forster Jenkins



Independente de suas (inquestionáveis) qualidades artísticas, temos que considerar Florence Forster Jenkins uma pessoa afortunada: uma que realizou seus sonhos na vida… e como!


Considerada nos seus “dias de glória” uma das piores cantoras que este mundo já presenciou, ela disse: “Some people say I cannot sing, but no one can say I did not sing!” (Algumas pessoas dizem que não posso cantar, mas ninguém pode dizer que não cantei!”).

Sua falta de ritmo, altura e tom (como imortalizadas em suas gravações) assim como sua terrível pronúncia (em qualquer língua) tornaram-se legendárias. Ridicularizada por todos, ela era objeto de gargalhadas durante seus “Concertos” porém esta mulher alegre e incansável, negou-se a deixar-se desiludir…


Sua vida foi analizada na peça “Glorious” (Erroneamente interpretada por Marília Pera em tons de “comédia”. Lembro.me de ter saído na metade do espetáculo), no filme frances inspirado em sua vida “Marguerite” e brevemente no cinema, com ninguém menos do que Meryl Streep dando vida a esta lutadora que tornou-se “culto” ainda durante sua vida: não podemos esquecer que “grandes” nomes da época como Noël Coward e Cole Porter assistiam seus recitais, normalmente feitos em hotéis como o Ritz para um publico seleto. Para evitar “jornalistas” e bisbilhoteiros Florence vendia pessoalmente as entradas, que eram disputadíssimas. Os artigos, que depois apareciam em jornais e revistas, eram escritos ou por ela mesma ou por amigos (Nota ironica da redação: Atenção para esta “auto-promoção”; já existente em épocas anteriores ao “Facebook” onde muitos parecem promover-se incansávelmente).

Não vou estender-me sobre dados biográficos da “diva do grito” (como também foi chamada) pois para isto a internet oferece muitas possibilidades mas não podemos deixar de acentuar um valor único que Florence teve. Ela até hoje é, indisputávelmente, a pior intérprete que Mozart, Strauss, Verdi & co. já tiveram em toda a história. Ela possuía uma forte segurança sobre seu “talento” e seu repertório era o que poderíamos chamar de dificílimo.



Gravou discos (nove árias ao total em 78rpm): seus amigos e seguidores tentaram convence-la de não gravá-los (pois achariam que ao “se ouvir” reconheceria sua total falta de talento) mas ela não deu nenhuma importancia a esses conselhos.

Acreditava piamente que suas gravações preservariam seu talento para futuras gerações, que seriam seu, por assim dizer, "legado" para o mundo das Artes.
E, aqui pergunto, estava errada?

Abaixo coloco um link de uma de suas preferidas árias: a da “Rainha da Noite” de “A flauta mágica” de Mozart (que deve se virar dentro do túmulo ouvindo-a… Sinto, um exemplo mal escolhido: não se sabe até hoje onde Mozart foi enterrado, já que foi tratado como um indigente): Ouvimos Florence até hoje! (E sabemos até onde está enterrada)



Aos 76 anos Florence “aceitou” apresentar-se para um público maior do que nos recitais do “Ritz” e estrelar um concerto no aclamado “Carnegie Hall” (só nos USA uma coisa assim é possível, não é verdade?). Como os ingressos se esgotaram em poucas horas, mais de duas mil pessoas tentaram fútilmente conseguir entradas na última hora…

Quem assistiu garante que foi uma apresentação inesquecível.
E interminável.
Entre uma ária e outra intervalos enormes eram necessários para Florence poder mudar seu elaboradíssimo figurino. Sua roupa com asas — ela a chamava de “Angel of inspiration” — tornou-se um clássico.
Conta-se que Tallulah Bankhead riu tanto durante a apresentação que teve que ser retirada do teatro
(Nota: Florence sempre disse que as risadas dadas durante suas apresentações eram dadas por pessoas que haviam sido pagas por “suas invejosas rivais”).



Um mês depois do concerto, Florence morreu. Há quem atribua a morte à depressão por, enfim, dar-se conta da reação do público em relação à sua “arte”.
É difícil de acreditar.
Em 32 anos de carreira, Florence, certamente, conheceu todo tipo de reação. Não seriam algumas gargalhadas mais escancaradas que a fariam desistir. Florence era uma estrela e sabia como tornar sua platéia feliz.

E ela realizou seus sonhos…

E brevemente no Cinema (mal posso esperar!):

segunda-feira, 21 de março de 2016

Wiener Staatsballet: Le Corsaire (World Première, Vienna, March 20th 2016)


The long awaited première. Perhaps the highest point of this Season in Vienna:
Manuel Legris' "Le Corsaire".


In contrary to a lady sitting next to me that has started making her notes at the middle of the third act, I have to go back a little in time in order to write not only about the dancers and the choreography but also about the production, the intellectual process and its “coming into life”.

As I have often commented, I like to arrive earlier at premières, as if "soaking" more of the atmosphere would underline more and more the excitement of a discovery, of witnessing something new. Premières are very special evenings, with lots of expectation in the air.

As a kind of “hobby” I like to analyze faces of certain members of the audience before, during and after the show... huge transformations can take place and be seen - depending on the grade of interested that a performance "exhales" and on the individual interest of many.
Extremely interesting.


The audience was full - full and filled with many "names" of the international dance panorama – especially from the Paris Opera - as well as ballet critics.

Some few weeks ago during an official "talk" at the Opera, Monsieur Legris told me personally:
"We are on the right way" - how right he was!
The challenge that Manuel Legris took is a fascinating one. A very honest one. Chapeau.

"Le Corsaire" was not in the repertoire of the Paris Opera, so in this case, as Monsieur Legris put it well, there were no possibilities of influences, just his plain understanding about the work and its complicated, very peculiar dynamic. Also his understanding about the characters should not be forgotten. The characters that we have witnessed yesterday on stage were far away of being just statues in a wax museum but characters with an own drive.
On the top of it all, I have to draw your attention to the point that, “Le Corsaire” is in itself an enormous challenge.
Its story telling-line is a very old-fashioned one, quite difficult to adapt to our present times. Also its constant use of pantomime presents another challenge – not only to dancers but also to the audiences (which are not used anymore to this kind of language). It is, as a full-evening ballet, a very complex piece of work and this regardless of the fact that the main line of the story is difficult to understand, even remember... I have rarely found someone who could "tell the story" of "Le Corsaire" without consulting either the libretto or some other sources of literature about it (or even without contradicting oneself).

Special mention should be made about Albert Mirzoyan, as assistant choreographer. As Mr. Legris put into words: “We are a good combination, the French and the Russian souls”. Mr. Mirzoyan is that kind of gentle character that exhales knowledge about ballet, art, history and is always in full-command of what he is doing. And this "at ease".
Such a blessing for our State Opera and for Mr. Legris to have such a gifted person, such an erudite, among his few co-workers. His work is not only of extreme importance for us but also to the Ballet world. As we have witnessed yesterday.

Lots of praise no Mr. Igor Zapravdin, responsible for the musical arrangements and his brilliant use of music from “L’Écumeur de mer” (also Adam) for the Odalisques and Slave Dances. Merely this distinctiveness turns this production into a “unique” one – without the confusing use of music from up to 11 different composers (like in many other productions), concentrating on Adam’s work – which in the case of “Le Corsaire” is not so brilliant as his “Giselle” but surely much more consistent when treated not so eclectically.

Luisa Spinatelli’s décor and costumes are a beautiful work of art and delicacy – with the only exception of the girl’s flowery headdresses during “Le jardin animé” that, from a certain distance, give more the impression of being hair-curlers than roses – a fact that was confirmed to me by an Stylist friend - especially on blonde dancers like Eszter Ledán or Suzan Oppermann.

Valery Ovsianikov’s conduction was at few times quite irregular. The tempo was either too fast (as during some fouettès that tossed Maria Jakovleva completely out of music) or too a bit too slowly (during a part of Miss Konovalova’s variation in the third act). But still, a brilliant Ballet conductor.

The following performances should be highlighted:

The Waltz on the third act was brilliantly performed by Oxana Kiyanenko, Eszter Ledán, Anita Manolova and Laura Nistor. An interesting, very lively piece of choreography that was beautifully executed by the four of them.


The three Odalisks danced by Natascha Mair, Nina Tonoli and Prisca Zeisel were a simple masterpiece of precision and joy. Three very gifted dancers, splendidly “on style” (as they have proved many times before) in perfect “unison” with each other. Not only a question of talent but also of emotional intelligence. Three dancers that really made their “homework”, thinking about the characters, adjusting to each other, talking about what they were doing. I like that. Congratulations to these exceptional talents.

Firenze/Dato. Copyright: Ashley taylor (Wiener Staatsoper)

Davide Dato and Alice Firenze were at their element as Birbanto and Zulméa: motion and fire. Every time they came on stage you had that certain (very well known) feeling of a “show-stopper”. And stop the show they really did.

Sosnovschi. Copyright: Ashley Taylor (Wiener Staatsoper)

Mihail Sosnovschi’s Seyd Pasha (another innovation by Mr. Legris that instead of having a laughable character as the Pascha decided for the more logical choice of a good looking man) left no impression. This non-dancing role is not quite adequate for Mr.Sosnovschi. His pantomime is too subtle, too understated, too “small” for that huge stage. He seemed bored. And this is quite unusual with Mr. Sosnovschi.

Kourlaev. Copyright: Ashley Taylor (Wiener Staatsoper)

On the other hand Lanquedem, as danced by Kirill Kourlaev, is a character to remember: Mr. Kourlaev’s total command of the stage, his beautiful technique (and of a very good pantomime) just made us sit back, relax and “put our feet up” to enjoy a performance without any fears that the dancer might not “make it”. A pleasure for everyone present. Vitality at its best. A danseur.

Gabdullin/Yakovleva. Copyright: Ashley Taylor (Wiener Staatsoper)

Unfortunately there was no chemistry between Robert Gabdullin and Maria Yakovleva.
I simply could not “buy it”, not believe the love story that was supposed to go on between the two of them onstage.
Mr. Gabdullin, an extremely gifted dancer with a very clean technique and beautiful lines, gave us a beautiful, daring and corageous Conrad. In every sense.
His special temperament and dramatization of the character were well idealized.
But there was no response from Médora, who seemed to be dancing alone and for herself: sometimes even giving the impression of walking “through”, allowing once in a while Conrad to touch her, support her.
I am looking forward to Mr. Gabdulli’s future.
Miss Yakovleva was correct as Médora, even without any sign of even trying to perform some pantomime BUT unfortunately with a strong tendency to the inelegance of over-extensions.
Even so a good part of the audience seemed to have liked her.

Konovalova. Copyright: Ashley Taylor (Wiener Staatsoper)

The real star of the evening, along with the choreography and production, was Liudmilla Konovalova as Gulnare. Very thin and looking better than ever, Miss Konovalova’s performance was one of pure joy. After having gone through two “turbulences” on the first act (because of bad partnering by the boys) she emerged as the Queen of the night. Complete in command of her technique she enjoyed the role the Gulnare with all its nuances. Such performances are rare. Performances that fill the audience with joy because of their sensibility, delicacy and strength at the same time and musicality (even adjusting without any effort to the wrong tempo, as mentioned above, given by the conductor).



No coincidence, that, during the bows, all of a sudden Miss Konovalova was center stage: the deserving queen of the evening! Bravo!

Mr. Legris work and legacy to the Ballet world, already immense, increased enormously after last night’s world Première. I wonder how long it will still take until this work is “framed” in its definite version.
At the moment it is already a brilliant piece of work - with quite intricate parts in, if I may say so, very good Nureyev tradition. Yes.

Legris/Mirzoyan and the whole ensemble. Copyright: Ashley Taylor (Wiener Staatsoper)

As Mr. Dominique Meyer mentioned during his speech in the after-Première Party: "this is an Opera House but the Ballet is now as important as the Opera..."



To be very honest, which Opera Director would/could not be happy about the financial aspect that is brought to the State Opera with the high occupancy, high percentage of seats sold for the ballet performances since the beginning of the "Legris Era"? Economically speaking this is a wonder - if you think about the sales' problems in the MET...

At this point, and to finish this long review, I would like to quote Dame Margot Fonteyn, a person whose thoughts about art I much admire:
"The first night is the worst possible time to make a hard and fast criticism: the baby never looks its best on the day it is born".

Thinking about that I would still like to add:
If this baby is already looking like this on its first night, so good, it is surely going to be a beauty, a star of first magnitude.


Film Copyright: Delbeau Films (Balázs Delbó)


...and coming soon!


Film Copyright: Delbeau Films (Balázs Delbó)

sábado, 12 de março de 2016

Supercalifragilisticexpialidocious


Como ando „resgatando“ vários videos do passado (passando-os para DVDs, digitalizando-os e colocando-os no youtube para, por assim dizer, eternizá-los e mante-los para a „posteridade“, uma tarefa apaixonante)
nada mais adequado do que a obra de arte que é a dicção de Julie Andrews – sim , esta belíssima dicção, que conseguiu manter apesar dos muito anos nos E.U.A., este poema fonético,
este ingles belíssimo e puro (ainda mais agradável e até mais claro e límpido do que o “King’s English") adicionado ao seu fino trato, à sua inigualável classe, à sua imagem de “English rose”…


Sim, são esses curtos momentos que transformam-se em puras obras de arte! Como os amo!

Aqui Julie recebendo um “Life Achievement Award” da BAFTA (British Academy for Film and Television Arts) em 1989 de ninguém menos do que Princess Anne!
Sim, e como esta tão bem coloca em palvras: não há melhor palavra para descrever esta ocasião do que
SUPERCALIFRAGILISTICEXPIALIDOCIOUS!!!
Bravo, Juls!

sexta-feira, 4 de março de 2016

Oscar: uma "Collage" dedicada ao Musical...

Para começar o fim-de-semana de forma leve, o que melhor do que uma pequena reverencia, homenagem ao filme musical?

Como a capa do (meu) livro mostra; all singing, all dancing...


Neste caso, aqui vai, um pedacinho da cerimonia do Oscar de 1989 – um dos videos que reencontrei por acaso aqui em casa (e transformei em DVD para “a posteridade”) e que andam me divertindo MUITO!

O foco, neste caso em particular, São está nas cenas dos filmes musicais e sim no corte desta “collage”: Magnífico trabalho, quase artesanal, que consegue em curto tempo nos prender a atenção, levar por um mundo de Technicolor, Cinemascope & Stereophonic Sound e motivar a ver outros filmes do genero…

Só assistindo à uma homenagem deste genero nos damos conta das centenas de talentos que povoavam o cinema, nas telas e atrás delas, nos anos 30,40, 50... que maravilha!

Sim, quero um fim-de-semana musicado (nada melhor do que uns filmes leves e descomplicados para acompanhar o belo resfriado pelo qual passo…), quero dois dias de Fred, Ginger e Judy...

Comentário: como o “Oscar” mudou nestes últimos 27 anos, não acham?

domingo, 28 de fevereiro de 2016

Wiener Staatsballet: Onegin (Wiener Staatsoper/ Vienna State Opera), 2016, February 27th

Warning:
I did not go into "technical details" during this review.
The importance of the piece, its soloists and the story line are the central subjects and relevant aspects this time.
Thanks
Ricardo Leitner


It is quite odd that I had never before seen „Onegin“. I mean live on stage. Of course I know this ballet nearly inside out from different videos and films but by strange coincidences I had never experienced it sitting in an audience. Amazing thing for someone who’s been “in touch” with Ballet for so many years.

Once, in Stuttgart, I had a ticket but in the last minute there was a cast change and I refused to watch it. As a very silly young boy I did not like Birgit Keil because of her neckline (or absence of it) and refused to go to the theater, wanting only to experience a live performance with Haydée. Well, this opportunity never came up againn and because of many other reasons and circumstances, which I cannot even recall, I never saw it “live”.

Well, there I was, sitting in a lovely box, while it occurred to me that I was witnessing live at last a piece that was merciless criticized after its premiere in 1965: “Solitary introverts are difficult to depict in dancing” – but isn’t that exactly what John Cranko does in the most marvelous way? Great John Cranko… if you’d only have lived longer.

Being a lifetime follower of Cranko’s work I do not only admire his choreographies (are there better pas de deux “solutions” than his?) and the way in which the characters are built (and slowly and very analytically reveal themselves to the audiences) but also the way in which his unique “power of synthesis” feeds the storyline without altering in any way what the story was meant to be.
Not being in mastery of the Russian language I do have to admit that my “knowledge” of the complex Pushkin’s lyric poetry comes only from two Onegin’s translations which I have read respectively in English and in German.
It is obvious for me that, without understanding Russian, one shall never be able to full understand/feel what Pushkin meant.
Even so there is the story line that Cranko composed – and the Russian “soul”: Eugene Onegin… and how this character influenced the creation of so many Russian male characters in Russian Literature...
This is more than a “personification” of a man - one that carries within his soul so many points that were (and are) identified with by its readers.
I ask: where does Eugene Onegin stop and where does the Russian man begin?
Where is all that melancholy hidden within a soul?
Perhaps in the music?
Drowned inside a Vodka’s bottle?
The thing is: Pushkin made this dark quality take a tangible form.

The whole cast was magnificently rehearsed.

The story is in perfect balance – as are Cranko’s “Taming of the Shrew” and “Romeo and Juliet” – with the corps de Ballet’s and the soloists’ appearances – which change, “grow up”, “ripen” in front of our own eyes.

Papava / Kourlaev Photo Copyrights: Wiener Staatsoper

Kirill Kourlaev, had the “supporting role” of Gremin. And he made the best of it. Stage presence is something that Mr. Kourlaev has more than enough to offer. Another “gift” for his partners is the total self-abandon he shows while partnering.
An example for many dancers of the youngest generation.

Natasha Mair, for me one of the most promising young talents of the “Wiener Staatsballet”, gave us a performance that was not only technically flawless but also filled with emotion. Her “Olga” changes from a happy but very shallow character into someone that is confronted with pain at a very early age. Miss Mair, possesses a rare quality, which is simply described as “full understanding” of the role. She “feels” her step and does not only execute them beautifully. Something that is very rare in her early age.
Some four years ago I witnessed just this as I “really noticed” her for the first time as “Amor” (Don Q.) and ever since then, this very disciplined dancer, is growing as a performer in front of delighted Viennese audiences.

Mair/Dato - Photo Copyrights: Wiener Staatsoper

Davide Dato was the perfect impersonation of poor, tragic Lenski. Even though his variations are far from being called “easy” – one cannot forget that they were choreographed for a very special dancer, Egon Madsen, whose very strong points were not points that are usually typical for most dancers (if you do not know what I mean, think of Nureyev’s variations for HIS own male characters: they included everything that was “natural” to Rudolph – not especially for other dancers).

Dato - Photo Copyrights: Wiener Staatsoper

Mr. Dato gave a wonderful performance – also technically “top”. Not an easy thing to be so "clean" in those variations.

Ketevan Papava – in fact after yesterday’s performance I’d rather call her “La Papava” – was Tatjana in her essence. Shy – a solitary introvert (as mentioned above, according to the 1965 premiére’s critic) but an enormous fighter she also transforms herself during the run of the Ballet. Miss Papava, a great performer and always giving her best, filled the Opera with fine emotions. Every single movement, even the most subtle ones on her face, was in total command. There may be other dancers that are technically stronger or more “actress-like”, but you shall seldom find one in which all the “right ingredients” that make a grand stage persona are so combined, so balanced, so harmonic. Miss Papava was emotional but never over-dramatic… Her absolute perfect interpretation of Tatjana made me think about Marcia Haydée – even though they are completely different dancers, the “character” was there…

Papava/ Shishov - Photo Copyrights: Wiener Staatsoper

I wonder how she’d perform if the last scene, if the original version should still be staged, was the one in which after sending Onegin away, she’d go to her children to kiss them goodnight. She could make it. Instead of bringing down the house with her last cry, I am sure she’d be as touching in a low-profiled scene.

Vladimir Shishov on top form, in full command of his technique and stage presence. I was impressed by a change that took place in the first act: the “bored” Onegin, a character that is so very “blasé” that he is able to annoy us, was wonderfully played in a sort of cynical way. One could really dislike him. All of a sudden, in the scene at Tatjana’s bedroom, he turned into HER image of his character, the man that SHE idealizes. Amazing how Mr. Shishov jumped from one cliché to the other as if he was changing a pair of shoes – and never turning his interpretation into something sappy. Very controlled.

Papava/Shishov - Photo Copyrights: Wiener Staatsoper

The point for me is: I confessed that my “understanding” of “Onegin” (as a character, as a piece) is quite limited because of the non-understanding of the original text… But who needs that if such a performance is given by an artist that transports all the emotional profundities of Onegin’s soul into our hearts, making those depths nearly transparent?

In some way, I must thank my instinct for waiting a bit longer, having decided to assist this performance with the right male dancer.

A magnificent evening, I confess. One that will be kept in my memory for a long, long time…

segunda-feira, 22 de fevereiro de 2016

Wiener Staatsballet: The Snow Queen (Die Schneekönigin) - Volksoper - 2016, February 21st


Corder's "Snow Queen" is definitely not one of my favourite pieces.


The choreography neither follows nor contains an uniform line, a strong structure - it is sometimes "sprinkled" with a too obvious use of the music, sometimes too slow and all of a sudden - but lacking any stylish connection - too ferocious
(I am thinking about the gypsies at the third act's beginning - one of the few exciting and lively parts of the evening – but on its own!).

In fact, my chronic dislike to anything that is usually played at Christmas time – and specially targeted at families and children – is immense.
I dislike those "Season's spells" intensely.

Still “Snow Queen” offers good opportunity to young dancers.

Leonardo Basilio and Jakob Feyferlink were very secure and effective as the two wolves.

Basílio/Feyferlink/Ioanna Avraam - picture: copyright: State Opera

The same should be said about Tristan Ridel (making a good impression on stage) and Alexandru Tcacenco – both impressive, professional, melodic and very lyric as the two “roses”.
Not to be overlooked: Adele Fiocchi and Suzan Oppermann as the two polar foxes. Very, very effective.

The elves (or fairies) have quite dominated the stage and were splendidly danced by Natascha Mair, Eszter Ledán, Elena Bottaro (giving her debùt of this role) and Nikisha Fogo (unlike the others,focusing directly at the audience - and probably unintentionally "stealing" a bit of the show!).

Delightful Géraud Wielick made a good, secure impression as the reindeer.
He “wins the audience” on his first entrance: an obvious display of sympathy and good stage presence. One must say that Mr. Wielick seems changed everytime I see him on stage – he is developing fast, his stage persona is getting stronger with every single performance. A good thing.

Ketevan Papava and Eno Peçi, two great performers, were at ease, not being that much challenged as the gypsies. But their performances, as usual, were brilliant and precise – and always full of energy. Never dancers to “relax” on stage, they are – because of that quality – extremely appreciated by the audiences.

Nina Poláková, a dancer I have never – by coincidence – seen much of, gave a good, aggressive show of the (in fact) glacial character.
Unfortunately the choreography for the “Queen” tends to turn quite repetitive at the very end of the ballet, as if the choreographer’s vocabulary had vanished completely, finished.
The incessant, never ending lifts on jeté by the wolves are boring and make her look more like a drowning “Fliegende Holländer” than like a queen… also here Mr. Corder seems to have missed some more inventive ideas…
still…
Miss Poláková seemed a bit tense around the mouth and jaw area - A fact that is not seen at the video close-ups!
(which, in fact, I detest: they remind me of the wicked witch of the East in the Wizard of Oz!).
I am looking forward to watching Miss Poláková next week in “Onegin” – so shortly after having seen her in “Queen”.

The evening belonged completely to the lovely couple Nina Tonoli/ Greig Matthews.

Tonoli/Matthews - picture: copyright State Opera

Both, still very young, gave confident performances and were rewarded with huge applause.
Mr. Matthews was a steady, strong partner and had his joy while dancing the young Kay. Also a very "clean dancer" Mr. Matthews pays lot of attention to "details" - always displaying his (marvelous) demi-pointe and an impecable turned-out passé relevé.
Miss Tonoli, a very modest dancer and a hard worker, was absolutely enchanting. Her technique is clean, seeming completely natural to her - as if she'd be a dancer who makes no efforts (that is an utopia!).
I consider Miss Tonli one of the few candidates for future 100% classic roles... and I could already imagine her in "Coppelia".

It should also be noted that their first pas-de-deux, in which they seem to be playing with each other and having lots of fun, is especially entertaining.
The use of the diagonals is extremely effective – and combines lot of fun with step precision.

All in all: a pleasant evening, very “Volksoper-like”.
Not a real challenge for an “every day, average ballet-goer” but still… colorful and “neat”!

domingo, 21 de fevereiro de 2016

Evelyn Hart: La mort du Cygne (2000)

Para que não seja mal entendido…

O video anterior à esta postagem (Raisa Gilko em “La mort du Cygne”) teve a única e exclusive função de mostrar um agradecimento do qual muito gostei.
Sua dança nada me emociona…



Um CISNE mesmo é a querida, eterna Evelyn Hart – que, aqui, não luta para parecer bonita e elegante todo o tempo (o que já é por sua elevada arte)
mas se concentra na execução e interpretação do único momento em que o cisne canta – em toda sua vida:

o momento de sua morte…


quinta-feira, 18 de fevereiro de 2016

La Mort du Cygne: Raisa Gilko


After watching this video I have never heard anymore from Raisa Gilko, a Bolshoi dancer.
I also had never heard of her before…
In fact her dance neither surprises nor touches me.
Her Swan is too affected.

But I’ll never be able to forget her bow to the public.
Still completely “in the character” and in full command of her arms. I like that.
It is mad but I like her bowing more than her dance.



Depois de assistir este video nunca mais ouvi falar de Raisa Gilko, bailarina do Bolshoi.
Também nunca havia ouvido falar dela antes…
Na verdade sua dança nem me surpreende nem me toca.
Seu Cisne é muito afetado.

Mas jamais poderei esquecer seu agradecimento, sua reverencia ao público.
Totalmente dentro do personagem e em complete commando dos seus braços. Gosto disso.
É loucura mas eu prefiro seu agradecimento à sua danÇa.