Ottimo impadronimento direi imperativo dello spazio proscenico da parte dei ballerini a balzi falcati amplissimi ed ottimi quelli che con un mio neologismo mi piace chiamare convoli aerei ed elanisti della ballerina ottimamente indotti e tenuti dal partner. Ottime le pose figurali assunte nel balletto d'ensemble.Ottimo il vorticoso tourbillon su di una sola punta della ballerina ottimamente indotto dal partner. Ottima impressione di facilità esecutiva d'acchito da parte di entrambi e di senso del continuum dato alla pièce danzante dai due protagonisti. Superlativi.Bighin GIULIO RENZO 😊😊😊😊😊😊😊
Grande impressione di facilità esecutiva d'acchito da parte di questa ballerina sottolinea ancor più un'immiata grazia e levità fatta tensione motile. Ottimo quello che con un mio neologismo mi piace chiamare convolo della ballerina ottimamente indotto dal partner. OTTIMO l apporto anche con pose figurali del corollario danzante. MOLTO BTSVI TUTTI GLI AGENTI IN PROSCENIO. BIGHIN GIULIO RENZO
I saw this at the Met when it premiered and was blown away by how beautifully Clark Tippet, who was a principal dancer at ABT at the time, captured the lushness of the concerto in the movement. He was a gorgeous dancer and an incredibly promising choreographer who tragically died very young.
The violin solo is questionable in its quality. There are intonation mistakes if you listen carefully; many notes are just a tiny bit off, such as in 0:45, 0:47-0:49 at the E at the top of the doublestop, 0:54, and so on. Some passages have notes clumped together, especially the doublestops at 0:43 to 0:46 At the arpeggio passage from about 0:59 to 1:01 there is a slide that is not marked in the music. The concerto is pretty good overall, but NOT ready for a perfomance.
I adore Tamara , but Esmeralda is a role that I found to suite better French Ballerinas like Agnes letestu and Sylvie Guilllem due to their natural anatomy to stay on point with dancing free leg in complete control of the movement as Letestu’s Esmeralda m.ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-71O5jjlnOZQ.html
Azi cat because you were not there in the theater that night ... I was ... and in my 45 years on earth I don't remember many things .... because we forget the dinner we had last night or the traffic last week ... but Letestu's Esmeralda live ... shocked me like an earthquake .. and I have not recovered yet from those high legs and all those angles that don't belong to your bag .. I get it .. but with her showing off she made sure she filled up my Bag that night .. too heavy that was hard to carry ... until today and that happened more than 20 years ago
Was that five-and-a-half pirouettes she did at the opening of her variation, with a change of spot after the fourth?! She’s so centred that she can play with her pirouettes, instead of what other dancers do - crank out a double and hope and pray not to fall out of it.
I saw this several decades ago when ABT brought it to San Francisco with Alessandra Ferri. I knew nothing about ballet at the time, but it made a huge impression on me--well, it was Alessandra Ferri! She was particularly beautiful in the second movement; I hope someone posts that too. I'm glad ABT revived it. I think it's a great ballet.
If she only expressed a little more charm in her face that Fonteyn did so well. Used her eyes more. A little cold in demeanor. A phenomenal technician tho.
Gorgeous choreography and dancing! Though, as a violinist, I was not a fan of the performance on the recording. The Bruch concerto is lovely, but that was kind of a sloppy execution. What recording were they dancing to, does anyone know?
who are the people bowing in the beginning and what was it for?? i feel like she has taught at one of my dance classes and i was wondering if it was her...
:( I felt so bad for them, this audience was asleep or something. Both were mind-boggling, I don't get the golf claps and the weak bravos. BRAVÍSIMOS!!!!! for the dancers. BOOOOOOO for the audience.
