Бржественная Уланова!!!!! Обычно старые съёмки знаменитостей разочаровывают(слишком далеко ушла техника и т. п.) Но, -не здесь!!!! Уланова всегда непостижимо прекрасна!!!!К Такому танцу можно только бесконечно стремиться😇🙏🙏🙏🙏🙏🙏👏👏👏👏👏🤛
Galina Ulanova didn't just dance, she floated through the air. It's hard to tell whether she's touching the ground or just moving through the air. She always seemed so weightless, like a ghost. I say that in a good way. She was so ethereal!
@@ozsfi You are correct. Ulanova wasn't shaped like a modern dancer with super long limbs and a long neck and super skinny, but her dancing was magical, and so was Plisetskaya's. I'd rather watch them than present day ballerinas.
For me Ulanova is the most intelligent dancer ever (her role and music understanding is phenomenal) and the best technician in many ways. Absolutely great in the air on the partner hands. Her legs perfectly strong and stabile, no shakiness. Great stuff.
Как прекрасно! Божественно! Увы практически все нынешнии балерины стараются продемонстрировать растяжку задирая ноги даже там где это и вовсе ни к чему.
For me, one aspect of Ulanova's technical mastery was that she could move at times in such a way as to make it impossible to determine if she was in the air or on the ground, such as in the glissades after the lift devant developes here. Another place I have seen this quality is in the manege she does in the film of the "Romeo and Juliet" ballroom scene with the grand jete's and the pique arabesques, not to mention the way she passes her feet through the last lift in the pas de deux with Zhdanov in the filmed "Fountain Of Bakhchisarai" in the first act courtyard scene. I've always thought true musicality, which Ulanova without question had, is the rarest quality in a dancer and serves to help define the truly great from the greatly accomplished but less than truly great dancers; but I also feel this ability to create the mystery of is-she/he-on-the-ground-or-in-the-air is a major factor as is the ability to make the audience ask itself "how did he/she get from here to there without our being able to see the mechanics of it." All of these qualities, plus so many others that testify to her genius, Ulanova had in her work. I feel so fortunate to be able to see these videos you have posted (and thanks again so much for them) and to have had the great good fortune to have seen her on the stage. IMO, she truly was a great and transformative artist.
hi AL45757 - yes, her relation to the floor is amazing and rarely seen elsewhere - such a relationship stops the impression of start, land, stop, move ... all seems fluid movement - following the fluidity of the music - totally satisfying! i spoke as a kid in London to those who had seen Ulanova in '56 and envied them that more than any other past stage performance.
My mother took me to see her in the film of Romeo and Juliet when I was eleven; it had just reached the West Coast. That was over sixty years ago, and I have never forgotten it. I could never dance; but I have spent 40-plus years working for two great ballet companies, as well as a symphony orchestra. She changed my life. Thank you for the videos and for these comments.
Они могли себе позволить танцевать для собственного наслаждения: вдумчиво, спокойно. Сейчас, наше поколение во всех сферах "отжимают". Так одухотверенно танцевать, никто не сможет себе позволить.
Сейчас ужасно танцуют .Во первых руководители неграмотные . Во вторых педагоги ужасно учат . В третьих генеральный прогоны проводят прямо в день спектакля .В четвёртых быстро готовят партии .
I love this! I can’t believe how much more beautiful the dancing is when the woman actually looks like a woman, and not a long stick your dog dragged in from the lake! It isn’t that women today don’t dance beautifully, but I can’t forget how very anorexic they look as I’m watching....it’s just a relief to not have that feeling watching Ulanova. She and Preobrazhensky are wonderful together!
voracious Reader : what do you write here ? you have not understood that " les Sylphides " or " La Sylphide- ballet " are not women, are not humains so what do you talk about body esthetic- body of the woman here ?
Порхающая Галина Уланова, при этом какая женственность и отточенность форм, партнёр истинный рыцарь! Сейчас балерины спортсменки и партнёры лезут на первый план, получается не гармония дуэта, а соревнование. Так не хочется брюзжать, но ведь и слепому видно, что балет катится в сторону спорта...
Очень женственно и одухотворенно.Легкость необычайная,бестелесная сильфида,наяда,нимфа.Нет в ней нарочитого грубого женственного мужикоподобия,которое все больше эксплуатируются в балете.
Уланова прекрасна, я пересмотрела много дуэтов и все же самая нежная Сильфида из всего что я видела - Надежда Павлова. В вети есть ее танец с Цескаридзе.
Нет слов, Надежда Васильевна Павлова - великое явление в мировом балете и во многом с той же богатой, скрытой от посторонних глаз, внутренней культурой, что была присуще и Галине Сергеевне. И Сильфида Павловой в Седьмом вальсе - шедевр. Такая воздушность... Сильфида Улановой - тоже шедевр несомненно, но здесь ещё и безупречная чистота линий...
Absolutely wonderful.. I wonder if her student Tsiskaridze is so good at dancing this ballet because of her... most likely. There is an oldest clip of him at 21 dancing it with Semenyaka at 43. And they were wonderful. The last one was from 2011 from Paris. Ulanova was a goddess. He was so lucky to have her for a teacher and mentor. This is almost unreal, she is so light it is almost as she is floating on air.
yes, i agree - most likely. is the clip of him at 21 dancing it with Semenyaka at 43 around? yes, such luck to had had that great great teacher. older friends saw Ulanova in the 1956 tour and were just blowed over!
Yes, that clip is still available, I will post it for you in a few minutes, they were dancing it at the park at some event. Too bad that is the only clip of them dancing together. At least there is almost an entire ballet of him dancing with Nadia Pavlova. And I have some beautiful photos of him dancing Spirit of the Rose with her and Giselle.
Here it is, notice how delicately and gracefully he dances it, he is only 21 here and Semenyaka at 43 is wonderful. He became a principal dancer that year. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-2xlFg08fllk.html
yes, delicate and graceful captures it! do you know about the curious setting? thanks - i just downloaded it. it looks as they are dancing on a wet roadway.
hi Sima, as i was just saying to Danny she caresses the steps into musical meaning and the way she moulds and varies the phrasing and dynamics to the music is deliciousness itself!
Μερικες ενδιαφερουσες πληροφοριες για την διασημη Ρωσσιδα Χορευτρια Κλασσικου Μπαλετου Γκαλινα Ουλανοβα:Γεννηθηκε 8 Ιανουαριου 1910 στην Αγια Πετρουπολη.Οι γονεις της,ηταν χορευτες και Σολιστ,του πειφημου"Μπαλετου Μαριινσκι",και που ειχαν την τυχη να χορεψουν με την περιφημη Αννα Παβλοβα.Αργοτερα ο πατερας της Γκαλινα,εγινε σκηνοθετης,και η μητερα της,εγινε Δασκαλα εκμαθησης Κλασσικου Μπαλετου.Η ιδια η Γκαλινα,ειχε πει σε μια συνεντευξη της,οτι δεν ειχε αλλη επιλογη στην ζωη της,παρα να γινει Χορευτρια Κλασσικου Μπαλετου,λογω επαγγελαμτος των γονιων της.Αν και μικρη ηθελε να γινει...ναυτικος,επειδη φοβοταν την ζωη των καλλιτεχνων,που ειχε πολλη δουλεια και καθολου υπνο!Τελικα οι γονεις της,την εστειλαν απο την παιδικη της ηλικια,στην περιφημη "Ακαδημια Εκμαθησης Κλασσικου Μπαλετου Βαγκανοβα".Εκει πηρε μαθηματα,οχι μονο απο την Αγκριπινα Βαγκανοβα που ειχε ιδρυσει την Ακαδημια,αλλα και απο την μητερα της.Οταν ενταχθηκε στα Μπαλετα του"Μαριινσκι"το 1928,ο Τυπος την επαινεσε για την μεγαλη της ικανοτητα στο Κλασσικο Μπαλετο.Το ονομα της εγινε ακομα γνωστο και στον..."διαβοητο"..."Ηγετη"που ακουει στο..."περιβοητο"..."ονομα"...Ιωσηφ Σταλιν,που μεεντολη δικια του,η Γκαλινα ενταχθηκε στα περιφημα Μπαλετα"Μπολσοι".Ναι καλα ακουτε!Και ολα αυτα το 1944.Και εκει εγινε η 1η"Πριμα Μπαλαρινα"με ολη την σημασια της λεξεως παρακαλω!Το 1945,χορεψε στην"Σταχτοπουτα"του περιφημου Ρωσσου Πιανιστα,Συνθετη,και Μαεστρου,Σεργκει Προκοφιεφ.Σε ηλικια 46 χρονων,η Γκαλινα χορεψε και σε παραστασεις στο Εξωτερικο,και οι κριτικες που δεχτηκε ηταν συναρπαστικες!Αποσυρθηκε απο τον χορο σε ηλικια 50 χρονων,ενω ταυτοχρονα εκπαιδευσε πολλες χοορευτριες και χορευτες.Τιμηθηκε με το"Βραβειο Σοσαιλιστικης Εργασιας",ενα βραβειο που καθιερωθηκε απο το 1938,στην Σοβιετικη Ενωση,και το οποιο δινοταν μονο σε πραγματικα αξιους,καλλιτεχνες,η επιστημονες,σε οποιον ειχε να προσφερει κατι πραγματικα αξιολογο,οχι μονο στην Ρωσσια,αλλα και στην Ανατολη γενικοτερα.3 φορες βραβευτηκε με το"Βραβειο Σταλιν",το 1941,1946,1947,καθως επεισης και με το Βραβειο"Λενιν" το 1957.Εκλεχτηκε Ξενο Επιτιμο Μελος,της Αμερικανικης Ακαδημιας Τεχνων και Επιστημων το 1960.Εφυγε απο την ζωη το 1998,σε ηλικια 88 χρονων.Το διαμερισμα που εμενε στην Μοσχα,εγινε Μουσειο Μνημης,και στην Αγια Πετρουπολη και στην...Στοκχολμη(;!)ανεγερθηκαν μνημεια για χαρη της.Αυτες ειναι μερικες ενδιαφερουσες πληροφοριες για την Διασημη Ρωσσιδα Χορευτρια Κλασσικου Μπαλετου,Γκαλινα Ουλανοβα,που πολλοι την θεωρουν μια απο τις πιο μεγαλυτερες Χορευτριες Κλασσικου Μπαλετου,ΔΙΕΘΝΩΣ,στην διαρκεια του 20ου Αιωνα για οσους δεν το ξερουν αυτο.Ευχαριστω...
ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-xjdghgioxLI.html At 15.59 Mariana Ryzhkina, taught by Maximova who in turn had been taught by Ulanova. Something remains. I saw Ryzhkina dancing this in London last year but was concentrating more on her partner.
hi oldoperafan thanks so much for the URL for Mariana Ryzhkina - it will be very interesting to see what remains, being passed down - i'm off now to look! thanks again.
Ghislaine Thesmar de l'opéra de Paris dans " La Sylphide " est plus " éthérée- évanescente " que Oulanova un peu brusque parfois c'est un fait , cesr sur
RU-vidrs mixe legend ballerinas and prima-ballerinas and legend ballerinas are often less good than others who dance also " La - Les Sylphides " j think really about A Alonso- E Evdokimova- G Mezentzeva- G Thesmar-- Irina Kolpakova or G Komleva etc .who are better ; one legend ballerina us no always the best
For over two decades I have "visited & re-visited" Mme. Ulanova's performances . . . I just don't see any technical brilliance or artistry. I wish I could.
hi Michael. i wonder if the technique of Ulanova is not hidden by the expressive quality of her dancing? the technique is just a vehicle to make meaning - emotional, story-telling and so on.
I would only add that Ulanova's exceptional technique was incidental to her dancing. Her dancing transcended the actual steps to communicate incandescent moments of ecstasy.
She made it look so easy, you can't tell how hard it is to dance ballet. Another thing was that she was so ethereal that she seems like a ghost. She didn't just dance, she effortlessly floated on the stage, like it was nothing. I have never seen another human do that before.
J agree , too heavy : the best ethereal sylphide is one fernch : Ghislaine Thesmar , Zakharova is opposite to a " Sylpvide " too real too mature not an ethereal sylphide
