From a posture of absolute ballet ignorance, I found this astoundingly beautiful. Many years ago, I made an exhaustive study of the score from the stance of a musical analyst. It's really given me a completely new perspective to see this score converted into the movement it was created for. Magnificent.
FASCINATING. So glad you posted this w/ yr notes. I danced the Agon pas de deux at Dance Theatre of Harlem (on tour & at our City Center season) & some of the partnering REALLY freaked us out. Mr Mitchell of course had danced it in NYCB & helped us a lot with it, but that was even scarier, as he was really fierce & *very* VERY demanding & strict. (Just thinking of it freaks me out - & I was 19 when I learned it!!). I notice the Bolshoi dancers don't do the more 'modest' bows here that Balanchine preferred for AGON (& everything). They also tend to smile where it's not necessary (no need to smile at all in AGON).
I so enjoyed watching this, especially with your commentary! A fascinating story. And BRAVO to you for getting such a good performance from them! I glad they decided to stop torturing you. Agon is one of my favorite ballets of Balanchine, but my absolute favorite work by Stravinsky. The Gailliarde alone is some sort of miracle; the orchestra had a difficult time with it, unsurprisingly, but they held it together. I think the Russian dancers did surprisingly well with the American vernacular, but it was amusing to notice the occasional Bolshoi-ness pop out. I never knew there were balances to be held in the castanet solo, but Yetsenko (?) found a few. And she certainly luxuriated in her bow! Mr. Clifford, a really proud showing!
PS: I'm thrilled that you staged this for them. I notice that a lot of European companies seem to prefer Mr B's tutu ballets (or things like the complete Jewels), but don't do stuff like Agon, Kammermusik, Monumentum/Movements, Duo Concertant, or Episodes (some of my faves). I live in England, & the Royal Ballet is so classical, & I think it'll be a while b4 they do some of these 'nervier' ballets. I also notice that nobody does Ballade (that he made on Merrill A) or Davidsbundlertanze (LOVE it). Sometimes I think some of these works can only really be 'understood' if seen at the NYCB. We were lucky at DTHarlem to have Mr Mitchell as an SAB alum, & I was at SAB also, as were a few other DTH dancers.
The first time I ever saw Agon was at DTH, probably in '75 or '76. I already loved the music at that time, but it finally made complete sense to me when I finally "saw" it, especially the pas de deux. Electrifying!
I think you have to approach Balanchine's work with humility and a desire to learn. I would like you to write a book in which you tell us all your experiences as a dancer, teacher, choreographer and mounting Balanchine's works.
Russian dancers and maitres are notorious for changing steps at will to fit their taste and abilities; they reject anything they cannot touch, like Balanchine ballets.
It took a lot of work on my part to get them to do that. At first they didn’t want to dance that ballet at all, They had danced it five years earlier and it was not a success. They tended in the earlier video I saw to soften the counts and slow everything down. I insisted on sharper attacks and to dance on the beat.
Has it occured to your (presumably non-musical) mind that Stravinsky might have written difficulty into the score? Not difficulty in the technical sense. The musicians, as all professional musicians tend to be, were magnificent. That awkwarness you detect is written into the music. If you got, it, well done performers.
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From a posture of absolute ballet ignorance, I found this astoundingly beautiful. Many years ago, I made an exhaustive study of the score from the stance of a musical analyst. It's really given me a completely new perspective to see this score converted into the movement it was created for. Magnificent.
FASCINATING. So glad you posted this w/ yr notes. I danced the Agon pas de deux at Dance Theatre of Harlem (on tour & at our City Center season) & some of the partnering REALLY freaked us out. Mr Mitchell of course had danced it in NYCB & helped us a lot with it, but that was even scarier, as he was really fierce & *very* VERY demanding & strict. (Just thinking of it freaks me out - & I was 19 when I learned it!!).
I notice the Bolshoi dancers don't do the more 'modest' bows here that Balanchine preferred for AGON (& everything). They also tend to smile where it's not necessary (no need to smile at all in AGON).
russia didn't have the base of modern dance that NYC did---this sort of movement has always been a bit foreign over there
I so enjoyed watching this, especially with your commentary! A fascinating story. And BRAVO to you for getting such a good performance from them! I glad they decided to stop torturing you. Agon is one of my favorite ballets of Balanchine, but my absolute favorite work by Stravinsky. The Gailliarde alone is some sort of miracle; the orchestra had a difficult time with it, unsurprisingly, but they held it together. I think the Russian dancers did surprisingly well with the American vernacular, but it was amusing to notice the occasional Bolshoi-ness pop out. I never knew there were balances to be held in the castanet solo, but Yetsenko (?) found a few. And she certainly luxuriated in her bow! Mr. Clifford, a really proud showing!
That was a wonderful performance! Lucky audience to see it live.
I have been here , and it’s unforgettable .
I loved watching this. The dancers are so strong.
Very serious with emotion 💟 Bravo!
Thank you ...
PS: I'm thrilled that you staged this for them. I notice that a lot of European companies seem to prefer Mr B's tutu ballets (or things like the complete Jewels), but don't do stuff like Agon, Kammermusik, Monumentum/Movements, Duo Concertant, or Episodes (some of my faves). I live in England, & the Royal Ballet is so classical, & I think it'll be a while b4 they do some of these 'nervier' ballets. I also notice that nobody does Ballade (that he made on Merrill A) or Davidsbundlertanze (LOVE it). Sometimes I think some of these works can only really be 'understood' if seen at the NYCB. We were lucky at DTHarlem to have Mr Mitchell as an SAB alum, & I was at SAB also, as were a few other DTH dancers.
The first time I ever saw Agon was at DTH, probably in '75 or '76. I already loved the music at that time, but it finally made complete sense to me when I finally "saw" it, especially the pas de deux. Electrifying!
It’s really hard for audiences not brought up on Balanchine to appreciate his more modern or esoteric ballets. Directors play it safe.
I think you have to approach Balanchine's work with humility and a desire to learn. I would like you to write a book in which you tell us all your experiences as a dancer, teacher, choreographer and mounting Balanchine's works.
I have written a book. BALANCHINE’S APPRENTICE. It’s on Amazon and most online book sellers. The audio version is coming out on the 11th.
I just finished reading John's book . . . it's fantastic. You'll love all the insights into Balanchine's working life.
Russian dancers and maitres are notorious for changing steps at will to fit their taste and abilities; they reject anything they cannot touch, like Balanchine ballets.
'notorious for changing steps' lol
that was the norm for a very long time; GB did it himself all the time
@@bobloblaw9679 The difference is that Balanchine is no longer around to approve changes to his choreography.
@@bobloblaw9679 Mr. B being the choreographer is entitled to.
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The Russians throw themselves into movement like they do in their folk dances. So they seem like NYCB NYers back when Vilella and Blum danced. Nice.
It took a lot of work on my part to get them to do that. At first they didn’t want to dance that ballet at all, They had danced it five years earlier and it was not a success. They tended in the earlier video I saw to soften the counts and slow everything down. I insisted on sharper attacks and to dance on the beat.
Hello
There are a myriad of mistakes in the orchestra, but the dancing is wonderful on the whole.
Beautifully danced, But the orchestral playing is rather coarse and clumsy.
Yes. The orchestra had a lot of trouble, but it is a very difficult score.
@@jcliff26 I was impressed by how well they actually did, especially first performance. It's an insanely difficult score.
Has it occured to your (presumably non-musical) mind that Stravinsky might have written difficulty into the score? Not difficulty in the technical sense. The musicians, as all professional musicians tend to be, were magnificent. That awkwarness you detect is written into the music. If you got, it, well done performers.
Question…. Did you get to choose your cast ?
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Хорошо что ещё есть классический балет, а не эта дребедень