Absolutely wonderful to see these fabulous performances from this superb generation of Royal Ballet ballerinas. I was in this performance and it’s great to see the exquisite style, precision, musicality, ports de bras and speed (!) of everything. For all the brilliance of today’s dancers, this has been lost.
Those Bitish ballerinas are so lovely. This was so enjoyable. I love the choreography one after the other. So light and airy. So fun. Ballet at its best.
Superb. I love eveything. Tempi, choreography, dancing. I can't stand when tempo is slow to the point that Lilac's variation sounds like a dead march. Thanks for posting this faboulosity.
+John Hall Yes. Mariinsky Florine&Bluebird pdd is unbearable to watch these days. Basically, the entire third act could cure any sleeping disorder. Z-z-z-z...
Fast-as-lightning Lesley, just fabulous! And Marguerite Porter, the lucky lady to whom Dame Ninette de Valois passed on the rarely-performed version of "The Dying Swan" that has only been danced by four ballerinas.
+DarkDancer06 yes, quicker than quick Leslie! never knew (thanks for that) that Dame Ninette de Valois passed on "The Dying Swan" to Marguerite Porter - pity there's no film of it. the RB should standardly film all that goes on at CG as they now do with opera, don't you think?
John Hall You're welcome, I only recently learned this from the documentary "Madam and the Dying Swan" and there is film of De Valois coaching Porter in the role on that documentary.
+DarkDancer06 thanks for the follow-up - much appreciated! i can see that thee is a promo for the documentary showing Porter among a number of other ballerinas interviewed about the ballet - th-cam.com/video/UiP787e9nRY/w-d-xo.html
+DarkDancer06 +DarkDancer06 thanks for the follow-up - much appreciated! i can see that thee is a promo for the documentary showing Porter among a number of other ballerinas interviewed about the ballet
+DarkDancer06 and i see a piece on the documentary by the producers, focusing on Porter - thanks again - something to look out for! madamandthedyingswan.com/about.php
Exquisite artistry, musicality, technique and finesse! It was the very first ballet and ballet company that I saw that inspired me to become a dancer. Truly, my very favourite performance of The Royal Ballet!
Love love the use of port de bras , even at speed beautiful , today we look at so many talented dancers who , I for one wish would check this out . Pure pleasure thank you for posting 💥
+Michael Llewellyn me too - i was in London from 1970 to 1975 and this was the then new 'Beauty', which premiered on 15 March 1973 - the Queen was present and the program gold instead of the usual red.
+Alex de Ravin this was recorded in December 1978 and is the De Valois production premiered in 1977. Merle park and David Wall danced the leads in this recording, Collier and Dowell danced the premiere
+Michael Llewellyn hi! so the 'Beauty', which premiered on 15 March 1973, with the Queen present, and which was in part funded by British and American friends of Covent Garden was short-lived - with a de Lalous production in 1977 - didn't realise the 1973 production was so short-lived.
@@JohnRaymondHall Good as this is, I will always prefer the 1890 Maryinski revival one of which ( I have 2) is with Altynai Asylmuratova who, at her best, I believe is one of the greatest dancers of the late 20th century.
I am deeply saddened to hear of the passing of dear Dame Beryl Grey and I am reminded of her beautiful and unforgettable performance as the Lilac Fairy! May she Rest In Peace! ✝️
Lovely. I saw them all in London. I saw a production of this ballet in London in which Peter wright gave some of the fairy variations in the last act to men. They did not look effeminate and it was delightful. Quite often the male variations look to me like class room exercices.
I have no memory of dates but I came to Italy in 1984 and then for quite a few summers I went to do plant and cat minding for a friend - ballet teacher att the Rambert Shchool - Therese Canitne or Wohlfart (her husband's name). I saw the Wright production during those years from about 1985 to 1990.
so you must be familiar with his production - did you like it? incidentally i've uploaded a video of Wright as a dancer and teacher - which you may have seen i guess th-cam.com/video/NV31EjLKpAU/w-d-xo.html&spfreload=10
The fifth ("finger") variation, as danced by Laura Connor here in 1978, is danced in the version attributed to Bronislava Nijinska by Ninette de Valois (whose memory for steps, however, was notoriously erratic); in 1981 de Valois then reinstated (her notion of) Petipa's choreography The tempi for all five are if anything slower than Tchaikovsky's. The slower tempi people have become used to are just latterday decadence.
While I do find these variations beautifully well done, I am a bit disturbed by some of the dancers appearing to be not over their toeboxes. Is it just something back then?
Most likely the difference in shoes. Shoes weren't generally pre-arched until the late 90s. Also shanks were really hard and almost all platforms were pitched forward which made them hard to get over unless you had really flexible feet and ankles. Getting over the box and platforms properly wasn't much of a concern for shoe manufacturers until fairly recently. Prior to that, you just got over your boxes the best you could.
I think there are a few reasons for that. (I may be wrong, but these are my thoughts) Back then, it was not as important to go over the box. Pointing your feet was good enough, they did not demand the super arched feet we like to see today. So when entering a academy, the selection wasn't that much based on the flexibility of feet and ankles as it is now. I also saw this with Russian dancers like Yelena Pankova or Zhanna Ayupova in the 90's. and going further back, you see that the romantic ballerinas also did not go over the box. Technique in the 70's was probably more about stability and strength on pointe, rather than being very over the box. When you don't go as far over, you don't lock the ankle in place and perhaps develop even more strength in keeping it stable. It makes you faster and more agile in for example hops on pointe. The choreography of Ashton also required really fast pointe work. And perhaps it is a matter of shoes and the age of the shoes. Perhaps they danced in softer shoes to be more agile and quiet. Shoes, technique and aesthetics have changed.
i've just extracted the bits of Monica Mason and made a video 'Monica Mason as Carabosse in ‘The Sleeping Beauty' [Royal Ballet, 1978]' or you enjoy :)
I love these clips that show the stylistic coherence of old RB. Now for all the brilliance of some of their dancers (my favorite, Marianela Nunez) the company has a slipshod look. No character. So sad.
+Sima Raft partly it's the internationalising at the RB - which in some/many ways can be beneficial but it can lead to a lack of a coherent style for a company. does ABT have the same issues of have they understood the issue and found some training remedies?
Alex de Ravin ABT has always been a supermarket cart: one of this, an ounce of that, and an assortment of those over there. Seems to be the model for RB.
+Sima Raft yes, ABT are serious online shoppers - 'let's have one of these and one of those for variety' i imagine they approach it! and yes sadly a model for so many countries, often under the banner of 'dance is international' - but there are consequences, and stimulus advantages.
While they're well done here and I really like the 1970s RB, I have to say this is one example of dances I think Russia does better. I especially love the Fairy Variations from the 1964 Kirov Sleeping Beauty (w/ Soloviev & Sizova) which had Fedicheva as one of the fairies and Irina Bazhenova as the Lilac Fairy. Maybe it's all the character classes and coaching they had, but there's a little more pizazz and personality to this classic suite of dances.
is it me or is the music too fast ? if the orchestra was playing like that damn i feel sorry for the dancers having to catch up and dance like cartoons , messing up some good choreography
i used to see the RB in London around this time and i seem to recall the music being this fast and worrying for the dancers. i'd like it a bit slower - i think they are trying to give the tempi of a concert performance of the music - that is without dancers.
John Hall wow .... too too fast .... the conductor has to collaborate with the dancers , to come up with something suitable for both dancers , musicians and the audience ... i am an ex professional dancer and once in a while during performances the band or orchestra would get carried away , playing the music how they want ... it can be frustrating
No, the tempo isn't too fast. This is the real tempo. Which tells us that the original dancers of the ballet were FAST. The overly retardando music is a recent phenomena that accommodates overly indulged dancers who just pose instead of dance.
![Monica Mason as Carabosse in ‘The Sleeping Beauty' [Royal Ballet, 1978]](http://i.ytimg.com/vi/Mg5VUS5Zn54/mqdefault.jpg)
![Monica Mason as Carabosse in ‘The Sleeping Beauty' [Royal Ballet, 1978]](/img/tr.png)
Such artistry and musicality! They truly look and dance like magical fairies! Royal Ballet at its best!!!❤️❤️❤️
yes, these wonderful principals express the very movement essence of these fairies
Absolutely wonderful to see these fabulous performances from this superb generation of Royal Ballet ballerinas. I was in this performance and it’s great to see the exquisite style, precision, musicality, ports de bras and speed (!) of everything. For all the brilliance of today’s dancers, this has been lost.
yes, all roles filled by very very good dancers!
You are so right. You said it so beautifully.
Those Bitish ballerinas are so lovely. This was so enjoyable. I love the choreography one after the other. So light and airy. So fun. Ballet at its best.
How nice, they are so musical! ... and fast too. Each of them with her own personality.Thanks for sharing.
+Giovanna Joglekar yes, they are all individual within a specific style - and i love the musicality too.
Superb. I love eveything. Tempi, choreography, dancing. I can't stand when tempo is slow to the point that Lilac's variation sounds like a dead march. Thanks for posting this faboulosity.
i love the tempi too - it was at the Royal Ballet that i first these variations - and other productions always seem sluggish and slow!
+John Hall Yes. Mariinsky Florine&Bluebird pdd is unbearable to watch these days. Basically, the entire third act could cure any sleeping disorder. Z-z-z-z...
LOL - still laughing at your comment - very funny indeed :)
+John Hall :)
:)
It’s amazing how much the Violente variation has adapted over the years yet still kept the nuance of it.
yes!
Fast-as-lightning Lesley, just fabulous! And Marguerite Porter, the lucky lady to whom Dame Ninette de Valois passed on the rarely-performed version of "The Dying Swan" that has only been danced by four ballerinas.
+DarkDancer06 yes, quicker than quick Leslie!
never knew (thanks for that) that Dame Ninette de Valois passed on "The Dying Swan" to Marguerite Porter - pity there's no film of it.
the RB should standardly film all that goes on at CG as they now do with opera, don't you think?
John Hall You're welcome, I only recently learned this from the documentary "Madam and the Dying Swan" and there is film of De Valois coaching Porter in the role on that documentary.
+DarkDancer06 thanks for the follow-up - much appreciated! i can see that thee is a promo for the documentary showing Porter among a number of other ballerinas interviewed about the ballet - th-cam.com/video/UiP787e9nRY/w-d-xo.html
+DarkDancer06
+DarkDancer06 thanks for the follow-up - much appreciated! i can see that thee is a promo for the documentary showing Porter among a number of other ballerinas interviewed about the ballet
+DarkDancer06
and i see a piece on the documentary by the producers, focusing on Porter - thanks again - something to look out for! madamandthedyingswan.com/about.php
Exquisite artistry, musicality, technique and finesse! It was the very first ballet and ballet company that I saw that inspired me to become a dancer. Truly, my very favourite performance of The Royal Ballet!
agreed - i saw this cast a few years earlier with Fontyen as Aurora - champagne watching - and set ballet going for years
Love love the use of port de bras , even at speed beautiful , today we look at so many talented dancers who , I for one wish would check this out . Pure pleasure thank you for posting 💥
This brings back lovely memories. Thank you.
pleasure
Pure pleasure, thank you!
What thoughtful and productive comments ! Thank you, everyone. As a younger dancer and ballet enthusiast, these are a pleasure to read !
Magnificent. Such a treasure. Thank you for letting us see it.
pleasure - often people upload only film of principal dancers and it's nice to see just soloists :)
Happy memories - my first visit to ROH was seeing this production in July 1978
+Michael Llewellyn me too - i was in London from 1970 to 1975 and this was the then new 'Beauty', which premiered on 15 March 1973 - the Queen was present and the program gold instead of the usual red.
+Alex de Ravin this was recorded in December 1978 and is the De Valois production premiered in 1977. Merle park and David Wall danced the leads in this recording, Collier and Dowell danced the premiere
+Michael Llewellyn hi! so the 'Beauty', which premiered on 15 March 1973, with the Queen present, and which was in part funded by British and American friends of Covent Garden was short-lived - with a de Lalous production in 1977 - didn't realise the 1973 production was so short-lived.
+Alex de Ravin it was indeed!
+Michael Llewellyn that's interesting - do you know why it was so short-lived?
So strange that nobody has commented that Marguerite Porter, the Lilac Fairy, looks exactly like Jean Simmons. I was amazed at the resemblance!
she does - i wonder why this never occurred to me before!
@@JohnRaymondHall I have the entire performance.
@@davidjohnson9796 i do too :)
@@JohnRaymondHall Good as this is, I will always prefer the 1890 Maryinski revival one of which ( I have 2) is with Altynai Asylmuratova who, at her best, I believe is one of the greatest dancers of the late 20th century.
@@davidjohnson9796 i absolutely agree with you about Altynai Asylmuratova
Love the golden Vine variation...😘
yes, so beautiful
Dang, I forgot that their version of lilac is sooo difficult! Hats off.
yes, very!
I am deeply saddened to hear of the passing of dear Dame Beryl Grey and I am reminded of her beautiful and unforgettable performance as the Lilac Fairy! May she Rest In Peace! ✝️
i was so sad hearing of her passing too - wonderful she was able to perform in Russia
Beryl Grey was a wonderful Lilac Fairy-very regal and beautiful technique.
i've heard - pity there seems to be no footage of her in this role
@@JohnRaymondHall There is - I have a DVD of a version filmed for American TV. I'll dig it out.
@@5670gemini I never realised there was! was it part of a complete 'Beauty' production?
Thank you. Real dancing!
the very thing, yes
The costumes!!!!
beautiful
Lovely. I saw them all in London. I saw a production of this ballet in London in which Peter wright gave some of the fairy variations in the last act to men. They did not look effeminate and it was delightful. Quite often the male variations look to me like class room exercices.
i saw them all at CG too - nice to 'make their acquaintance' again on film! do you recall the year you saw that Wright production?
I have no memory of dates but I came to Italy in 1984 and then for quite a few summers I went to do plant and cat minding for a friend - ballet teacher att the Rambert Shchool - Therese Canitne or Wohlfart (her husband's name). I saw the Wright production during those years from about 1985 to 1990.
so you must be familiar with his production - did you like it? incidentally i've uploaded a video of Wright as a dancer and teacher - which you may have seen i guess th-cam.com/video/NV31EjLKpAU/w-d-xo.html&spfreload=10
I liked the production very much and saw it at least three times.
The fifth ("finger") variation, as danced by Laura Connor here in 1978, is danced in the version attributed to Bronislava Nijinska by Ninette de Valois (whose memory for steps, however, was notoriously erratic); in 1981 de Valois then reinstated (her notion of) Petipa's choreography The tempi for all five are if anything slower than Tchaikovsky's. The slower tempi people have become used to are just latterday decadence.
interesting the journey of some chore! thanks for that - interesting to know. like your comment 'latterday decadence'!
Still in love
me too!
Thank you so much.
+Douglas Penick my leasure!
While I do find these variations beautifully well done, I am a bit disturbed by some of the dancers appearing to be not over their toeboxes. Is it just something back then?
i was wondering the same!
Most likely the difference in shoes. Shoes weren't generally pre-arched until the late 90s. Also shanks were really hard and almost all platforms were pitched forward which made them hard to get over unless you had really flexible feet and ankles. Getting over the box and platforms properly wasn't much of a concern for shoe manufacturers until fairly recently. Prior to that, you just got over your boxes the best you could.
I think there are a few reasons for that. (I may be wrong, but these are my thoughts) Back then, it was not as important to go over the box. Pointing your feet was good enough, they did not demand the super arched feet we like to see today. So when entering a academy, the selection wasn't that much based on the flexibility of feet and ankles as it is now. I also saw this with Russian dancers like Yelena Pankova or Zhanna Ayupova in the 90's. and going further back, you see that the romantic ballerinas also did not go over the box.
Technique in the 70's was probably more about stability and strength on pointe, rather than being very over the box. When you don't go as far over, you don't lock the ankle in place and perhaps develop even more strength in keeping it stable. It makes you faster and more agile in for example hops on pointe. The choreography of Ashton also required really fast pointe work. And perhaps it is a matter of shoes and the age of the shoes. Perhaps they danced in softer shoes to be more agile and quiet. Shoes, technique and aesthetics have changed.
Would you have Monica Mason as Carabosse?
i've just extracted the bits of Monica Mason and made a video 'Monica Mason as Carabosse in ‘The Sleeping Beauty' [Royal Ballet, 1978]' or you enjoy :)
@@JohnRaymondHall Thank you so much! You're a 🌟!
@@IrishCatholic86 pleasure - i had it so it was nice to be able to share :)
I love these clips that show the stylistic coherence of old RB. Now for all the brilliance of some of their dancers (my favorite, Marianela Nunez) the company has a slipshod look. No character. So sad.
+Sima Raft partly it's the internationalising at the RB - which in some/many ways can be beneficial but it can lead to a lack of a coherent style for a company. does ABT have the same issues of have they understood the issue and found some training remedies?
Alex de Ravin ABT has always been a supermarket cart: one of this, an ounce of that, and an assortment of those over there. Seems to be the model for RB.
+Sima Raft yes, ABT are serious online shoppers - 'let's have one of these and one of those for variety' i imagine they approach it! and yes sadly a model for so many countries, often under the banner of 'dance is international' - but there are consequences, and stimulus advantages.
They also all have weak backs and no ability to dance petite allegro.
Can you please upload the Fairy Coda?! 💙
eccezionale velocità
si, sono d'accordo
It is beautiful ..thanks Alex!..
My favorite fairy is Yulia Stepanova ....I love here in these variations !
+Masha.M. S
yes, Stepanova wonderful - her arms, amazing!
Is there a DVD?
While they're well done here and I really like the 1970s RB, I have to say this is one example of dances I think Russia does better. I especially love the Fairy Variations from the 1964 Kirov Sleeping Beauty (w/ Soloviev & Sizova) which had Fedicheva as one of the fairies and Irina Bazhenova as the Lilac Fairy. Maybe it's all the character classes and coaching they had, but there's a little more pizazz and personality to this classic suite of dances.
+kabardinka1 i agree - the RB was like a watercolour painting where the Russians were like rich oil paintings.
😍😍😍😍
😍😍😍😍
What is the first song???
Why are they all wearing shades of gray gowns?
the quality of the film?
Is it me or do a couple of them seem to be having dying shoe issues?
old shoes? something else? :)
@@JohnRaymondHall lack of ankle strength perhaps?
i see - thanks :)
Some don’t seem to get up over the box? I have only been watching ballet for a few years, but I am starting to see the differences .
@@karenkaren3189 i know what you mean, that's certainly how it seems - but is it different technique or shoe design? Anyone know?
is it me or is the music too fast ?
if the orchestra was playing like that damn i feel sorry for the dancers having to catch up and dance like cartoons , messing up some good choreography
i used to see the RB in London around this time and i seem to recall the music being this fast and worrying for the dancers. i'd like it a bit slower - i think they are trying to give the tempi of a concert performance of the music - that is without dancers.
John Hall
wow .... too too fast .... the conductor has to collaborate with the dancers , to come up with something suitable for both dancers , musicians and the audience ...
i am an ex professional dancer and once in a while during performances the band or orchestra would get carried away , playing the music how they want ... it can be frustrating
i agree - the music in concert is a different commodity from that with ballet - spoils performances if too fast (or slow sometimes too)
No, the tempo isn't too fast. This is the real tempo. Which tells us that the original dancers of the ballet were FAST. The overly retardando music is a recent phenomena that accommodates overly indulged dancers who just pose instead of dance.
that's interesting - didn't know the speed was correct - i was just judging from what i see today. thanks! :)
The best variation of all fairies un sleeping beauty is lilac fairy
agreed!
Unanimous
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