The music is by Spontini. La Vestale has two huge ballets at the end of the first and final (third) act. I've never seen this before, and it fits the atmosphere of the opera perfectly.
If anyone is curious to hear the full orchestra version go to this recording of Spontini's La Vestal: th-cam.com/video/iseCDIQnX74/w-d-xo.html The ballet at the end of Act I begins at 55:54, and the music used for the duet is at 1:01:24.
@ilyaballet WOnderful! Just a guess, but my hunch is that Bournonville wanted to save the perfected line that pointe gives for big effects. THe sylphide herself does the big pirouette at the end of her sissonne-solo on half-toe -- the piques with the "all the time in the world" develloppes she does on pointe because that's hte image he wants us to keep.... Balanchine later in career had dancers do chainees on half toe and finish with a double soutenu on pointe....
@Terr58y No, in the 1830´ies the shoes weren´t stable enough. In Bournonville style, they only dance on pointe some of the time, when they have to appear weightless, - especially in the early works.
Did Bournoville actually require dancers to have such high a la seconde developpe? (Love the low en dehors pirouettes with batterie that Mme. Lander does. Never seen that.)
Wonderful to watch! Was this filmed in the main ballet studio? Also, does anyone know why many of the turns and such were not on pointe, although she was wearing pointe shoes? Were the shoes at the time of choreography not stable enough to support turns and such, perhaps? (turning on half-pointe in pointe shoes is harder than en pointe, IMO!)
I was fortunate to work with Toni Lander before she died and she was a wonderful teacher and a very warm hearted person.
I love the nearly unisex nature of this piece. 2 amazing dancers both greatly missed.
God they are amazing, I had chance work with Flemming in his Lesson . It was incredible experience. God bless him.
Beautiful and strong dancing!
The music is by Spontini. La Vestale has two huge ballets at the end of the first and final (third) act.
I've never seen this before, and it fits the atmosphere of the opera perfectly.
never saw before this piece interesting posting
Strong medicine. Hard as it is they don't whine.
And though it's all from the hard book, it's not ungrateful.
THANK YOU for posting this!!!!
If anyone is curious to hear the full orchestra version go to this recording of Spontini's La Vestal: th-cam.com/video/iseCDIQnX74/w-d-xo.html
The ballet at the end of Act I begins at 55:54, and the music used for the duet is at 1:01:24.
Strong medicine. Hard as it is they don't whine.
THANK YOU for posting this!!!!
@Lissbirds l had no idea this piece existed,a rare gift
Thank you for this nicely filmed delight.
wow incredible... never have seen this. Thanks for posting!
His soft ballon and his hands are quite wonderful. And she's amazing.
@ilyaballet WOnderful! Just a guess, but my hunch is that Bournonville wanted to save the perfected line that pointe gives for big effects. THe sylphide herself does the big pirouette at the end of her sissonne-solo on half-toe -- the piques with the "all the time in the world" develloppes she does on pointe because that's hte image he wants us to keep....
Balanchine later in career had dancers do chainees on half toe and finish with a double soutenu on pointe....
@Terr58y No, in the 1830´ies the shoes weren´t stable enough. In Bournonville style, they only dance on pointe some of the time, when they have to appear weightless, - especially in the early works.
Did Bournoville actually require dancers to have such high a la seconde developpe? (Love the low en dehors pirouettes with batterie that Mme. Lander does. Never seen that.)
No, but the higher extensions started being added in the late 40s as style developed. Vagonava writes about this in her 1948 book.
@@rebeccawest8973
There is no evidente of how they did this exactly.
But they certainly did not lift the leg above 90 degrees.
The batterie fout was lower and in the instep
Wonderful to watch! Was this filmed in the main ballet studio? Also, does anyone know why many of the turns and such were not on pointe, although she was wearing pointe shoes? Were the shoes at the time of choreography not stable enough to support turns and such, perhaps? (turning on half-pointe in pointe shoes is harder than en pointe, IMO!)
Oi, vey! They really needed a long massage after that!!! I am presuming this is not a classroom exercise but an actual performance pas de deux.
❤️❤️
Love Flindt's The Lesson ballet that was so masterfully performed by Tsiskaridze as a ballet teacher and Alexandrova as student.