How can anyone on their right mind forget that?
Antony Tudor (1908 - 1987), born "William Cook", choreographed this masterpiece in 1975...
One of his last works.
He worked intensly with (lovely) Gelsey Kirkland and Ivan Nagy...
Even if the video leaves us wishing for more quality... who cares?
Something to remember. Always.
quinta-feira, 30 de abril de 2015
domingo, 26 de abril de 2015
Como já várias vezes disse aqui, é interesantíssimo como o passar do tempo, a maturidade, a idade nos dá o presente de novas “leituras” sobre um mesmo tema.
Um livro assume toda uma outra perspectiva, um quadro nos mostra mais luz, numa canção nossa atenção é captada por uma tal palavra até agora não ouvida e por sua entonação agora entendida, um acorde musical nos revela outros mundos anteriormente não vistos, um poema é agora compreendido de forma completamente diferente como se nos contasse uma nova estória… e por aí vai a lista do fascínio que o passar do tempo trás consigo…
Como de costume tendo a relatar estes acontecimentos (o fato de uma nova leitura) aqui.
Hoje acrescento à lista uma canção de “Hello Dolly!” que na realidade nunca havia me prendido a atenção… Revendo este (maravilhoso) filme de Gene Kelly (sim, ele dirigiu-o) minha capacidade de observação foi ativada ao ver esta cena, deixando-me o prazer desta nova leitura, deste compreender a verdade que o autor quis dizer em “It only takes a moment”… Bem, pelo menos a verdade que agora imagino compreender… Só o futuro pode dizer o que entenderei em 20 anos já que há mais de 20 anos mal podia esperar para esta cena passar já que achava-a chata e melodramática ao excesso... Tudo muda!
De volta ao “Hoje”:
Peguei-me dando conta da imensa lista de coisas que se concretizaram na minha vida num só momento, num instante… como que num instante se sabe que “aquela” será uma amizade para toda a vida? Que aqueles olhos só dizem verdades? Que um carinho é eterno ? Que um amor começou e será eterno?
It only takes a moment… é verdade, hoje!
Um jovem Michael Crawford acompanhado da maravilhosa Marianne McAndrew, doce, afinada Marianne McAndrew - que infelizmente nunca chegou a ter uma real carreira, que pena - e o "coro" de "Dolly" incluindo a linda bailarina E.J.Peaker e o jovem, cedo assassinado, Danny Lockin, um desses raros talentos que aparecem só cada 100 anos...
P.S. Não sei dizer por quanto tempo esta cena estará disponível no Youtube (já que me parece que o filme "Dolly" tem seus direitos de copyright bem restritos...) por isso aproveitem a chance: It only takes a moment... e é um "momento" bem investido...
e para quem se interessar, um trailer bem longe dos chatos, repetitivos, cansativos "tiques marilia-peirenses" que tive que assistir na minha última estadia carioca...
domingo, 19 de abril de 2015
Vasculhando, cascavilhando e escarafunchando memórias, guardados e arquivos de filmes de Vincente Minnelli num domingo de primavera, encontrei esta maravilhosa cena de Ethel Waters em "Cabin in the Sky" (MGM, 1943), um filme com um elenco todo negro que nunca pode ser passado no Sul dos E.U.A....
Maravilhoso trabalho... infelizmente muito esquecido... mas este também é um dos motivos da existencia das "As Tertúlias":
ajudar a memória...
manter a memória...
E aqui "entre nous": existe rosto e sorriso mais simpático do que o de Ethel Waters? Sim talvez o e Louis Armstrong...
Dedico esta "tertúlia" para uma pessoa que considerava amiga, que amava esta cena e que depois de 30 anos mostrou-me ontem quem é.
A sua agressividade pode ter-me machucado no momento e ter-me também roubado um pouco do equilíbrio emocional...
mas é incapaz de me tirar uma coisa: meu bom-humor...
Obrigado por ter-me ensinado isso. Boa Sorte na sua vida, Susanne Satek!
segunda-feira, 13 de abril de 2015
Not an easy task to tell Olga Spessivtseva’s „story“. Not even to suggest it.
Choreographed in 1997 this intelligent work is not concerned with simple “story telling” - especially because of the many divergences in her biographies - it goes much further...
Boris Eifmann used an extreme creativity to surpass a classic plot and suggest emotions, life aspects and events in a much more dramatic and effective way.
Ignoring the conventional line development of a “theatre plot” (that in fact has not much to do with the “dance idiom”) he hints lightly at facts and evokes general feelings that cannot be placed on an exact time or room or country, but which were part and nearly a kind of “condicio sinequanon” of Spessivtseva’s mental instability.
Not to be really compared with his “Anna Karenina”, which conceals a much more conventional “script line”, his “Giselle rouge” fascinates more because of its very openly aggressiveness, madness, nervousness and also because of the fact that its language is freed from the burdens and obligations that classic “story-telling” brings along with it.
I am sure that this is the reason why its language is so much more fascinating and appeals so much more to Ballet-goers. This is ballet.
Eifman, as I read quite recently, was described as a “philosopher choreographer”. And I could not have agreed more with this description.
He is so deeply absorved by and concerned with the secrets of the creative process and how very difficult these may be.
He reveals little – but very directly – to his audiences, making them a part of the ballet.
He “discusses” with Ballet-goers about complicated, dramatic aspects of life.
And all this without fear and never going too far. He defined his own genre as “psychological ballet”. And once more I could not have agreed more.
It was a pleasure and an honour for me to observe him from so nearly during the party after the Première.
Even though I was judging this work as too “highbrow” to the customary, average Volksoper-audiences it did not surprise me a bit to witness such strong applause at the end of the evening.
I was just sort of speechless with the unjustified applause at the end of a “Charleston” (“Yes, Sir, that’s my baby” to be more precise), a popular piece that reminded me of the very strange Bolshoi “odes” to America at the beginning of the 80’s, which I had the chance to witness here in 1982.
That was the only time in which the audience betrayed itself – not just by applauding a very popular “hit” but also for giving itself away revealing such lack of “connoisseurship” to the rest of the score – marvelously put together by the way, especially the use of different Alfred Schnittke’s pieces at the “mad scene” in which Olga really lost her mind (was it in Australia? Some speak of the States) not knowing anymore what she was dancing, improvising, forgetting where she was or which Ballet she was in…
Roman Lazik did a good job as "the partner" - supposedly Serge Lifar. It cannot be said that Olga really had this "flirt" with Serge. But the general idea of her having an unhappy love affair could also be another "help" for her descent into hell, into madness. Another "hint". And a very good one indeed. In very good shape Mr. Lazik is a very correct and competent dancer that seems to have a following in Vienna.
Jacopo Tissi, as “the partner’s friend” (Serge Lifar's "lover"), showed a beautiful stage presence. Very clean features, long legs, a beautiful line and a precise certainty in his technique - and by the way, giving his solo debut on stage. A matter, a date of rare importance in a dancer's life. If he was nervous, the audience could neither feel or see it.
A very gifted young dancer that will definitely have a bright future.
I am quite sure that we will stil much from him!
Kirill Kourlaev filled the stage with strength. Looking very “pump” (a fact that was strongly accentuated by his low cut costume) he developed his character, the “Bolshevik” into a very threatening, menacing kind of man. Dangerous. Great work. In full command of the much needed stamina that this role requires he turned his relationship with Olga into a play of cards that very aggressively comes to an end. A very scary aspect of life: The dependance of one person while being dominated by another.
What is the reason? Love, sex, possessiveness, politics, craziness, instability or simply “power”? Whatever the answer may be Mr. Kourlaev showed us this nearly vicious kaleidoscope of feelings – and the amazing thing is: a dancer that is also a comic, a prince, a romatic partner, an angel, a Matador… I love versatility and Mr. Kourlaev is always surprising us.
Eno Peçi as the Balletmaster brought down the house and made us nearly cry with his unfortunate destiny. So sad all that vulnerability. Mr. Peçi, another very strong dancer, in full command of his trade, of his intellect and of his art, has reached that beautiful moment in the life of a dancer which combines the total confidence of a strong technique in a young body and that certain thing called maturity with its many aspects that make all the difference between giving just a good performance or giving a performance that touches us, our hearts because of its artistry. Chapeau!
Olga Esina was the biggest revelation of the evening. Never before had I seen Miss Esina in such an emotional, fragile, daring performance. Yes, daring, you read it right: Spessivtseva’s character is no bowl of cherries to perform. Her contradictions may make her even unsympathetic, generally. Miss Esina, another dancer known to all of us also because of her exquisite technique, beautiful and intelligent musical phrasing and poise as well as clean lines that are mixed with the best of classic proportions, surprised us all as the “Olga that went mad”. Even if sometimes the choreography is far from “becoming”, forcing her into even inelegant movements, poses. And she did it. Courageously. The kind of interpretation of the first magnitude, the kind you do not see frequently.
Long lasting applause for the soloists as well as for string Corps-de-Ballet which united a special selection and combination of the exquisite talents of Eszter Ledan, Nina Tonoli, Flavia Soraes, Laura Nistor, Natascha Mair, Igor Milos, Alexandru Tcacenco, Ryan Booth, Jakob Feyferlik and Jaimy van Overeem just to name a few.
Cutting it short: a most enjoyable evening that was carefully rehearsed – and when I speak of “carefully” I mean “with great care”. For details, for effects, for emotions. Everything single element carefully thought of, "round".
Bravo, Monsieur Legris for once more presenting the Viennese Audiences with a ballet that could be called “un objet d’art” of the finest bone china.
Vienna, April 13th 2015
(Videos' Copyright: Balàzs Delbo/Delbeaufilms)
sexta-feira, 10 de abril de 2015
Kristin "arrasando" de novo, como de costume...
Quem foi que um dia disse que certas músicas só tem realmente "um" intérprete?
Não me lembro... e o que importa? Esta pessoa não tinha mesmo razão...
Acho que neste caso até a própria Liza o admitiria.
e mais madura...
quarta-feira, 1 de abril de 2015
Sometimes the power of Marketing and Advertisement can be quite underestimated... History shows us many examples, art history even more. It takes just that certain, precise and (very) lucky moment to be on the right spot at the right time…
Just a few weeks ago marvellous Denys Cherevychko had one of the biggest hits of his career with Neumeier’s “Joseph’s Legend”. Definitely a very well-deserved success. No question about that.
But everything can be interpreted from different points of view and to my particular taste, I feel that the marketing Machinery of the State Opera performed perhaps a “bit too well” with him and overlooked a lot another precious performance.
The whole (ballet) media work concentrated on both Mr. Cherevychko’s and Miss Horner’s performances (culminating at their presence at the Opera Ball, which was quite unusual, especially if considering that Miss Horner is not a soloist), neglecting a bit the “other cast” - no expressions like "second cast" here - that was also performing.
Performing splendidly, by the way, as you’ll be able to witness in the following video – a new, beautiful work from Balàzs Delbo (© Delbeau Film).
The splendid performances from dancers like Davide Dato, Ketevan Papava and Eno Peci were not as talked about and discussed as they would have deserved.
One thing is more than clear: their rendition is of another sort. One cannot talk about “a notch above” but surely of subtleness. Intelligent subtleness. Another “reading” of the same theme.
In order to avoid any misunderstandings, I am just ALSO trying to highlight Mr. Dato’s and Miss Ketevan’s performances. I surely loved Mr. Cherevychko and Miss Horner but I still believe that there is place enough in the Media to accommodate different, marvellous interpretations of the same role, even if given by other performers. Think about the ABT, New York City Ballet, Covent Garden and the Paris Opera and the different Auroras, Giselles and Albrechts, Odettes and Odilles, Basils and Kitris from each and every Season…
This “richness” of choice teaches the audiences to think more compare, learn, ponder, develop healthy criticism… and not take anything for granted!
Audiences here are in quite a desperate need of learning that.
Unfortunately our “Austrian way of thinking” is quite “passé” specially concerning the contemplation of different talents.
Our world nowadays offers us so many talents and unlimited possibilities – it is quite normal to have different interpretations and “readings” of a same role at the same time… but we do not seem to adapt to that.
Passed and gone are the times in which only existed a “Nureyev”, or just one “Baryshnikov or perhaps a “Makarova”.
Unfortunately austrian audiences (and Press) tend to keep attached to this old-fashioned idea that there only exists one talent at the time…
and the media work, in this particular case of "Joseph`s Legend, reflected just that.
Times have changed, audiences all over the world too and so should we…
Let’s think about that…
P.S. I would like very much to point to the wonderful rehearsal pictures. © Ashley Taylor – you will surely hear this name quite frequently in the future.